Manfred Mann – 5-4-3-2-1


Uh, huh, it was the Manfreds…


Listen/Download – Manfred Mann – 5-4-3-2-1

Greetings all.

Welcome to yet another week in the annals of all manner of pop.

The tune I bring you today should be – assuming that you have a taste for UK R&Beat – a familiar one, but the disc it appears on might not.

Manfred Mann is one of those bands that I have certainly known about all my life (via the big hits) , but it was only during the mod/garage days of the 80s that I discovered and developed a serious taste for their music.

So much so, in fact that I would gladly go on record as stating that aside from Scott Walkerwho exists in a class by himselfPaul Jones is my favorite vocalist of the British Invasion.

Manfred Mann were ostensibly part of the blues-based British vibe, but one need only scratch the surface a little bit to discover how important jazz was to their sound.

Thanks in large part to Manfred Mann’s (the man, not the band) keyboards and Mike Vickers work on guitar, flute and sax, the Manfreds laid down some of the deepest, most exciting sounds of the early to mid 60s.

Today’s selection was commissioned by the producers of Ready Steady Go as the theme for their 1964 season and the song made it into the UK Top Ten of the UK charts.

The song was released as a single in the UK on the HMV label in January of 1964.

This of course brings up the question of, where did the 45 you see before you come from?

Fans of soul jazz/mod jazz will already be knee deep in the Prestige Records 45 discography, a wellspring of Hammond organ sides and all manner of harder edged soul jazz. How Manfred Mann – who had all of their early US 45s released on the Ascot label – got this one 45 issued on Prestige is a complete mystery to me.

If you take a look at a Prestige 45 discography, there is one interesting clue, that being that the next single released in the catalog was a record by a duo named Brett and Terry with the tunes ‘Beatle Hop’ b/w ‘Beatle Fever’.

Aside from that, all the releases before and after these two 45s – this being perhaps a very short lived attempt to cash in on the longhair/teenage market – are regular Prestige label bread and butter, i.e. jazz and blues.

The record itself is a banger of the first order.

‘5-4-3-2-1’ has been a fave of mine since I first heard it roughly 30 years ago. It sees the band in top form, moving forward like a buffalo stampede led by Jones’s harp and Mann’s electric piano.

The flip side, ‘Without You’ is a bluesy grinder with some remarkable flute work.

Oddly, the writing credit on the 45 is messed up, with Mike Hugg listed as ‘Hugo’ between Jones and Mann.

It’s a great disc, and if anyone has any deeper info on the Prestige connection, please drop me a line in the comments.

I hope you dig it, and I’ll see you next week.





PS Head over to Funky16Corners for some soul.

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  1. Agree wholeheartedly re: Paul Jones. I prefer their “Little Red Book” over Love’s just due to Jones’ pipes.

    They’re being on Prestige is weird, kind of like when I found a Soupy Sales record on Motown a couple of weeks ago.

  2. Great track, thanks Larry! Just a great fun jam of a song really.

  3. This was their first US release, so it predated their association with the Ascot label, which only started later in 1964 with “Do Wah Diddy Diddy”. So no mystery about that aspect of it.

  4. Scott Walker a “vocalist of the British Invasion”? Well, he was, and still is, an Anglophile, and we Brits love him, but of course he’s from Ohio via LA.

  5. Actually, though the Walkers were all Yanks (all getting their starts in LA), their career was launched from the UK, and their group hits are widely considered part of the British Invasion. They all continued their careers in the UK after the dissolution of the group, with Scott hosting his own TV show and Gary forming Gary Walker and the Rain.

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