MANFRED MANN CHAPTER THREE 1969 S/T LP 1ST UK VERTIGO SWIRL VO3 847 902 VG+
C$
52
$
38
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Description
MANFRED MANN CHAPTER THREE 1969 LP SELF-TTTLED - 1ST ORIGINAL PRESSING ON LEGENDARY VERTIGO SWIRL LABEL - EARLIEST RELEASE EVER CATALOG # VO3 847 902 VTY- - RARITY CATEGORY IS SC - MANUFACTURED IN GT BRITAIN - ORIGINAL GATEFOLD COVER IS IN VG CONDITION SOME SHELF AND RING WEAR NO SPLITS NO CUTS NO HOLES - ORIGINAL SWIRL INNER SLEEVE INCLUDED AND IS IN VG+ CONDITION - RECORD IS WELL-PRESERVED, VG+ CONDITION - SOME INFO FROM THE INTERNET ABOUT THIS RELEASE: Line-up: Harold Becket, trp/ Craig Collinge, dr/ Brian Hugg, gtr/ Mike Hugg, voc, keyb/ Bernie Living, altfl/ Manfred Mann, keyb/ Steve York, bsgtr. Production: Dave Hadfield. Cover-design by Jack Levy. Photography by Johnny Clamp. Liner notes by Manfred Mann and Mike Hugg. Recorded at Maximum Sound Studios. Track listing A-side: Travelling Lady (Manfred Mann + Mike Hugg) / Snakeskin Garter (Mike Hugg)/ Konikuf (Manfred Mann)/ Sometimes (Mike Hugg)/ Devil Woman (Mike Hugg). Track listing B-side: Time (Mike Hugg)/ Mister You're A Better Man Than I (Mike Hugg + Brian Hugg)/ Ain't It Sad (Mike Hugg)/ A Study In Inaccuracy (Manfred Mann)/ Where Am I Going (Mike Hugg). Again there are no composer credits on the label, they are inside the gatefold. There is no running time noted. The Vertigo logo on front is silver. Matrix number A-side 847092 1Y //3 ?420 1 1 1 Matrix number B-side 847902 1Y //3 ?420 1 1 2 Rarity scale: SC Manfred Mann, major poppifier of Dylan, lost grip on the dying market for their kind of brew and disbanded in june 1969. A second incarnation of just Mann and Mike Hugg resulted in a flopped single and some advertising music. Small wonder that they claim on the first release of their third incarnation: This LP represents in general what we personally have been wanting to do for some years. Well, what they wanted to do for years turned out to be a pretty claustrophobic affair. Two keyboards at once, the vocals of Mike Hugg, who whispers and groans more than that he sings, and the somewhat cluttered production produce a sombre and at times difficult to penetrate sound. Main disadvantage seems to be the poor integration of rock drums in a setting that suggests jazz more than anything else. Shreds of Dr. John and of Soft Machine keep popping up, but the uncanny atmosphere is pretty unique nonetheless.. Very dense and here and there even strictly non-commercial, this album makes for uneasy listening. The cover is of great simplicity: silver line drawing on a dismal dark green background. The portraits of the musicians are drawn in haste, but yet with commendable likeness. Looks like a typical art-school product. The lettering is done by the same hand as the drawings are and is by its very nature excellently assimilated into the whole picture. Inside the shrewd use of green, black and silver, along with convincing slices of transparancy is a better recipe.
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