Quinn The Eskimo by Manfred Mann Songfacts Quinn The Eskimo by Manfred Mann Songfacts Songfacts This was written by Bob Dylan, but Manfred Mann was the first to record it. Manfred Mann is a group named after their keyboard player. They had another hit in 1976 (as Manfred Mann's Earth Band) with " Blinded By The Light ," a song written by Bruce Springsteen. >> Suggestion credit: chet - saratoga springs, NY Dylan released his version in 1970 on his album Self Portrait. It also appears on his 1972 album More Greatest Hits. Ron Cornelius was Dylan's guitarist for the Self Portrait sessions, and told us about the experience: "There's everybody and his brother flying into Nashville to play on that thing. If you look at the credits, it's amazing how many people were delighted to come and play on it. Out of everybody I've worked with, I don't know of anyone who's been any nicer than Bob Dylan." This is also known as "The Mighty Quinn." It was featured in a 1989 movie with that name. The film starred Denzel Washington as a police officer named Xavier Quinn.

The song was performed in the movie by Sheryl Lee Ralph. It is possible that Dylan came up with the idea for this after seeing the 1959 Nicholas Ray movie called The Savage Innocents. In that movie, Anthony Quinn played an Eskimo named Inuk. The film is also notable as the first screen appearance of Peter O'Toole, who demanded that his name be removed from the film as all of his dialog was dubbed by another actor. >> Suggestion credit: Bob - The Colony, TX This was also recorded by Leon Russell, The Hollies, and Gary Puckett and The Union Gap. The Grateful Dead occasionally played this at their shows. Here's one story that circulated about the song: The Grateful Dead years ago had a wild LSD party in a New York City hotel during a tour visit. Allegedly, one of the party guests was Bob Dylan. One of the other guests at the hotel didn't appreciate the noise and voiced several complaints. It was actor Anthony Quinn who'd played an Eskimo in The Savage Innocents. That could have inspired a partying Dylan to write a strange and funny song like this.

>> Suggestion credit: Joe - Minneapolis, MN One theory is that "The Mighty Quinn" is Sheriff Larry Quinlan, who raided the Castillia Foundation land in Millbrook, New York and arrested Dr. Timothy Leary and his group of hippies. Quinlan confiscated all the LSD and other drugs at the scene. In this scenario, the "pigeons" are informers. >> Suggestion credit: Jerry - Poughkeepsie, NY Mike D'Abo of Manfred Mann: "We met in a publisher's house as Bob Dylan was making some new material available to other artists. We heard about 10 songs and I thought ' This Wheel's On Fire ' would be the one to do, but Manfred liked The Mighty Quinn, which was called 'Quinn The Eskimo' then. It was sung in a rambling monotone but Manfred had recognized its potential. He sold me on the idea of doing this song, but I had to make up some of the words as I couldn't make out everything he was saying. It was like learning a song phonetically in a foreign language.

I have never had the first idea what the song is about except that it seems to be 'Hey, gang, gather round, something exciting is going to happen 'cause the big man's coming.' As to who the big man is and why he is an Eskimo, I don't know." - from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh. >> Suggestion credit: Perfect Sound Forever: Manfred Mann That commercial but not so commercial British rock and roll group- who played the blues and bubblegum music by Sam Leighty (April 2012) One of the most fascinating and musically airtight groups in the British Invasion was Manfred Mann. Both the group and its leader were known by the moniker of Manfred Mann. This came about as the result of some confusion over the group's various pseudonyms and some snafus in the annotations on some early acetates. Manfred was furious over this bit of business. He forgot about it several weeks later, and for a good reason. Manfred Mann (the person, not the band) was born Michael Lubowitz in Johannesburg, South Africa in 1940. He came from a wealthy family.

It was decided he would have piano lessons as a child. He showed promise and by his early teens he was interested in jazz and blues. He would sneak out of his mom and dad's house late at night and go to clubs where he had a regular thing sitting in with the likes of Hugh Masekela. Michael recorded two records in 1958 with a freind. The twosome were at that time South Africa's only rock and roll band! Michael had itchy feet to get out of South Africa. He was very disgusted with his country's apartheid racial policy. This was a long time before freedom riders or late sixties radical left politics. In 1961, Lubowitz went to New York for 6 months where he studied music theory at Juilliard. He then went to Portsmouth on the south coast of England where he formed a large review type of band with a horn section, guitars and drums. Graham Bond was breifly a member of this group. "Manfred" Lubowitz financed the group by giving lessons in music theory and writing for a jazz publication as "M. Manne" or "Manfred Manne." The group played jazz, some pop and a bit of R&B.

They were typically billed as Manfred and The Manfreds, The Mann-Hugg Blues Brothers or The Manfreds. In 1963, the group came to the attention of producer John Burgess at HMV records. Ascot was their American distributor. Burgess began to slowly work with the "Mann-Hugg" group and several singles came out of this liason, which were moderately successful in the UK but didn't go anywhere in the USA. Remember, it was 1963 and it really wasn't until the tumult over this oddball new English rock and roll group called the Beatles started up at the very close of 1963 that these groups like the Manfreds, etc. started to break even and sell records in America and get radio airplay. Some of The Manfred's early HMV singles included titles like "Why Should We Not," "Hubble Bubble Toil and Trouble" and "Cock a Hoop." Burgess was responsible for the mixup over the artist billing on the HMV acetates and studio logs. Burgess credited these to "Manfred Mann" it seems.

So it would be by the name 'Manfred Mann' that the general record buying public would come to know both the South African organ and piano player and the two sixties groups who had hits like "Do Wah Diddy Diddy" and "The Mighty Quinn." At first, Manfred was beside himself at Burgess over the new billing. It took him several weeks to calm down enough to conduct a civil conversation with him. Somewhere along the line, manager Kenneth Pitt got involved with Manfred Mann. Pitt was one of those gay British Invasion managers in the style of Brian Epstein, Tony Stratton-Smith, Larry Page, Simon Napier-Bell or Kit Lambert you could say. I've always said in my writings that Kenneth Pitt's overall ideas for the concept and presentation of Manfred Mann as this two-sided bohemian, intellectual/bubblegum music group were very creative and interesting. He began to go to work molding Manfred Mann for major success in The UK, Europe and North America.

Mike Hugg (the "Hugg" in Mann-Hugg)said in an interview in the nineties that Pitt was really the one responsible for the entire Manfred Mann group image from Abe Lincoln beards, black plastic glasses frames, matching suits and uniforms. Not to mention the group's "university" image. Hugg said Manfred Mann would've never even thought about having an image and the whole shmazz was Ken Pitt's idea! There were all sorts of jazz and bohemian touches in PR handouts and teenybopper fanzine articles about the group. An article or press handout might say that a Manfred Mann member had been "studying Stockhausen" while another "spoke Latin and Greek" or was "fond of dried apricots." Londoner Paul Jones joined the group in 1962. In many respects he was the group's selling point. He became a heartthrob in those teenybopper fanzines. He was tall and dimply with long hair. He would sometimes move around like Mick Jagger on stage. He had been involved in the formative London R&B scene which produced groups like the Yardbirds and The Rolling Stones.

In keeping with Manfred Mann's "intellectual" image, Jones had been at Oxford for awhile. All of the guys in Manfred Mann had some University background which became a part of their image, courtesy of Mr. Pitt. The guys in Manfred Mann had decided to follow Pitt and Burgess where it might lead since it was slowly becoming profitable it seemed. This could come in handy. By the late spring of 1964 the Manfred Mann lineup had developed into Paul Jones (lead vocals and harmonica), Manfred Mann (organ and piano), Mike Vickers (lead guitar, sax and flute), Tom McGuiness (bass guitar), Mike Hugg (drums and vibes). This was the lineup that was arrived at by May of 1964 and it was what was considered best both musically and in a sense, visually, to the group's predominantly teenaged audience. A couple more singles were released in 1964. Manfred Mann did a three month residency at The Marquee Club on Wardour street in London. Bob Dylan saw them in 1964 and sang their praises.

Manfred Mann covered many of Bob's songs including an agressive "If You've Gotta Go, Go Now." Manfred Mann charted big in 1964 with "5-4-3-2-1" and this became the theme song of the Ready Steady Go UK TV show. Ready Steady Go was a British network TV show and was sort of an American Bandstand or Beat Beat Beat kind of show featuring big time bands like The Beatles and The Rolling Stones. I'm certain a lot of young kids bought Clearasil and Dippity Do urged on by the show's MC's. It all went ballistic in 1964 for Manfred and the lads. They had a hit single in July 1964 which started to climb the charts in North America. This was an irresistable cover of The Exciter's "Do Wah Diddy Diddy." It went to number one in the USA and Manfred Mann were stars in America. Another cover of The Shirelle's "Sha La La" made number one in October 1964.

The group appeared on ABC-TV's Shindig at least three times that I know of in 1964 and 1965. The group is featured in a live 1965 "Shindig Goes To London" show, belting out an awesome version of Dylan's "If You Gotta Go, Go Now." There is only one problem- the network muffled the volume everytime it would come around in the verses that the young lady in the song could "go now, or else you got to stay all night!" Don't be confused, this is still a prime slice of 1965 British Invasion rock video. Music industry insiders thought Manfred Mann wouldn't go over real big with the kids who were digging The Beatles and the Rolling Stones in early '64. Yet beards, poor dress, jazz touches, sideburns, thick glasses along with a kind of twenty-five year old's coffee house-ism only seemed to win over a large segment of the North American and UK/Europe teen audience. Manfred Mann did a breif American tour in October of 1964.

The concerts were commercially planned according to AM radio markets in large cities and their surrounding areas where the radio stations were having strident success with the British Invasion and with airplay of "Do Wah Diddy Diddy" and "Sha La La." The gigs were successful but the group members decided that America was so gigantic compared to the British isles that they could go broke trying to cover transportation and motels over such huge distances. They could fritter so much time and money away they could lose what following they had from their handful of singles in both the USA and the UK. The tour lasted only three weeks. The individual members of Manfred Mann were seasoned and adept musicians who could play blues and jazz material like Muddy Waters' "Got My Mojo Workin'" and Herbie Hancock's "Watermelon Man." The group played a version of Howlin' Wolf's "Smokestack Lightning," which was vaguely similar to The Yardbird's version of the song. Up until about 1968 (both here and in the UK), most groups cutting their first couple of 45's had their backing parts learned from their demos by session musicians.

They were only brought in for the lead and background singing (along with stuff like handclaps and tambourines). The Monkees weren't the only ones. This was the case in 2/3 to 3/4 of the 45 rpm releases in those days. There was a scattering of groups who did all of their own playing such as The Beatles, The DC5, The Animals, The Searchers, The Yardbirds, The Rolling Stones, the Who, the Kinks and a handfull of others. Fortunately, due to the fact they were already broken in and they were superb musicians, it was always understood that Manfred Mann did ALL of their own playing. The guys didn't rock as loud and hard as The Who or The Kinks or play their songs as lengthy as The Yardbirds, yet they could really jam nicely and a close listen to The Manfred Mann Album or The Five Faces of Manfred Mann (both albums are on Ascot and have almost surely been reissued on compact disc) shows them working strange and interesting rhythms, chords and songs, playing remarkably captivating solos on electric guitar, harmonica, piano, sax, flute and vibraphone.

It was these very kind of nerdy touches that some people thought would work against them. But those nerdy touches seemed to endear them to the kids who bought their records. Manfred Mann temporarily had to forego their American market as I've explained (they came back to the states later on with the "Mike D'Abo/Klaus Voorman" line-up circa 1968). They continued throughout 1965 and did a movie soundtrack called Pretty Flamingo which was a big hit for them in the UK. It did chart here and there in the USA although it wasn't a big record over here. Mann, Hugg, Vickers, McGuiness and Jones continued to have some more hit singles and they toured a lot in Britain and Europe. Manfred Mann had a big following down-under in Australia. Some of their records charted better there than in other places. By this time the group was being produced by Shel Talmy who also produced The Creation, The Who and The Kinks. Paul Jones announced his plans to leave the group for a solo career in late 1965. It was all talked out and he decided he would continue as a member of Manfred Mann until they could find a replacement.

Mike Vickers also announced he was leaving the group to work in TV and movie soundtracks. Interestingly, Jack Bruce came into the band as the bass player for a few weeks in early 1966. By the spring of 1966, Bruce had left the group. They continued with pick up bass players for a couple of months. The group began to look for a new bassist and lead singer. Some auditions were held for lead singer. Wayne Fontana and Rod Stewart both tried out. The band finally brought in Mike D'Abo from the Band of Angels in June 1966. D'Abo was tall like Paul Jones and vaguely sounded and looked like his predescesor. Yet he was a major talent. D'Abo didn't try to be a Paul Jones clone. What's more, he was an excellent songwriter. The new choice for bass player was Klaus Voorman who was The Beatles' old Hamburg buddy. Klaus had also designed The Beatles' Revolver album cover and he was a member of the Liverpool group Paddy, Klaus and Gibson. Voorman was The ideal new bass player for Manfred Mann.

Tom McGuiness had played lead guitar for the group in the early 1962 days and he was back on lead guitar with Bruce in the band and later, with Voorman as the new bass player. The new lineup was Mike D'Abo (lead vocals), Manfred Mann (piano and organ), Mike Hugg (drums), Tom McGuiness (lead guitar) and Klaus Voorman (bass guitar). The new group went into the studio and recorded a new single. It was a very good cover of Bob Dylan's "Just Like A Woman" with the excellent "I Want To Be Rich" on the B-side, penned by Mike Hugg. This single was released in August of 1966. It was very successful. Manfred Mann had been label shopping in early 1966 and had exited HMV for Fontana. The record was issued in America and it sold moderately well in department store and shopping center discount bins. Still, it received little airplay stateside. With good initial success under their belts, the new lineup released "Semi-detached Suburban Mr. James" on Fontana in late October 1966.

Many fans and critics alike consider this track to be Manfred Mann's finest hour as a commercial entity. This is an ethereal song with Mike D'Abo's vocals layered in delicately with the "electric banana" backing vocals. There are interesting trippy stops and starts on the verses and the instrumental backing. The New Vaudeville Band's Jeff Stephens wrote "Semi-detached Suburban Mr. James." As with "Just Like A Woman," the song sold OK in American department store and shopping center discount bins but got very little airplay over here otherwise. Yet, it was a major hit in Britain and Europe. Manfred Mann did a four song set with a breif interview in a November 1966 Beat Beat Beat show hosted by German speaking American deejay Mal Sondock. Sondock interviews Manfred and Klaus Voorman. He seems pleased Klaus is German. Sondock converses with him very breifly in German before switching back to English.

He then talks to Manfred who explains that he (Manfred) is not German- he's from South Africa and he came to England "five years ago." Mal asks the audience if anyone has any questions for Manfred, then a young German girl of about 15 comes up to the microphone and asks Manfred "where do you get your costumes"? In the regional German vernacular being spoken in the show's locale, an individual's suit of clothes is a "costume." Manfred and Klaus caught on right away and said they bought their costumes at a London antique market. The band did four songs in that show which have been bootlegged extensively- these were "Nitty Gritty," "You Don't Know Me," "Semi-detached Suburban Mr.James" and a strange, almost irreverent version of Willie Mae Thornton (and later, Elvis Presley's) "Hound Dog." The performance has incredible, camera angles, sound-wise, everything. It's all quite surprising for the analog technology of 1966.

Sondock gets a little bit confused and announces their new single as "Semi-detached Suburban Mr.Jones" Manfred and the guys then launch into a majestic and exactly-like-the-record version of the song, which is the stuff live mid-sixties rock and roll is made of. Manfred Mann continued to have hits on into 1967. There was more to come. Manfred was sent a copy of Dylan demo tapes by his publisher in 1967 (later bootlegged as The Great White Wonder). In early 1968 he went with kind of a nonsense anthem called "The Mighty Quinn (Quinn The Eskimo)" to be recorded as a single by the group. They all went into the studio and for a couple of weeks, they couldn't get the beat and the chord progression down. They took a few days off and came back to the song later and it all clicked. "The Mighty Quinn" was released in May 1968 and it was a worldwide smash hit. It stayed in the charts for what seemed like a very long time and it made number one in the USA.

The group came back to America on tour in 1968, although in the last year or two Manfred Mann was together, the gigs were fewer and farther in between. They continued to have hit records, they did more music for movie soundtracks such as the brilliant Up The Junction. In that last year or two, you might say a bit of combat fatigue and weariness with the business side of things was setting in. Actually, towards the very end, touring had been virtually abandoned. One of the band members in hindsight recalled "you had Manfred Mann where you had five guys working on one end and the final result was a hit coming out the other end." Two last Manfred Mann singles were released in 1969 and they were "Ragamuffin Man" and "Fox On The Run" on Fontana. Manfred Mann dissolved the group in 1969. Manfred and Mike Hugg continued with a large free jazz group called Manfred Mann Chapter Three. Manfred and Mike Hugg financed the group by doing radio and TV commercial jingles for Michelin tires in the UK. Manfred Mann Chapter Three toured in America and played the Fillmore East in New York.

After a couple of years went by Manfred had to cut his losses and disband Chapter Three. They were musically exceptional yet totally noncommercial and they weren't catching on with the general public. Remember Mike Vickers? I've seen a couple of movies on cable TV in recent years where he did the soundtrack music (The Mike Vickers Orchestra). Manfred meanwhile put together Manfred Mann's Earth Band, which is still together at this time. They've done many singles, albums and compact discs, most notably a well regarded debut and a huge hit single cover of Bruce Springsteen's "Blinded By the Light." Manfred Mann's Earth Band tours consistantly. Manfred is now 71 years old. He's done a few solo releases such as Just Plain Music and he's been on Saturday Night Live. He enjoys his life's work and everything that goes with it, yet according to an interview in the eighties, Manfred doesn't seem to count his long string of HMV and Fontana hits with Paul Jones and Mike D'Abo as being among the truly great songs of the sixties. It doesn't matter, we've got the CD's to listen to, and there are the movie soundtracks and TV appearances floating around.

Tom McGuiness, Mike Hugg, Paul Jones and Mike D'Abo gig together as The Manfreds since 1992 along with some supplemental musicians. Tom McGuiness and Hughie Flint fronted MGguiness-Flint throughout the '70's and the '80's. As for Klaus Voorman, in the seventies he was back with his old freinds The Beatles and playing bass on Apple records sessions where Paul McCartney would've played, having gone with Lee Eastman for his manager instead of Allen Klein. Paul Jones continued to record after leaving the group. He was in a movie(Privelege). He headlined a 1967 Beat Beat Beat show (okay, that again) along with The Hollies, The Easybeats, Carol Friday and The Thoughts (the show is cutting edge dynamite). He won an award in the UK for his harmonica playing recently and he MC'd a reunion show a couple of years ago for British Invasion bands along with Petula Clark.

Mike Hugg has fronted various bands in the recent past including "Hugg." Several ex-Manfred Mann members were active in "The Blues Band" during the punk rock years of 1976-1982. And if you ask me, I'll always say Manfred Mann may have been the most interesting and entertaining band to come along in 1964.

Check out the rest of PERFECT SOUND FOREVER Lyrics for "Quinn The Eskimo" by Manfred Mann But when Quinn the Eskimo gets here Everybody's gonna jump for joy Come all without, come all within You'll not see nothing like the mighty Quinn I like to go just like the rest, I like my sugar sweet But jumping queues and making haste Just ain't my cup of meat Everyone's beneath the trees feeding pigeons on a limb But when Quinn the Eskimo gets here All the pigeons gonna run to him Come all without, come all within You'll not see nothing like the mighty Quinn Come all without, come all within You'll not see nothing like the mighty Quinn Let me do what I wanna do, I can't decide 'em all Just tell me where to put 'em and I'll tell you who to call Nobody can get no sleep, there's someone on everyone's toes But when Quinn the Eskimo gets here, everybody's gonna wanna doze Come all without, come all within You'll not see nothing like the mighty Quinn Come all without, come all within You'll not see nothing like the mighty Quinn Come all without, come all within You'll not see nothing like the mighty Quinn Come all without, come all within You'll not

 see nothing like the mighty QuinnWriter/s: BOB DYLAN Publisher: BOB DYLAN MUSIC CO Lyrics licensed and provided by LyricFind Manfred Mann - Future Rock Legends Manfred Mann Not in the Rock & Roll Hall of Fame Eligible since: 1988 (The 1989 Induction Ceremony) Previously Considered?

Yes what's this? Essential Songs ( ? ) Do Wah Diddy Diddy ( 1964 ) ☆ Blinded By the Light ( 1976 ) ☆ Will Manfred Mann be inducted into the Rock & Roll Hall of Fame? "Musical excellence is the essential qualification for induction." 12 comments so far ( post your own ) Thanks to the webmaster for creating this new room at my request. I payed extra for padded walls and a cushioned floor to accommodate any potential slamming.... I believe Manfred Mann should be inducted because he was a front line soldier in the British Invasion, one of the first to be environmentally sensitive and had probably the greatest remake in rock and roll history with Springsteen's "Blinded By The Light." Progressive rock definitely needed a shot in the arm in 1976-77 when Blinded was released. I believe this was the first progressive rock song or song done in a progressive style (organ/synth/effects/electric guitar) that made #1 in the US.

If you consider the unconventional poetry of the lyrics as well as the original musical style of the song, I think it is remarkable that Manfred could take it all the way to the top like he did. This I think truly shows his genius. I think it is time for this genius to be honored. Posted by SG on Saturday, 08.25.07 @ 23:49pm Did you know that MMEB's version of "Blinded By The Light" has the most famous misheard lyric of all-time. Many listeners including me heard "Wrapped up like a douche" instead of "Revved up like a deuce" Posted by Aaron O'Donnell on Friday, 02.1.08 @ 22:42pm Great band!!! Must get in! Posted by CINDERELLA on Saturday, 12.20.08 @ 03:09am They deserve it!

Posted by Child in Time 27 on Thursday, 12.24.09 @ 20:55pm Rock & Roll Jeopardy Category: If They Collaborated If Judy Collins were to do an album with Manfred Mann's Earth Band, it would be called... What is "Whales, Nightingales & Bombers" Posted by Aaron O'Donnell on Thursday, 02.11.10 @ 18:11pm "Blinded by the Light" is fantastic, but I'm leaning no.

I'm just not really seeing the contributions to music (just my opinion now, don't get upset.) Posted by Sam on Saturday, 10.23.10 @ 11:00am A VERY underrated band....and band members They Played the theme tune on Iconic Sixties UK Pop Show: 'Ready Steady Go' ('5-4-3-2-1') FIRST band to feature a Flute on a Pop single - 'Without You' in 1964 ('B' side of '5-4-3-2-1')...played by Band member Mike vickers - a year before session player played a flute on the Beatles' 'You've Go To Hide Your Love Away' (which often gets the credit - wrongly- as first flute on a pop record0 First band to use a mellotron on a pop record - 'Semi Detached Suburban Mr.James' in 1966 (and on 'As Is' album in 1966) ....a year BEFORE The Moody Blues first used a mellotron on 'Love & Beauty' in 1967.

Manfred Mann played a harpsichord on 'The Vicar's Daughter' in 1968 (written by Mike d'Abo) They featured vibes played by Drummer Mike Hugg on 'Oh No Not My Baby' in 1965 (Later covered by Rod Stewart) ....a year before The Rolling stones did on 'Under my Thumb' in 1966 They ventured into psychedelia with tracks like 'Funniest Gig' (1967) incorperating snippets of other tracks...('Ha ! Ha !

said The Clown' &'So Long Dad') Bob Dylan personally cited them as the BEST intepreters of his songs - like: 'With God On Our Side' (1964), 'If You Gotta Go, Go Now' (1965), 'Just Like A Woman' (1966), 'The Mighty Quinn' (1968)...and later Earthband: 'Please Mrs Henry', 'It's All Over Now Baby Blue', 'Get Your Rocks Off', 'Father of Day' & 'You Angel You' they wrote & recorded the critically praised film soundtrack to 'Up The Junction' in 1968 they featured Jack Bruce (pre-Cream) as Bassist in 1966 - he played on 'Pretty Flamingo' Next Bassist (1966-1969) Klaus Voormann drew 'Revolver', 'Beatles Anthology' , & 'Bee Gees First' album sleeves...later was in the Plastic Ono Band playing on 'Cold turkey', 'Power To The People', 'Instant Karma !' & 'Live Peace in Toronto'.

Tom McGuinness went onto 'McGuiness Flint (who had a big hit with 'When I'm Dead & Gone') - the band that launched the career of Gallagher & Lyle - and later was in The Blues Band Paul Jones became successful soloist having two big sixties solo UK hits: 'High Time' (1966) and 'I've Been A Ba Bad Boy' (1967) & actor (appearing on Broadway, in the film 'Privilige' & on UK TV) then later was also in The Blues Band Mike d'Abo wrote hits for others - 'Build me Up Buttercup' a UK No.1 hit for The Foundations in 1968 and 'Handbags & Gladrags' for Chris Farlowe & later Rod Stewart plus had a seventies solo career Mike Vickers became a Top Arranger & Conductor for EMI....working with The Hollies, Cilla Black, Cliff Richard etc, & programmed the moog Synth' The Beatles used on 'Abbey Road' Mike Hugg had a solo career & wrote UK TV Show themes...his songs were recorded by The Yardbirds & Simon Dupree & The Big Sound (Sixties Pre 'Gentle Giant

' band of The Shulman brothers) Manfred Mann produced The Yardbirds & McGuinness Flint & later in the seventies led his Earthband featuring first Mick Rogers then Chris Thompson (who was later on Jeff Wayne's 'War of The Worlds') Manfred Mann had Three UK Chart topping singles in the sixties, with some sixteen UK Chart hits plus a charing EP and several charting albums in the sixties.

A top R & B band between 1963 and 1965...then a surreal/whimsical experimental arty Pop band with jazz overtones from 1966 - their music used in TV Commercials etc.... ...plus Manfred Mann & Mike Hugg later formed a experimental heavy Jazz/Rock outfit: 'Manfred Mann Chapter Three' (1969-1970)....who cut two albums on the now verycollectable Vertigo label. then the successful Rock band Manfred Mann's Eartband 1971 onwards...recording many big selling albums of both mainstream Rock plus some African based music...plus having three singles hits like 'Joybringer' (1973), 'Blinded by The Light' 91976) and 'Davy's on the Road Again' (1978) like with Bob Dylan earlier Manfred Mann was an early champion of the songs of bruce Springsteen (covering both 'Blinded...', & 'Spirits in the Night') altogether a major contribution to Pop & Rock music by group(s) and the individual band members since 1963.

Posted by Bill on Monday, 12.27.10 @ 14:06pm Probably will never make it but I certainly wouldn't be opposed to it if it did happen. They've been previously considered too, though I know that doesn't mean much when they've been eligible since 1988. Posted by Tahvo Parvianen on Monday, 04.4.11 @ 13:52pm Manfred Mann played additional keyboards on Uriah Heep's 10-1/2 minute epic "July Morning" from the album "Look at Yourself Posted by Aaron O'Donnell on Tuesday, 07.5.11 @ 00:51am If they were to get inducted how would they be inducted as Manfred Mann/Manfred Mann's Earth Band or just Manfred Man meaning to include the Earth Band era. Posted by Greg F on Sunday, 01.29.12 @ 03:37am I'm guessing probably the latter, like they did with Alice Cooper.

Posted by Tahvo Parvianen on Sunday, 01.29.12 @ 06:28am It's going to be a slow year when Manfred Mann finally gets in Links The Band Between 1964 and 1979 Manfred Mann scored three British Number One hits – plus two more Number One hits in America plus another seven that went Top 5 and six more that made the Top 10. Over this period Manfred Mann’s bands featured some of the finest singers on the British pop and rock scene: Paul Jones, Mike d’Abo, Mick Rogers and Chris Thompson, all of whom have gone on to enjoy successful and varied solo careers. Their distinctive voices have all added to the rich variety of Manfred Mann’s classic hits. South African-born Manfred Lubowitz arrived in Britain in 1961. He was already an accomplished jazz pianist and quickly established himself on the London club circuit with drummer Mike Hug with whom he formed the Mann Hug Blues Brothers.

In 1963 the band was re-christened Manfred Mann and with a line-up featuring Paul Jones on vocals and harmonica, Mike Vickers on guitar, flute and saxophone, Tom McGuinness on bass and Hug they set their sights on the British pop scene which was about to explode. They may have been a musically well-educated band but there was nothing sophisticated about Manfred Mann’s first hit the rowdy, frenetic 5-4-3-2-1 that they wrote for the theme song of the groundbreaking TV pop show Ready Steady Go! Boosted by its weekly exposure on the programme the single reached Number 5 early in 1964. Manfred Mann had their first Number One in the summer of that year with Do Wah Diddy Diddy Diddy, written by the famous New York Brill Building song writing duo of Ellie Greenwich and Jeff Barry. They also found themselves in the vanguard of the British pop invasion of America alongside the Beatles and the Animals (and ahead of the Rolling Stones) as the song shot to the top of the US charts.

The band then proceeded to apply their sharp musical talents to other suitable pop songs such as Sha La La (an American hit for the Shirelles), the poignant Come Tomorrow and Oh No Not My Baby (written by another famous Brill Building duo, Carole King and Gerry Goffin) before turning their attention to Bob Dylan’s If You Gotta Go, Go Now that was a Number 2 hit in the UK and earned the approval of Dylan himself. In April 1966 Manfred Mann notched up their second British Number One with the gorgeous, melodic Pretty Flamingo. Surprisingly it only scraped into the American Top 30 but it left a lasting impression on a teenage Bruce Springsteen who regularly played it live during the early part of his career. Pretty Flamingo was the crowning glory for the first incarnation of Manfred Mann, not least for the personality-driven voice of Paul Jones who decided to bow out on a high note. He launched a solo career and starred in the movie Privilege – playing a rock star – before becoming one of Britain’s leading experts and commentators on the blues and R&B.

His departure put the group’s future in jeopardy but his replacement, the unknown public schoolboy Mike D’Abo immediately stamped his own character on the band and the hits flowed seamlessly on – Dylan’s Just Like A Woman, the quirky Semi-Detached Suburban Mr James and Ha! Ha! Said The Clown – before racking up their third UK Number One early in 1968 with Dylan’s Mighty Quinn, an anthemic masterpiece that astonishingly Dylan never released himself. As the Sixties drew to a close Manfred and Mike Hug decided to explore new musical directions and after more Top Ten hits with My Name Is Jack, Fox On The Run and Ragamuffin Man, they disbanded Manfred Mann. The other members soon found new careers in other bands (Tom McGuiness formed McGuinness Flint) or in production. Mike D’Abo was already an accomplished songwriter. Manfred and Mike Hug meanwhile embarked on a brief “anti-pop” career with the self-explanatory Chapter Three, a jazz-rock ensemble complete with a five-piece brass section. that was wilfully uncommercial but musically rewarding. After two albums Mike Hug decided to pursue a career composing soundtracks which notably included Up The Junction.

Meanwhile key members of the 60s Manfred Mann line-ups – Paul Jones, Mike D’Abo, Mike Hugg and Tom McGuinness – have banded together and perform as The Manfreds. Such is the enduring legacy of Manfred Mann over the past 40 years. In 2007, Mike d’Abo became the proud father of twins, Ellie and Louis, and, for this year, he will be taking some time out to spend with his family. The Manfreds ‘Let Em Roll’ tour takes to the road with a new album release….aptly titled ‘Let Em Roll’….and Mike will join the band for a few festival dates throughout the year before re-joining for their highly acclaimed ‘Maximum Rhythm ‘n’ Blues’ UK tour in 2010. Former members Manfred Mann The original keyboard player, whose name was chosen by EMI to be the band's name, although they also became known as the Manfreds. Towards the end of '69 Manfred Mann as a group entity dissolved and the individuals went on to other things as recounted above and below.

Manfred himself formed firstly Chapter Three with Mike Hugg and after the demise of this outfit, Manfred Mann's Earth Band, which continues to this day. Mike Vickers Another original Manfred, Mike played guitar, alto sax and flute but was tempted away in 1965 by the broader allure of arranging, production & film soundtracks. In his time he has worked with Johnny Dankworth, Ella Fitzgerald, Cilla Black, Cliff Richard, The Hollies, Kiki Dee, Tom Jones and Engelbert Humperdinck. Mike's orchestral arrangement (which he also conducted) for All You Need Is Love for The Beatles' global TV performance is one of the truly memorable events in pop history. He also programmed the Moog for The Beatles' Abbey Road album as well as John Boorman's films Deliverance, Zardoz and The Exorcist II. Mike joined the re-formed Manfreds for a few years on sax, woodwind & flute but is now busy composing contemporary classical music. Dave Richmond The original Manfreds bass player, who Tom McGuinness replaced when it became apparent Dave's jazz leanings didn't sit with the R & B direction the band was moving towards at the time.

After leaving the band in 1963 Dave became a session player, working with amongst others Elton John, Bread, and Hank Marvin. He has also appeared on a soundtrack with Bill Wyman of The Rolling Stones. Jack Bruce Joined the band in 1965 on the recommendation of an old friend of Mike Hugg & Manfred Mann's, Graham Bond, who Jack had played with at an earlier stage in The Graham Bond Organisation along with John McLaughlin, Ginger Baker and latterly, Dick Heckstall-Smith. (Prior to playing with Graham, Jack had been in Alexis Korner's Blues Inc, with Charlie Watts of The Rolling Stones on drums.) When Mike Vickers left the Manfreds, Jack stepped in to fill the gap, leaving John Mayall's Bluesbreakers to do so. His arrival meant that Tom McGuinness could move away from playing bass and back to the instrument he felt more at home with, ie lead guitar. In due course Jack left Manfred Mann to form the legendary Cream with Eric Clapton and Ginger Baker.

The band split in 1968 at the height of their popularity and Jack has since recorded numerous solo albums and worked with many different high calibre musicians in a wide variety of genres. Klaus Voorman Friend to The Beatles & designer of the Revolver album cover (for which he won a Grammy), bass player Klaus replaced Jack Bruce in Manfred Mann in 1966. Over the years he recorded with B B King, Jerry Lee Lewis, Harry Nilsson and Carly Simon, as well as working with George Harrison and playing bass with The Plastic Ono Band for John Lennon. After moving to the States he worked with The Band, van Dyke Parks, Ry Cooder, Randy Newman and Dr. John, before briefly moving into production. He has since been involved in various artistic enterprises and also runs a hotel in Northern Germany. Benny Gallagher One half of hitmakers and blue-chip songwriting team, Gallagher & Lyle, Benny began his career as a tunesmith with The Beatles' Apple company. In 1970, along with Tom McGuinness, his (and Graham Lyle's) astute composing ability propelled McGuinness Flint to the top of the charts.

Then came the duo's own hit singles Heart on my Sleeve and I Wanna Stay With You plus the Breakaway album which was a huge success - even more so when the title track was covered by Art Garfunkel. As a Director of The Guild of Record Producers and Recording Engineers, Benny was offered the post of Head of Music at Paul McCartney's Liverpool Institute of Performing Arts, but his many commitments meant he had to decline the offer. He's played with Clapton, McCartney and some of the great original Bluesmen such as Arthur 'Big Boy' Crudup. Benny writes in Nashville and composes film soundtracks, yet found the time to play bass with The Manfreds for a few years when they re-formed.

Question: The song "Mighty Quinn" was a number 1 hit for "Manfred Mann" in 1968. Which successful recording artist wrote this song?
Answer: BOB DYLAN