WATCH

My favourite also as MMEB continues with covers of great songwriters who are not arrangers (Dylan and Springsteen). Did not get the credits it deserves as the times-they-were-changin. The art work is very dreamy and fits well the music on here. Chicago Institute and Drowning are my fave on here but Quinn is rather irksome to me. This is the Eighth album in a row where MMEB does some impressive rock with progressive leanings and this will come to an abrupt end after Angel Station.

The album has a slightly more commercial feel on the back of Blinded by the Light's success, but is a superb effort in its own right. Yielded a UK hit with Davy's On the Road Again. I love 'Drowning on Dry Land/Fish Soup'. For me, the last really good album by MMEB.

This album is very accessible pop prog hard rock. The songs are very catchy. There are often rythmic acoustic guitar parts, the vocals take a big place in the songs. There is also electric guitar with impressive solos. The keyboards are more in the music itself here, despite there are some wonderful explorations. Definitely an interesting album. Good sound.

Davy's on the fish soup again!

By 1978, MMEB were round about their peak in terms of success. Creatively, they appeared to have stalled, if anything moving back towards a more commercial sound. That said, they were still producing excellent albums.

"Davy's on the road again" is the (rightly) the best known track on "Watch". It was a huge hit in the singles chart, but don't let that put you off, it's still a great song. The album version is somewhat longer, including as it does a keyboard solo omitted from the single. Like "Blinded by the light" before it, the song is a great piece of pop prog.

"Drowning on dry land/Fish soup" has some good guitar work, backed by mellotron. "California" was also released as a single, but enjoyed far less success. It's a much softer track, with some beautiful vocals by Chris Thompson. The song makes for a fine album track, but was clearly not strong enough in a pop context for singles success.

"Martha's madman" has become something of a live standard over the years. The album track here is probably the nearest to true prog the album gets, with Dave Flett once again contributing some admirable guitar.

The inclusion of the Dylan composed Manfred Mann classic "Mighty Quinn" is for me, a bit of a waste of space. The song, which was a huge hit for Manfred Mann's eponymous 60's combo, already sounded dated by the time this album was released, and is now little more than a fun sing-a-long.

The bonus tracks on the remastered CD are all just alternative edits of tracks on the album, there's nothing new (even Bouillabaisse" is just "Fish Soup" by another name). An enjoyable album with some find instrumental work, but in all just a little too commercial.

The first song, " Circles" , begins with a keyboard section with the vocals, then, a crescent arrangement with the band. A great song, but too short . in " Drowning on dry land/Fish soup" the criativity continues, a little bit more well worked than the first, with great work of bass and guitars, changing the rithm three times, and, agais, ending too early, when the music begins to fly. " Chicago Institute" begins too much commercial and dated, sometimes sounding a little disco, but, surprisely changing the mood into a beautiful section with great guitar work, returning, sadly, to the first mood after it." California" in my oppinion , was made to play on radio stations, too much commercial, but again, the guitar works surpreend; Dave Flett is really a great guitar player. The song ends with a brilliant keyboard solo, and... too short again.The commercial mood attacks on " Davy´s on the road again" , but is easily beated by the , again, great and brilliant Guitar/Keyboard works.The Bob Dylan cover " Mighty Quinn" , for me, is the best momment of this record. Recorded live, this song have a heavy arrangement, but again... Too short! The vocals in this record don´t have personality, sounding a little " glitter rock" . The production of the band fenced the criativity of the band, tryng to sound more commercial, but the great guitar/keyboard moments saved this album of failure.

This eight' Earthband album is to be said as one of the best and the most commercial albums. For me, it's the best album since the tribute in 1972. A masterpiece? Well, some songs of it, yes! But some not. I give it "excellent addition"...

' Circles' has to be one of MMEB's best songs ever. ' Drowning on Dry Land' aint bad either nor is 'Chicago Institute' and the dreamy ' California'. Side one for me is great and side 2 gets off with a bang with ' Davey's on the road again' and ' Marta's madman'. The only weakness for me being Dylan's ' Mighty Quinn' It just doesn't fit on Watch which is a pity cos the album is a real scorcher.In case people wonder why I refer to side one and two on the vinyl release. As a prog concept album it did make a difference to the overall feel of an album's layout. This a compact disc cannot capture.

A very good album, but not essential by any means. The sound here is pretty slick and more in line with classic AOR rock bands like The Eagles etc. Very good and pleasant to listen to, but otherwise not very interesting from a progressive point of view.

Among the best MMEB's albums in the non-progressive era. I don't know but these are more up my alley than the earlier, more progressive ones. When I think progressive I think Rush, early Genesis etc first but MMEB's music simply speaks directly to ME with its sad/dark/super-synth-solo works all the way from this album (Watch) until Somewhere In Africa)

There's just *something special* with Chris Thompson vocs, Mann's solo work and Waller's vocs/guitars in a combination. A completely unique sounding "trio" that does it for me, every time. Again, not one weak song on this album, beautiful popish tunes but imo Angel Station is even darker pop with Watch as a good nr 3 in this era.

"When Quinn the Eskimo gets here, everybody's gonna jump for joy!"

To put it bluntly, the last great album by the Earth Band for their amazing progressive rock turned into a commercial regression. Even though "Watch" is riding on the heels of their most commercial songs ever ("Blinded By The Light"), and even produced a smash single of its own ("Davy's On The Road Again"), it is still a certified masterpiece of progressive rock. That fact is only back up by the album's swirling mellotron solos and catchy acoustic guitars.

The whole album is a high point for me, so song by song is the way it goes. "Circles" is one of my personal favorite Earth band songs, it's just pure lyrical genius. The spacey opening and charming vocals are the perfect combination to get this album's right foot forward. Even though the lyrics tell tales of loneliness and ostracism, it carries a strange sound with it that makes you smile whenever you hear it. The guitar solo at 3:20 is nothing to be messed with, either. "Drowning On Dry Land/Fish Soup" is the perfect example of what I was talking about before, the excellent guitars backed with some powerful yet relaxing mellotron activities.

"Chicago Institute" is another one of my favorite Earth Band songs. The beginning is incredible, what with the powerful vocals turning into a frenzied rhythm section. After the frenzied rhythm section has its go at the song, one of the finest guitar solos that my ears have experienced flies through. By finest I don't necessarily mean the flashiest and most complex, but one that sounds crisp and refreshing to my ears. What can I say about "California"? Nothing bad, for those that asked. An absolutely beautiful track with some incredible vocals, however it must be pointed out that this song couldn't survive as a single release. Although it failed to find a spot on the singles chart, it is a perfect compliment to the album. Soft and mellow, with uplifting vocals.

"Davy's On The Road Again" was their big single hit from the album. Most people consider the best song on the album, but if you asked me I would say it was a seven way tie. Certainly a very strong song, but all of the songs are amazing. Like a reviewer before me said, we are treated to a keyboard solo that was omitted from the single version, and that is a joy as well. The next song, "Martha's Madman" has the traditional and expected Earth Band trademark vocal-only opening, but once the bass and mellotron get cracking it turns into a very rhythm-heavy song. That is until the guitar riffs start, and then it becomes about as frantic as any Earth Band song could ever hope to be. Another excellent track, still no complaints. Finally, we come to the end of an epic voyage with the Dylan-penned "Quinn The Eskimo", which was previously released on one of Manfred Mann's late 60's R&B albums. I believe that it is less of a progressive rock work and more of a karaoke song that was put on the album because everybody and their brother knows the words. Still, it does its job on the album without ruining anything, and that is very key.

So, for some final words, trust me when I say that this is a masterpiece of progressive rock music. Don't believe those who say that "Watch" is the album in which the Earth Band completely sells out, because that is not true, of course. Even though the incredibly commercial "The Roaring Silence" was released directly before "Watch", they maintain their progressive rock roots to churn out their last magnificent album. I like to think of "Watch" as Manfred Mann's Earth Band's final good-bye.

5 stars, the most essential piece in the Earth Band catalogue.

As the reviewers from above mention this is another good pop prog album By Manfred Mann's Earth Band. Maybe not as good as the previous two but worth investigate. Their 8th studio album and a very catchy one. The best pieces are Drowning on dry land / Fish soup and Martha's madman, the rest are OK, another cover of Dylan The mighty Quinn, but quite irritating some time. So this blend of AOR, spacy keys and even pop, made this album to be 3 stars, among the best they ever done, but with all that kinda easy to listen, not very comercial, but less intristing than for ex. Nightingale & Bombers, anyway from this one you get the idea how will sound the future releases of them.

If ever you have read some of my reviews of the Mann's work, you know that my absolute love goes to "Solar Fire".

There are little albums that are even closer to that great one (five stars IMO, and you know that I scarcely use this rating).

A fine opening number, but more than anything, a great return to some fabulous guitar breaks During "Drowning On Dry LandFish Soup" (what a title). This song really reverts with the greatest ones from the band : spacey, hard-rocking and very well inspired. My fave here.

Unfortunately, when you listen to the first part of "Chicago Institute", it is VERY difficult to bear. Actually, only a fantastic guitar break during the middle part is convincing. The rest only deserves to be trashed. I wonder how some eminent colleagues can praised this effort so much. But all taste are nature, right?

Of course, if you are into syrupy melodies, "California" is definitely for you. Needless to say that I just can consider this one as a "Press Next"T song. Again, the great guitar solo prevents this song from being a complete disaster.

And when I listen to "Davy's On The Road Again" I am just confirmed in my opinion. A hard/bluesy but uninspired number is the only "reward" you get after having listened to this track. One of the poorest of this offering.

To cut a long story short, this album is not really pleasant. The awful and popish "Martha's Madman" has NOTHING to do with the prog moments of this band. Not bad but not at all appealing.

The closing number (and another Dylan song) "Mighty Queen" is not the type of covers I can really cope with. On the contrary of "Father Of Days" of course but there are no such tunes in here.

This is not a bad album, but I really can't go over the two star rating for this work. Below average, that's it. Do not bother with this album. If ever you would need ONE "MMEB" album, I can only recommend you the great "Solar Fire".

Non-progressive, but real rock album this is!

Although there are a lot of bands who have excellent original songs, I consider that very few bands can play covered songs as original ones. I'm sure Manfred Mann's Earth Band (MMEB) is exactly it. The important key is Chris Thompson's guitar. Very wonderful as we can say the rigid but so winding guitar sound is all. Especially, in teh song Carifornia the weeping guitar sound is exploded. Added a hard rhythm section and Mann's lyrical keyboard, the work is soaring higher. From the first track Circles to the last Mighty Quinn, we can't take only one breath. There's no progressive element but all are strict rock. I want to recommend this album as a rocked rock one, not a prog one, so should give this album 3 stars.

But I love it much of course!

five stars clearly. Although I agree it's not a typical prog album, I deem it one of the best rock albums ever made. There's hardly anyone able to cover songs as well as good old Manfred. And his own stuff is remarkable too! Manfred Mann is just THE synthesizer wizard and he's found his own style. I guess "Martha's Madman" is one of the best rocksongs. And listen to "Davy's on the road again" and "Mighty Quinn": two live versions with stunning solos. Chris Thompson is THE perfect singer in this band. His vocals make this band something particularly unique! An absolute cult album, back in 78 and still now.

Watch? Don't you mean listen?

Watch is one of those half live/half studio albums. I generally don't like this type of album, much preferring fully studio albums and fully live albums over these half measures. Manfred Mann's Earth Band's Watch is no exception to the rule. The studio tracks are similar to those we find on the previous, and much better, The Roaring Silence album. On a positive note, the live tracks are all 'new' songs in the sense that they had not at this point been on any other Manfred Mann's Earth Band album, studio or live. However, the Bob Dylan cover Mighty Quinn was recorded by Manfred Mann already in the 60's. Were they perhaps running out of inspiration here?

There were always cover songs on Manfred Mann's Earth Band's albums and most of their biggest hits and live favourites were actually written by other people. Watch is an extreme example of this tendency with most of the material being other people's songs. Only Drowning On Dry Land/Fish Soup and Chicago Institute were co-written by Mann. All the other songs are credited to other people, though I don't know most of the original versions of these songs.

I don't know why they decided to record these songs live for the album, but these songs have ever since been live favourites for the band.

Another problem I have with Watch is that some of these songs are a bit too commercial and too catchy for my taste, sometimes reminding me of the style of the first two Manfred Mann's Earth Band albums, before they started to experiment with their sound. Still, the first half (the studio half) is good.

I would have preferred them to either make a full live album or a full studio album. It would actually have been a perfect time for them to record an official live album at the time when Watch came out. After such a consistent string of albums that started with Solar Fire and ended with The Roaring Silence they could have made an excellent double live album featuring songs from Solar Fire, The Good Earth, Nightingales & Bombers, The Roaring Silence and the present one.

Watch is still very well worth having, but not essential.

This is the first of the mostly mainstream Manfred Mann rock albums, following those great Mann prog albums, Nightingales and Bombers and The Roaring Silence, but its not nearly as commercial as the albums to follow, and it contains a string of great tracks. If you like Mann this is absolutely a must have, pleasing and catchy, at the same time very fulfilling. 70's mainstream rock, yes, but at its absolute best. Comparable with Fleetwoods Rumours or Eagels Hotel California, it a milestone and should be in any Rock collecters shelf. But as this is PA, and the prog element is a lot less evident, than in Nightingales and Bombers and The Roaring Silence, i will stick to 3,5 star rounded down. Im simply not sure how strong this comes out, if you are here looking for Eclectic prog, like King Crimson, Gentle Gain or Van der Graf.

This is my favorite one from the Chris Hamlet Thompson era. While there are some things on The Roaring Silence that they never did again, this album is overall more consistant, and has a more cohesive feel. There are some absolutely stunning Dave Flett guitar solos and Thompson vocal parts, and I love how every song starts out seeming like a regular pop or rock song, and then turns progressive at just the right moments. This is most effective on "Drowning On Dry Land/Fish Soup", a soaring 6/8 song that makes great use of the backgound singers that suddenly drops into a dark, slower jam in 4. The band gets into a great grove on "Martha's Madman", and the two live tracks might seem kinda normal at first, but they're puntuated by stellar solos, and even the light "California" is haunted by Mann's weird (in a good way) moog bending. "Circles" is a nice unique way to start things off, and "Chicago Institute" has some interesting guitar work and thought provoking lyrics about the evils of mental institutions. An album of all great songs with a very nice flow.

Manfred Mann's Earth Band's eighth studio album was a strange affair, coming nearly a year and a half after the release of their mega-hit breakthrough record 'The Roaring Silence'. For one thing bassist Colin Pattenden had followed Mick Rogers out the door and would soon be followed by drummer Chris Slade, leaving Mann himself as the only remaining original member. Pattenden was replaced by Pat King, another relative unknown like guitarist Dave Flett and vocalist Chris Thompson who had previously replaced Rogers. The band had also trimmed its supporting cast and featured little more support than backing vocals on this record. Flett would hoist an acoustic guitar for the first time of any note on this album, and along with Mann's restrained keyboard work resulted in an overall sound that was somewhat more casual and passive than most of 'The Roaring Silence' or even the following album 'Angel Station'. The band had spent considerable time touring and making other public appearances over the prior year in support of their hit album and lengthy chart run of "Blinded by the Light", which perhaps explains why there was virtually no original material on this record, and why a handful of live tracks were used to flesh out the track list. In fact the only purely original Earth Band tune would be the medley "Drowning on Dry Land/Fish Soup", the latter half of which would be released as a single titled "Bouillabaisse" that resurfaced as a bonus track on the CD reissue of the album.

The album opens with Thompson's quavering falsetto crooning out the lyrics to the Alan Mark tune "Circles", a typically cryptic Mann cover about the long touring road, or maybe the breakup of a relationship, not really sure. In any case this is a pretty pop-leaning tune pleasant enough but not exactly the definitive follow-up to 'Blinded' casual fans were probably expecting. The following acoustic opening to the 'Drowning' medley wasn't a promising introduction to the rest of the album either, although Flett's scaling guitar solo well into the track at least hints at the power of his debut less than two years before.

"Chicago Institute" would become one of the more popular Earth Band tunes with fans, and it almost qualifies as a band original with longtime Mann collaborator Peter Thomas pairing up with Mann and Flett to add lyrics to the arrangement. Flett once again dominates with a lively though somewhat turgid guitar solo that would have sounded better had it not come so unexpectedly in the middle of what was otherwise a jaunty pop tune. Thompson's vocals are warm and comfortable and carry the song despite its relatively shallow arrangement.

"California" manages to evoke the southern California easy-going mood which was kind of a new sound for the band, and although this isn't in the Earth Band vein at all it did fit with the glut of easy-listening pop rock that was filling the airwaves in the latter seventies.

In an unusual twist Mann managed to include a cover that for once was not superior to the original. "Davy's on the Road Again", another cover often mistaken as an Earth Band original was actually written by John Simon and Robbie Robertson of The Band and first appeared on Simon's debut solo record. Mann applied his customary rollicking melodic rock treatment to the song but for anyone who'd heard the Simon version this one lost a bit of its bite in translation.

Yet another cover came from the same obscure late sixties Jerry Hahn Brotherhood album that yielded "Captain Bobby Stout" from the Earth Band's debut album, and in fact this version sounds an awful lot like the mostly straightforward rocking type of music which characterized that album. Mann applies some adept fingering on synths midway through; otherwise this is just a bit more upbeat but similar to the original.

And finally Mann dredges back up a live version of Dylan's "The Mighty Quinn" titled "Quinn the Eskimo", a good rendition but once again a cover and one that he had already charted nearly a decade prior.

This is a decent album but nowhere near as ambitious, well-produced or innovative as 'The Roaring Silence', and not even as solid of a rocking album as the following 'Angel Station'. Three stars I suppose, but I'm among those Earth Band fans that was slightly disappointed by 'Watch' and can't say as I recommend it very highly. Check it out if you want but don't go out of your way.

peace

For me 'Watch' more or less ties with Manfred Mann's classic 'Roaring Silence' with its just as consistently vibrant and dynamic songs. It did sometimes get fewer raves than its predecessor, and unjustly so. It is indeed a much more commercial sounding effort with songs that are easy to get into, but like before there are plenty of crafty changes in style. "Circles" is a splendid opener, very much in the usual Earth Band style and halfway through it echos some mid-70's Kansas. "Drowning On Dry Land" is one personal favourite, with an acoustic verse paired with keyboards and Thompson's glorious vocals. I love the way the tune cuts into a clever lead guitar passage. Another favourite on this album follows called "Chicago Institute". This is a lot more funkier and uptempo. "California" is a lovely ballad that softens things up at the right point. I mentioned Thompson's voice earlier. Well, I do think he excelled to some of his finest moments here. "Martha's Madman" towards the end is also a great track. The lyrics are interesting too. Four stars.

1. Circles du du du di says the note, for the start, intro prog that makes you want to prick up your ears; great drums from Chris, I love it, a bit of violin and you're propelled into a thick prog with the most beautiful voice of the MMEB, I named Chris.. the other; violin again and the solo magnifies the space; well one of the greatest underrated prog groups who had the power to re-release songs by other artists and distill them into an enjoyable form; 2. Drowning on Dry Land / Fish Soup primary acoustic guitar, and it starts with a dark, swirling sound, a saw cutting wood, in short only images; break like the/ of the title with the flight towards musical plains where the guitar is spleen with the keyboards... shh it's beautiful I'm silent about writing; prog is that by the way; a space outside the system, which takes you by the feelings and tricks Chris; return to our world, the guitar roars, the choirs start, yes we must come back to earth 3. Chicago Institute vocal on the right, keyboard on the left, all in the center and vibrant notes that bring everyone into agreement, the intro is finished; consensual piece which marks with its break at 2'22, which really cuts the title and Chris who prides himself on a thunderous guitar solo, the one which makes you play it secretly in your room, yes you know it's too complicated , the title which doesn't look like much but which sends a prog missile right into your head, beauty of this misunderstood genre, the finale with these voices, these voices

4. California with Chris and Manfred with suave voices, I always think of Chris not very rock star, but so beautiful on these pieces, suave title, the acoustic guitar at the start, Manfred's organ which distills this solo languid on a borderline jazzy tune, a musical melting pot of the best and the guitar solo that could come out of a THIN LIZZY track, a track that was cut on K7 when he left, sacrilege!! as if we could cut MMEB

5. Davy's on the Road Again (live) cast doubt with this live track, well before that was it? One of the best, again with this fruity side, the voice, the guitar, the bass, the drums, the keyboards, everything is there... and it will start on an orchestral jig-proviso which will swell, swell and turn heads; the slap yes; the pan bang which replays the intro of the WHO of 'Tommy' to resume and this end of the end of the cartoon, the slap 6. Martha's Madman soft, an unpretentious ersatz, bam guitar, bass, come on slamming drums, ah real drums are still annoying; come on the heady riff, the title is launched; majestic, your head is spinning for a good reason for once, no need to take these damn drugs; prog latency and this riff which comes to tease you again... ah Manfred now, the prog digression in its firmament; that's it, it's going and it won't stop, enjoyable 7. Quinn the Eskimo (The Mighty Quinn) (live) by Bob at the start, taken up unsuccessfully by Manfred and emerging with more Cadbury, peach, chocolate, rhythm and we arrive at this pearl with the Moog squirting; sudden, sneaky break and the guitar whirs before going on an explosive solo; and this title will become one of the flagship titles, like what, go the abused organ with the piano next to it, Manfred makes the most of it, oops a break within the break, spatial, brutal, heavy before its time; If I had to give an example of the title it would be this one; of the keyboard which flirts with that of DEEP PURPLE, the hard guitar of a metal group yes the prog should have eyed it more quickly and merge rather than keeping connections with jazz, dead music like Latin although we say.

Prog, it comes in all shapes and sizes, whatever you want. A bit of an omnivore can fill its belly quite well. When you think of a not-too-complicated prog variant, you quickly think of Manfred Mann's Earth Band, especially since their level of playing is simply excellent, bordering on brilliance. The album in question here, "Watch", is the band's eighth album and because it was released in 1978, it actually marks the end of a glorious decade with albums like "Solar Fire" and "The Roaring Silence."

After "Watch", the band released the fairly melodic "Angel Station", after which they permanently stopped making albums rooted in progressive rock. The nod to commercialism is mainly expressed in the singles Davy's On The Road Again and Mighty Quinn. In particular, Davy's On The Road Again, which features some very catchy melodies, brought the band some fame. For the average prog fan, however, the enjoyment of the album lies precisely in the other tracks. In that regard, let's highlight five of them.

On the original A-side (I will always see "Watch" as an LP), there are four tracks. The opener, Circles, continues the line from the previous album, "The Roaring Silence", very well. Thanks to the enchanting, often high vocals of Chris Thompson, there is a mystical atmosphere. Not that the song is elusive. It gradually becomes clear that new bassist Patt King is a great replacement for the legendary Colin Pattenden. In the subsequent two-part track, Drowning On Dry Land / Fish Soup, after the lively first part, King's class becomes evident as the band transitions to the almost instrumental Fish Soup. The Earth Band's collaboration is at its best here, with delightful guitar work and heavenly Mellotron, accompanied by a melodic bass guitar and supported by a delightful drumming style. After this magnificent piece of music, the band returns to the Drowning On Dry Land section, albeit without the lead vocals, while the backing vocals are still present. The band's somewhat funky side can be heard in Chicago Institute, a typical MMEB track. In the ballad California, the band is once again fully itself, as it has been for years. Take a listen to the closing synthesizer solo. An attempt was once made to get California into the charts, but it didn't fare well. The tracks on the B-side had more success.

What more can be said about Davy's On The Road Again? Well, for example, the songwriters, John Simon and Robbie Robertson of The Band, can be very happy with the classic rock/AOR version by Manfred Mann and his Earth Band. It's good to know that the version on "Watch" features a significant keyboard solo that was omitted from the single. Enough has also been said about the closing track, Mighty Quinn, I think. This sing-along, written by Bob Dylan, is performed live on the album, just like Davy's On The Road Again. In both cases, the recordings were made during Pinkpop 1977. If you go along with the music, you'll experience its feel-good character. In between these two tracks, there's Martha's Madman, which is not a live track, but it fits perfectly thanks to Mann's awe-inspiring Moog playing.

All in all, there's a lot to enjoy on "Watch". The five studio tracks are a treat for every prog fan and the two live tracks won't spoil that celebration. We're in good hands with it.

Orginally posted on www.progenrock.com