Man discography
The discography of Man, an eclectic Welsh rock band formed in 1968 in Merthyr Tydfil, comprises 18 studio albums, over a dozen live albums, and multiple compilations released primarily between 1969 and 2019.[1][2] Known for their psychedelic progressive rock sound with influences from blues, hard rock, and jam-oriented improvisation, Man's recordings reflect the band's evolution through lineup changes and periods of activity and hiatus.[3][2] Man's early output on Pye Records included the psychedelic debuts Revelation (1969) and 2 Ozs. of Plastic with a Hole in the Middle (1969), establishing their experimental style rooted in the late-1960s British rock scene.[1] Transitioning to Liberty and United Artists in the early 1970s, they produced key albums like Man (1971), Be Good to Yourself at Least Once a Day (1972), Slow Motion (1974), Rhinos, Winos and Lunatics (1975), and The Welsh Connection (1976), which captured their signature long-form jams and cult appeal amid the pub rock and prog movements.[1][3] The band disbanded in 1976 following internal shifts, including the departures of guitarist Deke Leonard and keyboardist Clive John.[2] Reforming in 1983 with a core lineup featuring bassist Martin Ace and others, Man resumed activity in the 1990s, releasing albums such as The Twang Dynasty (1992) and Call Down the Moon (1995) on independent labels, blending their classic sound with updated production.[1][2] Live albums like Maximum Darkness (1975, reissued later) and Live at the Padget Rooms, Penarth (1972) highlight their improvisational prowess, while compilations such as Keep On Crinting: The Liberty/UA Years Anthology, 1971–1975 (2006) and The History of Man: The Evolution of the Legendary Welsh Rock Band (2005) preserve their legacy for fans.[1] Later works, including Kingdom of Noise (2009), Reanimated Memories (2015), and Anachronism Tango (2019), demonstrate the band's persistence into the 21st century, maintaining a dedicated following despite never achieving mainstream commercial success.[1][2]Studio albums
Original period (1969–1976)
The original period of Man's discography, spanning 1969 to 1976, marked the band's emergence as a key player in the Welsh rock scene, blending psychedelic experimentation with progressive and space rock elements. Formed in Merthyr Tydfil in 1968 from the remnants of the pop harmony group The Bystanders, Man quickly transitioned from vocal pop to instrumental-driven rock, drawing from the burgeoning pub rock culture in Wales that emphasized raw, communal performances in local venues. Their early work reflected the late-1960s blues-psych influences prevalent in British rock, evolving toward extended jams and cosmic soundscapes that positioned them alongside contemporaries like Hawkwind and Gong. This era saw frequent lineup shifts, with core members Micky Jones (guitar/vocals) and Deke Leonard (guitar/vocals) providing continuity amid changes in rhythm section and keyboards, reflecting the band's fluid, collaborative ethos.[4][2][5] Man's debut album, Revelation, released in January 1969 on Pye Records, captured their initial foray into psychedelic rock with blues underpinnings, featuring tracks like the sprawling title cut that showcased organ-driven improvisation. Produced by John Schroeder, it highlighted the original lineup of Micky Jones, Clive John (keyboards/guitar), Ray Williams (bass), Jeff Jones (drums), and Malcolm Nash (guitar), though Nash departed soon after. The follow-up, 2 Ozs of Plastic with a Hole in the Middle, arrived in September 1969 on Dawn Records (a Pye subsidiary), leaning further into proto-prog with psychedelic edges, including the experimental "Vampire" suite. These Pye releases established Man's reputation for live-wire energy, influenced by the intimate, beer-fueled Welsh pub circuit where they honed their extended sets.[6][7][8] By 1970, significant lineup changes reshaped the band: Terry Williams replaced Jeff Jones on drums, and Martin Ace took over bass from Ray Williams, injecting a tighter, more dynamic rhythm section. This configuration debuted on the self-titled Man, recorded in October 1970 at Olympic Studios and released in March 1971 on Liberty Records. The album bridged blues-psych roots with emerging space rock tendencies through tracks like "Angel Easy" and "Puella," emphasizing guitar interplay and atmospheric swells. Man then signed to United Artists, releasing Do You Like It Here Now, Are You Settling In? in November 1971, a double album that expanded their jam-oriented style with progressive flourishes, including the epic "Alun" and "Day and Night." These records solidified their evolution, moving from structured psych-blues to freer, cosmic explorations amid the Welsh rock scene's grassroots vitality.[9][4][10] The band's United Artists phase peaked commercially in 1972–1974, with Be Good to Yourself at Least Once a Day (October 1972) delivering high-energy space rock via tracks like the irreverent "Spunk Rock" and "Bananas," produced by Dave Edmunds and featuring Phil Ryan's addition on keyboards for richer textures. Back into the Future (September 1973), a double LP, marked their chart breakthrough at UK No. 23 despite vinyl shortages from the oil crisis, blending pub-rock grit with progressive jams like "The Storm" and "Spunk Rock '73." Keyboardist Ryan briefly left, but the band pressed on for Rhinos, Winos and Lunatics (May 1974, UK No. 24), a concise set produced by Roy Thomas Baker that refined their space rock sound with witty titles and guitar-driven epics such as "The Golden Beggar." Later that year, Slow Motion (October 1974) explored slower, more atmospheric territories, with extended pieces like "Three Friends" highlighting their improvisational maturity. These albums exemplified Man's shift to expansive, psychedelic jams, rooted in Welsh pub traditions but reaching wider audiences through radio play and tours.[11][4][12] In 1975, further changes occurred: bassist Ace departed for Ronnie Lane's band, replaced by John McKenzie (bass), while Ryan rejoined on keys; drummer Williams remained. Man switched to MCA Records for their final original-period release, The Welsh Connection (March 1976, UK No. 40), which leaned into melodic rock with psychedelic undertones, featuring tracks like "Something Is Happening" that nodded to their pub-rock origins while embracing spacey progressions. This album, produced by the band, encapsulated their evolution from blues-psych origins to a distinctive Welsh space rock identity; afterward, Williams also joined Lane's band, though internal tensions and lineup flux contributed to their initial disbandment later that year.[4][2][13]| Album | Release Year | Label | UK Chart Peak | Key Notes |
|---|---|---|---|---|
| Revelation | 1969 | Pye | - | Debut; blues-psych focus, produced by John Schroeder. |
| 2 Ozs of Plastic with a Hole in the Middle | 1969 | Dawn (Pye) | - | Psychedelic prog edge; includes "Vampire" suite. |
| Man | 1971 | Liberty | - | Lineup: Williams/Ace join; space rock emergence. |
| Do You Like It Here Now, Are You Settling In? | 1971 | United Artists | - | Double album; jam-heavy prog. |
| Be Good to Yourself at Least Once a Day | 1972 | United Artists | - | Features "Spunk Rock"; Ryan joins on keys. |
| Back into the Future | 1973 | United Artists | 23 | Double LP; first chart success. |
| Rhinos, Winos and Lunatics | 1974 | United Artists | 24 | Produced by Roy Thomas Baker; concise jams. |
| Slow Motion | 1974 | United Artists | - | Atmospheric; extended tracks like "Three Friends." |
| The Welsh Connection | 1976 | MCA | 40 | McKenzie joins on bass, Ryan rejoins; Williams on drums; melodic space rock. |
Reformation period (1992–2019)
Following their reunion in 1983 after an eight-year hiatus, the Welsh rock band Man entered a phase of renewed creativity in the 1990s, shifting from their psychedelic roots toward a harder-edged rock sound infused with extended jam sessions and influences from the burgeoning indie rock scene. Core members Micky Jones (guitar, vocals) and Martin Ace (bass, vocals) provided continuity, often joined by returning alumni like Deke Leonard (guitar, vocals) and John Weathers (drums, vocals), while lineup fluctuations introduced fresh dynamics. This era, spanning 1992 to 2019, produced eight studio albums that emphasized live energy in studio recordings, thematic explorations of Welsh identity, and acoustic detours, culminating in releases after Jones's death in 2010 that honored the band's legacy through family ties and veteran collaborators. As of 2025, the band continues to perform live, though no new studio albums have been released since 2019.[2] The period began with The Twang Dynasty in 1992, the band's first full studio effort since 1976, recorded with the stable lineup of Jones, Leonard, Ace, and Weathers, and released on the independent label The Road Goes On Forever. The album blended raw guitar riffs and improvisational jams, reflecting the band's adaptation to a post-grunge landscape while retaining their signature twin-guitar interplay. Three years later, Call Down the Moon (1995) followed on Hypertension Music, again featuring the same core quartet and produced in Seattle by the band alongside Ron Sanchez, showcasing a punchier production that highlighted Leonard's slide guitar and themes of introspection amid harder rock structures.[14][15] Wait, no wiki, but from earlier Amazon and Discogs. Personnel remained consistent into the early 2000s, but changes emerged with Endangered Species (2000, Evangeline Records), where keyboardist Phil Ryan rejoined, alongside drummer Bob Richards, emphasizing endangered cultural motifs in its lyrics and a jam-oriented sound that nodded to 1990s alternative rock's rawness. Undrugged (2002, Point) marked an acoustic pivot, featuring Jones, Leonard, Ace, and guests like Terry Williams on drums, with stripped-down arrangements exploring bluesy, unplugged textures—a deliberate contrast to the era's electric output.[16][17][18]| Album Title | Release Year | Label | Key Personnel |
|---|---|---|---|
| The Twang Dynasty | 1992 | The Road Goes On Forever | Micky Jones (guitar, vocals), Deke Leonard (guitar, vocals), Martin Ace (bass, vocals), John Weathers (drums, vocals)[14] |
| Call Down the Moon | 1995 | Hypertension Music | Micky Jones (guitar, vocals), Deke Leonard (guitar, keyboards, vocals), Martin Ace (bass, vocals), John Weathers (drums, guitar, vocals)[19] |
| Endangered Species | 2000 | Evangeline Records | Micky Jones (guitar, vocals), Deke Leonard (guitar, vocals), Martin Ace (bass, vocals), Phil Ryan (keyboards, vocals), Bob Richards (drums)[16] |
| Undrugged | 2002 | Point | Micky Jones (guitar, vocals), Deke Leonard (guitar, piano, vocals), Martin Ace (bass, vocals), Bob Richards/Gareth Thorrington/Terry Williams (drums)[17][18] |
| Diamonds and Coal | 2006 | Point | Martin Ace (bass), Phil Ryan (keyboards, vocals), Bob Richards (drums, percussion), Josh Ace (guitar), George Williams (harmonica, guest)[20] |
| Kingdom of Noise | 2009 | Point | Martin Ace (bass, vocals), Phil Ryan (keyboards, producer), Josh Ace (guitar, vocals), Bob Richards/René Robrahn (drums), Allan Murdoch (guitar, engineer)[21] |
| Reanimated Memories | 2015 | Cherry Red Records (Esoteric Antenna) | Martin Ace (bass, vocals), Josh Ace (guitar, vocals), James Beck (guitar, vocals), Phil Ryan (piano, organ, vocals), René Robrahn (drums), B.J. Cole (pedal steel guitar, guest)[22][23] |
| Anachronism Tango | 2019 | Point | Martin Ace (bass, vocals), Josh Ace (guitar, piano, organ, vocals, producer), James Beck (guitar, vocals), René Robrahn (drums), Malcolm Morley (organ, piano)[24][25] |
Live albums
Official contemporary releases
The official contemporary live albums by Man capture the band's renowned improvisational prowess and energetic performances during their active periods, particularly in the psychedelic rock and pub rock scenes of the 1970s and beyond. These releases, produced and issued shortly after the recordings, highlight extended jams that defined Man's live sets, often drawing from studio material like tracks from The Welsh Connection but expanded into dynamic, audience-engaging spectacles. Recorded at key venues across the UK and Europe, they reflect the band's peak touring intensity and ability to blend structured songs with free-form exploration, serving as polished snapshots of their stage chemistry.| Album Title | Release Year | Label | Recording Venue and Date | Key Notes |
|---|---|---|---|---|
| Greasy Truckers Party | 1972 | United Artists | Roundhouse, London; February 13, 1972 | Compilation live album featuring Man's set including the 21-minute jam "Spunk Rock Motherfucker"; part of a benefit concert with Hawkwind and Brinsley Schwarz, emphasizing psychedelic improvisation.[28] |
| Live at the Padget Rooms, Penarth | 1972 | United Artists | Padget Rooms, Penarth, Wales; April 8, 1972 | Band's first full live album, limited edition with three extended tracks like the 17-minute "Many Are Called But Few Get Up," showcasing pub rock energy recorded via Pye Mobile unit.[29] |
| Christmas at the Patti | 1973 | United Artists | Patti Pavilion, Swansea, Wales; December 19, 1972 | Double album from the band's Christmas party, featuring collaborative jams with guests like Dave Edmunds on tracks such as "Rock 'n' Roll Medley," capturing festive, communal live spirit.[30] |
| Maximum Darkness | 1975 | United Artists | Roundhouse, Chalk Farm, London; May 26, 1975 | Farewell tour recording with guest John Cipollina; includes 12-minute "Codine" jam; peaked at #25 on UK Albums Chart, mixed at Pye Studios to preserve raw intensity.[31][32] |
| All's Well That Ends Well | 1977 | MCA | Roundhouse, London; December 1976 | Triple album from final pre-split concerts, with 20-minute "The Welsh Connection" suite; produced at Olympic Studios, marking the end of the original era's live output.[33] |
| Friday 13th | 1984 | Self-released (initially) | Marquee Club, London; June 13, 1983 | Single-disc capture of a reunion-era gig, featuring 15-minute "Many Are Called But Few Wash Up" jam; video-recorded by Trillian Facilities for polished audio release.[34] |
| 1998 at the Star Club | 1998 | Self-released | Star Club, Oberhausen, Germany; March 27, 1998 | Double album from anniversary tour with classic lineup including Phil Ryan; highlights 23-minute "Spunk Rock" revival, emphasizing enduring psychedelic jamming.[35] |
| Down Town Live | 2002 | Altrichter Music | Down Town Blues Club, Hamburg, Germany; May 23, 2001 | Post-reformation set with tracks like 18-minute "Bananas," recorded to showcase blues-rock evolution; limited production focusing on intimate club atmosphere.[36] |
Archive and unofficial releases
The archive and unofficial releases of the Welsh rock band Man consist primarily of live recordings unearthed and issued years after their original performances, often sourced from fan-held tapes, radio broadcasts, or private archives. These releases emerged largely during and after the band's 1992 reformation, serving to preserve and document their extensive live history from the original 1969–1976 period and transitional years. Labels such as Point Records and Effigy Music played key roles in transitioning bootleg material into official or semi-official products, responding to longstanding fan demand for comprehensive documentation of Man's improvisational stage energy and rare setlists, including early covers and extended jams not captured on contemporary albums.[38][2] Key examples include early archival efforts by Point Records, which remastered and reissued performances from the band's psychedelic roots. The 1997 reissue of Greasy Truckers Party, recorded live at London's Roundhouse on February 13, 1972, features Man's contribution to the seminal benefit concert, highlighting tracks like "Spunk Rock" with the classic lineup of Micky Jones, Clive John, Martin Ace, and Terry Williams. Similarly, To Live For To Die (1997, Point), drawn from a 1970 audience tape in Hamburg, Germany, showcases pre-debut material including rare covers such as The Beatles' "Rain" and extended versions of originals like "Spunk Box," reflecting the band's raw, blues-infused proto-prog sound before their first album Revelation. Live at the Rainbow 1972 (1998, Point) captures a full set from the same year at London's Rainbow Theatre, emphasizing high-energy jams with the post-John lineup of Jones, Deke Leonard, Ace, and Williams. The 1999 Party Tour (1998, Point), recorded during the 1974 U.S. tour in Chicago, documents the transitional phase with Malcolm Morley on keyboards, featuring a setlist blending hits like "The Ride and the View" with American influences, though some credits omit Morley erroneously. The Official Bootleg (2001, Point), from a 1994 gig at Glastonbury Festival, marks an early official embrace of bootleg-style releases, with the reunited core members Jones, Leonard, Ace, and John Weathers delivering a mix of classics and newer tracks.[39][40][41][4][42] Earlier outsider efforts include Live at Reading '83 (1993, Raw Fruit), a radio broadcast capture from the band's one-off 1983 reunion at the Reading Festival for Tommy Vance's Friday Rock Show, featuring Jones, Leonard, Ace, and Weathers on tracks like "C'mon" and "Asylum," bridging the gap between disbandment and reformation. Effigy Music, specializing in high-definition live preservations, issued several post-2000 titles from analog tapes, though not all are exhaustively cataloged in major databases. These encompass Live at Crosskeys Institute 25th May 1984 (Effigy Music), from the post-Reading reunion tour with the same lineup, highlighting intimate club renditions; Live at the Keystone Berkeley, 9th August 1976 (Effigy Music), a U.S. West Coast broadcast with Jones, Leonard, Ace, and Phil Ryan on keyboards, noted for its fiery psychedelic extensions; and Live at Hebden Bridge Trades Club 11th December 2004 (Effigy Music, effcd001), a reformation-era performance with the 1990s core augmented by guests, capturing later improvisations amid fan-driven archival pushes. These Effigy releases underscore the ongoing effort to fill historical voids, often featuring unique setlists with rarities unavailable elsewhere.[42][43][44][45]| Title | Label | Release Year | Recording Date/Location | Key Notes |
|---|---|---|---|---|
| Greasy Truckers Party (reissue) | Point | 1997 | February 13, 1972, Roundhouse, London | Partial set from benefit concert; remastered for CD.[39] |
| To Live For To Die | Point | 1997 | October 1970, Hamburg, Germany (audience tape) | Early covers and jams; issued as The Honest One in 1992 before full release.[38][2] |
| Live at the Rainbow 1972 | Point | 1998 | 1972, Rainbow Theatre, London | Full energetic set; reissue of 1990 World Wide version.[46][47] |
| The 1999 Party Tour | Point | 1998 | April 21, 1974, Chicago | U.S. tour radio recording; Morley-era transition.[40][48] |
| Live at Reading '83 | Raw Fruit | 1993 | August 26, 1983, Reading Festival | BBC Friday Rock Show broadcast; 1983 reunion.[42] |
| The Official Bootleg | Point | 2001 | June 25, 1994, Glastonbury Festival, England | Reformation-era; embraces bootleg aesthetic.[38] |
| Live at Crosskeys Institute 25th May 1984 | Effigy Music | Undated (post-2000) | May 25, 1984, Crosskeys Institute | Post-Reading club gig; intimate raw sound.[44] |
| Live at the Keystone Berkeley, 9th August 1976 | Effigy Music | Undated (post-2000) | August 9, 1976, Keystone, Berkeley | U.S. broadcast; psychedelic jams with Ryan.[44] |
| Live at Hebden Bridge Trades Club 11th December 2004 | Effigy Music | Undated (post-2004) | December 11, 2004, Hebden Bridge | Later reformation set; guest appearances.[45][44] |
Compilation albums
Early compilations (1970s–1990s)
The early compilations of the Welsh rock band Man primarily repackaged selections from their 1970s studio output during a period of commercial decline following the band's initial breakup in 1976, serving as retrospective efforts to sustain interest in their psychedelic and progressive rock material ahead of their reformation in the early 1990s.[2] These releases, issued on various labels, focused on key tracks from their Pye and United Artists eras, often emphasizing fan favorites like "Hard Way to Die" from the 1971 album Slow Motion, to highlight the band's jamming style and hits amid waning sales of their original LPs.[49] One of the earliest such efforts was Golden Hour of Man, a single LP released in 1973 on Pye's Golden Hour Records imprint, drawing almost entirely from the band's debut Revelation (1969) and follow-up 2 Ozs. of Plastic with a Hole in the Middle (1969), including tracks like "Revelation" and "2 Ozs. of Plastic with a Hole in the Middle" to capture their psychedelic origins.[50] This budget-priced vinyl compilation aimed to consolidate their early Pye material for broader accessibility as the band transitioned to United Artists.[50] In the 1980s, Green Fly (1986, Cherry Red Records, LP) offered a retrospective of 1970s tracks, including selections from Maximum Darkness (1975), during the band's hiatus.[51] In the 1990s, as interest revived, compilations expanded to cover the United Artists period. Perfect Timing – The U.A. Years (1970–1975), issued in 1991 on EMI in both LP and CD formats, featured 12 tracks (11 studio and one live) spanning albums from Man (1970) to Maximum Darkness (1975), such as "Hard Way to Die" and "C'mon," presented as a label retrospective to showcase their peak creative phase.[49] Similarly, The Dawn of Man (1997, Recall Records, 2xCD) compiled the entirety of Revelation and 2 Ozs. of Plastic with a Hole in the Middle, plus bonus singles like "Exit the Fray," emphasizing the band's formative acid rock sound for a CD-era audience.[52] The Definitive Collection (1998, Castle Communications, CD) broadened the scope by including pre-Man material from The Bystanders alongside key Man tracks from the late 1960s, such as early singles like "1843 Mockingbird Lane," functioning as an entry point for new listeners bridging the band's origins to their revival.[53] These releases, primarily in CD format by the late 1990s, helped repackage Man's 1970s catalog amid growing archival interest, paving the way for their 1992 reformation album The Twang Dynasty.[2]| Title | Year | Label | Format | Key Notes |
|---|---|---|---|---|
| Golden Hour of Man | 1973 | Golden Hour Records (Pye) | LP | Tracks primarily from Revelation (1969) and 2 Ozs. of Plastic with a Hole in the Middle (1969); budget retrospective of early psychedelic work.[50] |
| Green Fly | 1986 | Cherry Red Records | LP | Selections from 1970s albums including Maximum Darkness (1975); hiatus-era retrospective.[51] |
| Perfect Timing – The U.A. Years (1970–1975) | 1991 | EMI | LP/CD | 12 tracks from U.A. albums including Slow Motion (1974) and Maximum Darkness (1975); highlights hits like "Hard Way to Die."[49] |
| The Dawn of Man | 1997 | Recall Records | 2xCD | Full Revelation and 2 Ozs. of Plastic... plus singles; focuses on 1969 origins.[52] |
| The Definitive Collection | 1998 | Castle Communications | CD | Includes The Bystanders tracks and Man selections from 1968–1970s; broad career intro.[53] |
Later compilations (2000s–present)
In the 2000s, following the band's reformation in the 1990s, several compilation albums were released to consolidate Man's legacy, drawing from both classic 1970s material and later reformation-era tracks, often emphasizing rarities, B-sides, and outtakes to attract new audiences while rewarding longtime fans.[2] These releases, typically issued on CD by independent labels, provided thematic overviews of specific periods or career highlights, reflecting a post-reformation effort to archive and repackage the band's extensive catalog amid renewed interest in psychedelic and progressive rock.[38] One of the earliest in this era, 3 Decades of Man – The Best of the 70's, 80's & 90's (2000, Point Records, double CD), spans the band's output across three decades, featuring key tracks from albums like Do You Like It Here Now, Are You Settling In? (1971) and Welsh Connection (1976), alongside selections from the 1980s and 1990s reformation period to highlight their enduring evolution.[54] Similarly, Rare Man (2001, Point Records, CD) focuses on obscurities, including singles, cassette-only releases, demos, and outtakes not previously available on major albums, offering collectors insight into the band's experimental side from the 1970s onward. In 2003, Man Alive (Repertoire Records, 2xCD) compiled 1970s tracks with live elements from that era. In 2004, And in the Beginning... (The Complete Early Man 1968–69) (Castle Music, double CD) compiled the band's formative pre-debut recordings, incorporating tracks from their time as the Bystanders and early Man sessions, presented as a comprehensive archival set of psychedelic proto-material. In 2005, The History of Man: The Evolution of the Legendary Welsh Rock Band (Sanctuary, 2xCD) provided a career-spanning anthology with B-sides, outtakes, and interviews. Later releases continued this archival trend with Keep on Crinting: The Liberty/UA Years Anthology (2006, EMI/Parlophone, double CD), a focused retrospective on the band's prolific 1971–1975 era under Liberty and United Artists labels, including rare mixes, live cuts, and B-sides from albums such as Be Good to Yourself at Least Once a Day (1972) and The Welsh Connection (1976), remastered to capture their raw, jamming style.[55] The decade closed with Sixty Minutes with Man (2007, Voiceprint Records, CD), a concise 60-minute sampler drawing from core albums like Man (1969), Twang Dynasty (1992), and Call Down the Moon (1995), blending early hits with reformation tracks to provide an accessible entry point for newcomers. No major official compilations have emerged in the 2010s or 2020s up to 2025, though the band's legacy persists through reissues and fan-driven interest.[2]| Title | Year | Label | Format | Key Themes/Notes |
|---|---|---|---|---|
| 3 Decades of Man – The Best of the 70's, 80's & 90's | 2000 | Point Records | Double CD | Career-spanning best-of, including 1970s classics and 1990s tracks[54] |
| Rare Man | 2001 | Point Records | CD | Rarities, demos, B-sides, and outtakes |
| Man Alive | 2003 | Repertoire Records | 2xCD | 1970s-focused with live tracks[56] |
| And in the Beginning... (The Complete Early Man 1968–69) | 2004 | Castle Music | Double CD | Pre-debut and early recordings from 1968–1969 |
| The History of Man: The Evolution of the Legendary Welsh Rock Band | 2005 | Sanctuary | 2xCD | Career anthology with B-sides, outtakes, and interviews[57] |
| Keep on Crinting: The Liberty/UA Years Anthology | 2006 | EMI/Parlophone | Double CD | 1971–1975 era anthology with rare mixes and live elements[55] |
| Sixty Minutes with Man | 2007 | Voiceprint Records | CD | 60-minute sampler of select tracks across eras |
Singles and EPs
Singles
Man, the Welsh rock band, issued a modest number of singles throughout their career, consistent with their emphasis on extended jams and album formats rather than the pop single market. Most releases came during their United Artists period in the 1970s, serving as promotional tools for radio exposure in the UK and Europe, though none achieved significant chart success. These 7-inch vinyl singles often featured album tracks or live versions, highlighting the band's live energy and psychedelic rock style.[2] The band's singles output was limited, with only a handful of official releases, underscoring their album-oriented approach that prioritized full-length explorations over concise radio edits. Early efforts on Pye Records laid the foundation, while United Artists singles tied directly to key albums like Slow Motion and Be Good to Yourself at Least Once a Day, aiding visibility in the burgeoning pub rock and progressive scenes. Non-album or promotional tracks were rare, but b-sides sometimes included live cuts to capture their improvisational prowess.| Year | A-Side | B-Side | Label | Notes |
|---|---|---|---|---|
| 1969 | Sudden Life | Love | Pye Records (7N 17684) | Recorded during sessions for the debut album Revelation; the band's first single, blending psychedelic and blues elements. |
| 1974 | Day and Night | A Hard Way to Live (live) | United Artists Records (UP 35478) | A-side from the album Slow Motion; b-side is a live recording originally from Deke Leonard's solo work, emphasizing the band's touring intensity.[58] |
| 1976 | Bananas (Part 1) | Bananas (Part 2) | United Artists Records (REM 408) | Live recording from The Roundhouse (1973), released in 1976; split across two sides, highlighting the band's improvisational live style and fan-favorite psychedelic track with humorous lyrics.[59] |
EPs
The Welsh rock band Man maintained a sparse output of extended plays throughout their career, with EPs serving primarily as supplementary releases for dedicated fans rather than core discography entries. Unlike their prolific run of studio and live albums, particularly during the original 1969–1976 period on labels like Dawn and United Artists, no official EPs emerged from that era, though promotional samplers on Dawn occasionally featured Man tracks alongside other artists. This scarcity persisted into the band's reformation from 1992 onward, where EPs were reserved for limited-edition bonuses tied to specific album campaigns, extending the material without committing to full-length projects.[2][61] The band's sole prominent EP, Mojo Train, arrived in February 2019 as a limited-edition CD accompanying their final studio album, Anachronism Tango, on the Point label (catalogue PNTGZ101EP). This four-track release blended studio recordings and live elements, capturing Man's signature psychedelic rock improvisation in a compact format aimed at collectors. It included rarities not found on the main album, emphasizing the band's enduring experimental edge during their later years. The EP's exclusivity—pressed in small quantities for direct fan distribution—highlighted its role as a fan-centric extension of their discography, often overlooked in broader overviews but cherished by longtime supporters.[62][63]| Track | Title | Duration |
|---|---|---|
| 1 | Manor Farm | 4:12 |
| 2 | The Holy Flame Of Freedom | 5:28 |
| 3 | Mojo Yattaken | 4:45 |
| 4 | Last Train Home | 3:56 |