"And the record company said to us, ‘you guys don’t write any more of your own songs’. That was written by Manfred, Mike and me and then we followed that up with another hit in England called 'Hubble Bubble', but that didn’t do any business anywhere else. “Right at the beginning, our songs came from us.
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Their first self-written hit – ‘5,4,3,2,1’ in 1964 – was adopted as the theme for the TV show Ready, Steady Go, but after that their biggest songs were written by other musicians.
A well brought up English boy whose father was a naval officer did not sound like Howlin’ Wolf!”Īlongside many of their contemporaries, Manfred Mann started to have hit songs as British blues-flavoured music became fashionable. “The first album track we ever put out was Howlin' Wolf’s ‘Smokestack Lightning’. One of Manfred Mann’s first recordings was a Howlin' Wolf classic. “People like Noah Lewis on the harmonica and vocals, as well, and singers like Muddy Waters and Little Walter and Howlin' Wolf.” I listened to anybody who I heard singing the blues, anybody I liked would sort of rub off on my vocal chords and that’s where all that came from. It went from Louis Armstrong to, in Britain, people like Long John Baldry who was there before us. “I’d spent the last five, six, seven years listening really to anybody who was singing blues and that was a very wide spectrum. Jones’ voice was one of the most distinctive of the era. What they didn’t know was any specific songs so I had to teach them some Jimmy Witherspoon, T-Bone Walker, some Ray Charles, stuff like that, Big Joe Turner, and we got started.” “They knew 12-bar blues chord sequences and all of that, because they were jazz musicians and there’s loads of 12-bar blues in jazz. And that was one of the main reasons I was in the band because when I got this message from somebody at the Marquee Club, it turned out that my main job really was to teach them some blues because they didn’t know any. “The point is although I was a jazz fan, always had been since I was about 14, I knew more about blues. That’s what I was brought in to the band to do. And lots of other people were not making a living from playing jazz, so that was it. “They wanted to play the blues because they saw that people like Alexis Korner were actually making a living from doing that. Jones says he first heard about a band looking for a singer with bIues chops from an acquaintance who worked at the iconic London venue, the Marquee Club.
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Listen to the full interview with Paul Jones
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