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extereme PRESTIGE disog. question


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yes, THAT prestige...........is this like the only uk pop record they ever licensed out for, or somethin' ?? can someone PLEASE key Chewy into whats going on here..............

Prestige, like many others indy labels at the time, was looking to get in on the pop market. This was not a hit in the states, and Manfred Mann's subsequent releases were on UA. Did Prestige issue similar records? I imagine they did, but frankly, I just don't have the energy to leaf through the Ruppli Prestige book to find out! I've always assumed that Prestige issued this because Manfred Mann had an element of jazz in their repertoire.

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Here's a bit more information on some odd 45s from Prestige, including the Manfred Mann. Incidentally, Ruppli doesn't appear to list the Manfred Mann:

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Alfredito Valdes

Alfredito Valdes, and others

unknown location, date

Charanga New York Tru-Sound 45-1101

Almendra -

* Alfredito Valdes - Charanga New York c/w Almendra (Tru-Sound 45-1101)

Andres Hernandez

Andres Hernandez, and others

unknown location, date

Pecuerdo De Ipacarai Tru-Sound 45-1102

Pica Mi Gallo -

* Andres Hernandez - Pecuerdo De Ipacarai c/w Pica Mi Gallo (Tru-Sound 45-1102)

The True Endeavor Jug Band

The True Endeavor Jug Band, and others

unknown location, date

Blues, Just Blues... Prestige 45-290

Jug Band Blues -

* The True Endeavor Jug Band - Blues, Just Blues... c/w Jug Band Blues (Prestige 45-290)

Manfred Mann

Manfred Mann, and others

unknown location, date

5-4-3-2-1 Prestige 45-312

Without You -

* Manfred Mann - 5-4-3-2-1 c/w Without You (Prestige 45-312)

Brett And Terry

Brett And Terry, and others

unknown location, date

The Beatle Hop Prestige 45-313

Beatle Fever -

* Brett And Terry - The Beatle Hop c/w Beatle Fever (Prestige 45-313)

Jimmy Brand

Jimmy Brand, and others

unknown location, date

Don't Cha Leave Me This Way Prestige 45-360

Fly In The Buttermilk -

* Jimmy Brand - Don't Cha Leave Me This Way c/w Fly In The Buttermilk (Prestige 45-360)

Carol Lee

Carol Lee (vo) and others

unknown location, date

I'll By You Gold Tru-Sound 45-423

Poor Little Rich Girl -

* Carol Lee - I'll By You Gold c/w Poor Little Rich Girl (Tru-Sound 45-423)

Frank James

Frank James, and others

unknown location, date

Sea Of Faces Tru-Sound 45-424

The Story Of My Life -

* Frank James - Sea Of Faces c/w The Story Of My Life (Tru-Sound 45-424)

yes, THAT prestige...........is this like the only uk pop record they ever licensed out for, or somethin' ?? can someone PLEASE key Chewy into whats going on here..............
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Alfredito Valdes

Alfredito Valdes, and others

unknown location, date

Charanga New York Tru-Sound 45-1101

Almendra -

* Alfredito Valdes - Charanga New York c/w Almendra (Tru-Sound 45-1101)

Andres Hernandez

Andres Hernandez, and others

unknown location, date

Pecuerdo De Ipacarai Tru-Sound 45-1102

Pica Mi Gallo -

* Andres Hernandez - Pecuerdo De Ipacarai c/w Pica Mi Gallo (Tru-Sound 45-1102)

I was always curious about these two singles ... Ruppli omitted non-jazz records, at least in the first edition I have.

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Ruppli lists this in the numerical listing of 45s.

And I certainly understand why it wasn't a hit. Pretty dumb record. Not a "Doo Wah Diddy Diddy" or "Pretty Flamingo" or "Come Tomorrow" by any stretch of the imagination. Closer to Freddie and the Dreamers type inanities. Manfred Mann, in addition to those great singles, had some killer album tracks like "Smokestack Lightning". But like any early British Invasion groups (except for THAT ONE early British Invasion Group), also had some real dogs. Andy 5-4-3-2-1 is of the canine variety. Question for Chuck. If 5-4-3-2-1 had somehow become a million seller, would Prestige have had the manufacturing and distribution bandwidth to handle it? Seems like a whold different world than jazz LP's which would have been selling, what, 5,000 copies each? What was normal sales in that era for jazz LP's by second tier names (IE not the big sellers like Miles, Brubeck, etc.)?

edited to correct song title per GA Russell.

Edited by felser
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And I certainly understand why it wasn't a hit. Pretty dumb record. Not a..."Maybe Tomorrow" by any stretch of the imagination.

5-4-3-2-1 was the theme song of Britain's Shindig-type TV show called Ready, Steady, Go. I believe that it was a minor hit there, released before Do Wah Diddy.

And felser, you mean Come Tomorrow, right?

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And I certainly understand why it wasn't a hit. Pretty dumb record. Not a..."Maybe Tomorrow" by any stretch of the imagination.

5-4-3-2-1 was the theme song of Britain's Shindig-type TV show called Ready, Steady, Go. I believe that it was a minor hit there, released before Do Wah Diddy.

And felser, you mean Come Tomorrow, right?

Yes I do - I'll correct my post. That one wasn't a hit here, so isn't plastered in my subconscious active file like "Doo Wah Diddy Diddy" is.

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Question for Chuck. If 5-4-3-2-1 had somehow become a million seller, would Prestige have had the manufacturing and distribution bandwidth to handle it? Seems like a whold different world than jazz LP's which would have been selling, what, 5,000 copies each? What was normal sales in that era for jazz LP's by second tier names (IE not the big sellers like Miles, Brubeck, etc.)?

A qualified yes. The pop music scene was still a singles market and the manufacturing costs were much less than albums. Their distribution system would be able to handle the business and if the label needed financing to keep up with the pressing bills, the larger distributors would advance the money for an extra piece of the action.

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5-4-3-2-1 was the theme song of Britain's Shindig-type TV show called Ready, Steady, Go. I believe that it was a minor hit there, released before Do Wah Diddy.

5-4-3-2-1 made it to No. 5 in the UK charts (even Come Tomorrow and Ha Ha Said The Clown made it "only" to No. 4) AND 5-4-3-2-1 was MM's FIRST chart entry in the UK. So not that bad if you go by that yardstick (not every pop/rock band can get its first chart entry to No. 1 (not even "that one" British invasion band did - at least not in the UK).

And all the rest is a matter of taste.

Edited by Big Beat Steve
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