In electroacoustic music, a loop is a repeating section of sound material. Short sections of material can be repeated to create ostinato patterns. A loop can be created using a wide range of music technologies including digital samplers, synthesizers, sequencers, drum machines, tape machines, delay units, or they can be programmed using computer music software.

Definitions[link]

"Loops are short sections of tracks (probably between one and four bars in length), which you believe might work being repeated." A loop is not "any sample, but...specifically a small section of sound that's repeated continuously." Contrast with a one-shot sample. (Duffell 2005, p.14)

"A loop is a sample of a performance that has been edited to repeat seamlessly when the audio file is played end to end." (Hawkins 2004, p. 10)

Origins[link]

While repetition is used in the musics of all cultures, the first musicians to use loops were electroacoustic music pioneers such as Pierre Schaeffer, Halim El-Dabh,^[1] Pierre Henry, Edgard Varèse and Karlheinz Stockhausen. Stockhausen's music in turn influenced The Beatles to experiment with tape loops, and their use of loops in early psychedelic works (most notably 1966's "Tomorrow Never Knows" and 1968's avant-garde "Revolution 9") brought the technique into the mainstream. The stereo version of The Kinks' 1967 song "Autumn Almanac" (which appears on the 1972 compilation The Kink Kronikles) also features a psychedelic tape loop during the fadeout. Later, inspired by Terry Riley's use of one tape on two tape machines, Brian Eno and Robert Fripp created the technical basis for their No Pussyfooting album—this technological concept was later dubbed Frippertronics.

Another approach was the use of pre-recorded loops, exemplified by Yellow Magic Orchestra,^[2] who released one of the first albums to feature mostly samples and loops (1981's Technodelic),^[3] and Grandmaster Flash's turntablism. Major producers like Timbaland, and underground producers like Jimmy Spice Curry, as well as the group Sir Mask, and others often create their own sound loops then incorporate them into songs.

Use of pre-recorded loops made its way into many styles of popular music, including hip hop, trip hop, techno, drum and bass, and contemporary dub, as well as into mood music on soundtracks.

Modern looping[link]

Today many musicians use digital hardware and software devices to create and modify loops, often in conjunction with various electronic musical effects.

In the early 1990s dedicated digital devices were invented specifically for use in live looping i.e. loops that are recorded in front of a live audience. Notable live looping artists employing the new technology included Stars of the Lid and Radio Chongqing. Live looping is not exclusive to electronic music and is found in the singer/songwriter genre, achieving new popularity in the employ of popular artists such as Imogen Heap, Ani DiFranco, Andrew Bird, Marbin, and KT Tunstall.

Computer programs to create music using loops range in features, user friendliness, and price. (See #Loop-based music software for details)

Many hardware loopers exist in rack unit, effect pedal, or other forms. Early examples of rack and pedal loopers are the Gibson Echoplex^[4], DigiTech JamMan^[5] and the Electro-Harmonix 16 Second Delay.^[6]

In 2004 there were 20 live looping festivals in 12 countries in this burgeoning international movement. These include Loopstock established in 2002 in San Luis Obispo, California, and the Y2K? series, established in 2000 in Santa Cruz, California. The Y2K4 International Live Looping Festival in October 2004 in San Francisco and Santa Cruz drew 50 loopers from 5 different countries over four days.

The musical loop is one of the most important features of video game music. It is also the guiding principle behind devices like the several Chinese Buddhist music boxes that loop chanting of mantras, which in turn was the inspiration of the Buddha machine, an ambient-music generating device. The Jan Linton album "Buddha Machine Music" used these loops along with others created by manually scrolling through CDs on a CDJ player.^[7]

A major advantage of looping that it can be used continually, and not have the quality degradation that is inherent when musician playing a musical part repeatedly (human error). Additionally there can be huge cost savings, on the production end.

Loop-based music software[link]

Music software to create music using loops range in features, user friendliness, and price. Some of the most widely used are, Digidesign's Pro Tools, Sony's ACID and Sound Forge, Cakewalk Sonar, ReCycle, GarageBand, FL Studio (formerly Fruity Loops), Propellerhead's Reason and Ableton Live.

Many companies now exist who provide services selling music loops and Sample libraries, such as Samplephonics, Loopmasters and Zero-G. Loops and samples, sometimes referred to as 'sample packs' are typically purchased in CD, DVD, hard disk and digital download formats containing pre recorded music loops.

See also[link]

• Break (music), break beats are drum loops
• Phasing
• Live looping, the melodic layering of just-recorded musical loops (usually beatboxing) as live performance.

Notes[link]

References[link]

• Duffell, Daniel (2005). Making Music with Samples : Tips, Techniques, and 600+ Ready-to-Use Samples. San Francisco: Backbeat. ISBN 0-87930-839-7. 
• Hawkins, Erik (2004). The Complete Guide to Remixing: Produce Professional Dance-Floor Hits on Your Home Computer. Boston: Berklee Press. ISBN 0-87639-044-0. 

External links[link]

• Music loops at the Open Directory Project
• A community featuring music remixes and samples licensed under Creative Commons licenses
• An article in the Boston Globe about looping
• Russian Famous web site about creation music with free loops and samples

One Man may refer to:

• One Man (album), a 1998 album by Mark King
• One Man (film), a 1977 Canadian film
• One Man (horse), an Irish Thoroughbred racehorse
• One Man, a 2002 album by American R&B singer Tank

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Man are a rock band from South Wales whose style is a mixture of West Coast psychedelia, progressive rock, blues and country-rock. Formed in 1968 as a reincarnation of Welsh rock harmony group ‘’The Bystanders’’, Man are renowned for the extended jams in their live performances, and having had numerous line up changes.

The Bystanders[link]

Man evolved out of The Bystanders, a successful close harmony pop group from Merthyr Tydfil who played numerous club residencies in Wales, often playing several clubs a night. The Bystanders issued eight singles, including "98.6" (#45 in UK Singles Chart, in February 1967)^[1] which featured in the 2009 film, The Boat That Rocked (although Keith's version was the bigger hit, reaching #24 in the UK) and "When Jesamine Goes", written by their manager Ronnie Scott and Marty Wilde under the pseudonyms of Frere Manston and Jack Gellar, which was later covered by The Casuals as "Jesamine" and got to #2 in the UK Chart. They also recorded sessions of cover versions for the BBC as rules restricting needle time required "live" performances between the records during the 1960s; ^[2] becoming regulars on the ’’Jimmy Young Show’’, "The David Symonds Show" and others.

When formed in 1962 The Bystanders included Owen Money, then known as Gerry Braden,^[3] but he was replaced by Vic Oakley, giving the classic line up of Micky Jones (guitar), Ray Williams (bass), Jeff Jones (drums), Clive John (aka Clint Space) (keyboards) and Vic Oakley (vocals). By 1968 the other members wanted to change musical direction to a more psychedelic/American west-coast guitar sound, so Oakley left, to be replaced by Deke Leonard; and the band changed its name to Man.^[4]

Pye years[link]

Man were initially signed to Pye Records, for whom they recorded their first two albums:- Revelation noted for the simulated orgasm on "Erotica", which received a UK ban,^[5] and 2 Ozs of Plastic with a Hole in the Middle. Whilst mixing the second album, Leonard left, and was replaced by Martin Ace from Leonard’s previous band, Dream. At this time, Man were recording three demo sessions a week for Leeds Music, including Down the Dustpipe which they taught to Status Quo.^[6]

Man then toured Europe, predominantly Germany, where they supported Chicago, but on their return, were stopped as suspected terrorists, then jailed for drugs offences in Belgium. Leonard then rejoined, but Ace stayed on as a multi-instrumentalist. Shortly after, Ray Williams and Jeff Jones were fired, with Terry Williams joining on drums and Ace moving to bass. Leonard, Ace and Terry Williams having been together in “Dream”, this was seen by some as a take-over.^[6]

A bootleg of the first gig by this line up, October 1970 in Hamburg, was issued as To Live for to Die and was later re-bootlegged by the band.^[7] Despite good reviews in Britain Two Ounces of Plastic ... was more popular in Germany, so the band spent a year in Germany, where, having to play 4–5 hours a night, most numbers became extended jams.

United Artists years[link]

Their manager, Barrie Marshall, obtained a new record contract with Andrew Lauder of United Artists Records, for whom the band recorded the eponymous Man album, which received mixed reviews. Their media break came when outperforming Soft Machine, Yes and Family at a concert in Berlin, but they continued to play on the continent.^[8] Having appeared on the United Artists sampler album, All Good Clean Fun, they undertook a tour of Switzerland, to promote the album, together with Help Yourself and Leicester band Gypsy.

The next album Do You Like It Here Now, Are You Settling In? recorded at Rockfield Studios by Kingsley Ward, received good reviews, and the band played German TV and Iceland with Badfinger.^[9] Constant touring was creating internal pressures, and in January 1972, John left the band, to form “Iowerth Pritchard and the Neutrons” with Phil Ryan and Will Youatt.

The new four piece supported Hawkwind and Brinsley Schwarz at a charity gig at The Roundhouse on 13 February 1972, recorded and issued as Greasy Truckers Party, a limited edition double album which rapidly became a collectors' item.^[10] United Artists' A&R man, Andrew Lauder, persuaded them to follow this up with a live album.^[11] Live at the Padget Rooms, Penarth was recorded on 8 April 1972. It was sold at a reduced price and only 8000 copies were pressed, which sold out in a week, making it No 1 in the “budget” album chart.^[12] Man recorded the first of their three Peel Sessions on 29 August 1972, (the others being 18 September 1973 & 31 October 1974)^[13]

The band then tried to write a new studio album, but lacked inspiration. Martin Ace left, to form "The Flying Aces" with his wife George, so Micky Jones and Terry Williams sacked Leonard, and John rejoined together with his new band members, Ryan (keyboards) and Youatt (bass).^[14] The new band recorded Be Good to Yourself at Least Once a Day which received good reviews. A party on 19 December 1972, with Dave Edmunds, Help Yourself, The Flying Aces and others, was issued as Christmas at the Patti, a double 10” album, which again topped the “budget” album chart, but on tour John fell out with Micky Jones, and left again.

The four-piece started to record Back Into The Future, but felt the need for a second guitarist, so Alan “Tweke” Lewis joined from Wild Turkey. On 24 June 1973 they recorded the live half of this double album at Man’s spiritual London home, The Roundhouse, backed by the Gwalia Male Voice Choir, who had previously sung with Man at The Oval,^[15] when they supported Frank Zappa. The album initially sold well, rising to No 23,^[16] and again, this was tipped to be album that would make the band, but pressing was restricted by a lack of plastic during the oil crisis. The follow-up tour had Deke Leonard’s Iceberg as support. During the tour, Micky Jones and Leonard discussed a new Man line-up, so when Ryan and Youatt left to form The Neutrons in December 1973, Leonard disbanded Iceberg and rejoined Man along with two former members of Help Yourself; Malcolm Morley (keyboards) and Ken Whaley (bass), who had also played in Iceberg.^[8]

The next album Rhinos, Winos and Lunatics was produced by Roy Thomas Baker, noted for his work with Queen, and spent 4 weeks in the UK album chart, peaking at No 24.^[16] In March/April 1974 Man supported Hawkwind on The 1999 Party, a 5 week US tour. At the Los Angeles Whisky a Go Go on 12 March, Jim Horn joined on saxophone, which was issued as a bonus disc with the reissue of the Rhinos ... Album in 2007. The 21 April gig in Chicago, was recorded for radio, and issued on CD as The 1999 Party Tour in 1997, but omits Morley from the credits, although he is on the recording.

Morley left the day before recording started on the next album Slow Motion. Before the album was released, the band toured the UK (again with Badfinger) and USA in August–October 1974. They returned to the USA in March 1975, to promote the album by touring with REO Speedwagon and New Riders of the Purple Sage, but the tour collapsed on the first night. A new US tour, with REO Speedwagon and Blue Öyster Cult broke up two-thirds of the way through.^[8] Additional dates were arranged, but most were cancelled when Micky Jones developed pneumonia, so the final gigs were to be at the San Francisco Winterland. These were a great success, and promoter Bill Graham paid them a bonus, and rebooked them, but Whaley had had enough, and left.^[17]

Martin Ace flew out as a stand in, and the band met and rehearsed with John Cipollina of Quicksilver Messenger Service, who played with them at Winterland, and agreed to play a UK tour. On this tour, the Roundhouse gig was recorded, but it is rumoured that Micky Jones had to over-dub Cipollina’s guitar, as it was out of tune, before the Maximum Darkness album could be released.^[18] The album eventually reaching no 25 in the UK album chart.^[16] and Martin Ace continued as “stand in” bassist, until the end of a French tour, with Hawkwind, Gong and Magma, when he returned to the Flying Aces.

MCA[link]

The band changed label to MCA Records, Ryan rejoined on keyboards, but as no bass players they knew were available, the band had to audition for the first time in their history. Auditions went badly, until the final audition, of John McKenzie of Global Village Trucking Company, who was immediately offered the job.^[19] They then recorded The Welsh Connection which reached No 40 in the UK Album Chart^[16] and was toured in March/April 1976 in Britain and June/July in the US. During the US tour differences arose again, and on the subsequent European tour Ryan and McKenzie announced they would be leaving, and the rest of the band agreed to call it a day.^[19] The MCA record deal, however, was for 3 albums, but nobody was willing to contribute new material, and their attempts at covers were poor, so MCA eventually agreed to a live farewell album. All's Well That Ends Well was recorded at the Roundhouse on 11–13 December, although the final gig was in Slough on 16 December 1976. The band agreed that they “would never, ever, be one of those bands who reformed in a futile attempt to recapture past glories ...”.^[20]

Interval[link]

After the 1976 break up, band members undertook numerous projects, often with other former members.

Martin Ace[link]

Ace left Man before The Welsh Connection to reform The Flying Aces with his wife George (guitar), Mickey Gee (guitar), Phil Ryan (keyboards) and Stuart Halliday (drums). Ryan returned to Man and Halliday joined ‘’Alkatraz’’ being replaced first by Dave Charles, (ex Help Yourself) and then Mike Gibbins (ex Badfinger)

In the 1980s Ace & Micky Jones occasionally backed Welsh Elvis impersonator, Peter Singh in The Screaming Pakistanis and Ace also played with guitarist David Tipton with John 'Pugwash' Weathers (ex Gentle Giant) on drums.^[21]

Micky Jones[link]

Shortly after the break-up, Micky Jones recorded some demos with John McKenzie (bass), Malcolm Morley (guitar & keyboards) and Derek Ballard (drums). In 1978 he formed the Micky Jones Band, with Tweke Lewis (guitar), Steve Dixon (drums), Al McLaine (bass) and Steve Gurl (ex Wild Turkey & Babe Ruth) (keyboards).

Lewis & Gurl left, so Jones, Dixon & McLaine continued as three-piece Manipulator occasionally known as ‘’The Acidtones’’. In 1981 Jones disbanded Manipulator and formed The Flying Pigs with Mick Hawksworth (bass) and Phil Little (drums).^[22]

Deke Leonard[link]

Leonard reformed Iceberg, with Lincoln Carr (bass) and Terry Williams (when not playing with Rockpile). He still had a record contract and initially recorded with Martin Ace and Terry Williams, but needed two attempts to complete the album ‘'Before Your Very Eyes’', release of which was delayed for five years, when EMI took over United Artists.^[23] A later line up included 2 musicians Leonard had played with in Help Yourself, Richard Treece (guitar & bass) and B.J. Cole (pedal steel guitar), plus Reg Isadore (drums). Leonard took up writing, and briefly moved to the USA, where he worked on a Walter Egan album.

Leonard formed The Force with Sean Tyla (ex Ducks Deluxe) (guitar), Micky Groome (bass) and Paul Simmons (drums). Their album Force's First also included Terry Williams and Martin Ace. The Force disbanded after Tyla suffered severe stage fright in 1982, and Leonard reformed the band as another Iceberg^[23]

John McKenzie[link]

McKenzie initially joined Ryan and Pete Brown, before joining Steve Hillage appearing on some tracks of the ‘'Live Herald'’ album. He then became a session/backing musician, touring with Dr John, Albert Lee, Davy Spillane, The Christians, Seal, Alison Moyet and Everything but the Girl and recording with Bob Dylan, The Pretenders, Eurythmics, David Bowie, Mary Coughlan, Paul Brady, Moya Brennan, Andrea Corr, Damien Rice, and Wham.

Phil Ryan[link]

Ryan rejoined his former Piblokto partner Pete Brown and briefly formed The Brown & Ryan Band with McKenzie (bass), Taff Williams (ex Neutrons) (guitar) and Steve Jones (drums). A second line up of Pete Brown, Phil Ryan, Taff Williams, Dill Katz (bass) and Jeff Seopardie (drums) known as both ‘’Pete Brown and the Interoceters’’ and ‘’Ray Gammond and the Interoceters’’ recorded some tracks issued on Pete Brown’s 1984 album ‘’Party in the Rain’’. He also played a few gigs with the Flying Aces.^[21]

Ryan then moved to Denmark, where his wife Bolette came from, and wrote music for films and TV

Terry Williams[link]

On the breakup of Man, Williams immediately joined Rockpile with Dave Edmunds, Nick Lowe and Billy Bremner. They continued until 1982, issuing several successful albums & singles and touring the USA and Europe. Williams briefly worked with Meat Loaf, before receiving an offer from Dire Straits, who he was still working with, when Man reformed.^[21]

Reformed[link]

The band reformed in 1983, with a line-up of Micky Jones and Deke Leonard on guitars, Martin Ace on bass and John “Pugwash” Weathers (formerly of Gentle Giant) on drums. This line up was to stay constant until 1996, except from a short spell, when Weathers was unwell, and Rick Martinez temporarily took over

After rehearsals, their first gig was on All Fools Day at the Marquee Club in London, and in June they recorded Friday 13th (Picasso PIK 001) at The Marquee, but this comprised old numbers, not new material. Not having a recording contract to promote them, albums were issued on several labels, e.g. Friday 13th was also issued as Live at the Marquee (Great Expectations PIPCD 055) and Talk about a Morning (Dressed to Kill DRESS 600). Later that year they played the Reading Festival which was recorded for Tommy Vance’s Friday Rock Show and released as Live At Reading '83 in 1993.^[24]

In 1983, they also recorded an album of new material in Germany, but fell out with the producer, who was also the album’s promoter, so the album was never issued.^[25] The first studio album to be issued, The Twang Dynasty was issued in 1992 and included the track "Fast and Dangerous" which was used on trailers for Paul Whitehouse’s Fast Show, although the band were not paid for this.^[25]

Their performance at 1994’s Glastonbury Festival was issued as Live 1994 - Official Bootleg (and reissued as Live Official Bootleg), and in 1995 they recorded Call Down The Moon issued on the Hypertension label, and produced by the band and Ron Sanchez – a US musician and DJ, who had long championed their cause.

Weathers left in 1996, allegedly because Gentle Giant were about to reform,^[26] and was replaced by returning drummer Terry Williams, who in the interim, had served in bands such as Dire Straits. Williams recorded some tracks, later released on the Undrugged album, and then Leonard suffered a minor stroke, so the band played a few gigs as a 3 piece. When Leonard returned in 1997, Williams left, to be replaced by drummer Bob Richards formerly of The Wild Family and The Adrian Smith Band.

Former keyboardist Phil Ryan returned in 1998 taking the band back to the classic 5-piece line-up, which recorded a live double album at The Star Club, Oberhausen, West Germany, in March that year. Ryan played a major role in producing 2000's Endangered Species, but then had to withdraw from the band for personal reasons. Ryan was replaced by Gareth Llewellyn Thorrington, who missed the recording of Down Town Live at the Down Town Blues Club, Hamburg, in May 2001, as his flight was cancelled due a bomb-scare, but appeared on part of the Undrugged album (an “unplugged” album with a twist in the title), which had been started in 1996, and was finally issued in 2002. Undrugged has some classic covers, including Brian Wilson's Sail on Sailor and Ray Charles's Georgia On My Mind both lead vocals being by Micky Jones.

In 2002 Micky Jones was diagnosed with a brain tumour and had to take time off for treatment. Micky's place was temporarily taken by his son George Jones, but when Micky had recovered enough to rejoin, in 2004, Leonard decided to leave, again, so George became a permanent member of the band. In 2005, Micky Jones' health deteriorated due to the re-occurrence of his brain tumour^[22] and he was replaced by Martin Ace's son Josh Ace.

In 2006, the album Diamonds and Coal was released, after which Thorrington was sacked, and the band continued as a 4-piece. The 40th anniversary tour in 2008, saw the return of Ryan on keyboards, giving a multi-generational line up, with two early members (Martin Ace and Phil Ryan), two sons of early members (George Jones and Josh Ace) and Bob Richards, who had been in the band since 1997. This line up also recorded a studio album, but before this was mixed, the band split.^[27] Josh Ace, Martin Ace and Phil Ryan recruited James Beck (guitar, vocals) and Rene Robrahn (drums, vocals) to the new line up and wiped parts of the album to replace George Jones. Bob Richards parts were kept on as they were unable to record over them, due to the lack of a click track. This latest album Kingdom of Noise was finally released in June 2009.^[28]

After leaving Man, Micky Jones continued to perform for a while, but was then diagnosed with another tumour, he spent the next year and a half in and out of hospital, his health meant he remained at a care home in Swansea for the next 3 years until he died peacefully, at the age of 63, on 10 March 2010.^[29][30][31] Fans paid tribute to Micky Jones online,^[32] calling Man the greatest Welsh band of all time.

Clive John, AKA Clint Space, another of the founding members, died after a long fight against emphysema on 24 August 2011.^[33]

Discography[link]

For a full discography see "The Manband Archive". In August 2011 this listed 412 releases, on 71 labels, in 24 countries.^[34]

Band member timeline[link]

 id:guitar      value:yellow       legend:Guitar
 id:bass        value:yellowgreen    legend:Bass
 id:drums       value:powderblue2  legend:Drums
 id:keys       value:orange      legend:Keyboards
 id:lines       value:black        legend:Albums

 bar:Micky      text:"Micky Jones"
 bar:Deke    text:"Deke Leonard"
 bar:Ray   text:"Ray Williams"
 bar:Jeff   text:"Jeff Jones"
 bar:Clive    text:"Clive John"
 bar:Martin   text:"Martin Ace"
 bar:Terry      text:"Terry Williams"
 bar:Will     text:"Will Youatt"
 bar:Phil  text:"Phil Ryan"
 bar:Tweke     text:"Tweke Lewis"
 bar:Ken    text:"Ken Whaley"
 bar:Malc    text:"Malcolm Morley
 bar:Cippo     text:"John Cippolina"
 bar:John     text:"John McKenzie"
 bar:Pugwash     text:"John Weathers"
 bar:Rick     text:"Rick Martinez"
 bar:Bob     text:"Bob Richards"
 bar:Gareth     text:"Gareth Thorrington"
 bar:George     text:"George Jones"
 bar:Josh     text:"Josh Ace"
 bar:James     text:"James Beck"
 bar:Rene     text:"Rene Robrahn"

 width:10 textcolor:black align:left anchor:from shift:(10,-4)
 bar:Micky     from:01/11/1968 till: 16/12/1976 color:guitar
 bar:Deke    from:01/11/1968 till: 15/08/1969 color:guitar
 bar:Deke    from:16/03/1970 till: 15/04/1972 color:guitar
 bar:Deke    from:01/01/1974 till: 16/12/1976 color:guitar
 bar:Ray   from:01/11/1968 till:15/10/1970 color:bass
 bar:Jeff   from:01/11/1968 till:15/10/1970 color:drums
 bar:Clive    from:01/11/1968 till:15/01/1972 color:keys
 bar:Clive    from:16/04/1972 till:15/04/1973 color:guitar
 bar:Martin   from:16/08/1969 till:15/10/1970 color:guitar
 bar:Martin   from:16/10/1970 till:15/04/1972 color:bass
 bar:Martin   from:16/03/1975 till:31/08/1975 color:bass
 bar:Terry      from:16/10/1970 till: 16/12/1976 color:drums
 bar:Will     from:16/04/1972 till:31/12/1973 color:bass
 bar:Phil   from:16/04/1972 till:31/12/1973 color:keys
 bar:Phil     from:01/10/1975 till: 16/12/1976 color:keys
 bar:Tweke    from:16/06/1973 till:31/12/1973 color:guitar
 bar:Ken    from:01/01/1974 till:15/03/1975      color:bass
 bar:Malc    from:01/01/1974 till:15/07/1974 color:keys
 bar:Cippo    from:01/05/1975 till: 31/07/1975     color:guitar
 bar:John     from:01/10/1975 till:16/12/1976 color:bass
 bar:Micky     from:01/04/1983 till: 30/06/2002 color:guitar
 bar:Deke    from:01/04/1983 till: 30/06/1996 color:guitar
 bar:Martin    from:01/04/1983 till: end   color:bass
 bar:Pugwash    from:01/04/1983 till: 31/12/1986 color:drums
 bar:Terry    from:01/03/1987 till: 15/02/1988 color:drums
 bar:Pugwash    from:06/02/1988 till: 30/11/1989 color:drums
 bar:Terry    from:01/01/1990 till: 31/01/1990 color:drums
 bar:Rick    from:01/02/1990 till: 31/10/1990 color:drums
 bar:Pugwash    from:01/11/1990 till: 31/12/1995 color:drums
 bar:Terry    from:01/01/1996 till: 31/01/1997 color:drums
 bar:Deke    from:01/02/1997 till: 30/06/2004 color:guitar
 bar:Bob    from:01/02/1997 till: 31/12/2008 color:drums
 bar:Phil    from:01/01/1998 till: 30/06/2000 color:keys
 bar:Gareth    from:01/07/2000 till: 01/11/2006 color:keys
 bar:George    from:01/07/2002 till: 31/12/2008 color:guitar
 bar:Micky     from:01/07/2004 till: 30/06/2005 color:guitar
 bar:Josh     from:01/07/2005 till: end     color:guitar
 bar:Phil    from:01/07/2008 till: end     color:keys
 bar:James    from:01/01/2009 till: end     color:guitar
 bar:Rene    from:01/01/2009 till: end     color:drums

 at:01/01/1969 color:black layer:back
 at:01/09/1969 color:black layer:back
 at:01/03/1971 color:black layer:back
 at:01/11/1971 color:black layer:back
 at:28/04/1972 color:black layer:back
 at:01/09/1972 color:black layer:back
 at:01/10/1972 color:black layer:back
 at:01/04/1973 color:black layer:back
 at:01/09/1973 color:black layer:back
 at:01/05/1974 color:black layer:back
 at:01/10/1974 color:black layer:back
 at:01/09/1975 color:black layer:back
 at:01/03/1976 color:black layer:back
 at:01/03/1977 color:black layer:back
 at:01/01/1984 color:black layer:back
 at:14/11/1992 color:black layer:back
 at:01/03/1995 color:black layer:back
 at:01/07/1998 color:black layer:back
 at:12/07/2000 color:black layer:back
 at:01/04/2002 color:black layer:back
 at:23/11/2006 color:black layer:back
 at:09/06/2009 color:black layer:back

References[link]

Further reading[link]

• Leonard D. (1996 & Rev. 2001) Rhinos, Winos & Lunatics. Northdown Publishing ISBN 1-900711-00-1 & ISBN 1-900711-09-1
• Leonard D. (2000) Maybe I Should’ve Stayed in Bed? Northdown Publishing ISBN 1-900711-09-5

External links[link]

• Comprehensive fan site
• Original fan site
• Micky Jones Official site
• Deke Leonard Official site
• The Harvard Man Home Page
• Tribute Album download page
• Man at Discogs.com