MANFRED MANN'S EARTH BAND - SOMEWHERE IN AFRIKA 12" Vinyl LP Album

Album Front Cover Photo of MANFRED MANN'S EARTH BAND - SOMEWHERE IN AFRIKA Visit: https://vinyl-records.nl/

Right, then. Buckle up, chaps, because Manfred Mann's Earth Band is taking us on a bloody safari with 'Somewhere in Afrika'. Forget your deckchairs and piña coladas; this ain't no package holiday. We're talking African rhythms, political punches, and enough keyboard wizardry to make your head spin. It's 1983, the Cold War's got us all a bit jittery, but Mann and the lads are here to remind us that music can still pack a punch, even if it's got a bit of a tan. So grab your pith helmet and your dancing shoes, because we're about to get down and dirty in the heart of the continent.

Table of Contents

Album Description:

“Somewhere in Afrika” arrived in 1983 as one of Manfred Mann’s Earth Band’s most focused and urgent statements, weaving political tension and ambitious soundscapes into a record that stood far outside the glossy trends of the early eighties. It remains one of their most distinctive works, grounded in a quiet but unmistakable confrontation with apartheid and a deep fascination with African musical identity.

The album didn’t pop up as a sudden experiment; it carried years of Mann’s earlier explorations, sketches, and evolving African-influenced ideas. You can feel that history in the atmosphere — a blend of rock structures, layered keyboards, and rhythmic patterns that feel intentionally **un-Western** in shape and flow.

The heart of the record lives inside the “Africa Suite,” especially “Brothers and Sisters of Azania” and “Lalela,” where the band leans fully into themes of resistance and displacement. These tracks don’t shout slogans, but their tonal weight makes the political message impossible to miss.

Musically, the album creates a slow-burn collision between Western instrumentation and African percussive roots. “Eyes of Nostradamus” pushes forward with a tense, propulsive energy, while “Tribal Statistics” drifts into a hypnotic zone that feels half-dream, half-ritual. Depending on your pressing, “Redemption Song” appears as a graceful, atmospheric tribute to Marley, handled with surprising restraint.

The production reflects Mann’s meticulous studio approach, shaped at Workhouse Studios and other London rooms rather than the often-misquoted Abbey Road. Layers are clean, intentional, and spacious, giving the album a polished clarity without losing its pulse or its edge.

Reception at release was split, with some critics calling it opportunistic world-music trend-chasing, while others praised its ambition and cultural awareness. Over time, its identity settled into something far more interesting: a reflective bridge between continents and traditions, carrying the kind of subtle charge that lingers long after the needle lifts.

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

Prog Rock

Prog Rock is that wonderfully over-the-top corner of rock where musicians decided that three chords simply weren’t enough anymore. Expect long arrangements, atmospheric synth lines, and a touch of cosmic attitude — all of which fits Manfred Mann’s Earth Band like a glove.

Label & Catalognr:

Bronze – Cat#: 205 055

Album Packaging

This album includes the original custom inner sleeve with album details, complete lyrics of all songs, and artwork/photos.

Media Format:

Record Format: 12" Vinyl Stereo
Total Weight: 230g

Year & Country:

1982 – Germany

Production & Recording Information:

Producers:
  • Manfred Mann – producer On this album, Manfred Mann took the helm in shaping the sonic contour of the record, guiding arrangements and studio dynamics to reflect both the raw energy of the performances and an underlying polished coherence. He worked closely with the engineers and musicians to ensure that each track’s character—whether driving, atmospheric or introspective—was captured in the recording and mixed with clarity and punch. His keyboard- and production‐sensibility brought subtle depth to the final sound without overshadowing the band’s live feel.

Band Members / Musicians:

Band Line-up (Vocals → Guitars):
  • Steve Waller – vocals, guitar On this album Steve Waller brings a gritty edge and heartfelt delivery to the vocal tracks, while his guitar work threads between rhythm and subtle lead fills. He helps anchor the band’s signature sound by marrying expressive singing with tasteful guitar textures that support rather than dominate. His contribution gives the album a personal, live-band feel that complements the production’s polish.
  • Chris Thompson – vocals Chris Thompson lends his distinctive voice to key songs on the record, giving emotional heft where needed and a polished rock-singing style that lifts the arrangements. His phrasing and tone bring clarity and commercial appeal without sacrificing the album’s rock credibility. His presence assists in balancing raw performance energy with chart-ready smoothness.
  • Shona Laing – vocals Shona Laing contributes guest vocals on the album, adding a unique tone and interpretive style that enriches the vocal palette. Her texture and phrasing contrast with and complement the lead singers, offering a fresh nuance in backing or featured parts. Her performance broadens the album’s vocal dynamic and helps bridge pop sensibility with the rock foundation.
  • Trevor Rabin – lead guitar on “Redemption Song” On “Redemption Song,” Trevor Rabin’s lead guitar shines through with clarity and melodic sophistication. His solo work and interplay elevate the track, bringing in his signature blend of technical precision and expressive phrasing. While a guest appearance, his guitar colour adds a high-level rock flourish that lifts the album’s standout track into a memorable highlight.
Band Line-up (Bass → Keyboards → Drums):
  • Matt Irving – bass, MC4 programming Matt Irving handles the low-end pulse of the album and adds MC4 programming to underpin its rhythmic undercurrent. His bass lines are tight but non-intrusive, giving a solid backbone while programming adds subtle modern textures. His contribution ensures the album maintains momentum and sits well in mixed live and studio environments.
  • Manfred Mann – keyboards, synthesisers Manfred Mann infuses the album with keyboard and synthesiser textures that shape its overall sonic identity—he blends vintage organ tones, modern synth pads and melodic hooks to deepen arrangements and widen the band’s palette. His musical direction during the sessions ensures that the songs retain rock energy while gaining layered sonic depth.
  • John Lingwood – drums, percussion John Lingwood delivers the driving drum and percussion work on the album, balancing steady rock grooves with dynamic embellishments—his hits, fills and cymbal work push the songs forward while leaving space for guitars and vocals. His rhythm work provides both solid foundation and subtle nuance, supporting the album’s blend of live feel and studio polish.

Complete Track-listing:

Tracklisting Side One:
  1. Tribal Statistics (4:16)
  2. Eyes of Nostradamus (3:28) Cover
    Cover of Al Stewart’s classic song.
  3. Third World Service (5:18)
  4. Demolition Man (3:45) Cover
    Cover of Sting’s composition.
  5. Brothers and Sisters of Azania (2:46)
Video: Manfred Mann's Earth Band - Eyes of Nostradamus
Tracklisting Side Two:
  1. Africa Suite (8:36)
  2. Redemption Song (No Kwazulu) (7:35) Cover Guest
    Cover of Bob Marley's classic song. Features guest musician Trevor Rabin on lead guitar.
  3. Somewhere in Africa (1:38) Cover
    Traditional song arranged by Manfred Mann and John Lingwood.
Video: Redemption Song (No Kwazulu) - Manfred Mann's Earth Band

Disclaimer: Track durations shown are approximate and may vary slightly between different country editions or reissues. Variations can result from alternate masterings, pressing plant differences, or regional production adjustments.

Album Front Cover Photo
Front cover of Manfred Mann's Earth Band 'Somewhere in Afrika'. The image shows two mannequin-like humanoid figures posed in a pitch-black void, lit dramatically to heighten their eerie presence. Their heads are wrapped in smooth fabric with no facial details, except for glowing circular lights where eyes should be. One figure stands upright wearing pale off-white clothing, posture lifted as if alert to a distant signal. The second, dressed in a blue-toned outfit, crouches forward with an intense, watchful stance. A sharp red geometric table sits in the foreground supporting a compact radio, adding a sense of technological tension. The composition blends artificial light, faceless figures, and stark minimalism to evoke themes of displacement, surveillance, and cultural unease.

This album cover creates a surreal, almost theatrical scene, framed entirely within a deep black background that removes all sense of place or time. At the center are two mannequin-like humanoid figures dressed in full-body outfits that resemble protective suits. Their smooth, featureless heads are lit by glowing circular “eyes,” giving them an unsettling, mechanical presence.

The figure on the left stands tall in an off-white suit, its posture subtly raised as if reacting to an unseen signal. Beside it, another figure crouches low in a blue-toned outfit, leaning forward with a tense and alert energy. The glow of its artificial eyes is even brighter, amplifying the impression of heightened awareness.

In front of them sits a small red angular table, an unexpectedly bold shape within the darkness. Resting on top is a compact radio, a solitary object that feels both ordinary and ominous — a possible lifeline, a transmitter, or a warning device. The entire composition conveys an atmosphere of isolation, technological intrusion, and symbolic storytelling, perfectly aligning with the political and cultural themes of the album.

Collector’s Note: Meaning of the “Somewhere in Afrika” Album Cover

The cover of “Somewhere in Afrika” hits you with its meaning right away: it’s a portrait of people erased, voices suppressed, and identity stripped down to faceless silhouettes. Those two figures aren’t characters—they’re stand-ins for anyone living under a system that tries to decide who you are before you even open your mouth.

The glowing “eyes” aren’t meant to be cute robot features. They’re a reminder that even when the world tries to turn you into a mannequin, the awareness—the watching, the resisting—stays alive. It’s that uncomfortable mix of humanity and surveillance that gives the image its punch.

And then there’s the tiny red table with the radio perched on top, looking like it wandered in from another universe. In the early ’80s, radio was the one thing apartheid couldn’t fully choke: news slipped through, music slipped through, hope slipped through. That little radio is basically the heartbeat of the cover.

The pitch-black void around them seals the deal. No landmarks, no landscape, just isolation. It mirrors the album’s themes perfectly—people pushed into boxes, territories carved up, whole cultures treated like they’re living in someone else’s shadow.

So the whole thing becomes a visual mission statement. Strange, dramatic, slightly eerie—and absolutely in tune with what’s spinning in the grooves. If the music is the warning, this cover is the sign nailed to the front door telling you exactly why the Earth Band showed up in the first place.

Album Back Cover Photo
Back cover of Manfred Mann’s Earth Band 'Somewhere in Afrika', designed as a large, detailed political map of southern Africa during the apartheid era. The map spans the full cover, showing South Africa and its neighboring regions with borders sharply outlined in purple, highlighting territories labelled as Bantustans such as Transkei, Ciskei, Bophuthatswana, KwaZulu, Gazankulu, Lebowa, and QwaQwa. Major cities like Pretoria, Johannesburg, Durban, and Cape Town are marked, along with cross-border links to Botswana, Namibia, Zimbabwe, and Mozambique. Tracklisting text appears printed directly over the upper-left section of the map, divided into Side 1 and the Africa Suite, listing songs such as Tribal Statistics, Eyes of Nostradamus, Third World Service, Brothers and Sisters of Azania, and Redemption Song (No Kwazulu). Below the tracklist sits a block of production credits naming musicians and roles. Additional narrative text titled 'The City' appears at the bottom left like a vignette or short story. A small inset map in the lower right shows the Witwatersrand region. Catalogue numbers, distribution notes, and a yellow “Code 65” price label appear in the top-right corner, giving the cover a documentary, socio-political atmosphere.

The back cover presents a full-scale political map of southern Africa that fills the entire frame, rendered in warm tan and muted yellow tones. Borders of South Africa and its neighboring regions are sharply delineated, while the homeland territories—Transkei, Bophuthatswana, KwaZulu, Gazankulu, Lebowa, QwaQwa, and Ciskei—are outlined prominently in purple. The map includes major cities such as Johannesburg, Pretoria, Durban, Cape Town, and Port Elizabeth, along with roads, rivers, district names, and coastal markings that anchor the geography in the early-1980s era.

Overlaid on the upper-left portion of the map is the complete tracklisting for the album, including Side One titles and the multi-part Africa Suite. Production credits follow directly beneath, naming band members and their roles—keyboards, vocals, guitars, bass, drums, MC4 programming, and engineering. The design integrates the text seamlessly with the political backdrop, blending music information with the visual reality of apartheid-era territorial divisions.

At the lower-left corner appears a narrative segment titled The City, presented like an excerpt from a story, describing characters and daily life, adding a literary layer to the visual theme. In the top-right corner, small catalog stickers list “205 077-320” and “405 077-352,” next to a yellow retail “Code 65” label. A separate inset map in the bottom-right highlights the Witwatersrand region, reinforcing the documentary quality of the artwork. The entire composition evokes political tension and cultural geography, merging cartography with musical intent.

Custom Inner Sleeve Photo
Back cover of Manfred Mann’s Earth Band 'Somewhere in Afrika', designed as a large, detailed political map of southern Africa during the apartheid era. The map spans the full cover, showing South Africa and its neighboring regions with borders sharply outlined in purple, highlighting territories labelled as Bantustans such as Transkei, Ciskei, Bophuthatswana, KwaZulu, Gazankulu, Lebowa, and QwaQwa. Major cities like Pretoria, Johannesburg, Durban, and Cape Town are marked, along with cross-border links to Botswana, Namibia, Zimbabwe, and Mozambique. Tracklisting text appears printed directly over the upper-left section of the map, divided into Side 1 and the Africa Suite, listing songs such as Tribal Statistics, Eyes of Nostradamus, Third World Service, Brothers and Sisters of Azania, and Redemption Song (No Kwazulu). Below the tracklist sits a block of production credits naming musicians and roles. Additional narrative text titled 'The City' appears at the bottom left like a vignette or short story. A small inset map in the lower right shows the Witwatersrand region. Catalogue numbers, distribution notes, and a yellow “Code 65” price label appear in the top-right corner, giving the cover a documentary, socio-political atmosphere.

The back cover presents a full-scale political map of southern Africa that fills the entire frame, rendered in warm tan and muted yellow tones. Borders of South Africa and its neighboring regions are sharply delineated, while the homeland territories—Transkei, Bophuthatswana, KwaZulu, Gazankulu, Lebowa, QwaQwa, and Ciskei—are outlined prominently in purple. The map includes major cities such as Johannesburg, Pretoria, Durban, Cape Town, and Port Elizabeth, along with roads, rivers, district names, and coastal markings that anchor the geography in the early-1980s era.

Overlaid on the upper-left portion of the map is the complete tracklisting for the album, including Side One titles and the multi-part Africa Suite. Production credits follow directly beneath, naming band members and their roles—keyboards, vocals, guitars, bass, drums, MC4 programming, and engineering. The design integrates the text seamlessly with the political backdrop, blending music information with the visual reality of apartheid-era territorial divisions.

At the lower-left corner appears a narrative segment titled The City, presented like an excerpt from a story, describing characters and daily life, adding a literary layer to the visual theme. In the top-right corner, small catalog stickers list “205 077-320” and “405 077-352,” next to a yellow retail “Code 65” label. A separate inset map in the bottom-right highlights the Witwatersrand region, reinforcing the documentary quality of the artwork. The entire composition evokes political tension and cultural geography, merging cartography with musical intent.

Close-up of Record Label
Close-up of the Side 1 record label of Manfred Mann’s Earth Band 'Somewhere in Afrika'. The label is printed on a warm yellow background featuring the trademark Bronze Records design: a circular ring of stylized running man silhouettes moving clockwise around the perimeter. The Bronze logo appears at the top in bold blue lettering with a subtle 3D effect. Centered beneath it is the band name, with track titles for Side 1—Tribal Statistics, Eyes of Nostradamus, Third World Service, Demolition Man, and Brothers and Sisters of Azania—printed in dark brown text. Technical markings such as 'ST 33', catalog number 205 077, LC 2313, and 'GEMA STEMRA' appear on the left and right. The text 'Seite 1' and the matrix number S 205 077 A identify this as the German pressing. The spindle hole sits in the middle of a faintly embossed circular guide. The yellow tone, classic Bronze artwork, and clean typography give the label a distinct early-80s aesthetic.

This close-up photograph captures the Side 1 record label from the German 1982 pressing of Somewhere in Afrika. The background is a warm, slightly muted yellow, serving as the canvas for Bronze Records’ distinctive design motif. Around the edge of the label runs a ring of lightly sketched human figures in running motion, positioned in a clockwise sequence and giving the label a sense of movement.

At the top is the bold blue Bronze logo with a subtle shadow effect, immediately recognizable from the label’s early-80s output. Beneath it, the band’s full name is printed clearly in dark brown lettering. The center area lists the Side 1 songs: “Tribal Statistics,” “Eyes of Nostradamus,” “Third World Service,” “Demolition Man,” and “Brothers and Sisters of Azania,” accompanied by songwriter credits and durations.

Additional technical markings appear on both sides of the hole: the “ST 33” speed and format symbol, catalog number 205 077, label code LC 2313, and copyright society stamp “GEMA STEMRA.” To the right, the text “S 205 077 A” and “Seite 1” confirm this is the A-side of the German edition. The spindle hole sits centered within a faint molded circular ridge. The overall appearance reflects Bronze Records’ iconic visual identity—clean, functional, and instantly recognizable to collectors.

Manfred Mann's Earth Band: The Vinyl Collection - A Discography of Their Essential Albums

MANFRED MANN'S EARTH BAND - Angel Station
MANFRED MANN'S EARTH BAND - Angel Station  album front cover vinyl record

Manfred Mann's Earth Band's 1979 album "Angel Station" on 12" vinyl LP features a blend of rock, pop, and progressive influences. With catchy hooks and thoughtful lyrics, the album includes standout tracks like "Don't Kill It Carol" and "You Angel You."

Angel Station 12" Vinyl LP
MANFRED MANN'S EARTH BAND - Budapest Live
MANFRED MANN'S EARTH BAND - Budapest Live album front cover vinyl record

"Budapest Live" is the album released in 1984 by Manfred Mann's Earth Band. The album consists of covers performed live, except for "Mighty Quinn" which Bob Dylan wrote for Manfred Mann in 1968.

Budapest Live 12" Vinyl LP
MANFRED MANN'S EARTH BAND - Criminal Tango
MANFRED MANN'S EARTH BAND - Criminal Tango album front cover vinyl record

Manfred Mann's Earth Band's 1986 album "Criminal Tango" features nine tracks of eclectic rock, blending pop, jazz, and folk influences. Guest guitarists Steve Waller and Matt Irving also appear on the record.

Criminal Tango 12" Vinyl LP
MANFRED MANN'S EARTH BAND - Self-titled
MANFRED MANN'S EARTH BAND - Self-titled  album front cover vinyl record

Manfred Mann's Earth Band's self-titled debut album, released in Germany in 1972, is a 12" vinyl LP featuring a blend of progressive rock, jazz, and blues. The album includes the hit single "Living Without You" and showcases the band's versatile musicianship and Manfred Mann's distinctive keyboard work.

Self-titled 12" Vinyl LP
MANFRED MANN's EARTH BAND - Messin Gatefold (England and German Releases)
MANFRED MANN's EARTH BAND - Messin Gatefold  (England and German Releases)  album front cover vinyl record

This a rock album released in 1973 by Manfred Mann's Earth Band. Messin' followed Glorified Magnified and preceded Solar Fire, and like all Earth Band albums contains a mixture of originals and covers

Messin (1973, England) Messin' (1973, Germany)
MANFRED MANN'S EARTH BAND - Nightingales and Bombers
MANFRED MANN'S EARTH BAND - Nightingales and Bombers album front cover vinyl record

Nightingales and Bombers is a 12" Vinyl LP released by Manfred Mann's Earth Band in 1975 in Germany. It features a mix of progressive rock, jazz, and funk with standout tracks such as "Spirits in the Night"

Nightingales and Bombers 12" Vinyl LP
MANFRED MANN'S EARTH BAND - Roaring Silence (German and Swiss Releases) 12" Vinyl LP
MANFRED MANN'S EARTH BAND - Roaring Silence (German and Swiss Releases) album front cover vinyl record

Like other Manfred Mann Band albums, this includes material by other composers. "Blinded by the Light", which reached number one in Billboard's Hot 100, is a cover version of a track by Bruce Springsteen

Roaring Silence ( 1976 Germany )   Roaring Silence ( 1976 Switzerland )
MANFRED MANN'S EARTH BAND - Roaring Silence (1977, USA)
MANFRED MANN'S EARTH BAND - Roaring Silence (1977, USA) album front cover vinyl record

This USA release of "The Roaring Silence" includes the bonus-track: "Spirit in the Night". This bonus track is NOT included in other releases of this album

Roaring Silence (1977, USA) 12" Vinyl LP
Updated MANFRED MANN'S EARTH BAND - Somewhere in Afrika album front cover vinyl LP album https://vinyl-records.nl
MANFRED MANN'S EARTH BAND - Somewhere in Afrika

Raw, restless, and politically loaded, “Somewhere in Afrika” drives the Earth Band into tougher terrain. African rhythms pulse beneath its prog-rock edge, with Chris Thompson powering the vocals and Trevor Rabin dropping a spotlight-stealing guest solo. A fearless, urgent album that still hits with surprising force.

MANFRED MANN'S EARTH BAND - Watch
MANFRED MANN'S EARTH BAND - Watch album front cover vinyl record

'Watch,' intertwines studio sophistication and live energy, showcasing their progressive rock prowess. From the mesmerizing synthesizers

Watch 12" Vinyl LP