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.
“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.
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.
Bronze – Cat#: 205 055
This album includes the original custom inner sleeve with album details, complete lyrics of all songs, and artwork/photos.
Record Format: 12" Vinyl Stereo
Total Weight: 230g
1982 – Germany
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.
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.
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.
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.
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.
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.
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