manfred mann's earth band masque full album download Masque. In 1992, 's Earth Band in its latest incarnation delivered a new album that retraced a few earlier steps and got closer to finishing some ideas that earlier incarnations of the band had begun. The result was Masque, a strange and beautiful (and strangely beautiful) mix of jazz, rock, classical, and pop sounds, drawing on compositions from Paul Weller to Gustav Holst. The most easygoing incarnation of cosmic rock, Masque melds elements of '40s pop (and even big-band swing), synth pop, '70s pop/rock, and classical into a quite beautiful whole that's as seductive as it is dazzling. and Maggie Ryder's vocals are a potent combination, even plunging into Manhattan Transfer territory with a little studio trickery (on "Billie's Orno Bounce"), and Mann's keyboards and Rogers' guitars make a great lead instrumental combo as well. The strangest piece here, however, is "A Couple of Mates," in which Mann excerpts elements from several other pieces, including Holst's The Planets. The whole album is essential listening for anyone who's ever been a fan of Mann's work, or even of Gustav Holst's music -- even his remake of "Joybringer" (an adaptation of "Jupiter" from The Planets), which had previously been recorded by another version of the Earth Band, is distinctly fresh and startlingly beautiful, so much so that it was chosen to open the album, which is mighty impressive for a remade piece. Manfred mann's earth band masque full album download. Manfred Mann's Earth Band [1972] [CD] (Bronze 258 732) Manfred Mann's Earth Band [1972] [CD] Manfred Mann's Earth Band ( Bronze 258 733) Manfred Mann's Earth Band [1973] [CD] Messin' (Bronze 258 731) Manfred Mann's Earth Band [1973] [CD] (Bronze 610 590) Manfred Mann's Earth Band [1974] [CD] The Good Earth (Bronze 258 734) Manfred Mann's Earth Band [1975] [CD] Nightingales & Bombers (Bronze 258 730) Manfred Mann's Earth Band [1976] [CD] (Bronze 258 729) Manfred Mann's Earth Band [1978] [CD] Watch (Bronze 610 588) Manfred Mann's Earth Band [1979] [CD] (Bronze 610 589) Manfred Mann's Earth Band [1980] [CD] Chance (Bronze 252 970) Manfred Mann's Earth Band [1982] [CD] (Bronze 255 077) Manfred Mann's Earth Band [1986] [CD] (10 Records DIX CD35) Manfred Mann's Earth Band [1987] [CD] Masque (10 Records DIXCD 69) Manfred Mann's Earth Band [1996] [CD] (Virgin 841836 2) Manfred Mann's Earth Band [2004] [CD] 2006 (Edel Records 0157912ERE) MASQUE - SONGS AND PLANETS. MANFRED MANN'S EARTH BAND Masque - Songs And Planets ratings distribution. MANFRED MANN'S EARTH BAND Masque - Songs And Planets reviews. Collaborators/Experts Reviews. The official Manfred Mann's Earthband website describes "Masque" as the sequel to the 1973 album "Solar Fire". Quite how this definition is arrived at is not explained. There were some eight albums in between and there is little musically to tie the two together. Whereas "Solar fire" was a very complete album with a clear concept and all the tracks knitting together, "Masque" is a diverse collection of styles and sounds. Mick Rogers, who sang on "Solar fire", is firmly back in the lead vocal role here, having shared the duties on the previous "Criminal tango" with Chris Thomson. There is certainly an enjoyable vocal reworking of "Joybringer", a piece which appeared on some but not all versions of "Solar fire", to kick things off. We also have some variations on "Planets" themes, but these are interspersed with songs which are quite at odds with any such concept. The rather jarring diversity of styles is immediately apparent on the following instrumental "Sister Billies bounce", an out and out jazz piece with brass lead. This is one of a pair of tracks, Charlie Parker's "Billies bounce" theme reappearing later on "Billies orno bounce", another jazz workout with a swing flavour and big band style. While there are none of the customary Dylan or Springsteen covers we are instead treated to a radical interpretation of The Jam's "Start", re-titled "What you give is what you get". Maggie Ryder guests on lead vocals for this fine but woefully brief rendition which inexplicably fades midway through the instrumental section. Cream's "We're going wrong" is the second of the covers, Rogers vocal delivery being uncannily like that of Jack Bruce. The final cover closes the album. Michael Martin Murphey's "Geronimo's Cadillac" is probably best known through Cher's version, Maggie Ryder doing a passable impersonation of the ex Mrs Bono. The song tells the tale of how the native Indians were misled by false promises and broken treaties. "Telegram to Monica" is a basic power ballad, written and sung by another guest vocalist Danny Newman. Mick Rogers offers a similar ballad with "Rivers run dry", his pleasant vocals giving the track an appeal on a pop level. Apart from "Joybringer", the planets themes are located in the latter half of the album, "A couple of mates" bringing together "Mars" and "Jupiter" in a jazz styled improvisation. The brief "Neptune" which follows is a very soft, largely superfluous vocal piece. "Hymn (from "Jupiter") is recognisable as the "World in union" theme from the Rugby Union world cup, this instrumental rendition finally allowing Mann to take centre stage on keyboards. "Planets Schmanets" (silly title) is a gentle improvisation which once again fades far too soon, remaining substantially under-developed. At under 40 minutes, the album is very short for a CD era release, reflecting the under-developed nature of many of the tracks. This would be MMEB's last album for almost 10 years. In retrospect, it describes a band desperately searching for a direction they feel comfortable with, and which will suit the mood of the times. In the end, it has to be said that they did not accomplish that objective. This is the last album of the Mann's second incarnation. And actually, they should better have called it quit before this one. It is a very painful and useless work full of pop-rock-easy-listening music (well not that easy to listen to actually). Mann offers a bit of everything here (except great or even good songs). Some orchestrations with "Hymn", some pure jazzy and fifties oriented song ("Sister Billies Bounce"- one of the weakest of the whole - and its counterpart "Billies Orno Bounce"), some syrupy ballads "We're Going Wrong" (which I confirm) and "What You Give Is What You Get" (considering this, I'm afraid that they won't get a lot.), and the third one "Rivers Run Dry" is just as insipid as the other two. What else? An inconsistent and ambient brass instrumental track: "Planets Schmanets" (even if the spacey short second part is a little better), boring electro beat tunes like "Geronimo's Cadillac" (this one is particularly unbearable). And "A Couple of Mates" doesn't go anywhere (sax part is hard to digest). So what's left? Very little, I'm afraid. I like moderately the opener "Joybringer" (which was apparently available on some versions of the great "Solar Fire", but not on my old vinyl copy). Pleasant rock ballad with some good synth work. The longest track of this work is just average. At least "Telegram To Monica" features some good vocals and the melody is catchy. But it is not very much in line with their best material. But this was a loooooong time ago. Sorry, Mann. I don't like this album at all. Your weakest effort. By far: one star. The album contains strange mix of light jazzy pop, rock and r'n'b songs, with slight world touch in moments. Vocals (male and female) both are not bad at all, and some arrangements sound pleasant. Many sunny jazzy winds, keyboards, slightly African drumming. Many compositions are influenced by pop-rock from 60-s or even earlier pop-songs. Almost everywhere you can find short pleasant music there. But the main problem is the album in whole is bulky, has no direction and in fact is a collection of raw, unfinished songs. Production is terrible as well, so during the listening you feel like some demo versions or raw musical ideas are demonstrated. I believe that musical material on this album is better than the final product. But in the form it was released the album can hardly attract even band's fan. And it's pity, but extensive later releases will be even worse. On the positive side the sound here is at least somewhat different than the bland 80s tripe Mann had been pushing out for the past decade. There is a recurring jazz theme interwoven with Holst-inspired space themed tunes that hearken back to the band's excellent 'Solar Fire' release from the early seventies, and even the more staid numbers are at least bolstered by professional and sometimes even mildly interesting musicianship. Vocalist Maggie Ryder and a host of brass players give some depth and range to what would otherwise have been little more than another synth/guitar dominated album. There are a few different track listings depending on which release of the album you get your hands on. The most common is the original CD issue which opens with a redone version of the old Earth Band tune "Joybringer", one of the original 'Solar Fire' Holst- inspired songs and the closest the album would come to anything resembling classic Earth Band. The instrumental "Hymn" provides another example of the sort of spacey, keyboard- driven sound that made 'Solar Fire' so appealing, although the overall mood is much more subdued here and this is actually one of the shorter songs on the album. Other than "Joybringer" and the Charlie Parker jazz tunes the other songs worth noting include a nostalgic and moody remake of the Cream song "We're Going Wrong" and another Paul Weller tune "What You Give is What you Get (Start)", originally titled simply "Start!" when Weller wrote it for the Jam in the late seventies. The only other interesting oddity is a decent but somewhat out-of-place version of the Michael Murphy Native American tribute "Geronimo's Cadillac", made famous by Cher (Bono) but interestingly enough also resurrected by the Europop band Modern Talking who turned it into Top-10 single throughout much of Europe around the same time 'Masque' was recorded. This isn't much of an improvement over the three previous Earth Band albums but at least it was a bit more interesting and the three remaining members do appear to have at least tried to do something more than crank out yet another glossy soft-rock album. For that I'm going to be a bit generous and slap three (out of five) stars on this one, but expectations should be tempered for anyone who is familiar with the band from their seventies heyday. Worth a listen but certainly not something that reflects a Renaissance of the Earth Band sound. Latest members reviews. Wow. Reading the reviews makes me sad. MMEB is one of those groups constantly reinventing music. One would expext that progrock- enthousiasts would embrace these kinds of experimental pop-records. I think this album is very good and even consistent poprock-album. A lot happens here, there's . (read more) Let me set this straight: Neither am I one of those who think that Manfred Mann's Earthband "need" Chris Thompson in order to make me ( or any other listener ) happy, nor am I holding an aversion against anything that's "POP". I think that - live in Concert at least - MMEB were truly best with Noel . (read more) Well at some stage I have to agree here with Curry69's review, and even go as far to say that this is MMEB's worst album to date. According to the MMEB's website, they dubbed this album as Solar Fire MK2. Well I can honestly say that's the biggest over statement, I have ever heard from any ban . (read more) This is the 13th Earthband Album. I have to say, I don't like it very much. Chris Thomson is not the problem, but this album is far too soft and has a lack of interesting songwriting components too be voted "good". . (read more) Post a review of MANFRED MANN'S EARTH BAND "Masque - Songs And Planets" You must be a forum member to post a review, please register here if you are not. MEMBERS LOGIN ZONE. As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). MANFRED MANN'S EARTH BAND. And let's get one thing straight. It is not a prog album, although it has its proggier moments. It could be better classified under a term such as 70s heavy rock or something like that. So it has to be reviewed for what it is and not what it isn't. Having said that, I think the best parts of the album are still the ones that are not guitar dominated. "One Way Glass" on the mellower side of things and the title track on the more adventurous side. From the more typical 70s guitar driven rockers I would have to go with "I'm Gonna Have you All" (which also has a strong keyboard section at the end). Actually I have the impression that this is the only one that would fit on the later band releases. As for the individual players, the first thing to notice is that Manfred, while not absent, is not really the centre of it all. He shines only in certain moments. To be sure, throughout the band's career he was never dominant like, say, Keith Emerson, but still you could tell who is the leader. On this album this is not the case. Normally this would not be a bad thing, but the space he leaves for Mick Rogers' guitar, while not exactly poorly covered, leaves the listener wanting. Rogers playing is adequate and he takes a few longer solos here and there, like on "Look Around". His playing looks towards Alvin Lee or a bit of Duane Allman, but he surely lacks the imagination of the former and the technical abilities of the latter. Also lacks the sophistication of, say, Peter Green. In general, it lacks! The rythm section, while not spectacular, is solid and especially 's playing is very enjoyable. All in all, GM is a good album on its own, but doesn't even hint towards the direction the band would take. It has its moments, but it is still very unlikely to become your favourite. Review by Matti Prog Reviewer. Subjectively speaking, the 55-minute gig, filmed black and white for the Australian TV, bored me as hell with its four- song cycle and very modest visual and audio quality. 'I'm Gonna Have You All' appeared later that year on their 2nd album Glorified Magnified. Mann's Moog intro aside, this is uninspiring blues rock I have no real interest in. 'Black and Blue' is IMHO equally boring blues rocker, originally by an Aussie band called Chain. 'Mighty Quinn' (written by Bob Dylan) was recorded by Manfred Mann in 1967 when he "used to be a pop star" as he introduces the song. This version rocks hard and contains an over-extended jam section. Although I personally am not so impressed by such things, this is clearly the audience-thrilling highlight of the short gig. The band's TV interview during the same Australian tour gives me next to nothing as it's hard (because English is a foreign language to me) to hear what Mann mumbles, and the other members seem very shy. Then comes a bonus clip, 'One Way Glass' originating from Chapter Three's 1970 debut album, in which Manfred handles the vocals himself and is accompanied by a brass section. A rare archival view into that phase of MM's career. The "Now" half of the DVD is an outdoor performance at the Burg Herzberg hippy festival in 2005. MMEB's setlist contains six pieces, although the starting Springsteen cover 'Dancing in the Dark' (combined with 'House of the Rising Sun') is just a brief clip. The essential Dylan cover 'Father of Night, Father of Day' from Solar Fire, 1973, is guitarist-vocalist Mick Rogers' spotlight number, and this jam-extended version bursts with live energy. The smash hit '' (Springsteen cover) has a long and meditative instrumental prologue titled 'She Was', which is quite interesting in its keyboard/guitar interplay. 'Demolition Man' (originally by The Police) appeared on the MMEB album Somewhere in Afrika (1983) and works nicely here, as well as the 1978 hit 'Davy's on the Road Again'. The set is finished by a slow and bluesy version of 'Mighty Quinn' thus bringing an interesting contrast to the 1972 performance. The long instrumental intro -- and near the end the citing of 'Smoke on the Water' -- makes me think of the way Dire Straits broke the album-based format in the excellent Alchemy Live (1984). And finally, Manfred Mann interview from 2008, dealing with the Australian tour '72 etc. The 12-page booklet gives valid background information especially on the 1972 part; I only miss the 2005 live line-up information. Strongly recommended for a fan of MMEB, but the more casual listener can happily live without this DVD. Review by Matti Prog Reviewer. 'Be Not Too Hard' is a relaxed and semi-mellow song with a blues oriented classic rock sound. Mann's keyboards mainly just repeat one note during the song while Mick Rogers' vocals and guitar are on the front. Like so much of the band's output, this is not theirs originally. It was composed by Christopher Logue (never heard. ) and recorded also by Joan Baez, about seven years before MMEB. 'Earth Hymn Part 2' is among Good Earth's best and proggiest pieces. It's almost an instrumental by nature since the treated main vocal part comes only near the end. Before that one hears an exciting, Mellotron-loaded soundscape with space rock nuances, even a hint of Tangerine Dream. Too bad that the source album dwells more on the hard rock as a whole. "In the beginning, darkness" is a hard-rock classic song with progressive keyboards. "Solar fire" finally shows some irregular rhythm by the band. The male and female vocals are powerfully combined. "Saturn, Lord Of The Ring / Mercury, The Winged Messenger" is the definitive masterpiece on this album and one of the best progressive rock tracks by the band. Starting off as a hard-rock piece with interesting chord sequence. Things calm down and a furious moog/guitar tandem based on a traditional rock rhythm takes the stage. I like moog playing in particular. It reminds me of some Kansas tracks that put weight on guitar/keyboards while maintaining straightforward bass/drums. The suite "Earth, the circle part 1/2" are muscular Moog and synths matters but not pretentious. The latter part 1 is actually also a beautiful composition with short-lasting vocals. It remains one of my top bands album and greatly recommended especially to newbies in prog that are looking for an accessible entry. Quite a good album (better ones are to come) but hardly essential. 'Magical Minimoog Master Mighty Manfred Mann'. That was some Alliteration Extravaganza to hail the overlooked Minimoog wizard Manfred Mann. Now let's take a look at this very interesting mid-priced 5-CD box, spanning the time between 1981 and 2007, so 3 decades of MMEB live. CD 1 ' Live 1981. For me CD 1 was the reason to buy this box set, because I have witnessed the Manfred Mann's Earth Band 1981 Change tour in my former hometown The Hague. I remember that sold out gig very well, great performance, great tracklist and,last but not least, great work on the Minimoog: many spectacular, picthbend driven soli in Hello Hello (previously unreleased live track), Chicago Institute, Martha's Madman and Give Me The Good Earth. And I was blown away by the use of the distinctive talk box (known from Peter Frampton's Show Me The Way) in Angels At My Gate and Step By Step. But also lots of exciting work on the guitar, especially the powerful wah-wah drenched guitar solo in On The Run Lies Thru' The 80s, instrumental track Fritz The Blank (funny animation on screen), bluesy piano intro in Spirits In The Night and hilarious words in Hobo Bill's Last Ride. CD 2 ' Live 1986. This concert features the return of Mick Rogers, he puts his mark on the music with outstanding rock guitar, especially during the intro of Banquet and in Visionary Mountains, Father Of Day (pleasant new arrangement) and Mighty Quinn. We can enjoy Manfred Mann his spectacular trademark Minimoog soli in Father Of Day, Davy's On The Road Again and especially The Runner, wow, this is top notch Minimoog work! I also like the Spencer Davis Group cover Gimme Some Loving, a very powerful and tasteful rendition. CD 3 (live 1991), CD 4 (live 1999) and 5 (live 2007) deliver new lead singer singer Noel McCalla, not my favourite MMEB vocalist (due to his theatrical outbursts) but he does a very good and inspired job. During the years MMEB has turned into a very tight, professional and entertaining unit, on this three more recent live recordings you can enjoy lots of excellent renditions of oldies with new arrangements. Manfred Mann is not as omnipresent with his Minimoog as in the Seventies and early Eighties but he still shines in some tracks. Especially in the intro of Banquet, all versions of Martha's Madman and the long intro of Blinded By The Light (1999 version), wow, what a spectacular Minimoog sound! Mick Rogers is a very good rock guitarist, just listen to his wah wah drenched sound in Don't Kill It Carol (awesome rendition) and his biting soli in Blinded By The Light and Mighty Quinn (unfortunately faded away). Remarkably CD 5 contains the most recent concert but the sound is the most close to bootleg quality. The tracklist is very varied, from Captain Bobby Scout (from their first album) to the classic Spirits In The Night (nice rendition) and a (bit too) long Dancing In The Dark cover version (in between some House Of The Rising Sun organ and vocals). I consider this fifth CD as the least interesting, my highlights here are Manfred Mann his Minimoog work and Mick Rogers his powerful guitar, in some songs they deliver also great interplay, the very distincive MMEB sound! I highly recommended this 5-CD live box, it captures the awesome MMEB live performances in 3 different decades, and what a treat to listen to Manfred Mann his many sensational pitchbend driven Minimoog soli! Often enough the MMEB albumst boasted a cover by some more or less known figure in popular music. "Solar fire" opens up with an elongated and very nicely arranged Dylan song, "Father of night, father of day". The opening choir is simply beautiful in its simplicity. It's like a medieval convent joined the band in the studio. It sets the tone and mood of the album quite nice. No, this isn't an album of choir music. It is all about prog and when the organ takes over from the choir, is joined by mellotron, bass and drums one is, I swear, in prog heaven. Simply stunning. A great track with dense and powerful arrangements. As far as covers are concerned MMEB also interprets some of Holst's "Planet suite" which is quite in tune for a true progressive experience. Apart from before mentioned covers it's all MMEB originals. All songs are very powerful and the album is very much in the progressive hard rock vein, which I like very much. It's heavy and full of force. "Pluto, the dog" might sound hilarious but is really a kick in the teeth and I mean that in a positive way. Amazing keyboards and a drive that is exptremely potent. A great little track. The title track is equally powerful. There are also some scary parts, ominous and foreboding, which only helps to emphasize the diversity and craftsmanship of everybody involved. Throughout the album Manfred Mann serves us a hearty meal of keyboard driven extravaganza. There is moog, organ, mellotron and synthesizer in abundance. For me, loving keyboards of the vintage kind, can't help sitting smiling with a daft smile on my face. It's just splendid how well the band and Manfred puts forth a slice of progressive punch. The band is truly on (solar) fire on this album. If I was to introduce someone to the works of MMEB I wouldn't really know where to start. "Nightingales and bombers", "Messin'" or "The good earth"? Anyone of those would do but I could just aswell recommend that person to begin with "Solar fire". On here you will find energy, vision and complexity on such a high level I just might fear they never really achieved before or after this album. So, start with this one. If you're into keyboard driven high-octane prog with a hardrock edge and many layers of brilliance you'd do well to pick this one up. This is intelligent progressive pop with influences from r&b/soul, hardrock, worldfusion, jazzfusion. This could have been an album by Peter Gabriel or David Bowie (I am not kidding, the standard is that high), except with different vocalists. I love the different approach of vocals (spoken word, opera, rock, rap). Noel McAlla must be one of favorite vocalists. The production is crystal clear and very balanced. There's room for every different instrument. You can't even tell most songs feature different musicians. That well balanced the production is. There's not a boring moment on the album. I like the dynamics, a lot of songs build and build and build into a crescendo (like the gorgeous History of Sexual Jealousy). Other stand-out songs are the exciting and fun The Frog or the hardrocking Two Friends with it's funky breakdowns. Very nicely crafted. The opener is very heavy and great aswell, it takes guts for a prog-artist to be really progressive and add rapvocals. I think it's funny to read how many reviewers don't like it. Get over it, is what I think. Manfred Mann was always praised for not showboating musicianship and focus on good songs instead. Sometimes it didn't work out so well, because the songwriting is very important in that approach. But on this album every song is a direct hit. Praise to Manfred Mann for releasing this album. Only let-down (as another reviewer pointed out) are the (many) fade-outs at the end of the songs. The songs don't have to be 10 minutes long , it can be a drag when songs are that long most of the time. But after a while fade-outs tend to be annoying, but that's the only negative point to this album. Highly recommended to fans of intelligent progressive pop like Sting, David Bowie, Peter Gabriel and maybe Tears for Fears. Track two, Countdown, is a fun hard rock instrumental with spirited soling and accompaniment that reminds me a little of Deep Purple at times. Time is Right starts out with a tasty 10/8 rhythm leading to a vocal melody that appears to be deliberately based on the Max Roach 5tet's Driva Man (in 5/4). I only realised this decades later thanks to a recent jazz phase and YouTube. The middle instrumental section is inventive and good listening. Crossfade has good solos from Manfred M and Mick Rogers and when the latter pulls out the wa-wa pedal you could just about imagine that you were listening to one of Zappa's Hot Rats jams. The title track sounds as if influenced by RTF and Mahavishnu Orchestra. Great atmosphere early on and then the song explodes with Manfred and Mick catching fire (so to speak). Love it. It's fun to think of Chris Slade playing these nerdy odd meters and fusion-y prog, given his later long- term career as Phil Rudd's replacement with ACDC. Fat Nelly. After a somewhat cringeworthy intro, the song moves into a pleasing riff followed by more spirited soloing. As Above, So Below - atmospheric, from the keys solo to the jagged RnR riff fading out to the recording from which the album took its title. Manfred Mann's Earth Band. After a very successful period in the 1960's with the pop group named Manfred Mann after him and a much less successful intermezzo in Jazz with Manfred Mann Chapter Three , the South-African born keyboardist Manfred Mann (real name Manfred Lubowitz ) turned towards rock music. In 1971 he formed Manfred Mann's Earth Band (MMEB). Mann's use of the Moog synthesizer was key to the sound of this band. MMEB had a very successful area during the mid 1970's and early 1980's but was disbanded by Mann in 1987 after being fed up with trying to produce hit records. He started a project which was based mostly on the music of Native American Indians named Manfred Mann's Plain Music and which released one album. After this Mann reformed the MMEB in 1991 and was starting again to release records with them occasionally but also to be a regular live band with extensive tours mostly in Europe until today. Current members: ● Manfred Mann (2) – keyboards and vocals (1971–present) ● Mick Rogers – guitar and vocals (1971–1975, 1983–present) ● John Lingwood – drums (1979–1987, 2016–present) ● Steve Kinch – bass guitar (1986, 1991–present) ● – vocals (2011– present) Former members: ● Chris Slade – drums (1971–1979) ● – bass (1971–1977) ● Chris Thompson – vocals and guitar (1975– 1986, 1996–1999) ● – guitar (1975–1979) ● Pat King – bass (1977–1981; band lighting designer, 1991–2013) ● – guitar and vocals (1979–1983; died 2000) ● Geoff Britton – drums (1979) ● – guitar, producer (1980–1981, 1984) ● – bass (1982–1983) ● – vocals (1983) ● Noel McCalla – vocals (1991–2009, 2010) ● Clive Bunker – drums (1991–1996) ● John Trotter – drums (1996–2000) ● Richard Marcangelo – drums (2000–2002) ● Pete May – drums (2002) ● – drums (2002–2007) ● Jimmy Copley – drums and percussion (2007–2015; died 2017) ● – vocals (2009–2011)