Man, "Back Into the Future" (United Artists, 1973)

OK, those of you who have heard of the Welsh band Man, stand up. I'm guessing you're all still seated.

I can admit to having at least heard of Man when I was in college in the '80s, but that mainly was because of a reference in a book of notable album covers. The band's 1974 release "Slow Motion" was set up as a parody of Mad magazine, complete with the ubiquitous Alfred E. Neuman holding a sizable fish. Apparently, some copyright issues got in the way - in the United States, at least - and an alternative cover came out, cropped to include only the fish.

Not that anyone in the U.S. paid any attention. Man managed to score a trio of Top 30 albums in the United Kingdom, but I'm guessing that sales were negligible here.

That's somewhat understandable, as the group's music isn't exactly what you'd call commercial. And it's a bit difficult to place, style-wise. The "progressive rock" label probably applies, but the format of the songs usually is more straight-ahead rock jamming than you'd expect Yes, ELP and other prog-rock icons. In that context, it's comparable to some of the sounds coming out of San Francisco in the '60s. In fact, I decided to investigate Man after reading about its similarities to one of my favorite bands, Quicksilver Messenger Service. (And in fact, John Cipollina, Quicksilver's guitarist in its heyday, guests on a Man album, "Maximum Darkness.")

Man's best-seller in Britain was "Back Into the Future," released as a two-LP set, half studio and half live. Part of its success might be attributable to its stunning cover: a double-gatefold depiction of the band members dressed as 19th-century gentlemen waiting at a train station, among similarly attired women and children. (The interior photo shows the station in 20th-century disrepair.)

Musically, the studio disc seems to veer off into prog territory with the prominence of Phil Ryan's synthesizer, which represents a bit of a departure from the band's usual guitar-oriented approach. The instrumental "Never Say Nups to Nepalese," for example, sounds closer to a band like Camel (now, there's another U.K. obscurity!) than Quicksilver Messenger Service. But they guys still throw down on guitar when the situation calls for it: The lengthy (7-plus minutes) "Ain't Their Fight" contains some fine fretwork courtesy of Man mainstay Michael "Micky" Jones and band newcomer Alan "Tweke" Lewis.

"Lengthy" is a relative term here, especially when the listener moves along to the live portion of the album.

The in-concert material, recorded in June '73 at the Roundhouse in London, actually starts with a brief, rather bizarre a cappella piece by the band's guest, the Gwalia Male Choir. Apparently, the choir had accompanied Frank Zappa at an earlier show in London, and the members of Man recognized a good thing when they heard it.

The final 40 minutes of "Back Into the Future" are devoted to exactly two songs: 19 minutes of "C'mon," the opening track of the 1972 album "Be Good to Yourself at Least Once a Day," and 21 minutes of "Jam Up Jelly Tight," with a riff based on a Man song called "Spunk Rock."

"C'mon" is a treat for folks (like me) who enjoy listening to extended pieces. It starts with a few minutes of electronic ambience to set the mood, then plunges into a spirited (albeit one-chord) jam supporting the ebullient chorus: "Get up! C'mon!" Suddenly, the tempo slows to a crawl, with Will Youatt's bass propelling a languid, spacy section very much reminiscent of late-'60s Pink Floyd. That association is strengthened as the Gwalia guys join in to produce a sound that's a cross between "Atom Heart Mother" and "Careful With That Axe, Eugene." The song wraps up with a reprise of the "C'mon" theme and very enthusiastic applause from the Roundhouse audience.

"Jam Up Jelly Tight" is straight-ahead rock throughout, with the five members of the band (also including drummer Terry Williams, later of Dire Straits) freely improvising to lead up to a scintillating two-guitar climax.

It's some good playing, but it's far from commercial. And that's part of the reason you haven't heard of Man before.

Now you know.