"Stormy Monday Blues"

I listened to Mann Made this morning and noticed an ambiguity in "Stormy Monday Blues."  One line could be written as "And Thursday's also sad" or "And Thursday's all so sad."

"Questions"

A couple months ago, I figured out and wrote down the bass part for "Questions."  Of course, there's the disclaimer that I may have something wrong:

"L.S.D."

About two months ago, I got a box set of the first seven Manfred Mann EPs.  On the back cover of the seventh EP (As Was), there's a description of how the band formed.  One of the sentences is "And it happened that they came one day upon the house of John the Burgess [their producer] who with soft words converted them to the cult of Elessdee."  At first, I thought this referred to the drug (L.S.D.), but then I remembered Brian Matthew's comment about the song "L.S.D." on the first Live at the BBC album:  "a cynical song about love of money, or as we call it, 'L.S.D.'"

Because of that added context (and because I happened to have read about British money around that time), I realized what "L.S.D." means.  Those letters are the abbreviations for "pounds," "shillings," and "pence."  They come from the Latin words libra, solidus, and denarius.

"Just Like a Woman"

In the lines "Ev'rybody knows that baby's got new clothes" in "Just Like a Woman," each of the four syllables of "Ev'rybody" is sung to a different pitch (C B A G), musically giving a sense of breadth.

While referencing the song in order to find those specific pitches, I also noticed that "fallen" in the lines "But lately I see her ribbons and her bows / Have fallen from her curls" is sung to two notes that form a fairly large descending interval (a fourth: E B), musically giving a sense of the word's meaning.

Both of these features are also present in Bob Dylan's version.

"You're My Girl"

In the line "When our hearts beat, they beat so close" in "You're My Girl," "so" is sung with a melisma (G A), musically giving a sense of degree.

"Superstitious Guy"

I noticed a couple significant melismas in the bridge of "Superstitious Guy."  "Spell" in the line "Tries to break the spell" is sung to the notes F# E, so there's a sense of "break[ing]" (into more than one syllable).  "Well" in the next line ("But he knows only too well") is sung to the notes B A B D (I think), musically giving a sense of degree (for "too").

While referencing the song to transcribe the lyrics and find those specific pitches, I also noticed that in the line "Believes that when he wears it, he can't come to any harm," "harm" is sung with a melisma (B C# B A in the lead vocal, D E F# E in the harmony vocal), giving a sense of the breadth of possibility (for that "any").

"Autumn Leaves"

I don't know if this was the intent, but the title "Autumn Leaves" is something of a pun.  It could be understood either as an adjective ("autumn") modifying a plural noun ("leaves") or a noun ("autumn") and a verb ("leaves").

"As Long as I Have Lovin'"

In the line "And you can keep a-searchin', searchin' ev'rywhere" in "As Long as I Have Lovin'," "ev'rywhere" is sung with a melisma (F# F# E D E F#), musically giving a sense of breadth.

"Ev'ry day, ev'ry night" in the last line is an example of a merism.

"Morning after the Party"

In the first instance of the line "But my poor head starts aching ev'ry time I turn" in "Morning after the Party" (at ~1:25), "turn" is sung with a melisma (F# E D, I think), musically giving a sense of movement.

"Box Office Draw"

In the line "He's done alright so far" in "Box Office Draw," the "far" is sung with a melisma (E D C D E, I think), musically giving a sense of that (metaphorical) distance.

"Each Other's Company"

I noticed a few features in "Each Other's Company." "We don't live it up" is sung to an ascending phrase (F F G Bb C), so while it's used in a more metaphorical sense and negated, there's a musical representation of that "up."  "Long" in the line "In front of the fire we sit all night long" is sung with a melisma (D C, I think), for a sense of duration.  In the second occurrence of "It can rain; it can storm," "storm" is sung with a melisma (D Eb D C, I think), giving a sense of turbulence.

"A Now and Then Thing"

In the line "Like the seasons ever changing" in "A Now and Then Thing," "changing" is sung with a melisma (C B B), musically giving a sense of its meaning.

When I referenced the lyrics, I realized that this line could also be parsed in two different ways.  "Like the seasons ever changing" is how it's printed in the liner notes; "changing" is a participle modifying "seasons."  An equally valid rendering is "Like the seasons' ever changing," where "changing" is a gerund and "seasons'" is a plural possessive.  There is a difference between these two readings:  in "Like the seasons ever changing," love is compared to the seasons; in "Like the seasons' ever changing," love is compared to the changing.