In 2014 Esoteric Records released a completely remastered issue of All's Well That Ends Well. It is the original album release remastered from the original 24-track tapes and select recordings of the shows from the 10 and 11 December 1976 of the three night stint at the Roundhouse. The recordings are a mix of the in-house recordings done by the Roundhouse sound team and the Manor Mobile recordings who also did the gig. This was the last line up until the band reformed in 1984, and captures most of the consistent members who played in Man, other than Micky Jones who never left it.
Deluxe three CD clamshell boxed collection. Dreamy Screens: Soundtracks from the Echo Observatory set features three albums, all recorded at Bill Nelson's Yorkshire home studio, the Echo Observatory, in 1981 and 1982 - Sounding the Ritual Echo (originally issued as a limited edition bonus LP with Bill's 1981 album Quit Dreaming and Get On the Beam), Das Kabinet (a soundtrack to a production of The Cabinet of Doctor Caligari by The Yorkshire Actors Company issued as an LP on Bill's Cocteau label in 1981) and La Belle et La Bete (a soundtrack to a stage production of Jean Cocteau's classic 1946 film Beauty & the Beast, first issued as a limited edition bonus LP with Bill's 1982 album The Love That Whirls).
Although Man had reformed in 1983 to perform live, The Twang Dynasty was Mans first studio record release in sixteen years. The album was a very strong comeback that stands alongside the bands work in the 1970s. Featuring a line-up of Micky Jones (Guitar, Vocals), Deke Leonard (Guitar, Vocals), Martin Ace (Bass, Vocals) and John Weathers (drums), The Twang Dynasty featured excellent material such as A Feather on the Scales of Justice, The Chinese Cut and The Wings of Mercury (dedicated to the late John Cipollina of Quicksilver Messenger Service who had performed with MAN). The deluxe set is newly re-mastered and features two additional CDs of Mans complete set at Glastonbury Festival on 25th June 1994, featuring many tracks from The Twang Dynasty, along with splendid performances of classic tracks such as CMon, Many Are Called, But Few Get Up, Bananas and Romain.
Using some of the finest early-music soloists of the day, Parrott and his forces give posterity a recording that welds tightly focused emotion to a laudable and uncommon feel for the music. The soloists produce appropriately light but well-focused tone and display an ability to negotiate the intricacies of Handel’s notes evenly and with an exceptional grasp of the phrasing required for successful performance. The choral lines are carefully etched and meticulously balanced, resulting in a superlative overall sound that—in spite of the small choir—is rich and capable of exceeding power when required.