"Second Album" by CURVED AIR (August 2018 Esoteric Recordings CD+DVD 'Expanded Edition' Reissue - Francis Monkman Remaster) - A Review by Mark Barry...

As featured in my e-Book 

"...Back Street Luv..."

"Second Album" by CURVED AIR from September 1971 (UK), November 1971 (USA)

There's nothing like a big fat hit single and Pans People on Top of the Pops doing a sexy lingerie routine to its groove to put an otherwise difficult band on the map. And June 1971's tan label Warner Brothers UK 7" single "Back Street Luv" was that doozy. When the album followed in September of that amazing year (see my e-book "There's Something About 1971...") the single had caused a flurry of interest and pushed its elaborate 'multiple flaps' sleeve presentation up to No. 11 in the UK LP charts – impressive stuff for a band that came on like a precursor to Roxy Music with a hot girl singer out front instead of a man sporting glitter and a squinty face. Warners even gave the American gatefold sleeve different artwork when they finally put the album out there in November 1971 - but Curved Air never made any real waves Stateside and it didn't chart.

Which brings us to 2018 and Esoteric Recordings of the UK (part of Cherry Red) who have clearly developed a passion for the band because like their exemplary Greenslade and Colosseum reissues – they've gone the full Prog Hog on England's CURVED AIR with dusted off archive recordings from the BBC and even Promotional/Euro Pop Programme footage on DVDs – much of it Previously Unreleased. They are even declaring that the fourth album "Air Cut" from 1973 is only now being released with the use of real master tapes (all other variants have been dubbed from vinyl apparently). Let's get the ever dance...

UK released 24 August 2018 (September 2018 in the USA) - "Second Album" by CURVED AIR on Esoteric Recordings PECLEC 22637 (Barcode 5013929473744) is a CD + DVD 'Expanded Edition' Reissue/Remaster that plays out as follows:

DISC ONE - CD (71:26 minutes):

1. Young Mother [Side 1]

2. Back Street Luv

3. Jumbo

4. You Know

5. Puppets

6. Everdance [Side 2]

7. Bright Summer's Day '68

8. Piece Of Mind

Tracks 1 to 8 are their second studio album "Second Album" – released September 1971 in the UK on Warner Brothers K 46090 and November 1971 in the USA on Warner Brothers WS 1951 (in different artwork). Produced by Colin Caldwell and Curved Air – it peaked on the UK LP charts at No. 11 (didn't chart USA).

BONUS TRACKS:

9. Young Mother In Style

BBC Radio One JOHN PEEL 'Top Gear' Session – Recorded 5 Jan 1971

10. It Happened Today

11. Blind Man

12. Propositions (including What Happens When You Blow Yourself Up)

13. Vivaldi

Tracks 10 to 13 are BBC Radio One 'John Peel Sunday Concert' Recordings from 4 March 1971, recorded at the BBC Paris Theatre, Regent Street, London – PREVIOUSLY UNRELEASED

DISC TWO - DVD (75 minutes, NTSC, All Regions):

Curved Air On The Air – Television Recordings 1971

1. It Happened Today

2. Vivaldi

3. Screw

Tracks 1 to 3 are a 'Warner Brothers Present Curved Air' – A 1971 Promotional Film – PREVIOUSLY UNRELEASED

4. Back Street Luv

5. Propositions

6. Interview

7. Vivaldi

Tracks 4 to 7 are 'Pop Deux' – Recorded at Taverne de l'Olympia, Paris on 6 July 1971. First Broadcast 4 September 1971 – PREVIOUSLY UNRELEASED

8. It Happened Today

9. Propositions

10. Vivaldi

Tracks 8 to 10 are 'Beat Club' Radio Bremen TV Sessions 1971 recorded March 1971

11. Back Street Luv (Version 1)

12. Piece Of Mind

13. Back Street Luv (Version 2)

Tracks 11 to 13 are 'Beat Club' Radio Bremen TV Sessions 1971 recorded September 1971

CURVED AIR was:

SONJA KRISTINA (Linwood): All Lead Vocals

DARRYL WAY: Vocals, Electric Violin and Piano on "Puppets"

FRANCIS MONKMAN: Guitar, Keyboards and VCS3 Synthesizer

IAN EYRE: Bass Guitar

FLORIAN PILKINGTON-MIKSA: Drums

The three-way foldout digipak and booklet reproduce all aspects of the John Kosh original album artwork – a many-flaps sleeve with the rainbow design that mirrored the concept of Terry Riley's "A Rainbow In Curved Air" US album from 1969 on Columbia Masterworks from whence the band took their name. Although they had no input into the design, it certainly made the LP feel substantial and combined with that lightning-in-a-bottle single – propelled the 12" record out of the racks into onto Garrard SP25s everywhere. There are also lots of great black and white photos of the band from the period – most of which I've not seen before and the May 2018 liner notes by MALCOLM DOME are typically excellent and informative. The only thing I would say is that the US gatefold card sleeve had different artwork and it seems a tad remiss not to have reproduced it here.

The Remaster has been done by band member FRANCIS MONKMAN and compared to my 2008 Rhino Encore version is a big improvement. The opener "Young Mother" explodes on so many levels – those violin and keyboard passages and the power in "Back Street Luv" with that right speaker keyboard separation is almost disconcerting.

Speaking of which - in the 24-page booklet that features new interviews – Sonja recalls how the "Back Street Luv" seven-inch single changed everything for the band – coverage, acceptance and even screaming from the front rows of subsequent tours. Originally released 18 June 1971 (ahead of the LP) as Warners WB 8029 with the album track "Everdance" on the B-side – when distribution of the Warner Brothers 'Kinney Music' catalogue started 1 July 1971 (previously done by Pye) – somewhere in there the single for the British "Back Street Luv" 45 was re-pressed as Warner Brothers K 16092. Using this catalogue number, it entered the charts for the week ending 7 August 1971 at No. 34, dropped out for a week and returned 21 August 1971 at No. 30 and thereafter quickly rose to a peak of No. 4 for the chart week ending 18 September 1971. Sitting comfortably alongside The Who's "Won't Get Fooled Again", Family's "In My Own Time", T. Rex's number 1 "Get It On" and Atomic Rooster's "Devil's Answer" (similar sounds around those same weeks) – the Funky Prog Rock groove of "Back Street Luv" grabbed the listener by the short and curlies and didn't let go (the sultry looks of lead vocalist Sonja Kristina helped matters too). The album of course benefitted from this hugely as did the size of gigs they were now playing.

Despite the obvious killer sexiness of the single - for me one of the LP's best melodies is "Jumbo" – a ballad by Darryl Way and Sonja Kristina that feels like a string quartet is accompanying all those keyboard moments – it's almost Tom Waits in its gorgeousness (stay in your room after dark, don't venture outside, Sonja warns her young listener). We're back to rocking with the guitar-driven "You Know" – a deadringer for a second 45 from the album but Warners never went with it (Monkman plays a blinder here and a huge Remaster too). Side 1 ends with another Way/Kristina composition – five and half minutes of "Puppets". It opens with giggles, then keyboard phasing and I must admit I found the Remaster has somehow made that rhythm section seem even discombobulating and not necessarily in a good way. Monkman provides all three on Side 2 beginning with the manic "Everdance" – sort of like The Flock let loose at the local school hall. I've always had an aversion to the three-minute manic-jaunt that is "Bright Summer's Day '68" – a relationship disintegrating in a disconcertingly happy-go-lucky sunshine-shining-down kind of a way. It ends on the album's undoubted monster – the near thirteen minutes of "Piece Of Mind" - an opus sounding not unlike ELP meets Blood, Sweat and Tears via Linda Hoyle's Affinity (over on Vertigo Records). The Remaster has made that pounding piano and violin duo feel even more eerie and powerful and when that keyboard solo comes in and the pace kicks up a notch – the effect is spectacular – Sonja talking the lyrics (wish they'd reproduced them in the booklet).

The opener BBC track "Young Mother In Style" features a typically excited BBC intro at a new song from the ‘sensational’ band. The following Peel Session (recorded in March 1971 and Previously Unreleased) features four songs from their "Airconditioning" debut alum released in November of the previous year – one of which "Propositions" incorporates the non-album B-side "What Happened When You Blow Yourself Up" (the flipside to their first British 45 "It Happened Today"). The audio is a wee bit distorted for the beginning of "Blind Man" as Sonja warbles her voice but thereafter it’s really rather shockingly good. The heavy guitar and bass "Propositions" stretches to six and half minutes as it incorporates the funky keyboard groove of "What Happened When You Blow Yourself Up" towards the end (the essence of creation baby). There’s hiss too on "Vivaldi" but the performance is all out at eight and half minutes. Which brings us to the visuals...

The DVD is pleasingly long at one hour and fifteen plus minutes - beginning with a decidedly ragged-looking lead in to a 1971 Warners Promotional film that gives us three tunes from their debut. Both Bassist and Guitarist sport plastic see-through body instruments (oh you're so cool boys) while Darryl Way dangles a scarf from the tuning screws of his violin – Sonja looking absolutely gorgeous in silver tassels. There doesn't appear to have been any restoration to the footage of newspaper clippings as the band plays "It Happened Today" nor as Way goes on a wild violin whig-out during "Vivaldi" (impressive playing by the way). Better is the French footage that begins at 16 minutes with a storming live cut of "Back Street Luv" – Curved Air singing "...ragged back streets...head on a wall..." and sounding/looking like a band that's arrived. There's a short between tunes interview with Sonja and Trevor that's translated into French on screen before we're back to the best footage of all – the three at the end that feature great image and sound combined – the Version 2 of "Back Street Luv" simply showing more visual effects than Version 1 because someone no doubt thought it looked cooler.

All in all – this is a great reissue of an album that’s been all but forgotten except by the faithful. Fans will adore it and Prog investigators will need to dive in and get air-conditioned. Well done to all...

2018 CURVED AIR Reissues on Esoteric Recordings

Francis Monkman Remasters

Nos. 1, 2 and 3 are 'Expanded Editions' - No. 4 is album-only

1. Airconditioning (November 1970 UK Debut LP)

2CD Remaster UK released 26 January 2018 on Esoteric Records PECLEC 22616 (Barcode 5013929471641)

2. Second Album (September 1971 UK LP)

CD + DVD Remaster released 24 August 2018 on Esoteric Recordings PECLEC 22637 (Barcode 5013929473744)

3. Phantasmagoria (April 1972 UK LP)

CD + DVD Remaster released 27 July 2018 on Esoteric Recordings PECLEC 22638 (Barcode 5013929473843)

4. Air Cut (April 1973 UK LP)

CD Remaster (no Bonus material) released 26 January 2018 on Esoteric Recordings PECLEC 2617 (Barcode 5013929471740) First Use of Original Tapes

"All In Your Mind: The Transatlantic Years 1970-1974" by STRAY (October 2017 Esoteric Recordings 4CD Box Set - Ben Wiseman Remasters) - A Review by Mark Barry...

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"...Time Machine..."

Featuring the album "Suicide" by STRAY from March 1971 

For such a prolific British band - Acton’s finest never once saw the fruits of their LP labours chart in any meaningful way. West London's hard-rockers STRAY put out a whopping eight studio albums on two huge record labels between 1970 and 1976 (Transatlantic Records first and then Dawn) and all of it made up of almost entirely original material (the only cover version is one of Cliff Richard’s 50ts classic "Move It"). And yet despite a passionate and loyal college circuit following and years of relentless gigging – not a snifter. Welsh three-piece Budgie placed loads – Space Rock mavericks Hawkwind the same - Ireland's Skid Row with a very young Gary Moore and their weird variant of Speed Rock even nabbed one in 1970 against all the musical odds - but not STRAY.

Hindsight however has seen a growing-warmth towards our head-banging heroes that has transcended decades. Steve Harris of Iron Maiden and Neil Peart of Rush have sung their praises and name-checked Stray's more Prog elements as a seminal influence. The respected and artist-orientated Angel Air Records of the UK put out a live set of the classic line-up in 2014 and fans of hard-hitting Blues Rock mixed with a tinge of Psych and complicated time-phrases have been discovering their forgotten albums for decades.

Hardly surprising then that here comes Cherry Red's much-praised Esoteric Recordings with another overhaul - a 4CD Mini Box Set covering the first period of their output on Transatlantic Records – five albums and a heap of rarities (thirteen to be exact). Although the outer clamshell looks the part – the inner card sleeves decidedly let the side down with no original artwork and albums split across discs. But even despite these iffy presentation choices (not something I ever say of Esoteric Recordings who along with Ace Records are amongst my favourite British reissue labels) - there's much to be praised here – especially the new Ben Wiseman Remastering. So once more my hirsute hobbit-obsessed friends unto the suicidal past, mind trips, moving on Mudanzas and flicks on a Saturday morning...

UK released 20 October 2017 - "All In Your Mind: The Transatlantic Years 1970-1974" by STRAY on Esoteric Recordings ECLEC 42607 (Barcode 5013929470743) is a 4CD Mini Clamshell Box Set containing five albums plus rarities that plays out as follows:

Disc 1 (77:30 minutes):

1. All In Your Mind [Side 1]

2. Taking All The Good Things

3. Around The World In 80 Days

4. Time Machine

5. Only What You Can Make It [Side 2]

6. Yesterday's Promise

7. Move On

8. In Reverse/Some Say

Tracks 1 to 8 are their debut album "Stray" - released June 1970 in the UK on Transatlantic Records TRA 216 (no USA release) - Produced by HUGH MURPHY

9. Son Of The Father [Side 1]

10. Nature's Way

11. Where Do Our Children Belong

12. Jericho

13. Run Mister Run [Side 2]

14. Dearest Eloise

15. Do You Miss Me?

Tracks 9 to 15 on Disc 1 and Track 1 on Disc 2 are their 2nd studio album "Suicide" - released March 1971 in the UK on Transatlantic TRA 233 and September 1971 in the USA on Mercury SRM-1-611 with the same track list but different artwork

Disc 2 (70:05 minutes):

1. Suicide (as per Tracks 9 to 15 on Disc 1)

2. Our Song [Side 1]

3. After The Storm

4. Sister Mary

5. Move That Wigwam

6. Leave It Out [Side 2]

7. How Could I Forget You?

8. Mr. Hobo

9. Queen Of The Sea

Tracks 2 to 9 are their 3rd studio album "Saturday Morning Pictures" - released February 1972 in the UK on Transatlantic Records TRA 248 and in the USA on Mercury SRM-1-624 - Produced by MARTIN BIRCH and STRAY

10. Changes [Side 1]

11. Come On Over

12. Alright Ma!

13. Oil Fumes And Sea Air

14. Gambler

15. Hallelujah

Tracks 10 to 15 are Side 1 of their 4th studio album "Mudanzas" - released May 1973 in the UK on Transatlantic TRA 268 (no USA release) - Produced by WILF PINE

Disc 3 (64:08 minutes):

1. I Believe It [Side 2]

2. Pretty Things

3. Soon As You've Grown

4. Leave It To Us

Tracks 1 to 5 as Side 2 of "Mudanzas" (as per Tracks 10 to 15 on Disc 2)

5. Tap [Side 1]

6. Move It

7. Hey Domino

8. Customs Man

9. Mystic Lady

10. Somebody Called You

11. Give It Up [Side 2]

12. Like A Dream

13. Don't Look Back

14. Right From The Start

15. Our Plea

Tracks 5 to 15 are their 5th studio album "Move It" - released May 1974 in the UK on Transatlantic TRA 281 (no USA issue) - Produced by WILF PINE

Disc 4 (43:17 minutes):

Demos & Rarities

1. Change Your Mind

2. The Man Who Paints The Pictures

3. In The Night

4. Outcast

Tracks 1 to 4 are Pye Studio Demos recorded November 1968 and Produced by JOHN SCHROEDER

5. All In Your Mind (Single Version) - released 1971 in Italy as a 7"single on Transatlantic TN 111

6. Encore - recorded during the sessions for "Suicide"

7. Our Song (Single Version)

8. Mama's Coming Home

Tracks 7 and 8 are the A&B-sides of a January 1972 UK 7" single on Big T Records BIG 141 in a picture sleeve

9. Georgia

10. Get Out Right Away

Tracks 9 and 10 were featured on and exclusive to the Stray compilation LP "Tracks" released September 1975 in the UK on Transatlantic TRA SAM 33

11. Brand New Day - non-album B-side to the UK 7" single of "Hallelujah" released 1973 on Transatlantic/Big T Records BIG 512

12. Move It (Single Version)

13. Crazy People

Tracks 12 and 13 are the A&B-sides of a 1973 UK 7" single on Transatlantic/Big T Records BIG 512

STRAY was (same four-piece line-up for all five LPs):

STEVE GADD - Lead Vocals, Acoustic Guitars and Percussion

DEL BROMHAM - Lead Guitars, Keyboards, Harmonica, Percussion and Second Vocals

GARY GILES - Bass

RITCHIE COLE - Drums and Percussion

Guests: 

Mike Evans - Violin, Andy Bearne – Harmonica, Keith Bleasy – Congas - all on the "Suicide" LP 

Barry St. John, Kay Gardner, Lisa Strike and P.P. Arnold - all Backing Vocals on the "Suicide" LP

Jimmie Helms - Brass on "Hey Domino" and Backing Vocals on "Customs Man" on the "Move It" LP

Castle Music/Sanctuary first issued these five rare albums onto CD in Remastered form in 2005, 2006 and 2007 with the first four as Expanded Edition single CDs whilst the fifth album "Move It" became a double. Disc 4 of this 2017 reissue gathers up 13 of the Bonus Tracks from those Castle reissues but misses out on eleven BBC Sessions – one on the "Mudanzas" issue in 2006 and ten on the "Move It" double from 2007. With the total playing time on Disc 4 clocking in at 43:17 minutes - there was clearly room for some – but probably licensing rights have disallowed their inclusion here – which is a damn shame. 

Another problem (if you can call it that) is that with five LP covers to represent and only four CD card sleeves to use – Esoteric have decided to do themed artwork for all four cards with background images of the original LPs. They’re black and white and are quite awful really (see photos provided). You lose the impact of the die-cut debut gatefold "Stray" – the gatefold for the hugely popular "Saturday Morning Pictures" – the die-cut van sleeve for "Move It" and so on. Worse – as you can see from the Disc listings provided above – the second LP "Suicide" has its last song on Disc 2 with the bulk of the album on Disc 1 (others are similar). Hardly the greatest way to listen to or look at the albums as they were issued. It would of course have been far better to have had five card sleeves with all the original artwork and the bonuses spread out evenly across them – but alas.

So what do you get? The 20-page booklet has new liner notes from noted writer and rocker extraordinaire MALCOLM DOME that illuminate the band’s hurried and prolific output - whilst principal songwriter and Stray stalwart throughout the decades DAVE BROMHAM provides insider details that are both informative and witty. There are reproductions of Marquee posters, trade adverts for various albums, live shots of the four piece in full flow, snaps of the five album sleeves, a Country Club poster where they shared the venue with an eclectic choice of different-genre bands like Dando Shaft, Osibisa, Mike Westbrook and the Faces. But what I do really like is the BEN WISEMAN Remasters – 24-Bit Digital Versions done at Broadlake Studios in Hertfordshire – full of piss and vinegar – rocking out like the music does but without being overly bombastic. To the music...

Stray had been rehearsing, gigging and writing since 1968 so when they signed to Transatlantic in late 1969 (the label by then looking to expand their predominately Folk and Blues roster into the latest trends) - their self-titled debut was ready to rock. Recorded across only four days of first and second takes - "Stray" carries this Box Set's title track "All In Your Mind" - a huge fan fave and a Del Bromham song that was given prominence on the much-praised "I'm A Freak, Baby" 3CD Mini Box Set on the Grapefruit label in 2016 (goodies galore for fans of Underground Heavies). Barely into their twenties – the songs and playing belie their youth and inexperience with Bromham especially way past his Hank Marvin fixation judging by the heavy-heavy wah-wah "Time Machine". The slow and brooding "Yesterday’s Promise" sounds like Mick Abraham’s Blodwyn Pig meets Black Sabbath getting mellow with their surprisingly trippy "Planet Caravan". The manic guitar pyrotechnics of "Move On" feels like Procol Harum letting Robin Trower out of his amplifier cage. It’s pretty remarkable stuff for such youngsters.

By the time of the second LP "Suicide" in 1971 – founder member Dave Bromham had added an increasing array of instruments to his Electric and Acoustic Guitars of the debut - Mellotron, Organ, Piano, Harpsichord and Harmony Vocals - whilst simultaneously supplying all the songs except "Dearest Eloise" which was a Steve Gadd tune. His songwriting prowess was taking leaps as both the lovely and lonely "Where Do Our Children Belong" and the Stranglers-hooky guitar-chug of "Run Mister Run" testify. At just under 2:20 minutes "Dearest Eloise" has both Harpsichord and Mellotron at its quietly pretty core – more Moody Blues than Stray. And finally things go Funky with the near seven-minute "Do You Miss Me?" – a song I’d swear The Jam’s Paul Weller was listening to as he tried on long trousers for the first time. A doomy feeding-back guitar opens the album’s coolest and yet most dated rocking moment – the Side 2 finisher "Suicide" – 7:42 minutes of very 70ts angst.

For many their 3^rd album from February 1972 "Saturday Morning Pictures" was like discovering "Argus" by Wishbone Ash – a band hitting a creative stride with the gatefold visuals to go along with the thrill. You can hear the Soulful Backing Vocals of Lisa Strike and Immediate’s P.P. "First Cut Is The Deepest" Arnold on the opener "Our Song" – a much more melodic Stray suddenly sounding like their bursting with confidence and the tunes to match the braggadocio. As if discovering Prog by Track 2 - "After The Storm" opens with rain and other ethereal soundscapes only to slip niftily into a wicked Ten Years After strut-fest for the rest of its seven-minutes (Bromham giving it some Tony McPhee on his axe). "Sister Mary" could be Focus, The Moody Blues, The Strawbs or even a speeding Groundhogs – it’s a frantic acoustic-guitar strummer that encompasses all manner of styles whilst at the same time remaining a cute little rocker at heart. Another fave of mine is the loose-lips swagger of "Move That Wigwam" sounding not unlike the Faces rehearsing circa “Long Player” – brill little rocker with clever changes and a catchy doubled-vocal. They go a tad yee-haw Country-Rock with the Terry Stamp sounding "Leave It Out" – better is the fuzzed up blitz of guitars that is "How Could I Forget You" – flanged plucking and vocals ahoy. Both "Mr. Hobo" and "Queen Of The Sea" bring the melodic Rock proceedings to a very satisfying close.

Album four from the spring of 1973 "Mudanzas" (the title comes from a Spanish word for moving on/changing) opens with gorgeous string arrangements from Andrew Powell on the one-minute "Changes" only to return to Rocking business with "Come On Over" – a grungy rocker with some uncomfortable string passages thrown over the top that sound both right and wrong at one and the same time. Clearly listening to The Who - "Alright Ma!" starts our kerranging before settling down into a melodic chorus and cute tune. Going all Ronnie Lane vs. Lindisfarne - "Oil Fumes And Sea Air" is a song about freedom, ships in the bay and the sound of the water going away somewhere new. "Gambler" features some Harmonica warbling and brass jabs but both "Hallelujah" and "I Believe It" have Brass and Strings powered over them to a point where it feels they’re trying too hard.

Album five from May 1974 saw them shake it and groove it – opening with a Drum Solo called "Tap" only to segue into an almost unrecognisable but cleverly boogiefied cover of the Cliff Richard and The Drifters 1958 hit – "Move It" (let me tell you baby it’s called Rock ‘n’ Roll). But after four albums stuff like "Hey Domino" sounds like second-rate Man looking for a hit and failing. Neither here nor there rhythms and badly recorded vocals on "Customs Man" only add to the ordinariness. "Mystic Lady" also tries to be a hit single and actually gets there in a Byrds jangly guitar way.

After signing to Pye Records (covered by another Esoteric Recordings CD compilation called "Fire & Glass: The Pye Recordings 1975-1976" issued November 2017) - Transatlantic Records dragged two compilations out of the band - "Tracks" in September 1975 with two exclusive tracks that appear as Bonuses on Disc 4 and a final comp called “Reflecting & Generation” in July 1977 on Transatlantic TRA SAM 44 that sampled the five albums.

So – a lot of rare 70ts music on offer and despite the presentation carps - there is a lot to savour here and more than a niggling feeling that the British LP charts (and by extension, the British public) lost out to STRAY and not the other way around...

"Tap Turns On The Water: The CCS Story" by C.C.S. [Collective Consciousness Society with Alexis Korner] (2013 Esoteric Recordings 2CD Remasters) - A Review by Mark Barry...

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"…Hey Brother…Stay Loose…"

Up until now I've had all three of Repertoire's 2000 card digipaks for the 3 CCS albums as well as the superb 2004 EMI compilation "A's B's & Rarities" which mopped up the non-album stragglers. But this new 2013 2CD set from England's Esoteric Recordings (part of Cherry Red) supersedes all of those - especially on sound. Here are the collective details...

UK released July 2013 (August 2013 in the USA) - "Tap Turns On The Water: The CCS Story" by C.C.S. is a 2CD anthology on Esoteric Recordings ECLEC 22404 (Barcode 5013929450448) and breaks down as follows:

Disc 1 (76:22 minutes):

1. Boom Boom

2. (I Can't Get No) Satisfaction

3. Waiting Song

4. Lookin' For Fun

5. Whole Lotta Love

6. Living In The Past

7. Sunrise

8. Dos Cantos

9. Wade In The Water

Tracks 1 to 9 are their debut album "C.C.S." released October 1970 in the UK on RAK Records SRAK 6751

Tracks 10 and 11 are "Walkin'" and "Salome" - the non-album A & B-sides of a UK 7" single released January 1971 on RAK Records RAK 109 ("Walkin'" is a Donovan cover version)

Tracks 12 and 13 are "Tap Turns On The Water" and "Save The World" - the non-album A&B-sides of a UK 7" single released August 1971 on RAK Records RAK 119

14. Brother

15. Black Dog

16. I Want You Back

17. Running out Of Sky (Sky Diver)

18. Whole Lotta Rock and Roll: (a) School Days (b) Lucille (c) Long Tall Sally (d) Whole Lotta Love

Tracks 14 to 18 are Side 1 of their 2nd album called "CCS" (aka "CCS II") - released March 1972 on RAK Records SRAK 503

Disc 2 (77:17 minutes)

1. Chaos/Can't We Ever Get It Back

2. This Is My Life

3. Misunderstood

4. Maggie's Song

5. City

Tracks 1 to 5 are Side 2 of "CCS" [aka "CCS II"]

Track 6 is "If I Never Sing Another Song" which is an outtake recorded during the "CCS II" sessions in 1971 - it first turned up as one of two Previously Unreleased songs on the "A's B's & Rarities" EMI CD from 2004. It has a brass refrain of "Tap Turns On The Water" as it ends.

Track 7 is "Mister, What You Can't Have I Can Get" - a non-album B-side to the 7" single of "Brother" released February 1972 on RAK Records RAK 126

Track 8 is "Sixteen Tons" - a non-album A-side to a UK 7" single - released October 1972 in the UK on RAK Records RAK 141 (its a fabulous cover of a Tennessee Ernie Ford classic)

9. The Band Played The Boogie

10. Wild Witch Lady

11. Lola

12. Primitive Love

13. Hundred Highways

14. Shakin' All Over

15. Memphis

16. Sunshine Of Your Love

17.Our Man In London

18. Cannibal Sheep

Tracks 9 to 18 are their 3rd and final studio album "The Best Band In The Land" - released September 1973 on RAK Records SRAK 504

Track 19 is "Hang It On Me" - a non-album B-side to "The Band Played The Boogie" released June 1973 on UK 7" single RAK Records RAK 154

Tracks 20 and 21 are "Hurricane Coming" and "Dragster" - both non-album tracks released April 1974 on a UK 7" single RAK Records RAK 172

A huge ensemble group - C.C.S. (short for COLLECTIVE CONSCIOUSNESS SOCIETY) - was the brain-child of British Blues Boom Godfather ALEXIS KORNER who along with Danish singer PETER THORUP and British arranger JOHN CAMERON pulled together the cream of brass/flute-playing session-men of the time and went after the Blood, Sweat & Tears market for funked-up brassy Rock. Owner of RAK Records - Mickie Most's timing couldn't have been better. Deciding right from the start to include cover versions on their records - they did a fantastic brassed-up take on Led Zeppelin's "Whole Lotta Love" that not only complimented the 1969 Atlantic Records original - but also defined that "CCS" sound. So when the new BBC pop program "Top Of The Pops" needed a cool theme song - they took this winner - dropped the flute intro, vocal middle and end - and a riffing theme song legend was born. I can vividly remember as a budding teenager thrilling to its power chords every Thursday night as it and Pans People did their poppet thing.

The 3-way card digipak houses a 16-page booklet with sleeve shots, rare advert photos, pictures of Alexis and the band and great liner notes by noted musicologist MALCOME DOME. And the whole project is coordinated and arranged by long-time hero of reissues MARK POWELL. But the big news is the sound. Remastered from first generation tapes by BEN WISEMAN at Audio Archiving in London - this release sounds just awesome. I should reiterate that the Repertoire CDs had fabulous sound anyway (licensed from EMI) - but these remasters trump them for sheer power and presence - the clarity is fantastic without ever being over-ramped for effect. The only down note is that "This Is My Life" - the great B-side to the Tennessee Ernie Ford cover of "Sixteen Tons" - is missing (the 7" mix is different to the album version). But this and a very good outtake called "Blues" are both available on the 2004 EMI CD compilation "A's..." for a very reasonable cost.

The first album is an utter blast with their lead off track being a cover of John Lee Hooker's "Boom Boom" done in their distinctive style (it was the B-side of their October 1970 debut single "Whole Lotta Love"). And then you're hit with their other lethal weapon - the voice of ALEXIS KORNER - a man who straddles these tracks with a presence and enthusiasm that is irresistible. CCS do "Satisfaction" by The Stones and "Living In The Past" by Jethro Tull as covers too - but the remainder are impressive are Korner, Cameron and Thorup originals. The ethereally atmospheric Korner original "Sunrise" sounds just gorgeous with its double-played acoustic guitars. The uber-cool John Cameron original "Dos Cantos" is another flute and brass gem that slinks and tingles and then funks for over eight minutes. It sports wicked lyrics like "weave your web...spider of forgetfulness..." - it deserves praise and rediscovery (and again with that stunning audio quality). The "Walkin'" non-album 7" single (a cover of a Donovan track) is wicked too. The late summer of 1971 brought their most famous hit - the fabulous "Tap Turns On The Water" - another non-album 45-only release.

By the time they hit the next LP "CCS II" (which is actually/confusingly called just "C.C.S." on the sleeve and label) - they were in their stride with "Chaos/Can't We Ever Get It Back" and "Misunderstood" standing out (not to mention the wicked "Brother" opener).  They do Zeppelin's "Black Dog", The Congregation and Jackson 5's "I Want You Back" and a 4-part Rock 'n' Roll Medley which combines Zeppelin's "Whole Lotta Love" with Chuck Berry's "School Days" and a double Little Richard dollop of "Lucille" and "Long Tall Sally".

But the 3rd album (possibly sporting the worst album cover ever) saw public interest wane big time (its been a vinyl rarity for years) despite covers of The Kinks "Lola", Donovan's "Wild Witch Lady", Johnny Kidd & The Pirates "Shakin' All Over" and Cream's "Sunshine Of Your Love" being properly good. RAK Records hitmakers Nicky Chinn and Mike Chapman provided "Primitive Love" which was an obvious single. It ends on the bizarrely named Korner original "Cannibal Sheep" which features a great double-vocal from the maestro while the beat chugs along rather nicely.

I loved CCS then and still do. This superb 2CD set has been a blast to listen to - so many great memories and now fans can avail themselves of its stunning sound quality. Well done to all involved. Stay loose brother...

PS: check out the HOT CHOCOLATE "A's B's & Rarities" which features the UK 7" single "Brother Louie" from April 1973 - it's arranged by John Cameron and features Spoken vocals by Alexis Korner at the end ("no spook in my family - get it!")

"Get A Whiff A This" by JUICY LUCY (2013 Esoteric Recordings Reissue - Paschal Byrne CD Remaster) - A Review by Mark Barry...

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"…They Say Some Day...I Might Be A Star…" 

Back in August 2010 - England's Esoteric Recordings (part of the Cherry Red umbrella of labels) reissued the blistering September 1969 self-titled debut album of JUICY LUCY (only the second LP on the then blossoming Vertigo Records) – alongside their equally good second platter from October 1970 called "Lie Back And Enjoy It" (also on Vertigo) – both with cool bonus tracks and newly Remastered audio.

But it's taken three more years for fans to see their much-less favoured third album on Bronze Records (distributed by Island hence the ILPS catalogue number) to emerge on a Remastered CD (alas minus bonus tracks) – the pongtastic cartoon-covered "Get A Whiff A This" from June 1971. Here are the Odorono details...

UK released 23 April 2013 – "Get A Whiff A This" by JUICY LUCY on Esoteric Recordings ECLEC2389 (Barcode 5013929438941) is a straightforward CD Remaster of their 9-track 3rd album from June 1971 and plays out as follows (35:18 minutes):

1. Mr. Skin

2. Midnight Sun

3. Midnight Rider

4. Harvest

5. Mr. A. Jones

6. Sunday Morning [Side 2]

7. Big Lil

8. Jessica

9. Future Days

Tracks 1 to 9 are their third studio album "Get A Whiff A This" - released June 1971 in the UK on Bronze Records ILPS 9157 and September 1971 in the USA on Atco Records SD 33-367. Produced by NIGEL THOMAS and JUICY LUCY – it didn't chart in either country.

JUICY LUCY was:

PAUL WILLIAMS - Lead Vocals [ex Zoot Money’s Big Band]

CHRIS MERCER – Saxophone, Piano and Organ [ex John Mayall's Bluesbreakers]

MICKY MOODY – Lead Guitars [ex Tramline, Mike Cotton Sound - later with Snafu, Whitesnake and duet work with Paul Williams]

GLENN (ROSS) CAMPBELL – Steel Guitar [ex The Misunderstood]

JIM LEVERTON – Bass

ROD COOMBES - Drums

The 8-page booklet features new liner notes from noted writer and music-buff MALCOLM DOME (reissue coordinated by Mark Powell) with the text done in the same style handwriting as the original 1973 LP sleeve (a nice touch). Original band member Paul Williams gives insights into the chaos and pressure that surrounded them at the time. There are two trade adverts for the album and reproductions of the Campbell cartoons that made up the single-sleeved original LP. The CD label apes the Juicy Lucy band logo as per the original artwork and beneath the see-through CD tray is an inlay with (not surprisingly) adverts for the two previous CD reissues on Esoteric. But the best news is the spiffing audio...

Boasting a new 24-bit remaster done in 2013 by BEN WISEMAN at Audio Archiving in London - it's also available digitally at www.losttunes.com. Like Esoteric's 2010 CD reissues of "Juicy Lucy" and "Lie Back And Enjoy It" - the audio quality is incredibly clean and crisp, full of power and a massive improvement over what I had before - a really great job done. With its artwork and see-through tray - it's a nice-looking reissue too. To the music...

"Get A Whiff A This" is the kind of difficult third album that's long forgotten - and unfortunately it's very easy to hear why. To start with it's stylistically all over the place. Steve Ellis had just left the line up to join Boxer - replaced by Jim Leverton on Bass from Noel Redding's Fat Mattress. Lead singer Paul Williams was on his 2nd Juicy Lucy LP ("Lie Back And Enjoy It" was his first) – and the presence of ace-axeman Glenn Ross Campbell who did the stunning "Who Do You Love" took a Pedal Steel backseat to the Lead Guitar of Micky Moody – later of course with Snafu, Nazareth and Whitesnake.

Heavily influenced by American bands like The Allman Brothers and Spirit – Juicy Lucy seemed to lose songwriting focus and produced a 9-track mishmash of ok cover versions alongside six all-genre originals. It isn't Blues Rock – it isn't quite Country Rock either – although "Big Lil" has fab Bluesy axework in it and the band's own "Jessica" actually sounds like The Allman Brothers who of course had a song of the same name on their "Brothers And Sisters" LP (the theme music to "Top Gear" for years). Unfortunately Juicy Lucy's "Jessica" isn't a cool instrumental but a sliding Dobro/Electric guitar that thinks its Elvin Bishop. Speaking of iconic American bands - "Midnight Rider" is a cover of The Allman Brothers classic that's good but hardly deviates from the original's sound so what's the point. "Mr. Skin" appeared on Spirit's brilliant "Twelve Dreams Of Dr. Sardonicus" album in November 1970 on Epic Records and again I can see what drew the British band to it – a funky cool tune with great lyrics. Juicy Lucy's version is spirited (if you'll forgive the pun) but it feels more like an interesting B-side rather than a track that leads off Side 1 on your new album.

At last things start cooking with Paul Williams' hard-hitting "Midnight Sun" - a heartfelt rocker about Vietnam and the appalling waste of life taking place there on both sides of the political divide (how to kill a man a thousand miles away). They then take Bobby Darin's obscure "Harvest" and Funky-Rock its ass producing a very cool groove. The superb acoustic ballad "Mr. A. Jones" feels like Paul Williams has been channeling Rod Stewart's "Gasoline Alley" and "Later That Same Year" by Matthews Southern Comfort from 1970 and winning (lovely audio too). But Side 2's "Sunday Morning" and "Future Days" are countrified ballads that sound like a mellow Frankie Miller chilling in the studio before he gets back to his real job of being a proper Rock 'n' Roll singer. Unlike their signature sound of old – both songs feel like a band at odds with their public identity. You long for these tunes to ignite but like too much of the album - they steadfastly refuse to do so. Williams admits in Malcolm Dome's excellent liner notes that in hindsight the LP needed much more work – but they were under pressure to deliver between tours.

Re-listening to "Get A Whiff A This" now in 2017 (46 years after the event) – it's hardly surprising that despite its tactile stippled-effect cover and its schoolboy title (a joke Glenn Ross Campbell came up with it) – the 1971 album made no commercial impact at the time (or subsequently) and that’s because it just didn’t have memorable enough tunes to bother anyone (let alone a hooky single).

After the resounding commercial failure of LP No. 3 - the line-up would fracture yet again (four exited) with only Paul Williams and Micky Moody left to record 1972’s "Pieces" on Polydor Records – their fourth and last studio album. But – and I stress this - there are some Seventies bands I go dolally over and JUICY LUCY is one of them. And although some of the tracks on here don't quite live up to the image and promise of the elaborate sleeve - there's still magic in them dar slides – and the Audio is toppermost.

So despite the album's shortcomings - I'll return to this underrated band and record more often than not. I won't be getting sniffy about this one...

PS: I've also reviewed the 2010 Esoteric Recordings CD Remasters of their debut "Juicy Lucy" from 1969 and the follow-up from 1970 "Lie Back And Enjoy It" – both 'Expanded Editions' with new annotation (see separate reviews)...