There are 2 versions of this. Brown with 41 tracks and red with 50. The Red contains 3 released Decca tracks of Pinks with thier B sides and an early make of each. ( all made twice) There are also some tracks some unfinnished, destined for a Decca LP which never was. Then there are the PInks Pye tracks with change of line-up giving different vocal ballance and recording mix. Many I find a little bland having been the second vox on all the Decca tracks and having routined much of this early Pye stuff, but left before it was recorded.Didnt think much of them. Later came the Flying Machine days, also at Pye but with more changes of lineup and improved vocals etc. These did nothing with the exception of Smile a Little Smile for me Rosemary. This was overall the biggest success of all and went very big in USA. Although I had nothing at all to do with this number, I really rate it. Particularly as its a true story and I knew the people involved. Havent seen Rosemary god bless her, since… more »

There are 2 versions of this. Brown with 41 tracks and red with 50. The Red contains 3 released Decca tracks of Pinks with thier B sides and an early make of each. ( all made twice) There are also some tracks some unfinnished, destined for a Decca LP which never was. Then there are the PInks Pye tracks with change of line-up giving different vocal ballance and recording mix. Many I find a little bland having been the second vox on all the Decca tracks and having routined much of this early Pye stuff, but left before it was recorded.Didnt think much of them. Later came the Flying Machine days, also at Pye but with more changes of lineup and improved vocals etc. These did nothing with the exception of Smile a Little Smile for me Rosemary. This was overall the biggest success of all and went very big in USA. Although I had nothing at all to do with this number, I really rate it. Particularly as its a true story and I knew the people involved. Havent seen Rosemary god bless her, since 1978. All in all this is a mixed bag of good and bland and there is a big difference in the recording studios and technicians, and it shows. This represents months of hard work of mine which went into all the Decca tracks, not to mention a session at Pye and the fact that I suppied 3 tracks for Castle to copy for this. All the Decca tracks and some early Pye tracks were also my vocal arrangements. For years I cherished the notion that one day Decca would send me that Golden cheque for £5 which I could frame and hang on the wall, but before the performing royalties went into a positive figure, Decca handed it all on, then on again, and again till it would be impossible to determine who owes me that piddly little cheque. But I'm quite proud of this even if it is a bit of a patchwork quilt. To joe public a lot of it is not very good listening but there are some good tracks on it. Particularly the Red version but the Brown version dosent include many of the released versions and so is more Bland then good. It would be of more interest to someone who wanted to study the different recording techniques, intrumentation etc. There are of course some very famous names hidden here, Jim Page, Jim Sullivan,Arthur Greenslade, Ronny Verrel, Joe Browns late wife Vicky was on some tracks 8 months pregnant with daughter Sam, and LOADS more. If I could produce a video containing all the trials and tribulations behind this, that would really be something else. My own favourite track being If You Were True, which had Charles Blackwell as MD and the vocals were never put on properly, they were just what we did in the box to satisfy union regulations. We never did an overdub session. You can hear I fluffed a note or two in falsetto, but the backing girls were superb. (Engineer to MD:- can the girls move in on the mic please!. MD to engineer:- 2 can one cant {Vicky Brown} ) The other 2 tracks on this session were the slow feely version of "Mirror" and "Dont Stop Lovin Me". All that is missing from this almost complete discography of the band is the first recording under the name The Liberators, produced by Shel Talmy on Stateside, in 1965. ( also includes Jim Page)