Japanese OBI MINI REPLICA BOX SET

 WHAT IS A JAPAN "MINI/REPLICA-LP-SLEEVE" CD?

Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.

Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 135MM X 135MM cardboard precision-miniature replica of the original classic vinyl-LP album. Also, anything contained in the original LP, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and/or die cuts, are precisely replicated and included. An English-language lyric sheet is always included, even if the original LP did not have printed lyrics.

Then, there's the sonic quality: Mini-sleeves have dedicated remastering (20-Bit, 24-Bit, DSD, K2/K2HD, and/or HDCD), and can often be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.

Each Japan mini-sleeve has an "obi" ("oh-bee"), a removable Japan-language promotional strip. The obi lists the Japan street date of that particular release, the catalog number, the mastering info, and often the original album's release date. Bonus tracks are only listed on the obi, maintaining the integrity of the original LP artwork. The obi's are collectable, and should not be discarded.

All mini-sleeve releases are tremendously limited editions mainly pressed on future orders only and once released immediately out of print. This fact along with other latter features we've mentioned make these titles rare collectibles that sell in the collectors markets for $100's of dollars apiece.

ORIGINAL SOUNDTRACK - EXPENSIVE GATEFOLD REPLICA JACKET - FOUR ADDITIONAL BONUS TRACKS NOT LISTED

HOW DARE YOU - EXPENSIVE GATEFOLD REPLICA JACKET - With your 1st stop being SHEET MUSIC, your 2nd stop being The Original Soundtrack, you should now have arrived at stop no.3, "How Dare You". Can you hear it yet? Can you hear how influential 10cc were on 7o's music, and what was to come in the 8o's? By this time, even ABBA & The Carpenters started to sound like them, whether that made 10cc happy or not no one knows.

DECEPTIVE BENDS - EXPENSIVE GATEFOLD REPLICA JACKET - Digitally remastered 1997 reissue of their top 40 1977 albumwith three bonus tracks: 'Hot To Trot', 'Don't Squeeze Me Like Toothpaste' & 'I'm So Laid Back, I'm Laid Out'. 12 tracks total, also featuring the top five smash 'The Things We Do For Love', the top 40 hit 'People In Love' and the classic 'Good Morning Judge'. A Mercury Records release. Deceptive Bends was the beginning of the end for 10cc. The band had split into two bands: 10cc and Godley & Creme. "How Dare You" was the magnum opus, and in my view the best album that 10cc came out with, not to mention one of the best albums of a decade that was full of amazing albums.

But now the year was 1977 and Graham Gouldman and Eric Stewart regrouped and came back with a beautiful pop album that showed a subtle change in the 10cc sound. The interesting thing is that for all the wonderfully quirky pop art that filled the first four albums that included Godley & Creme, the music was still alive with fresh ideas and inventive productions, just a bit less cerebral. Sure, this was no "Consequences", Godley & Creme's first album that was full of high art but lacking in accessibility; but Deceptive Bends has so many infectious melodies and grooves that it intensified what made this band so attractive in the first place... The pleasure of invention.

Every song on this album has become (more or less) a highlight for me, including the bonus tracks. But the first side of the album is definitely the stronger half. It is rare to have a perfect album- in my mind there are very few of those. But I've got to give Deceptive Bends five stars nonetheless, because take away few missteps and you have a pop masterpiece.


Bloody Tourists continued the success of inventive pop music that Deceptive Bends had brought-

BLOODY TOURISTS - EXPENSIVE GATEFOLD REPLICA JACKET - 10cc's "Bloody Tourists" was originally released in September of 1978--this was the follow up to 1977's "Deceptive Bends", & it was the second 10cc record without Godley & Creme who left the group in 1976 & continued to work as duo. Certainly their departure had a big impact on 10cc--they contributed largely to the songwriting & overall sound of the group. However, the other 2 original 10cc members, Eric Stewart & Graham Gouldman, were extremely talented dudes in their own right, and they're basically running the show on here, and the result is a brilliant album. I realize that this album is typically considered a disappointment compared to "Deceptive Bends", the first album without Godley & Creme, but it's actually quite the opposite--Stewart & Gouldman were considerably off their game on "Deceptive Bends", but here they bounced back in a big way, & 10cc's work would remain consistently strong/ brilliant until their initial breakup in 1983/ 1984, making this album quite a bit like a rebirth for them. Rick Fenn, Stuart Tosh, Duncan Mackay, & Paul Burgess were additional band members at this point, but apart from "Dreadlock Holiday" (as well as its non-LP b-side "Nothing Can Move Me", included here as a bonus track) which is credited as having been produced by the whole group, the entire album was produced by Stewart & Gouldman, & also, between the two of them, they were responsible for all of the songwriting apart from just a few co-writes from other members. As usual, there are a lot of different styles, terrific production values, & great performances. You still gets lots of wildly imaginative lyrics that are at times highly amusing, although the tone is overall a heck of a lot less "jokey" without Godley & Creme around, & considering how over-the-top they went at times, plus with the material on "Bloody Tourists" being as strong as it is, it's a welcome change. The album piles up great track after great track. The reggae tune "Dreadlock Holiday" and the somewhat country-fied "Take These Chains" are infectiously catchy. The gorgeous thought-provoking ballad "For You and I", and the amusing, irresitible "Reds In My Bed" (written by Eric & Stuart Tosh, with an excellent lead vocal by Stu) are each splendidly tuneful, as is the dramatic and hauntingly powerful "Old Mister Time". Graham's tender "Life Line" seamlessly moves from acoustic balladry to catchy reggae. Eric's multi-part, wild subway sex fantasy "Shock on the Tube (Don't Want Love)" is a blast--it starts off with him singing on top of a dreamy, choir-like backing, before switching into a mid-tempo quasi-barroom style rocker with prominent piano (I don't know how else to explain it) and an exciting, roaring Stewart vocal, & adds a catchy chorus & rip-roaring riffy sections. Eric's ode to "Tokyo" is pretty bizarre--admittedly, the lyrics are weak and rather embarassing, and the track doesn't entirely hold together, but the opening portion, before the drums kick in at 1:53 of the track, is truly arresting with the dreamy textured sound and the engaging, somewhat haunting melodicism. Graham's tropical-flavored "From Rochdale To Ocho Rios", with a great acoustic riff, expresses the frustration of travelling from place to place in upbeat, whimsical fashion--it's a tad fluff-ish, but it's still a lot of fun. "The Anonymous Alcoholic", in uncanny fashion, captures the woefulness of living with alcohol addiction--it fittingly starts off using slow R&B as a backdrop for a tale about a guy suffering from withdrawal who swears he won't drink again, though of course he can't help himself, & the music switches into disco-mode to coincide with the guy drunkenly hitting the dancefloor & getting himself into a mess of trouble--perhaps this is Stewart & Gouldman's attempt at their own "sound movie" (a term Godley & Creme used for their "Une Nuit A Paris" from the 1975 album "The Original Soundtrack"), but it doesn't sound at all forced & they pull it off excellently. The original vinyl LP ended with Stewart's "Everything You Wanted To Know About!!! (Exclamation Marks)" which has ultra catchy, highly syncopated verses, and the lyrics on this tune, as well as "Shock On The Tube", both demonstrate his seemingly intense obsession with casual sex and/ or sex without love, seemingly as an attempt to fill the emptiness of not having true love; this general theme would go on to become increasingly prominent with Stewart on his 1982 solo album "Frooty Rooties", which makes me wonder about the state of his personal life around this time. "Last Night" starts off in suprisingly grungey & dull fashion, but it does shift gears & overall it's not bad. Overall, the album is immensely enjoyable. 

Yes, I do give a big thumbs up for the inclusion of the cool, bluesy "Dreadlock Holiday" b-side "Nothing Can Move Me"--that's a definite plus. However, the sticker on the front claiming "extensive sleevenotes" is highly exaggerated--you get a considerably unenlightening & tiring essay that sprinkles in quotes from the album's lyrics. The original gatefold vinyl LP featured a picture with all 6 band members, full performance credits for each tune, & printed lyrics for all of the songs--none of these are featured with this CD reissue. Plus, "Old Mister Time" is credited as having been co-written by Dave Mackay--I presume they must mean Duncan Mackay. Then, of course, there's the issue of sound quality. I will say that although speed fluctuations are indeed noticeable, the sound quality isn't a DISASTER--the speed fluctuations are actually quite minor. I mean, it's a damn shame to hear that the album's original master recordings were considerably damaged--you do unfortunately hear some 'wrinkled tape' noises, but it's not like the sound on this CD is so bad that it can't be enjoyed--disappointing though it is, it's not THAT bad. Certainly there's no need to avoid it at all costs, as another reviewer said. It would be great to think that this Japanese CD version is much improved, although I kind of doubt it. However, it'd be a shame if listeners pass on "Bloody Tourists" altogether, because it really is a must-have album, a terrific demonstration of the brilliance of Eric Stewart & Graham Gouldman.

LIVE AND LET LIVE - GATEFOLD JACKET 2 DISC SET -  To me, a 'live' album really can tell the truth if a band can really sing or not, especially in the 70's. I say this as the 70's did not have all the digital gimmicks of today that can even make me sound good - LOL. I rank 'Live And Let Live' with the likes of 'Frampton Comes Alive', Ted Nugent's 'Live Gonzo' and Foghat's 'Live' albums in the way that you can listen from track one to the last track and still want more. No fillers and the overall sound quality and mixing is simply awesome. I can listen to this album over and over. Sure, I can comment on original members vs. who new members and maybe overdubs, etc.. and be highly critical of each song, but I would rather stick to the overall quality of this disc(s). The vocals sound great as do the rest of the band.

LOOK HEAR - March of 1980 saw the release of "Look Hear?", 10cc's seventh album and the follow up to 1978's "Bloody Tourists". 10cc were still officially the same six piece band as they were on the previous album, consisting of Eric Stewart, Graham Gouldman, Rick Fenn, Duncan Mackay, Paul Burgess, & Stuart Tosh. Unfortunately, Eric Stewart suffered a major automobile accident in early 1979, and this resulted in him no longer mixing 10cc albums alone--it was difficult for him to listen at loud volume for extended periods. For the most part, "Look Hear?" finds Stewart & Gouldman still handling most of the songwriting together with each of them getting one solo composition apiece. Despite the lukewarm commercial reception, it's a damn good album--"One Two Five" is a fun, amusing look at the disco craze; "Lovers Anonymous" is a catchy, uptempo pop-rock tune (with a few twists) that mixes a yearning quality with gentle humor; Graham's tender "I Hate To Eat Alone" is an affecting, splendidly melodic ballad; "Strange Lover" is a brilliantly crafted, hook-filled tune with seamless incorporation of different musical segments, one of 10cc's trademarks; the album closer "L.A. Inflatable" finds Stewart indulging in his love for rockabilly to cool effect. Additionally, guitarist Rick Fenn wrote/ co-wrote three quality tracks--"Welcome To The World", co-written by keyboardist Duncan Mackay, has an usually strong progressive rock flavor for 10cc; the highly amusing "How'm I Ever Gonna Say Goodbye", co-written by Gouldman, is a super mellow, reggae-flavored tune with amusing vocals and obsessive-compulsive-themed lyrics--it's solid 'dumb' fun; Fenn's solo composition "Don't Send We Back" is uptempo and ultra catchy with witty lyrics and irresistible, ingenious lead guitar licks played by Eric Stewart. Unfortunately, the original album's middle tracks are disappointing. There are a pair of tracks that put Stewart's obsession with lovelessness and sex on full display, but to tentative effect--Stewart's solo composition "I Took You Home" is a reflective song seemingly about a first sexual encounter, and it's a stately ballad, but it's rather dull, tedious, & suffers from weak lyrics; the next song, "It Doesn't Matter At All" is credited to Stewart/ Gouldman, but feels like a Stewart composition all the way--this time it's about someone (Stewart?) wanting to take a chance with a woman that they're obsessed with, figuring that they may as well because "it doesn't matter at all"--it's kind of a pretty song, but again, it's on the dull side. Also, "Dressed To Kill" is a respectably crafted funk-rocker, but it's desperately lacking energy & force. So, it's clear that "Look Hear?" isn't one of 10cc's very best albums, but it's still a really good one that no serious fan should be without.

This long overdue CD re-release of the album contains two bonus tracks--the single edit of "One Two Five" and its non-LP b-side "Only Child", the latter of which features Gouldman on lead vocals and is quite forgettable. Still, for collectors, the bonus tracks are a blessing.

TEN OUT OF 10 - Wow, I almost have a hard time believing it, but Mercury has almost, ALMOST completely hit the nail on the head.

10cc's "Ten Out of 10" album was originally released in November of 1981 in the UK (incredibly, it failed to even chart there). A very different "Ten Out of 10" was subsequently released in the US in 1982, with the song "Memories" being partly remixed/ re-recorded, and 4 tracks from the original UK track listing being replaced altogether. What's more, there are at least a couple additional alternate mixes, plus another b-side that didn't end up on either the US or UK release.

Mercury has damn near collected the whole lot of this. Wisely, the original UK track listing, i.e. the first ten songs on this CD, are what we get first. Then we get the tracks that were added to the US release including the 'US Mix' of "Memories", plus the UK single mix of "Les Nouveaux Riches" and the additional b-side "You're Coming Home Again". All on a single CD. Wow.

Speaking strictly of the original UK album's track listing, it offered another potent dose of brilliant music from 10cc. Some considerable changes had taken place--drummer Paul Burgess who had played with 10cc since 1977's 'Deceptive Bends' was still on board, appearing on most of the tracks, but Duncan Mackay and Stuart Tosh who had joined the group for 1978's "Bloody Tourists" were gone, and Rick Fenn who had also played with the group since "Bloody Tourists" was only on two tracks. As a result, a handful of tracks were performed entirely by Stewart, Gouldman, & Burgess, but they did get assistance on keyboards from Vic Emerson on 4 tracks and Marc Jordan on 2 tracks, plus legendary session drummer Simon Phillips (who later on joined Toto following Jeff Porcaro's death) also played on a track. Additionally, unlike each of the previous two albums where a few tracks featured writing credits from other band members, "Ten Out of 10" was written entirely by Stewart and/ or Gouldman. The production, by Eric & Graham, is superb--the album sounds clear and crisp without being overslick. The original vinyl LP was actually digitally mastered by the late Melvyn Abrahams who mastered 10cc and 10cc-related projects for many years. 'Side 1' is essentially flawless--the riffy, moody album opener "Don't Ask", written and excellently sung by Graham Gouldman, is a masterful pop-rock song; "Overdraft In Overdrive" is infectious dumb fun; Stewart's "Don't Turn Me Away" is a powerful, pleading love song with trembling vocals from Eric; "Memories" is a warm, wonderfully wistful ode to youth--it starts off as a beautifully sad ballad before quickly, and effectively, switching to feel-good reggae for the chorus; the creepy and haunting "Notell Hotel" is an uncanny and somewhat funky track. 'Side 2' gets off to a terrific start in its own right with Stewart's infectious "Les Nouveaux Riches" which has a reggae-fied chorus that's utterly mind-boggling and ultra catchy at the same time; then there's "Action Man in Motown Suit" which starts off with an arrestingly dreamy, somewhat tropical feel before eventually giving way to a super fun, rousing chorus.

The 1982 US version of the album is also solid despite the loss of "Action Man In Motown Suit", the inclusion of the pointlessly 'revised' version of "Memories" (slightly botched although actually not all that different), plus the addition of the somewhat second-rate newer songs "We've Heard It All Before" (the verses are catchy but it's still slightly obnoxious) and "Tomorrow's World Today" (a lame commentary on technological advancement), the latter two of which both feature Gouldman on lead vocals. I have to stand corrected though regarding the ballad "Runaway", which I formerly accused of being a sadly half-hearted attempt at capturing the dreamy vibe of "I'm Not In Love"--it's actually a very tender, lovely Stewart vehicle. Also on the positive side is the insanely catchy, wonderfully pulsating "The Power Of Love", also featuring and co-written by Andrew Gold (who would later team up with Graham for Wax UK)--it was released in the UK as a single, but the US album version was tweaked with, resulting in a more powerful version.

Which leads to the ONE sole gripe I have with this particular CD reissue. The version of "The Power Of Love" included here is the UK single mix, not the preferrable US album mix. This is frustrating because the UK single mix already turned up on the 3 disc "Ultimate Collection". But I'm probably one of the only people on the planet to even notice all of this.

In closing, despite my "Power Of Love" gripe, Mercury has done one hell of an incredible job assembling this CD, and I recommend it enthusiastically.

WINDOWS IN THE JUNGLE - You've got to take your hats off to Mercury Records for this jaw-droppingly great CD reissue.

But to start, let me discuss the 8 tracks the original LP consisted of...

"Windows In The Jungle" originally came out in October of 1983, their last album before their initial disbandment, and geez, they sure did go out on an artistic high note.

Eric Stewart's "Frooty Rooties" solo album came out in 1982, & it showed him downplaying the humor element of 10cc, and instead, delving deeper into the hauntingly serious (with a capital 'S') vibe which he'd begun to pursue more heavily on certain tracks on the previous couple 10cc albums--Stewart's lyrical preoccupation with lovelessness/ sex-without-love came roaring to the forefront, while his characteristic humor/ tongue-in-cheekness largely fell by the wayside. That vibe is very much carried over on "Windows...", making this feel more like a Stewart solo album opposed to a proper 10cc release--although songwriting on every track here is credited to Eric Stewart/ Graham Gouldman, the record seems to be mostly Stewart's baby. Graham Gouldman's clearly audible on background vocals throughout, plus samples of his "Kit Mambo" track (from his 1980 "Animalympics" soundtrack) bookend the album, but overall his influence, though detectable, is not felt all that strongly--his contributions become even more suspect when considering that a track called "She Gives Me Pain", the b-side to the "Feel The Love" single, was credited to Stewart/ Gouldman even though it's just an ever-so-slighty remixed version of "Disco Bumpin'" that was on Eric's 1980 "Girls" soundtrack & had there been credited to Stewart/ [Duncan] Mackay (!). Additionally, nearly all the lead vocals on "Windows..." are from Eric, not a bad thing considering he's one of the finest vocalists in history and the fact that the material suits him perfectly. Speaking of vocals, there's a load of those densely textured '10cc style' harmony vocals on "Windows...", and they're simply amazing. Another change with this album is that drummer Paul Burgess who had played with 10cc since 1977's 'Deceptive Bends' was gone--through working with Paul McCartney, Stewart had met legendary session drummer Steve Gadd who subsequently was brought in to play on "Windows..." Simon Phillips, another session legend who had previously worked with Eric & 10cc, also drums on here, as does Stuart Tosh on "Food For Thought".

The resulting album finds Stewart realizing his serious ambitions in spellbinding fashion. The compelling 8-minute album opener "24 Hours" is an evocative, dreamy, 'day in the life'-type song with Eric Stewart in peak form vocally, which is saying a lot, and it's wonderfully melodic, moves seamlessly from section to section, and conveys a variety of emotions--it's simply masterful and absolutely exquisite. "Feel The Love" is an infectious, reggae-flavored pop tune with a soaring chorus, terrific background vocals, and an uncanny drum performance from Steve Gadd. "Yes I Am!" is an atmospheric, emotional romantic ballad which segues into the moody "Americana Panorama" which has great wordplay. The upbeat "City Lights" is a fun uptempo pop-rocker, and it's got cool funky bridge sections that have Gouldman on lead vocals. "Food For Thought" is also reggae-flavored and super catchy, and has humourous lyrics relating physical attraction to food terminology. "Working Girls" is a biting examination of what people will resort to in order to 'get ahead' in the world. The album closing epic "Taxi! Taxi!" is in quite a similar vein to Eric's "The Ritual" (from "Frooty Rooties")--it's a song about finding escape from the 'rat race' and falling in love--and it's dreamy, wonderfully melodic, arrestingly dramatic, and has a wonderful tenderness to it; it masterfully brings closure to the album.

Over a year ago, in my previous review for "Windows In The Jungle", I stated that it would be great to see "Windows In The Jungle" made readily available on CD with the terrific non-LP track "The Secret Life Of Henry" added as a bonus track. With this reissue, Mercury has heeded the call.

However, not to be outdone, they have added even more. They've included the live versions of "Dreadlock Holiday" and "I'm Not In Love" that previously came out on the b-side of a 10 inch vinyl single for "24 Hours"--these live takes were recorded at the Wembley Conference Centre in March of 1982. They've also included the aforementioned "She Gives Me Pain", plus radio edits for the three songs that were released as A-sides from the album, those being "24 Hours", "Feel The Love", and "Food For Thought". These live versions and radio edits aren't exactly crucial, but for collectors, their inclusion is a blessing.

Smartly, Mercury saved the aforementioned "The Secret Life Of Henry" for the end--it makes for an absolutely ideal album-closer. It's an epic song about wanting to break out of the cobwebs of everyday life with a propulsive, high-flying main song portion. Thematically, it fits in perfectly with "Windows"' main album portion.

Overall, "Windows..." is so criminally underrated, it's beyond all belief--this is seriously one of THE best albums ever made. Sure, it's got a considerably different overall vibe than their other albums, but it's great in its own right (way better than the overrated "Deceptive Bends"). "Windows In The Jungle" is definitely a must-have for any serious listener--I can't see how any true 10cc fan will go wrong with it, and the fact that Mercury has taken it a couple more miles with this reissue is all the more wonderful.

MEANWHILE - MEANWHILE,,,,a really good 10CC cd.  It's a shame that it was never realeased here in the U.S.A.
It reunites all 4 original members,,,Lol Creme was living here in The HOLLYWOOD Hills & came down at his brother in laws request to sing backing vocals (with a killer Lead vocal by Kevin Godley on "The Stars didn't show" a song about the late singer Roy Orbison)

Look, This CD is a gem, It has Paul McCartney the whole ORIGINAL 10cc & Andrew Gold of WAX/UK on it.