Cherry Beat - Recording Sessions (Part Twenty - Post-Reunion Album Releases)

October 2009
Although group activity of Cherry Beat was largely on hiatus at this point, they did record a cover or two during this period, as well as record overdubs for a remix of an old recording of a song they'd covered in 1971.

But aside from that, this period focused mainly on reissuing a few of their studio albums with previously unreleased mixes of songs, and releasing a compilation album or two.

31st October 2009
Although band activity was largely on hiatus at this point, the band members of Cherry Beat would record a cover of the 50's rock and roll song "Ain't That a Shame" by Fats Domino.

Cherry Beat recorded the song after realising that they'd never recorded their own version of the song even though they really wanted to. Cherry Beat's cover featured Sam Whitby on lead vocals.

13th November 2009
Torquil Dohrn and Wilbur Milardo respectively record alto saxophone and percussion overdubs for their cover of "Ain't That a Shame" on this day. Torquil would perfect and record the baritone and tenor saxophone overdubs the following day.

Surprisingly though their rock and roll cover of Micky Dolenz's song "Don't Do It" had already been recorded in 1971 and released on their rock and roll album comprised of their 1971 rock and roll covers in 1988, Torquil recorded baritone and tenor saxophone overdubs for the song on this day, hoping to model a new updated mix of the song.

14th November 2009
Torquil Dohrn records baritone and tenor saxophone overdubs for the band's cover of "Ain't That a Shame" on this day. Torquil found it a bit of a challenge to record the baritone saxophone overdub since he only occasionally played the baritone saxophone, and was far more experienced with the tenor and to a greater extent the alto saxophone.

Torquil also recorded baritone and tenor saxophone overdubs for the band's song "Bop Bop Shuop" even though it was recorded in 1976 and released as a bonus track on their 1976 studio album "Neapolitan" in 1994. As with the band's rock and roll cover of "Don't Do It", Torquil wanted to model a new updated mix of the song.

15th November 2009
Surprisingly though their rock and roll cover of The Shirelles' song "Boys" had already been recorded in 1971 and released on their rock and roll album comprised of their 1971 rock and roll covers in 1988, Torquil recorded a tenor saxophone overdub for the song on this day, hoping to model a new updated mix of the song.

The baritone saxophone overdub recorded for "Don't Do It" on the 13th November 2009 at 3:42 PM and the baritone saxophone overdub recorded for "Bop Bop Shuop" on the 14th November 2009 at 4:56 PM were also subsequently removed, and only the tenor saxophone overdubs were included for the new mixes of both tracks.

16th November 2009
Surprisingly though their rock and roll cover of The Cookies' song "Chains" had already been recorded in 1971 and released on their rock and roll album comprised of their 1971 rock and roll covers in 1988, Peter McDonald, Sam Whitby, Torquil Dohrn, and Devon O'Connell recorded handclap overdubs for the song on this day, hoping to model a new updated mix of the song.

It was during this same session that Torquil recorded a tenor saxophone overdub for the song. The intention was to make the band's old recording of the song more similar to the Cookies' original version. The instrumentation of the original mix was based off The Beatles' cover of the song.

17th November 2009
Surprisingly though their rock and roll cover of "Kansas City/Hey, Hey, Hey, Hey! (Goin' Back to Birmingham)" had already been recorded in 1971 and released on their rock and roll album comprised of their 1971 rock and roll covers in 1988, Torquil Dohrn recorded baritone and tenor saxophone overdubs for the "Hey, Hey, Hey, Hey!" part of the medley on this day, hoping to model a new updated mix of the song.

18th November 2009
Surprisingly though their rock and roll cover of The Isley Brothers' song "Shout" had already been recorded in 1971 and released on their rock and roll album comprised of their 1971 rock and roll covers in 1988, Sam and Torquil respectively recorded grand piano and tenor saxophone overdubs for the song on this day, hoping to model a new updated mix of the song. Sam also recorded a grand piano overdub for their cover of "Don't Do It" on this day.

19th November 2009
Surprisingly, the band decided that more work still needed to be done on their rock and roll cover of "Shout". Peter McDonald and Torquil Dohrn respectively recorded trumpet and trombone overdubs for the song on this day, hoping to finish wok on the new updated mix of the song.

20th November 2009
More work was needed to complete the new mix of the band's 1971 rock and roll cover of "Shout" on this day. Torquil Dohrn recorded alto saxophone, trumpet, and baritone saxophone overdubs for the song on this day. He also double tracked the trumpet and trombone overdubs that he added. At long last, the new mix was complete.

According to Torquil, the band's intention was to model a new mix of their 1971 cover of "Shout" to make it seem more like the version The Ronettes performed in 1965 for The Big TNT Show, which was difficult because they were unsure exactly what instruments were included in the backing instrumentation of the recording.

Gregory Dogan served as the producer for the recording sessions for "Ain't That a Shame" and the overdubs for "Don't Do It", "Bop Bop Shuop", "Boys", "Chains", "Kansas City/Hey, Hey, Hey, Hey! (Goin' Back to Birmingham)", and "Shout".

1st February 2010
Album Reissue — Still In Business

11th March 2010
A new greatest hits album was released on this day. It collected up many of the most popular songs released by Cherry Beat from 1978 to 2006, though several of the band's lesser known songs from that time-span had been handpicked by the band members and included on the album as well. So in true sense, it is also a compilation album.

While the instrumentation on all the mixes on this album are identical to those found on the original singles and albums, most of the mixes found on this album have the lead vocals and drums placed in the middle of the stereo picture, to give the album a more modernised sound and feel.

"Let Us Ride" and "Vision of My Life" are presented in their 2001 stereo mixes from the "Singles Collection". These mixes are identical to their original 1978 stereo mixes that were released as a single. The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Instant Carbonara" and "Key Lime Pie" are presented in their 2001 stereo mixes from the "Singles Collection". These mixes are identical to their original 1980 stereo mixes that were released as a single. The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Sick and Tired of Travelling", "I Don't Want to Be a Womaniser", and "Chaos and Corruption" are presented in their 2001 stereo mixes from the "Singles Collection". These mixes are identical to their original 1981 stereo mixes that were released on their respective singles. The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"A World without Romance" is presented in it's 2001 stereo mix from the "Singles Collection". This mix is identical to it's original 1981 stereo mix that was released as a single and on the band's 1981 studio album "X-Rayed". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Moonlight Bay" is presented in it's 2001 stereo mix from the "Singles Collection". This mix is identical to it's original 1982 stereo mix that was released as a single and on the band's 1982 studio album "Sunset Stadium". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Pigeon Post" is presented in it's 2001 stereo mix from the "Singles Collection". This mix is identical to it's original 1982 stereo mix that was released as a single. The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Mochaccino Springs" and "Ocean Ripple" are presented in their 1999 UK stereo mixes. These mixes were released as a single in 1999 in the UK and most other countries, as well as on the UK album release of "Paintball Arena" in 2000. The UK stereo mixes differ slightly from the US stereo mixes that were released as a single in the US, as well as on album releases of "Paintball Arena" outside the UK.

The UK and US mixes use the same instrumentation but the UK mix of "Mochaccino Springs" has a slightly rawer and crisper sound, more prominent Indian instrumentation and Moog synthesizer sounds, and a more prominent echo effect, particularly during the final fade. The US mix on the other hand has a slightly fuller sound, more prominent strings, and a more prominent fuzzed electric guitar, although the remaining instrumentation in this mix is more balanced.

The UK mix of "Ocean Ripple" has a slightly rawer and crisper sound, a more prominent electric piano, as well as more prominent percussion, and more prominent water bubbling, particularly during the final fade. The US mix on the other hand has more a slightly fuller sound, and more prominent strings, although the remaining instrumentation in this mix is more balanced.

"Paintball Attendant" is presented in it's original 1999 stereo mix that was released on the band's 2000 studio album "Paintball Arena". "The Dream is Over", "Romance is My Life", "Blossom of Romance", and "Blissful Night" are presented in their 2005 stereo mixes that were released on their respective singles, and on the band's 2006 studio album "Bucket Full of Cherries".

"Rights from Wrongs" and "Moolah Mogul" are presented in their original 1981 stereo mixes that were released on their respective singles because the vocals and/or instruments frequently switched between channels, so remixing the songs would spoil their experimental feel.

"Moolah Mogul" is presented in it's original 1981 stereo mix that was released as a single which differs slightly from the mix released on "X-Rayed" as the harmony and backing vocals dubbed by Peter were omitted from the single mix, because they weren't recorded in time for the song's single release.

"If I Lost Your Love", "I Love You Girl", "Shannon", and "You Make Me Shiver" are presented in new 2009 stereo mixes which are identical to their original 1978 stereo mixes that were released on the band's 1978 studio album "Rocky Road". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"A Dream of a Dream", "Vicky-Li", and "I'm Touched By Your Love" are presented in new 2009 stereo mixes which are identical to their 1979 stereo mixes that were released on the band's 1979 studio album "Drink Up". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Fire! Fire! Fire!" and "Moment of Glory" are presented in new 2009 stereo mixes which are identical to their 1980 stereo mixes that were released on the band's 1980 studio album "Blast Off!". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Savant Supreme" and "This is Romance" are presented in new 2009 stereo mixes which are identical to their 1981 stereo mixes that were released on "X-Rayed". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"Knee Length Skirt" is presented in a new 2009 stereo mix which is identical to it's original 1982 stereo mix that was released on "Sunset Stadium". The only differences are the lead vocals and drums which are placed in the middle of the stereo picture.

"I'm Nothing without You Girl" and "Love Me Girl" are presented in their original 1981 stereo mixes that were released on "X-Rayed" because the vocals and/or instruments frequently switched between channels, so remixing the songs would spoil their experimental feel.

24th March 2010
The band was back recording more overdubs for two old recordings that had been made in 1971 and 1973. The band's rock and roll cover of "Sweet Little Sixteen" by Chuck Berry had been started in 1971 and completed in 1973. But even so, the band still decided to go back and do more work on the outtake. Similarly, the band's cover of another Chuck Berry song "You Can't Catch Me" had been recorded in 1973, and they felt that the track still needed more work.

On this day, Sam Whitby recorded lead guitar overdubs for "Sweet Little Sixteen" and "You Can't Catch Me", while Peter McDonald and Torquil Dohrn recorded Höfner 500/1 Violin Bass Guitar overdubs. Devon O'Connell, Milford Ekdahl, and Wilbur Milardo recorded bongo drum, tambourine, and maraca overdubs respectively.

This would be one of the first examples where Milford would play a percussion instrument, his usual role being a guitarist and keyboardist. The tambourine overdubs were mixed very low for both tracks, while the bongo drums were fairly prominent in "You Can't Catch Me", while they weren't nearly as prominent in "Sweet Little Sixteen".

25th March 2010
Three sets of overdubs for each of the Chuck Berry covers "Sweet Little Sixteen" and "You Can't Catch Me" were recorded on this day. The first overdubs featured Torquil Dohrn and session musician Clotilde Whiddon on alto-saxophone. The second overdubs featured Peter McDonald, Torquil, and session musician Wilburn Charboneau on trumpet. The third overdubs featured Torquil and session musician Leon Baccus on tenor saxophone.

26th March 2010
Torquil Dohrn finished up the wind instrument overdubs for "Sweet Little Sixteen" and "You Can't Catch Me" on this day. Contributing French Horn, baritone saxophone, and Boehm System Clarinet overdubs. He and session musician Karin Lomonaco also contributed woodwind overdubs.

28th March 2010
Although the band had already released their 1971 rock and roll covers of "Rip It Up" that had originally been recorded by Little Richard, and "Peggy Sue" that had originally been recorded and released by Buddy Holly on their debut album "Cherry Beat" and their second album "Show Business" respectively, the band decided that they wanted to model new mixes of both recordings. Milford Ekdahl recorded acoustic guitar overdubs for both songs, while Wilbur Milardo recorded grand piano overdubs for "Rip It Up" and percussion overdubs for "Peggy Sue".

30th March 2010
Peter McDonald, Milford Ekdahl, and Devon O'Connell's wife Esther O'Connell recorded grand piano overdubs for "Sweet Little Sixteen" and "You Can't Catch Me" on this day, while Torquil Dohrn, Wilbur Milardo, and Peter's wide Elodia McDonald recorded electric piano overdubs. Another five series of overdubs would be necessary in order to complete the new mixes of both tracks.

31st March 2010
Peter McDonald, Sam Whitby, Milford Ekdahl, and Wilbur Milardo completed the overdubbing of keyboard instruments for their new mixes of "Sweet Little Sixteen" and "You Can't Catch Me" on this day. This time being keyboard overdubs.

1st April 2010
Peter McDonald, Sam Whitby, and Torquil Dohrn recorded drum kit overdubs for their new mixes of "Sweet Little Sixteen" and "You Can't Catch Me" on this day.

2nd April 2010
Peter McDonald, Torquil Dohrn, Milford Ekdahl, and session musician Terrence Choy recorded rhythm guitar overdubs for their new mixes of "Sweet Little Sixteen" and "You Can't Catch Me" on this day.

3rd April 2010
Peter McDonald recorded lead guitar overdubs for the band's new mixes of "Sweet Little Sixteen" and "You Can't Catch Me" on this day, while Sam Whitby and Torquil Dohrn recorded electric guitar overdubs.

4th April 2010
Peter McDonald recorded electric guitar overdubs for the band's new mixes of "Sweet Little Sixteen" and "You Can't Catch Me" on this day. At long last, the new mixes of both songs had been completed.

8th May 2010
Album Reissue — Cherry Beat

The band's 1971 studio album "Cherry Beat" was reissued on this day with three previously unreleased mixes of tracks featured on the original album, or its 1992 reissue.

The 2010 reissue contained an early alternate mix of "Rainballs" presented in its original not so psychedelic form. The original released mix featured overdubs that gave the song its signature psychedelic sound.

The first master take of "Rainballs" was recorded on the 9th July 1971 which featured Peter McDonald on lead vocals and Höfner 500/1 Violin Bass Guitar, Sam Whitby on harmony vocals and rhythm guitar, Torquil Dohrn on harmony vocals and electric guitar, Devon O'Connell on Ludwig drum kit, and Chudley Maron on electric piano.

The second master take was recorded on the 17th July 1971 which featured Peter on acoustic guitar, Sam on hammond organ, Devon on tambourine, and Chudley on rain-stick. It was during this same session that Torquil's lead guitar was turned around so that it was playing backwards.

The third master take was recorded on the 18th July 1971 which featured Sam on tambura, Torquil on sitar, and Devon on tabla. The fourth master take was recorded on the 19th July 1971 which featured tape loops by Peter, Sam, Torquil, and Devon.

The band decided that for the 2010 reissue of "Cherry Beat", they would release the earliest mix of "Rainballs" they had, with the electric guitar round the right way, and without all the overdubs from the 17th, 18th, and 19th July 1971.

The original released mix of "Shake 'Em Up" featured a boehm system clarinet played by session musician Alphonse Labounty. The song had been recorded as one master take on the 15th October 1971 without any overdubs. But the band decided to release a new mix of the song, without the boehm system clarinet, to give the song a more classic rock and roll sound, and less of a jazzy feel.

The original released mix of "Roll over Beethoven" was a combination of two different master takes. The first master take from the 11th September 1971 featured Peter McDonald on double bass, Sam Whitby on vocals and rhythm guitar, Torquil Dohrn on lead guitar, Devon O'Connell on Ludwig drum kit, and Chudley Maron on grand piano.

The second master take from the 13th October 1971 featured handclaps recorded by Peter, Sam, Torquil, and Devon. It was during this same session that Sam's vocal was double tracked. For the 2010 reissue of "Cherry Beat", an early mix of "Roll over Beethoven" was issued without the handclaps, and without the double tracking to Sam's vocal.

15th May 2010
While most of the band's covers for their upcoming rock and roll covers album were complete, it was decided that two more covers would be recorded for the album. On this day, the band recorded a cover of the 50's song "Money (That's What I Want)" by Janie Bradford and Berry Gordy at the Eastern Sound Theatres.

Cherry Beat's cover of the song featured Peter McDonald on lead vocals, although the band had tried recording several takes of the song in the studio with Sam Whitby and Torquil Dohrn handling the lead vocal. Cherry Beat's recording of the song was noticeably heavier and more riff-based than the original version by Barrett Strong, which was partly due to the band using live instruments.

25th May 2010
The band began to work on one last cover for their rock and roll covers album on this day. The composition in question was a 1957 rhythm in blues song "Just Because" which had been written and originally recorded by Lloyd Price.

Once again, the band wasn't initially sure who should do the vocals on their recording. Although they did try recording the song with Sam Whitby on vocals, the vocal duties were ultimately given to Torquil Dohrn, as they felt that it fitted his vocal range better.

26th May 2010
Peter McDonald, Sam Whitby, Torquil Dohrn, and Milford Ekdahl record keyboard overdubs for their cover of "Just Because" on this day. Wilbur Milardo also recorded grand piano overdubs during the same session.

27th May 2010
Peter McDonald, Sam Whitby, and Wilbur Milardo record electric piano overdubs for their cover of "Just Because" on this day.

28th May 2010
Sam Whitby and Torquil Dohrn recorded grand piano overdubs for their cover of "Just Because" on this day. Later on the same day, Devon O'Connell and Milford Ekdahl recorded percussion overdubs. Both pairs of overdubs were recorded at Oxford Studios.

29th May 2010
Peter McDonald, Sam Whitby, and Torquil Dohrn record electric guitar overdubs for their cover of "Just Because" on this day. Milford Ekdahl also recorded an acoustic guitar overdub during this same session.

30th May 2010
Peter McDonald, Torquil Dohrn, and Milford Ekdahl record rhythm guitar overdubs for their cover of "Just Because" on this day.

31st May 2010
Sam Whitby and Torquil Dohrn record Höfner 500/1 Violin Bass Guitar overdubs for their cover of "Just Because" on this day.

6th June 2010
Peter McDonald and Sam Whitby were back at Eastern Sound Recorders, recording lead guitar overdubs for their cover of "Just Because" on this day.

9th June 2010
Peter McDonald, Sam Whitby, and Torquil Dohrn recorded ludwig drum kit overdubs for their cover of "Just Because" on this day. Sam also recorded percussion overdubs for "Just Because", later that evening.

11th June 2010
Torquil Dohrnn recorded boehm system clarinet and French Horn overdubs for the band's cover of "Just Because" on this day.

13th June 2010
Peter McDonald, Torquil Dohrn, and session musician Wilburn Charboneau record trumpet overdubs for the band's cover of "Just Because" on this day.

15th June 2010
Torquil Dohrn and session musician Clotilde Whiddon record alto saxophone overdubs for the band's cover of "Just Because" on this day.

17th June 2010
Torquil Dohrn and session musicians Leon Baccus and Sherilyn Dancer record tenor saxophone overdubs for the band's cover of "Just Because" on this day.

20th June 2010
Torquil Dohrn and session musician Lacresha Smail record baritone saxophone overdubs for the band's cover of "Just Because" at Oxford Studios on this day.

23rd June 2010
Torquil Dohrn and session musician Karin Lomonaco record woodwind overdubs for the band's cover of "Just Because" on this day. At long last, the overdubbing of the song was complete.

18th September 2010
As a studio exercise, Peter McDonald recorded a cover of The Beatles' song "Her Majesty" on this day. His version is significantly longer than Paul McCartney's original version, since the lyrics are repeated, followed by an instrumental section which is the same but without the vocals, and then the lyrics are repeated one last time before the song finishes.

Peter's recording of "Her Majesty", despite being recorded before the band's rock and roll covers album was released, was not immediately released, since it was just a studio exercise and wasn't intended to be released on that album anyway.

17th November 2010
Album Release — Childhood Favourites

A rock and roll album "Childhood Favourites" which consisted of recordings of some of the band's favourite covers was released on this day. Many of the recordings were remixed versions of covers recorded between 1971 and 1976, along with three new cover recordings recorded between 2009 and 2010. The remixes of the tracks that featured new overdubs recorded during 2009 and 2010, along with the new tracks themselves would be produced by Gregory Dogan, although the remainder of the tracks that didn't feature new overdubs would remain credited to their original producer, Chudley Maron.

"Honey Don't", "Soldier of Love", and "The Twist" are presented in remixed formats with the lead vocals and drums placed in the middle of the stereo picture, to give the songs a more modernised sound and feel. "Honey Don't" is otherwise identical to it's 1979 stereo mix, while "Soldier of Love" and "The Twist" are otherwise identical to their 1974 stereo mixes. "Kansas City/Hey, Hey, Hey, Hey!" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features baritone saxophone and tenor saxophone overdubs which weren't included in the original 1971 stereo mix, as the new overdubs weren't recorded until 2009.

"You Can't Catch Me" and "Sweet Little Sixteen" were remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mixes feature Höfner 500/1 Violin Bass Guitar, alto saxophone, trumpet, tenor saxophone, french horn, boehm system clarinet, woodwind, electric piano, ludwig drum kit, rhythm guitar, electric guitar, grand piano, keyboard, lead guitar, bongo drum, tambourine, and maraca overdubs which weren't included in the 1973 stereo mixes, as the new overdubs weren't recorded until 2010. While the earlier mixes featured roughly the same arrangements as the original versions by Chuck Berry, the new mixes featured almost the same arrangements as the cover versions by John Lennon, except that like Chuck Berry's version of "Sweet Little Sixteen", Cherry Beat's version had a significantly faster tempo than John Lennon's version did. Tellingly, none of the old instruments that weren't included in the cover versions by John Lennon were removed from the Cherry Beat recordings.

"Don't Do It" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features tenor saxophone and grand piano overdubs which weren't included in the original 1971 stereo mix, as the new overdubs weren't recorded until 2009. "Boys" and "Bop Bop Shuop" (the only song featured on "Childhood Favourites" that was an original composition by the band, it was included because it was inspired by the song "Boys" and had a cover feel to it) were remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mixes featured tenor saxophone overdubs which weren't included in the respective 1971 and 1976 stereo mixes, as the new overdubs weren't recorded until 2009.

"Rip It Up" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features acoustic guitar and grand piano overdubs which weren't included in the original 1971 stereo mix, as the new overdubs weren't recorded until 2010. It is one of two songs on this album to have been immediately released on one of the band's studio albums from the 1970's. The other being "Peggy Sue" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features acoustic guitar and percussion overdubs which weren't included in the original 1972 stereo mix, as the new overdubs weren't recorded until 2010.

"Chains" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features handclaps and tenor saxophone overdubs which weren't included in the 1971 stereo mix, as the new overdubs weren't recorded until 2009. While the earlier mix featured roughly the same arrangement as the cover version by The Beatles, the new mix featured almost the same arrangement as the original version by The Cookies, although none of the old instruments that weren't included in the original version by The Cookies were removed from the Cherry Beat recording.

"Shout" was remixed and reproduced by Gregory Dogan for "Childhood Favourites". In addition to having the lead vocals and drums placed in the middle of the stereo picture, the new mix features tenor saxophone, trombone, alto saxophone, trumpet, baritone saxophone, and grand piano overdubs which weren't included in the 1971 stereo mix, as the new overdubs weren't recorded until 2009. While the earlier mix featured roughly the same arrangement as the cover version by The Beatles, the intention of the new mix was to get the arrangement more like the cover The Ronettes did in 1965 for The Big TNT Show, which was difficult because they were unsure exactly what instruments were included in the backing instrumentation of the recording.

The album's reception was mostly positive in the United Kingdom and the United States but mostly mixed everywhere else. Some critics praised the "Wall of Sound" approach to some of the new mixes, while others were not so enthusiastic, saying that they didn't see the point, and that most of the songs on the album were not immediately released, and had been released as outtakes on reissues of the band's studio albums or on the band's album of 1971 rock and roll covers. So they didn't see the point of the band making new mixes of the songs that they either never intended to be released, or were previously rejected from their studio albums from the 70's.

The album managed to reach #5 on the chart in the United States but only briefly. It wasn't quite as successful in the United Kingdom, only reaching #11 for a brief period. Peter McDonald and Sam Whitby were nit picky about the album, saying that no one paid careful attention to the number of songs each band member got featuring themselves on lead vocals. They said that they should have been more careful because they felt that there was way too much Torquil Dohrn on the album.