The release appears on RPM- which is one of the sub-labels of Cherry Red records- so you know you are granteed of a well produced, researched & presented set. The three discs each come in their own mini colour slip-sleeve that replicate the original releases artwork, and each disc features between three & five rare tracks.  Then we have a thirty-page inlay booklet- this features a lengthy new write-up about the band, which takes up most of the booklet- plus a host of band pics, concert posters, etc. With the whole thing coming in a sturdy flip side box.

The band was formed in 1974 in a cellar in Brixton, by lead-singer/ songwriter/ guitarist Richard Strange. He was joined by Urban Blitz on electric violin & lead guitar.  Stoner on bass & backing vocals. And Peter DiLemma on drums &  backing vocals.  And really from the very start their  sound was very difficult to tie down, as even from their first album you had elements of sawing avant rock, proto-punk aggression- sitting alongside more formal elements of pub rock, darker glam, and rock pop.  All of the three albums here were originally released by major label Polydor Records, but they never fully settled into one set genre- which of course meant their appeal would be both limited & cult.

So first up we have the band’s debut album Late Night Movies All Night Brainstorms which appeared in March of 1976’s and offered up eight tracks. These moved from the anarchic -jigging & galloping opener "Waiting", which brings together chugging proto-punk guitars,  bounding bass, searing  ‘n’ sawing eclectic violin playing, and Richard Stranger’s punchy vocals.  Onto the more moody-yet-building “Mitzi’s Cure”- with its tight & clean guitar strumming, electro-violin swoops, and rising ‘n’ simmering chorus.  Onto to the epic nearing nine minutes of  “The Noises Of The Evening”  which moves from strutting & angular rock groove opening. Onto stripped-back gentle guitar picking, violin swoons, and eerier effect stretched sing-song lead vocals. Though to chugging & searing mixers of art rock & proto-punk.  As debuts go Late Night Movies All Night Brainstorms does see the bands sound pretty much fully formed & realized. Sure you do get hints of their influences, like Velvet Underground, Bowie, gutsy London pub rock, and Roxy Music- but as a whole, there is enough originality, flare, and swagger to make it stand up well.  Bonus wise on this disc you get a selection of tracks taking in outtakes demos, & rehearses- and as you’d expect this shows the band in more loose, playful, and punchy mood.

Disc two takes in the band's second album Figments Of Emancipation, and this appeared just six months after their debut in October 76. The original album took in seven tracks, and of the three albums here I’d say it’s my favorite. Firstly the tracks are often more dynamic & eventful in their unfolds. Next, the production seems a lot more detailed & layered. The album as a whole seems to flow better, feeling more balanced. And lastly, I rather like the addition of soulful banks of female gospel backing vocals, that appear on a few tracks, which adds the album a distinctive feel. A few of my favorite moments come in the form of "Suicide City"- which opens with a gloom refrain of bass ‘n’ sawing violin. Before moving onto a tuneful blend chugging guitar & swooning strings, and a great rousing chorus bringing together Strange & the soulful female backing vocals. The bonding guitar meets searing violin proto-punk of the track "Doctors Of Madness". Or malevolent ‘n’ edgy dirty rock shimmer  & string simmer of the last track "Out". Once again on the end of the disc, we get a selection of extra tracks, and these take in three demo tracks from 1976.

The final disc in the set takes in 1978’s Sons Of Survival- this album took in ten tracks, and for me, it’s the least effective here. To start with the band's trademark blend of often tight guitars & sawing violin seems a bit too familiar and at times a little flat. Next, there seems more of an attempt to focus the band's sound towards a punk sound- whether this was the label or the band themselves I don’t know- but it just feels a little contrived & forced. For the most part, the tracks here are a lot punchy, upbeat & more simplistic- which I guess gives the whole thing a more urgent & at times sneering vibe, but I’m afraid I miss the band's more layered & dynamic approach. It’s listenable enough as late 70’s album go I guess, but ultimately you feel the band originality & spirit seems to be fading. On this disc we get five bonus tracks- these take tracks from the band's last gig in 1978, and a few other odds ‘n’ ends.

There’s little doubt that Doctors Of Madness where an important if often forgotten, part of rock music & it’s development in the 1970’s. And at their prime, they were certainly both daring & distinctive. Perfect Past is a timely and much-deserved reminder of the band's talent, and if you are interested in guitar-based music of the 70’s it’s well worth a purchase.