CIRCUS

Circus

AVinyl reissue for Crimson-related curio.

lthough best known as the group’s saxophonist, Mel Collins quit to join King Crimson in 1970, this newly remastered vinyl edition of Circus’ sole album makes it clear that they also exemplify the experimental spirit that was in the air in 1969.

Having paid their dues on the r’n’b and pop circuit in the mid-60s as The Stormsville Shakers, they rebranded as Circus and opted to follow the more expansive sounds emanating from the late-60s underground scene. Following vocalist Phillip Goodhand-Tait’s departure, the remaining quartet embraced a deeper, heavier rock feel, applying it to extended jazzy arrangements of The Beatles’ Norwegian Wood, or rocking up the Charles Mingus barnstormer, II BS. With both enjoying vivid performances here, it’s easy to understand why Circus created such a buzz at their Marquee Club residency, impressing audience member Robert Fripp, then still months away from King Crimson’s debut.

Recorded in two days without any frills by producer Ray Singer, whose credits included the original Nirvana and Peter Sarstedt, it captures something of Circus’ onstage energy as well as their more introspective leanings. In addition to his exceptionally fluid sax and flute, Collins shows his skills as a sensitive songwriter with Father Of My Daughter and Pleasures Of A Lifetime, the latter featuring an uncredited performance by Collins’ father, Derek on flute. These pieces sit in that perfect sweet-spot of late psychedelic melancholia, leavened with sunny vocal harmonies.

Their cover of Tim Hardin’s Don’t Make Promises downplays the song’s country-tinged origins and uses it as a springboard for Collins’ racing flute extemporisation whose technical pace and melodic invention ably demonstrate why this young player was turning so many heads in 1969. Ultimately, his decision to join forces with Fripp put paid to the group. However, as this collection shows, Circus deserves to be remembered as more than just a footnote in the King Crimson story.