Do They Hurt? (1980) is the fifth album by British jazz fusion group Brand X. To many, Brand X was either a source of great inspiration or great consternation. Either way, the band was never boring. With DO THEY HURT? Brand X further explores the far reaches of musical experimentation to create their unique fusion. The core members of bassist Percy Jones and guitarist John Goodsall are present, with drummer Mike Clark replacing Phil Collins on most tracks. Also making only a brief appearance, having been mostly replaced by Peter Robinson, is original keyboardist Robin Lumley.

Without the drumming of Phil Collins, who does appear on some of Brand X's albums, Masques still maintains a snug, jazzy-prog milieu and comes off clean and tight. Each song has a different beat, speed, and tempo with a satisfying assortment of keyboards and percussion instruments to keep the entire album afloat. Resounding xylophone and chimes outline the music on the seven tracks, with "Earth Dance" and "The Poke" coming up a little bit stronger than the rest. Most notably is the superb musical interplay of all the instruments used, and the way in which they enhance and benefit one another.

Lest the momentum of Moroccan Roll and its relative chart success go to waste, Brand X released a stopgap solution with Livestock, featuring three recent live tracks and two stockpiled studio tracks that actually predate the Moroccan Roll sessions by two months. As might be expected, it's not their most enduring work, although the inclusion of three new originals and the clean recording obtained from the Hammersmith Odeon and Marquee Club performances produce respectable results. Two of the three live tracks feature drummer Kenwood Dennard, who lends his superlative skins to the smooth fusion of "Nightmare Patrol" and a frenzied reading of the popular "Malaga Virgen." (Genesis had finished their tour that same year, so you can't begrudge Phil Collins the holiday.) Collins' lone live appearance occurs on the two-part "Isis Mourning," which begins as an atmospheric piece punctuated by Pert's percussion and Percy's popping bass before stabilizing in the second part under Collins' steady rhythm.

Phil Collins' seemingly endless well of energy afforded him two careers: one as the drummer/vocalist in Genesis, and a second as a prolific session musician. It was in this second scenario that Collins hooked up with Percy Jones, John Goodsall, and Robin Lumley during sessions for Brian Eno, Eddie Howell, and Jack Lancaster. The quartet soon formed Brand X, a fusion jazz band that matched the prodigious rhythms of Collins and fretless bassist Jones with the atmospheric melodies of Goodsall and Lumley. Unorthodox Behaviour sets the stage for what would follow: music that plies the same sonic territory as Weather Report, Mahavishnu Orchestra, and the like, punctuated by the distinctive styles of individual members.

Is There Anything About? is the seventh album by British jazz fusion group Brand X. It is the last album to feature longstanding members Robin Lumley and Phil Collins. It was assembled from outtakes from the 1979 sessions. These sessions produced around twenty tracks which became Product (1979), Do They Hurt? (1980) and Is There Anything About? (1982). "Modern, Noisy and Effective" is the backing track to "Soho" with a new keyboard line overdubbed over the top of it. "A Longer April" is just an extended version of "April" from Product, with a bit of synth noise added in the middle. "TMIU-ATGA" is taken from an old cassette tape running in the studio when the band were improvising.

Recorded before the release of the Brand X debut Unorthodox Behavior, these 1975-1976 recordings represent the earliest known preservations of the group's beginnings. These are quality recordings that include previously unavailable material. The shining talent and genius of this, the most important of Brit jazz-fusion groups, comes through brightly. Brand X has long been a "musicians' band" where the fretwork of John Goodsall, percussion of Phil Collins, keyboard techniques of Robert Lumley, and bass of Percy Jones inspire others to greater attainment. Still, no music degree is required to appreciate this invigorating, unforgettable music that still sounds remarkably fresh and forward thinking. Over 50 minutes of stunning exploration is contained in the original quintet's six never-before-heard songs. Even after 20 years, Brand X remains in its incipient form the final word in guitar-based progress jazz-rock.

Without the drumming of Phil Collins, who does appear on some of Brand X's albums, Masques still maintains a snug, jazzy-prog milieu and comes off clean and tight. Each song has a different beat, speed, and tempo with a satisfying assortment of keyboards and percussion instruments to keep the entire album afloat. Resounding xylophone and chimes outline the music on the seven tracks, with "Earth Dance" and "The Poke" coming up a little bit stronger than the rest. Most notably is the superb musical interplay of all the instruments used, and the way in which they enhance and benefit one another. The progressive rock sound does evolve by way of lengthy guitar passages from John Goodsall and accelerated keyboard fingering from Morris Pert, adding spice and vivaciousness while popping up when least expected. Masques is a firm studio album, and will keep listeners fascinated with the band.

Lest the momentum of Moroccan Roll and its relative chart success go to waste, Brand X released a stopgap solution with Livestock, featuring three recent live tracks and two stockpiled studio tracks that actually predate the Moroccan Roll sessions by two months. As might be expected, it's not their most enduring work, although the inclusion of three new originals and the clean recording obtained from the Hammersmith Odeon and Marquee Club performances produce respectable results. Two of the three live tracks feature drummer Kenwood Dennard, who lends his superlative skins to the smooth fusion of "Nightmare Patrol" and a frenzied reading of the popular "Malaga Virgen." (Genesis had finished their tour that same year, so you can't begrudge Phil Collins the holiday)…

Morrocan Roll is not a step toward the rock & roll side of the fusion equation, but rather an experiment with Eastern sounds and softer textures that trades in the thunderstorms of their debut for rhythmically rich siroccos. Expanded to a quintet with the addition of percussionist Morris Pert, Brand X balances their arrangements with more equanimity, resulting in a subdued sound that is mesmerizing rather than arresting. The songs are written by individual members (their debut credited the band), but this doesn't yield the results you might expect: while Percy Jones' "Orbits" is essentially a showcase for the fretless bass, Lumley's "Disco Suicide" shares more with Frank Zappa than the artist's typically dreamy tones, and it's Phil Collins' "Why Should I Lend You Mine" that sounds most like the work of Lumley…

Conventional very good fusion. Even funny. Compared to "Unorthodox Behaviour" and "Moroccan Roll", the compositions here are a bit more diluted: the tracks are less loaded, although there are bits where the bass and drums are complex and fast…