Following the top 20 success of their 1988 debut, ‘Let it Bee’, and the development of a loyal fanbase from their live shows, it was inevitable that London Records would need a second album as soon as possible. Sadly, for various reasons, the overall process would take about three years, but while the path to ‘Honey Lingers’ would be an unfortunately bumpy one, and the album would only certify silver in the UK, as a record it’s pure gold.

The singles speak for themselves. First off the mark was Monsters and Angels, with its relaxed walking-beat verses leading into a harmonic soaring delight of a chorus. It’s always been an iconic track, but as an added bonus this reissue treats us to a previously unreleased extended version too, and like all good 12”ers it offers a suitably pleasing breakdown of the track to analyse the musicianship on offer.

Arguably the most famous single from the Beehive’s entire career is their cover of the Partridge Family’s I Think I Love You. It was one of their biggest hits and in its own right is an absolute banger. Here, though, we’re treated a few remixes in the form of the original Don Was’ Guilty Pleasure Mix as well as a curious Orgy Mix as well. And the names behind both mixes tell a story.

‘Guilty Pleasures’ was a US compilation album that the girls were invited to contribute to, and they chose I Think I Love You as it was one of their favourite songs as teenagers (and not one they apparently ever felt guilty about). The main Don Was mix is a very odd drum and sample-heavy affair but fascinating for it. An alternative first take is included here as well.

The Orgy Mix, however, references the celebrated (and police-raided) ‘Orgy Under the Underworld’ shows the band performed in June 1991 at Camden’s Underworld club. It’s a classic extended remix which for years was only available on 12” single, and packaged at the time with a print of the show’s poster. I’ve always loved it, but the version included in this package was a bit of a surprise: it’s even longer than the one on vinyl; an “Extended Orgy Mix” of sorts. Still, it’s great to have a version that goes on for 8 minutes and doesn’t outstay its welcome. (And it means my original 12” version is still rare, so yay for that!)

And, if that wasn’t enough, there’s a track called VB – Goddess of Love which is basically an I Think I Love You dub version. Some websites are claiming this bonus track was previously unreleased, but my original CD single has it in all its glory so that’s certainly not true. It’s still an interesting listen, mind.

Perfect Place was the last single and is a pleasant enough ballad for sure. But, given the number of different versions of it on this set it’s clearly one of those tracks that struggled to find its feet and I’m not sure it ever really did. For me it’s the only damp squib on the album.

That’s a shame because loads of other tracks just screamed out to be singles instead. The first, the dazzling Adonis Blue, is a chirpy, upbeat and vibrant earworm, surprisingly produced by Phil Harding and Ian Curnow, PWL remixers extraordinaire, whose credentials with pop-rock acts had previously been proven with work for Jesus Jones. It’s an absolute album highlight, as is I’m Shooting Cupid, taking a nice idea – getting revenge on love’s emissary for all the heartache they bring – and dressing it up in shiny jangly glory. Sadly, a version with the famous cut section isn’t included here, but we do get a rather nice acoustic version of the official song, instead.

Then there’s Beauty to My Eyes and Little Gods, both of which are rather more laid-back delicate affairs, but are absolute highlights of the Beehive catalogue. As a bonus, the latter even gets a Spector Christmas Version – it’s not Phil Spector producing it, just a remix aping the style, but it’s lovely nonetheless.

So far so good, and the album feels surprisingly cohesive, despite the sheer number of producers involved. But that’s basically because it seems the desperation for hits led to London Records panickin, taking the tapes to Pete Waterman and asking him to get someone to re-produce the fuck out of it.

So, it comes that almost all the tracks have a “remix and additional production” credit going to the aforementioned Harding and Curnow. When I first heard the album, I remember thinking that this polish had lost some of the natural breeze and vitality of the previous album. Thankfully, the remastering done on this reissue has redressed the balance, the tracks feel a lot crisper somehow, and so the reputation of my beloved Vine Yard producers is salvaged in my eyes.

Rounding things off in style we also have the regrettably still relevant Look at Me, with its unflinching take on disposable celebrity culture, Say It and Just Like You, all of which very much show off the much punkier, rockier style so much in evidence on ‘Let it Be’. Just Like You in particular looks like it may have been considered as a single since a 7” remix of this B-52s-style banger has been unearthed for the bonus tracks.

Speaking of which, we are again treated to a plethora of bonuses, some of which I’ve previously mentioned. We have all the extant b-sides of which Shine Away and Waitress are particularly stand-out cuts. And there’s an interesting addition in the song Dumb Club, which like Cartoon City from the previous reissue, was an unused track from this era which would later be refined as a ‘Sex and Misery’ era b-side.

The live versions, too, also show how good (if different) a band they were on stage. The only exception is their take on the James classic Sit Down, which is wince-inducingly off-key. Personally I can hardly bear to listen to it, although my brother-in-law – a massive James fan – charitably says its “not too terrible, but a bit like bad karaoke”. It is however, for me, the only real fly in the ointment on an otherwise perfect reissue.

Despite the best efforts of the record company putting too many fingers into the pie, the old curse of the “difficult second album” seems to have largely escaped ‘Honey Lingers’. It’s a definite progression in terms of both songwriting and ambition, and has weathered extremely well. Bolstered with a tonne of gorgeous extras this is a brilliant reissue of a sophomore album that’s definitely sweet, not sour.

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