“Hits” Was Issued In 1996. It Anthologized The Songs That Could Be Deemed As “Classic” Joni Mitchell. A Companion Album Named “Misses” Captured Her Most Experimental Side.

The success of the “Turbulent Indigo” album (1994) led Joni Mitchell to a true commercial resurgence. Suddenly, a whole new generation was interested in the music the Canadian performer had created over the three previous decades. Reprise (Joni’s label at the time) moved fast to meet that demand, and Mitchell agreed to the release of a “Best Of” package provided that she could also release a compilation of quasi-hits. That was how the “Hits” and “Misses” albums came to be.

Joni Mitchell reminds me of Bob Dylan in the sense that even in their heydays both performers landed a comparatively small number of bonafide hits. In the case of Joni Mitchell, a Top 7 hit was as hard as she would hit the charts. The song was “Help Me”, and it is obviously included here along with her other three Top 30 hits: “Big Yellow Taxi” , “Free Man In Paris” and the infectious “You Turn Me On (I’m A Radio)”, one of her most joyous compositions.

Of course, quintessential tracks like “The Circle Game” and “Both Sides Now” are featured, and they sound as sharp as ever.

“Blue“, Joni’s breakthrough record (and my favorite album of hers) is represented by “California”, “Carey” and “River”. I must say that while both “California” and “Carey” (an alias for James Taylor, her flame at the time) are very good songs, they are not the songs that give “Blue” its edge. The songs like “River” do it; songs which are sparser instrumentally and that provide some of the most intimate moments not only of Joni’s career but also of the whole decade.

The album has one rarity in Joni’s version of “Urge For Going”, the first song she ever wrote. Recorded in 1968, it was never made available on CD before. It was first issued as the B-side of “You Turn Me On (I’m A Radio)” in 1972.

“Hits” is a compilation which showcases the approach that gave Mitchell her most recognizable tunes. The drum machines and sequencers that marked/marred her ’80s output are nowhere to be seen here. Neither are jazz compositions, although the influence can be felt on “Free Man In Paris” (a song written about David Geffen, the future head of the label Joni would sign to). You must get “Misses” if you want to listen to the full story. Yet, everybody will tell you the same. That part of the story can be obviated. Some might go as far as telling you that it can be completely negated. I think that is taking it too far. But I can’t deny that the Joni spotlighted on “Hits” is the only one that truly captivates me of the two.

“Dream All Day” Was The Posies’ First Anthology Ever. It Came In The Year 2000, And While It Included All Their Radio Hits It Bypassed Their Independent Years. This Is My Copy, Autographed By Ken Stringfellow When He Come To Uruguay. He Was A True Star And A Gentleman.

Not only did Seattle give us the best grunge music ever in the shape of Nirvana, Pearl Jam, Soundgarden and Alice In Chains, not only was it the birthplace of Jimi Hendrix, not only did it regale us with the talents of Bill Frisell, the city was actually the home to one of the best alt rock bands of the ‘90s: The Posies.

The band formed in 1986 and it has undergone several transformations and periods of inactivity (they are now about to release a new album – titled “Blood/Candy”, it’s coming out on Rykodisc at the end of September). Its core member have always been Ken Stringfellow and Jon Auer, and I had the immense pleasure (not to mention the honor) of meeting Ken face to face when he played in Uruguay in the summer of 2009. He was such a humble and engaging person that even to this day the friend who accompanied me to the gig can but tell me when we meet and there is a minute of silence “¡Fa! ¡Qué bueno que estuvo lo del Ken!” [¡Man! ¡Ken’s gig was the bee’s knees!].

That day, I was lucky to have him sign my copies of The Posies’ first anthology, “Dream All Day” and what was then his latest album: “Smoking Kills”.

I’d like to tell you a little about “Dream All Day” now. The compilation was released in the year 2000, at a time in which the band was inactive. It did include tracks from their three major label albums (they were signed to DGC, an imprint of Geffen Records). These albums are “Dear 23” (1990), “Frosting On The Beater” (1993) and “Amazing Disgrace” (1996). No tracks were included for the independent albums “Failure” (1988) or “Success” (1998), and the live disc “Alive Before The Iceberg” was also bypassed by the compilers.

What remains is an anthology that has their major radio hits: “Dream All Day” (it hit #4 at the time of its release, when grunge was all the rage), the beautifully-harmonized “Suddenly Mary” and “Golden Blunders”. The latter was not a bondafide hit, but it was covered by Ringo Starr within weeks of being released as a single.

Of special note are the songs from “Amazing Disgrace”, as they captured the band at its most splenetic. “Everybody Is A Fucking Liar” says in three minutes what an album like Tom Petty’s “The Last DJ” can’t convey in one hour. “Sad to be aware”, indeed.

Collectors can look up to a cover of The Hollies’ “King Midas In Reverse”, and to The Posies own reading of Big Star’s “I Am The Cosmos”. The inclusion of those two tracks was a way of acknowledging their influences, as the band was always renowned for its interknit harmonies and the poignancy of its songwriting. And the disc also included what was then the one and only Posies song featured on a soundtrack album, “Coming Right Along”. It was originally included on the “Basketball Diaries” OST, and the movie is now remembered as one of the few starring Leonardo Di Caprio in which the character that he played did not die.

The album is mostly arranged chronologically, with the first song being actually the one that opened their first DGC release: “My Big Mouth”. Their trademark interwoven vocals are already fully-featured, and so is the over-glossy production that sometimes dilutes the efficacy of their songs. It certainly made them no friends at a time in which grungier aesthetics were the common currency, but more than two decades later the band’s consummate pop skills can be appreciated in all their magnitude. While their music is not “a definitive door to another dimension”, it is a sign that is worth following for sure. It won’t lead you to any wildly unexpected ending, but you are going to enjoy every step of the journey.

"Thunderfingers: The Best Of John Entwistle" Gathers Together The Standout Tracks From John's First Five Solo Albums. Special Emphasis Is Placed On "Smash Your Head Against The Wall" (1971) and "Whiste Rhymes" (1972).

Not many would guess it, but the first member of The Who to issue a solo album wasn’t Pete Townshend. It wasn’t even Roger Daltrey. It was no other than John Entwistle, the stolid Ox, the man who anchored the sound of the band onstage to a degree that surpassed anything ever did in the history or music before (or since, for that matter).

The fact that Entwistle was the first band member to put a solo record out is not that surprising if you begin digging into the story of the band. He was “discovered” as a songwriter at the time of the “A Quick One” sessions, when manager Kit Lambert signed everybody to Essex music to get a meaty advance. The terms of the contract necessitated every member of the band write two songs for the forthcoming album, and John came up with the enduring “Boris The Spider” and the hysterical “Whisky Man”. From that point onwards, he would continue honing his skills and providing one or two tracks for each subsequent Who album.

Yet, his songs could never dominate a Who record. His approach differed drastically from Townshend’s. Pete was more of a traditionalist, while John was an absurdist. Had he ever taken the major writing credit for a Who album, the shift in style would have been too abrupt. Only die-hards would have gotten it.

That is why his songs were mostly relegated to B-sides. And album filler. Only one Entwistle song was ever released as a Who A-side, and that was because the album was masterminded by John. The song “Postcard” was the lead single off “Odds & Sods”, The Who’s “official bootleg”. John was asked to compile it while the other members of the band were occupied by film and stage projects.

So, it could be said that his frustration at having his own material relegated time after time gave birth to his solo career. But Keith Moon once remarked something that had more than an inkling of truth: John did not want The Who to record many of his songs. He was afraid they would “ruin” them to some extent.

John’s solo career started in 1971 with the album “Smash Your Head Against The Wall”, and ended in 2000 with the soundtrack “Music For Van-pires”. This compilation doesn’t get that far – it was issued in 1996, and it covers up to “Too Late The Hero”, the album that was his last solo offering for more 15 years (an unreleased ‘80s album named “The Rock” would surface the same year this compilation was issued).

The first thing you must realize is that the solo Entwistle doesn’t rock as hard as you might expect or hope. Any person who is looking for the headbanging fun of his Who classics like “My Wife”, “Boris The Spider” and “Success Story” would be disappointed. He only rocks that hard on the opening song, “My Size” (which is nothing but the revenge of “Boris The Spider”). Elsewhere, there are a lot of songs that nod to vintage rock & roll like “Roller Skate Kate” (complete with an Elvis impersonation) and Mad Dog (where he has a female trio taking the lead). There are even all-out acoustic songs like “What Are We Doing Here?”, whereas the album has a grim ending in the shape of two songs from “Too Late The Hero” (“Fallen Angel” and the title track). Joe Walsh guested on that album, and it was a mostly a doom-laden effort dealing with personal and professional failure – John’s marriage was on the rocks, while his abilities as a composer were waning – and he knew it.

What this compilation provides in spades, now, is his unflinching dark humor. Songs like “Made In Japan”, “I Found Out” and “Pick Me Up” will have you in stitches from start to finish. And “I Believe In Everything” and “Drowning” have an approach that bends more towards irony than outright humor. And they flesh out the album pretty well.

Finally, I must mention that the packaging is quite good, with liner notes provided by Who specialist Chris Charlesworth and track by track commentary by the Ox himself. Does it get any better than this? Yes, it does. There is a picture of John sporting a moustache a la Cantinflas. Geez. And as if that wasn’t eerie enough, there is another of him in leather pants. Double geez.

Do I recommend purchase of this compilation: Yes
Do I feel like digging deeper in his catalog after listening to it: Yes

The First Album That Anthologized Tom Petty & The Heartbreakers' Work, "Greatest Hits" (1993) Will Always Remain An Excellent Introduction To Their Music On The Whole. One Of The "New" Tracks ("Mary Jane's Last Dance") Was To Became A True Staple In Its Own Right.

Tom Petty’s very first retrospective, “Greatest Hits” (1993) would become one of his best-selling albums ever. It included all the seminal tracks he recorded both with the Heartbreakers and as a solo artist. These include “American Girl” and “Breakdown” from the debut, the four best tracks from the breakthrough album “Damn The Torpedoes” (Refugee”, “Here Comes My Girl”, “Even The Losers” and the ultra-successful “Don’t Do Me Like That” – is it me, or it has been slightly remixed?) and the sole hit from “Southern Accents”, “Don’t Come Around Here No More”. It also has two of his best ‘80s tracks in the shape of “The Waiting” and the synth-soaked “You Got Lucky”.

Finally, “Learning To Fly” and “Into The Great Wide Open” come from “Into The Great Wide Open” (1991) and the three best cuts from Petty’s only solo album up to that point (“Full Moon Fever”, 1989) are featured (“I Won’t Back Down”, “Running Down A Dream” and the dizzying “Free Falling”).

The disc offers two new songs: “Mary Jane’s Last Dance” (which had been around for a long time, and was finally recorded with Rick Rubin at the helm), and a disappointing cover of Speedy Keen’s “Something In The Air” (a ‘60s artist discovered and nurtured by Pete Townshend – the song was just not right for Petty and the boys. The only person who sounds truly into it is Benmont Tench). But at least the other new song was phenomenal, and I have no doubt that the success of the compilation was more than partially fueled by it.

“Greatest Hits” was remastered and reissued in 2008; “Something In The Air” was booted and replaced with “Stop Draggin’ My Heart Around”, Tom’s duet with Stevie Nicks from her 1981 album “Bella Donna”. I frankly feel there were better cuts around – if they wanted to get a duet in they could have included “Insider” (which Petty also cut with Nicks; it was actually his first duet ever), or something like “Jammin’ Me” (a song Petty co-wrote with Bob Dylan in 1986).

Still, the album is as close to perfect as it can be, as it compiles some of the best guitar-oriented music of its time. Although some live anthologies and further compilations were to be issued (including a very elegant and rich boxed set named “Playback” in 1995), this “best of” disc will never become obsolete for the mere reason that it captures Petty’s bigger contributions to the canon of popular music. He is still pumping out good albums – he will live by his “I Won’t Back Down” mantra until the very end. But the very beginning of his brilliant career (as captured here) will always have an appeal that he won’t reproduce again, notwithstanding the excellence of albums like “Echo” and the brand-new “Mojo”.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into his catalog after listening to it: Yes

The One And Only Divine Comedy Compilation Released So Far Has Been "A Secret History" (1999).

This compilation was released in 1999, at a time in which the band led by Neil Hannon was as much in the public eye as it had ever been in the critics’. The last two albums (“Casanova” and “Fin De Siecle”, issued in 1996 and 1998 respectively) had been a breakthrough in terms of overcoming the commercial apathy that had always surrounded this exuberant chamber pop outfit. It was the right moment to show those who began listening then just what had been the genesis of that sound – something that (for the most part) was nothing but a well-kept secret.

As a result, this 17-track compilation brought together all the recent hits and quasi-hits along with fan favorites and some new songs, remixes and rerecordings.

The major successes the band had (in terms of sales, at least) were featured in their original versions. Those included “Something For The Weekend”, “The Frog Princess”, “Becoming More Like Alfie” and “National Express”. Of those, the best-known cut must be “Something For The Weekend” (it hit number 13 upon its release). I personally did never like the song that much, as I find it too facile – it has a lot of charm but not a lot of depth. It represents the one facet of the band that the general public could like more easily – but it does so at the expense of the other.

Songs like “Everybody Knows (Except You)” combined intellectuality and sass far better, whereas “The Summerhouse” and “Tonight We Fly” (from the conceptual album “Promenade”, a record that told the story of two lovers spending a day by the sea) showcased Hannon at his most yearning and approachable.

For it part, “Songs Of Love” will always remain one of the most authentic examples of baroque pop in existence, with its mellifluous harpsichord and ornate lyrics where the link between the pursuit of artistic beauty and carnal satisfaction is wryly analyzed.

The one track that was rerecorded for “A Secret History” was “The Pop Singer’s Fear Of The Pollen Count” from “Liberation”, whereas “Your Daddy’s Car” (from the same album) was remixed to make it sound a little tighter. That was as far back as the compilation went – no songs from the (now deleted) debut titled “Fanfare For The Comic Muse” were featured. (One demo found its way into the deluxe 2-CD edition of the compilation, though. That edition came with a whole CD devoted to live versions, covers and rarities along with a hardcover book.)

From “Liberation” you also have Hannon’s amalgamation of three of Wordsworth’s “Lucy” poems. The Lucy poems were simple lays that celebrated the birth, live and death of love in its most natural and unmitigated form, and Neil alternated an all-out acoustic treatment with a full rock accompaniment to underline the emotions that go with finding and then losing the realization of something that most people only dare to dream about.

Finally, the new tracks were the incredibly average “Too Young Too Die” and the entertaining “Gin Soaked Boy”. The former loses me from the very beginning, with the irremediably generic statement of “Too young to die and too old to survive”, whereas the latter is a character study of a heavy boozer with a mucked perception of reality that is as amusing as John Entwistle’s “Whiskey Man”.

With the exception of “Generation Sex” (from Fin de Siecle) and “The Pop Singer’s Fear Of The Pollen Count”, this compilation contained no songs that could be deemed as superfluous or irritant. Even the messy electronica of “I’ve Been To A Marvelous Party” was a warranted inclusion, if only because listening to Hannon impersonating Noel Coward was something that had to come at some point (a “band” version of the song does also exist). In that sense, this CD was quite satisfactory – it showcased the person who will always be at the center of the band from A to Z. As the only Divine Comedy compilation that has been released so far, I have to recommend it. But just remember that what came after this (specially “Regeneration” and “Absent Friends”) was as adventurous as what came before, and every bit as enjoyable.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into their catalog after listening to it: Yes

This Compilation Of Love Songs Was First Released In 1995. The Four Hits From “The Innocent Age” Were Thankfully Included.

I bought this compilation as a sort of consolation prize. Some time ago I made the horrific blunder of passing on the “36 All-time Favorites” album and when I realized what I had done it was too late. They had already sold it, and the chances of seeing it again in Uruguay are non-existent. So, when I came across this anthology I had to go for it.

As a compilation, this is not really bad. It gives you a clear indication of the man’s brilliance. It does not, however, give you an indication of his scope. You wouldn’t know he was capable of crafting albums like “Twin Sons of Different Mothers” or “High Country Snows” by merely listening to this.

Still, it is impossible to dislike a CD that has all the four singles from “The Innocent Age” (“Leader Of The Band”, “Run For The Roses”, “Same Old Lang Syne” and “Hard To Say”).

“Love Songs” also has the (somehow) rare “Make Love Stay”, a song that was featured for the first time on a 1982 retrospective. Along with the songs from “The Innocent Age”, it is my favorite cut on this compilation. These five songs showcase a delicacy that is limitless (“Run For The Roses”) and an ability to sing what the public needs to listen to as if it were what they want to listen to. Fogelberg can make isolated episodes (like the one in the autobiographical “Same Old Lang Syne”) stand ten times more compelling that the full story, and he can also make full stories (“Leader Of The Band”) feel like a self-contained episode by expressing a single sentiment so predominantly – in the case of “Leader Of The Band”, a song that narrates a person’s full life (his father’s) is gloriously summarized by a single feeling. The words “I love you” are spoken only at the end, but they are already formed as the first notes are played, and they are more than palpable when Dan sings the very first line.

I can’t recommend this CD over any other compilation of Dan’s. The one and only context it would work splendidly is if the other person is already well-acquainted with Fogelberg’s output, and all that you want to do is give her a birthday or a St. Valentine’s gift. In that case, this beats the most expensive mink you could ever find.

This 20-track Anthology Was Released By Disky In 1996. It Gives A Very Good Overview Of The Kink's Early Successes.

Issued by Disky in 1996 and named merely “The Kinks”, this CD anthologizes their early hits right up to the “Lola vs. the Powerman & the Money-Go-Round, Pt. 1” album. There is not a lot to dislike and not that much to change either.

The CD has everything from their early smashes “You Really Got Me” and “All Day And All Of The Night” to cuts like “Waterloo Sunset”, “Lola” and “Apeman”. Moreover, non-album sides that are key to the band’s appeal like “Days” and “Dedicated Follower Of Fashion” are featured. The one and only blemish is the inclusion of “Dandy” at the expense of tunes like “See My Friends”, “A Well Respected Man” or “Set Me Free”.

Also, it must be noted that no songs by Dave Davies are included. No “Susannah’s Still Alive”, and no “Death Of A Clown”. I will let you discuss how much of a loss that really is in the “Comments” below.

The songs from “The Village Green Preservation Society” which are included are the title cut and the single “Starstruck” – nothing to complain here. However, I am not too sure on the “Arthur” contingent – “Drivin’” and “Shangri La”. I mean, “Shangri La” was an obvious choice. But where is “Victoria”?

However, if we were to judge the compilation in terms of how inspirational and representative it is, it gets full marks. All the early undisputed hits are there. If you are into British music and you want to know exactly why The Kinks are always on your contemporary heroes’ lips, this will give you a truly majestic answer.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into their catalog after listening to it: Yes

In Spite Of Some Omissions Like "Shiny Happy People" & "Drive" This Compliation Portrays The Band At The Peak Of Their Hit-making Powers

R.E.M. became an unstoppable force during their stay at Warner. This single disc compiles most of their ineluctable hits along with some rarities and previously unreleased tracks to keep collectors entertained.

All of their Warner albums are featured; “Automatic For The People” is the one that has more tracks in (4 in total), whereas the least represented discs are “Out Of Time” and “Monster” (only one track each – “Losing My Religion” and “What’s The Frequency, Kenneth?” respectively). And the remaining discs (“Green”, “Up”, “Reveal” and “New Adventures in Hi Fi”) are summarized in two songs per album.

Even someone who isn’t that well-versed on their catalog will spot some omissions that are bitter to swallow. Both “Shiny Happy People” (“Out Of Time”) and “Drive” (“Automatic For The People”) have been excluded. “Shiny Happy People” might be one of the stupidest songs since the dawn of time, but it was their one and only Top 5 hit both in America and in Europe. The band has professed its deep abhorrence for the song. Fair enough. But Radiohead does not omit “Creep” on anthologies, no matter how much they grew to detest it.  

And “Drive” was their biggest European hit. I would gladly take “All The Way To Reno” (one of the songs from “Reveal”, and one of the superfluous compositions here) off the compilation and add either.

Still, the fact that all the rarities that are included are good does tip the scales favorably. “Bad Day” was an old song (while Berry was still their drummer) which was revamped for release here. You can listen to the original version on the bonus disc of the best of the IRS years compilation, incidentally.

Then, you have two songs from soundtrack albums: “The Great Beyond” (from the biopic about Andy Kaufmann starring Jim Carrey – the song became the band’s biggest UK hit) and “All The Right Friends”, from the Vanilla Sky soundtrack. The song was also a new take on an old demo, again with Bill Berry sitting behind the skins.

Many will always lament that this was not a 2 CD set. However, I beg to disagree. Were it not for the two major omissions, this would have been pristine in every sense. The finished disc is excellent as it is. Not perfect, but it is one of the most encouraging compilations I have ever set my hands on. I am even partial to the non-chronological sequencing, because the disc would have lost a little oomph once two thirds were in otherwise. As it stands, the late-period phase of the band (when their sound became far more selective) blends in with their commercial pinnacle, and you get an absorbing overview of the fathers of Alt Rock as they somehow outgrew the genre. Others would tell you that the genre outgrew them. But we’ll save that for the “Comments” below.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into their catalog after listening to it: Yes

This Style Council Compilation Was Released By Polydor In The Year 2000.

This “Greatest Hits” package was released by Polydor in the year 2000, and the title is a bit of a misnomer – it is a singles collection, and some of these singles (like “Life At A Top People’s Health Farm” from the “Confessions Of A Pop Group” album) were not just flops – they will always stand as the absolute nadir of Paul’s career.

In any case, the early years of the band (IE, the time when they were in top form) are satisfactorily documented here, as the many non-album sides like “Speak Like A Child”, “Money Go Round” and “A Solid Bond In Your Heart” are featured. “A Solid Bond In Your Heart”, incidentally, was also recorded by The Jam during one of their final sessions together. That version remained unreleased until it was included on the “Extras” disc in 1992.

The compilation also has the superb “My Ever Changing Moods”, a top 30 hit in America. It was Weller’s one and only composition to reach those heights. Not even the Jam could crack that market in their heyday. The song is certainly praiseworthy, with a lyric in which individuality becomes a limitless expression of collectiveness and the character’s ever changing moods represent nothing but the consolidation of immutable acceptance through history. I think the song will always be the best exponent of Weller’s socialist beliefs, and the finest exposition of his conviction that those principles could lead to an eventual change of mentalities.

Of course, songs like “Walls Come Tumblin’ Down” and “The Big Boss Groove” put across the same message in a more direct language. So does the sardonic “Come To Milton Keynes”.

Moving on, the disc includes one of the Council’s best ballads (“You’re The Best Thing”) and a very remarkable bossa nova exploration in the song “Have You Ever Had It Blue”. That song also has one of my favorite set of lyrics from this frequently creative but eventually unfocused stage in Paul’s career.

The CD likewise has the one composition Paul penned with Mick that is likeable, “Wanted” (also known as “Waiter There’s Soup In My Flies”). The song is fluff, but it is smile-inducing fluff for once in their career together – a career that saw disgraces like “The Stand Up Comic’s Instructions”. Plus, Weller gives one of his most soulful vocals ever.

Closing the album is the sole composition from the rejected “Modernism: A New Decade” that saw release back then. Named “Promised Land”, it was a passable dance tune that gave everybody the idea that the album Polydor had turned down couldn’t be that bad. But the truth was a harsh one when the rejected disc was issued at last in the year 2001.

By way of conclusion, this is nothing but a singles package. It doesn’t not summarize the band’s best work, as songs like “Ghosts Of Dachau”, “With Everything To Lose”, “Headstart For Happiness” and a very long etcetera are omitted. It does, however, incarnate the progression and eventual dilution of the band’s sound. It has some historic value and transcendence, but anybody that is familiarized with this stage of Paul’s career can’t help but feel that something more enjoyable could easily have been assembled.

Virgin Released "Fossil Fuel" As A Way Of Bidding Farewell To XTC. All The Singles Released Within Their Career Were Featured.

At roughly the same time that Geffen issued “Upsy Daisy Assortment” (a collection of hits and some noteworthy tunes from the Swindon’s outfit that was a bit whimsical to say the least) Virgin issued this 2-CD compilation. In the case of the British company, the focus was solely on singles. No track strayed from that conceit. The one exception was “Wrapped In Grey”, the song that caused the rift between XTC and Virgin way back in 1992, and which resulted in the band going on strike for the best part of the decade. Virgin decided to include it either as a way of burying the hatchet or as a final insult, a way of saying “there you go, take the goddamn song, it is now officially a ‘single’”. Which is which depends on the astute listener.

So, the album goes all the way from Andy’s much-despised “Science Friction” (from their debut EP) to Andy’s beloved “Wrapped In Grey” (from “Nonsuch“, their final album for Virgin).

The compilation is frankly phenomenal, and I don’t say that because I am a hardened fan. Over the course of the two CDs you get to see the band’s transformation from spiky new wavers (“This Is Pop”, “Are Your Receiving Me?”, “Making Plans For Nigel”) to pastoral tunecrafters (“Love On A Farmboy’s Wages”) who could still rock if they wanted to (“Wake Up”). The disc culminates with the best from both worlds, as the material from “Skylarking”, “Oranges & Lemons” and the aforementioned “Nonsuch” surfaces. This includes hits and quasi-hits like “Dear God”, “The Mayor Of Simpleton” and “The Ballad Of Peter Pumpkinhead”.

The compilation has no true rarities to speak about, although you do get the reworked “This Is Pop” along with some non-album sides like the addictive “Are You Receiving Me?” and the egregiously noncommercial  “Wait Till Your Boat Goes Down”. In some cases, though, these non-albums cuts have been added to the remastered discs. Such is the case of “Are You Receiving Me?” (found on the remastered “Go 2”) and “Life Begins At The Hop” (included on the rerelease of “Drums And Wires”).

I can honestly tell you this is one of the most consistent compilations I have ever listened to. I have written so much about the band that I am bit at loss when it comes to using new words or images to explain why they music is so hard-hitting and (above everything else) so enduring. They made a true creative statement through the years, and those who were fortunate enough to listen to it are bound to remember it forever and pass it along. And if you have never heard it, here you have a précis with the main points. And I must say that in terms of emotional extensiveness and intellectual depth, it is truly one of the richest you can find in the annals of music.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into their catalog after listening to it: Yes