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God bless punk and new wave. Without them, '80s pop music might well have ended up as vapid and ghettoized as, well, pop music of the '90s. Those late '70s movements were frankly reactionary at heart (seeking to counter what was perceived as the overwrought tendencies of rock's prog and hard-rock elite and calling for a return to the diverse energy of '60s Top 40), but their influences can be felt on nearly every cut of this triple-disc hits anthology, from the Buggles' all-too-prophetic "Video Killed the Radio Star" to the nouveau funk of Kool and the Gang, the Dazz Band, and the Gap Band, to the nascent big-hairdom of Night Ranger ("Sister Christian") and Whitesnake. If you're looking for the roots of alternative rock or obscure college playlist fodder, look elsewhere; this is prime-time '80s pop chart glory, as seen on MTV (over and over and over). Though the songs here cover a breadth of style and genre (if not necessarily substance), there's a remarkable unity of purpose and hook-laden musical accomplishment that's sorely missed. If this collection woefully shortchanges hip-hop, it still underscores a distinctly irony-free era where style admittedly triumphed over substance, as opposed to the '90s, where style caricatured substance. --Jerry McCulley ... Read more

Reviews (12)

Spud from Idaho
This was a great CD. There were a lot of artist missing, but not too many minor artists included. I bought another 80s CD set and there were a lot of songs in it that I'd never even heard of. This is a great CD if you don't have many 80s CDs. I had a lot of them on tape, but needed to upgrade to CDs.

This CD has a lot of good memories, but some are still missing.

Overpriced overview
Goodness knows there are enough 80's compilation CD's out there, and many cover exactly the same territory.

ROLE CALL! Culture Club, present. Blondie, present. Tears For Fears, present. Michael Jackson, absent. Soft Cell, present. Duran Duran, absent. Eurythmics, present. Frankie Goes to Hollywood, present. Cyndi Lauper, absent. Thomas Dolby, absent. Peter Gabriel, present. Madonna, absent. Kool & the Gang, present. Bryan Adams, present. New Kids on the Block, absent, but who cares? Not a bad turn out.

Given that there's under 50 tracks, there's a pretty good representation of the hits of the day, and even a few misses (Tempted, Oh Yeah, Weird Science) that have aged better than several high charted songs.

If somehow, by this point in your life, you've avoided buying these tracks separately, this is a good way to get them together for your next retro party. But you probably already have more than half of them or you wouldn't be reading this far. As such this may be more than you want to spend.

Check out Rhino's New Wave Dance Hits (Just Can't Get Enough) series for a lot more depth and a lot less repetition with your current collection.

Wonder who'll be included on the first 3-CD review of this decade...

Good Collection, not Great
This is a good collection of a variety of the pop side of the 80s music, although still lacking some of the most popular artists of the time, where is "The Material Girl," Madonna, Michael Jackson's "Thriller"? Cindy Lauper's "Girls Just Want to have Fun"? Huge hits from the 80s pop culture, all missing. Also missing, is another huge part of 80s music, the "hair bands" that were so wildly popular. Where are Cinderella, Poison, Faster Pussycat, Tesla, Motley Crue, Mr. Big, Skid Row? Not to mention it's missing the heavy metal, such as Metallica, Halloween, Jackel, WASP, Quiet Riot? I still have them on tapes that I bought throughout the 80s and I remember hearing them on the radio, why drop a huge part of the 80s music era? Also missing is the collections of the alternative bands of the 80s like Love and Rockets, The Cure, where are they? I like this collection, I just feel that they focused on one type of music that came from the 80s and ran with it. This would have been a great collection had they dropped some of the lesser known songs and added some of the other genres of the 80s sounds.

Lots of memories (of better songs)
It's a good collection of tunes from the 80s that appeals to those of us who came of age during the time. But, after a listen-through, it left me craving a collection with a few more of the high-points from the decade.

Music I grew up with...
There is not a bad song in this set. It is full of wonderful, classic music from the 80's and not to be missed. Ahh, the 80's. How I miss that time. At least now I can relive some of it with this music! ... Read more

Reviews (34)

One of the eighties best!
What can I say about the Femmes! I was ten years old when I first bought this album only to have it confiscated when my parents heard the infamous "Add it up". From that point on, it was lost and I had to purchase it again by tape. This is one of the very best of the bands from the eighties. When you hear this cd, it is very weird to think that this came out twenty years ago. Though, I'm a child of the eighties and enjoy the music, the Violent Femmes stand out for their unique sound. The words, the voice, the music is what teen angst is all about. Each song is great so I can't pick a favorite, but "Add it up" was "the" song that my friends and I played so much.

This cd is a classic and is still enjoyable even now. Its fun to watch kids that weren't even born when this came out fall in love with it. When I hear these songs, I think of being a punk and driving around in my friend's camaro listening to it over and over again. Even now, I never get tired of.

If you like punk, if you like alternative, if you like something different, pick this up now. You won't be disappointed!

Original
The Violent Femmes' landmark debut album redefined punk music with their maverick acoustic sound. KROQ in Los Angeles put Blister in the Sun into heavy rotation. This catchy little song (actually more like the skeleton of a song) has the habit of showing up in the funniest places including in the repatoire of a hockey arena organist. The tortured and nervous lyrics of this first album lets you perfectly imagine the sweaty foreheads of some demented characters. Oddly, front man Gordon Gano makes it cool to be weak - on the verge on some breakdown and on the verge of lashing out. Most often he sounds like a sexually warped character alienated from, or obsessing over dependence on, some female. Other times he is a characature of someone disenfranchised from the rest of us at large. The jagged guitar work (reminds me of those of Pivot Foots guitarist Brent Walker) matches his obsessions and serves to echo them like his mental demons nodding and jumping up and down in agreement with all his sentiments. We the audience witness the whole mental illness dancing party. They were once described as a "coffee house trio gone insane." This album is a an absolute must have.

Gimme Five....
I forgot how good this release was....It's a fixture in my car CD player at the moment!

Timeless; beautifully weird as hell; an undeniable classic
This album is, in the very best way, like a perfect pair of toenail clippers.

That is: it's something you don't use all the time, but every so often you realize, "It's been too long, I need something..." and it occurs to you that only one thing will do the job. Either toenail clippers, or "The Violent Femmes."

It shouldn't work. The instruments are simple and spare and loosey-goosey. Gano's voice is weird and the lyrics tend to be whiny and self-pitying. And yet the whole thing stands up as a remarkably fun, wonderful little album.

Aside from the music, one of the best things about "The Violent Femmes" is its bizarre, broad appeal. It always gets a smile when played at a party and beyond all reason it gets people of all shapes and sizes singing along. When I was in high school and college, all the cool freaky girls liked this record. As well as some of the regular girls who were really freaky girls pretending to be regular, even back in the day when Bon Jovi and Poison supplied pep rally soundtrack.

But that was a long time ago, and it seems like people are still picking up on it. It's a nice thought that one of the sonic staples of my teen angst period is now being picked up by kids who've heard Beck and The White Stripes first.

An absolute classic album
I can't believe I'm the first person to review this album; I just assumed that there would be hundreds of reviews praising the songs and the band. I'm shocked...

This is a masterpiece; this is a must have album for anyone who appreciates punk and/or rock music. I can't fathom anyone not loving this album. It's poetry; it's teenage angst; it's unique in its musical stylings.

The Violent Femmes are brilliant musicians who redefined the genre of punk music.

Buy this album! ... Read more

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There seem to be two major camps of U2 fans now: Those who dig the early albums (good and sensible people), and those who only like the ones from the '90s, putting everything previous down as "classic rock." But U2 only became a classic rock sort of band in 1984, with The Unforgettable Fire. The real early stuff, from '80 to '83, still comes off as edgy--and it's comparatively ignored. Here's a sampler: Under a Blood Red Sky is from a U.S. tour (1983's) in which U2 still thought of itself as a hungry little band from Ireland--and draws (fairly wisely) from the band's first three albums. There's nary a misstep on the entire disc, although it could stand a few more tracks. --Gavin McNett ... Read more

Reviews (54)

Passion & Energy
Two of things that make U2 such as special band is their passion and energy. While these traits are present on their studio albums, they come to the front in their live performances. Under A Blood Red Sky perfectly captures all their raw emotions and energy. The album opens with the soaring "Gloria" from their October album and then seiges into "11 O'Clock Tick Tock". Next is a scorching version of their first hit "I Will Follow". "Party Girl" is a great lost U2 song. It was originally issued as a b-side and available on imports only. It starts off with just the Edge strumming his guitar and builds up to a powerful crescendo. Bono states on the record that "Sunday Bloody Sunday" is not a rebel song, but it is definately an anthem. Bono has always had a bit of a preacher in him and as he urges the crowd to chant "no more", the album takes on the feel of an old time revival. After whipping things up to a fever-pitch, "The Electric Co." and "New Year's Day" follow and they mellow things out. The hymn-like "40" is the final track and the album ends on a poignant note with just the crowd singing the chorus. For those of you who may only be familar with the U2 of the 90's and their mammoth Pop Mart and Zooropa concerts, this album is a fine sampler of their earlier efforts. While the approach is simplier in nature, it produces just as big of a sound.

The polemic Under A Blood Red Sky EP
Despite this EP ( 35 minutes long aprox ) shows an EXCELLENT early U2, this is not actually a "Live" album. Contains songs from 3 different performances ( Boston, Denver and St Goarshausen, 1983 ), most of them from Germany ( 5 songs ). This album includes AWESOME versions of "Sunday Bloody Sunday" and "New Year's Day" ( both far better than red rocks ). But is a shame the fact this is not a complete live album, as it mean to be. Also contains a few editing ( Bono's speech before Sunday Bloody Sunday and other ones ).
I remember recently on www.interference.com a GREAT IDEA for an Album release. It's about something like the real Under A Blood Red Sky album, containing the whole concert played in Loreley Festival, Germany August 20, 1983. Since 5 songs were from this concert on the original Ep, that idea would be something really cool, because we would have a real live album for the first time.
I really waiting for that version instead !!!!!!

"This Song Is Not A Rebel Song..."
The tour accomanying U2's third LP, The War Tour, was their first really big world tour. Towards the end of this tour, a live album and video were released. Please note, the video is the actual 'Live From Red Rocks' show from June 5, 1983, whereas the album has SOME tracks from that show, interspersed with performances from War Tour shows in Boston and what was then West Germany. Nontheless, it's the same songs and the same spirit. Basically a live collection of songs from U2's first three LPS plus b-sides. This is one of the most successful and legendary live albums in the history of recorded music, and there's a reason. Even before U2 had the fiscal resources or the sizable back catalog required to put on huge tours like they would in the future, U2 could put on a hell of a live show, and this thing proves it. I have it on vinyl, cassette, and CD. If for no other reason, buy it for its versions of 'Sunday Bloody Sunday' and the b-side 'Party Girl', which are virtually unbeatable.

This live album also served as a summation of a period for U2, though the fans did not know this at the time. U2 were about to embark on a very different path, and this was the finale of their first, angst-punk, period.

Legendary
First things first - the live performances on this album are outstanding. Why U2 have only ever released one whole live album I will never understand. OK, there are videos/DVD's etc but most hardcore fans had to resort to bootlegs to get concert performances.

The only thing that lets this album down is the production: 1. the crowd noise is way too loud 2. Edge is not loud enough in the mix and 3. The sound has a lot of distance/space in it (not sure if that makes sense). If you listen to An Cat Dubh and Twilight (taken from Redrocks) on the Sweetest Thing CD single you will notice how much better the sound is. Thats why I think this album should be rereleased remastered.

Aside from that, this is a brilliant album! All the early staples are here and the best version of I Will Follow you are likely to hear. The rest is history...

cheers

Great Live Energy
This captures of the rebel group U2, in all of its glory. ... Read more

Album Description

This Super Audio Compact Disc (SACD) recording offers high-resolution sound and is playable on both standard CD players and SACD-compatible devices. ... Read more

Reviews (65)

One of the finest greatest hits releases ever!
I'm not big on greatest hits packages. I believe the artist has an idea in mind when they release an entire album. It's like taking excerps from a great novelist's many books and putting them in one book. However, with time passed by, it appears that The Police were an excellent singles band. A lot of their albums now sound like filler around their power-pop hits. This is the CD to own, if you don't feel like buying their entire collection. The sound is a wonderful improvement over their original greatsest hits release from the 80's and the inclusion of the original "Don't Stand So Close To Me" finally makes this a complete package. The Police has always been one of my favorite groups. The rhythmic interplay between this trio is exciting and creative. Each one of the songs on this CD is excellent and covers the best of all their albums. One of the finest greatest hits packages ever from one of rock's most intelligent and creative forces.

Bad band. Great songs.
The first albums I can ever remember listening to repeadtedly were "Synchronicity" and "Ghost In The Machine" (when I was 2 or 3 years old!), and to this day, I can't help feeling that the Police were an awful band, for several reasons. There's the awful pseudo-Jamaican accent of Sting on many songs coupled with the sub-Teletubby scat talk ("Eh-Oh" should be written on his headstone), the fact that the Police only had three or four good songs per album, plus the unconvincing reggae and world music influences that would dominate their work. Nevertheless, the singles simply demanded attention, and this collection is mercifully free of the nonsense filler that dominated their albums. All the classics are here, from "Message In A Bottle", "Every Little Thing...", to the brilliant, timeless "Invisible Sun". The Police were an awful album band, but released some of the finest singles of their era, and here they all are. If you enjoyed these songs the first time around, it's well worth investing in a copy of this. If you bought all their albums first time around, it might be worth replacing them with a copy of this, a collection that flawlessly seams together their finest moments. If you are a hard-bitten cynic who hates the band, get hold of this and feel yourself change your mind. If you want a reaffirmation of how bad the band were, however, buy the original albums.

Love this comp!
The Police may not be a band that will ever reunite, so this is a CD that you should enjoy!!! It's very awesome, and it's got every Top 40 hit by the Police, except for "Sychronicity II". Other songs that were left off the CD were "Canary in a Coalmine" and "Hungry For You". I do like the remix to "Message in a Bottle". And the best thing I like about most greatest-hits albums is that this one is in chronological order. All the way to their worst hit, "DSSCTM '86". Get it.

Classics...
There are a couple of great tracks missing, like So Lonely and Synchronicity II, but apart from that Every Breath You Take is quite a good compilaton.

The Police arrived in the midst of punk, hiding their more advanced musical skills under a sound that was like punk, but with more difficult chords and varied drumming. This all got them a record contract. On later albums, they expanded their sound, adding phase to their guitar, syths started to appear, singer Sting started talking politics. This all got them world famous!

You get a taste of their faux-punk beginnings with "Roxanne" and "Can't Stand Losing You". You get the new wave anthems "Message in a Bottle", "Walking on the Moon", "Don't Stand So Close to Me" (a song about a student-teacher affair). You get the big American hits "De Do Do Do, De Da Da Da ", "Every Little Thing She Does Is Magic" and "Spirits In The Material World". You get the droning politics of "Invisible Sun", you get the Synchronicty tracks "King of Pain" and "Wrapped Around Your Finger", whose sound point more toward to Sting's solo career. You get the only song to come out of their 1986 reunion "Dont Stand So Close To Me 1986", and of course you get the title track, the well known and well loved "Every Breath You Take".

You get a lot here! Not everything, but a lot.

If you're the casual listener, this album is a good one to go for. The Police were more of a singles band, and the best singles are here. Get to know Sting, Andy and Stuart. Get Every Breath You Take: The Classics.

Every little thing they did was magic.
Before they passed the torch to "U2" in the mid-80's, "The Police" were the biggest band in the world, and what's on this collection is a good reason why. I cannot argue with what is here, "Walking On The Moon", "Don't Stand So Close To Me", "Spirits In The Material World", and "King Of Pain" are all excellent songs. But I, like many people, really miss "Synchronicity I & II", "So Lonely", "Tea In The Sahara", and even "Canary In A Colemine". Plus, I don't think anyone wants to hear the last two songs twice on the same cd. I don't. Still though, this is a great bunch of songs. Other options would be their 2-disc "Live" album, the import "Greatest Hits", or all 5 albums. ... Read more

Album Description

1995 re-issue of their debut album. 15 tracks in all. EMIUK. ... Read more

Reviews (48)

One of the most "in your face" albums of ALL time
Gang of Four took punk and turned it onto its funky edge. This strongly political album came out in a year that also gave us "Fear of Music" (Talking Heads), "154" (Wire), "Setting Sons" (The Jam), "Armed Forces" (Elvis C.), "Unknown Pleaseures" (Joy Division) among other great works. But "Entertainment!" has a different kind of edge all its own thanks to Andy Gill's razor sharp guitar riffs and Dave Allen's awesome fluid, slithering bass, and Hugo Burnham's machine-gun assault on the drums. The lyrics are delivered unforgettably by Jon King. "I Found That Essence Rare", "Damaged Goods", "Anthrax" (with its double vocal track put much of today's music to shame. And, of course, "Not Great Men" is so funky it's indescribable. You have to move to it somehow. This album is "bloody essential" as the UK music mags like to put it. I'm just disappointed I couldn't see Gof live.

Nothing like a cynical boot to head
Gang of Four truly creates a rugged, cynical sound that shows that punk wasn't dead in the early eighties; Gang of Four and others were just bringing out of the impotent adolescent mindlessness left by the Sex Pistols. Tight grooves owing as much to funk as to punk, these short and sharp songs cut through the consciousness and the conscience. The album begins with the biting bass of Dave Allen in 'Ether', to be joined quickly by the razor-sharp edged breadknife of Andy Gill's guitar and the Burnham's thudding tribal drums. All three reveal the true meaning of the song when Jon King begins singing. King's lyrics are a confetti of flying cynicism mixed with a heavily peppered criticism of society.
The fun never stops, or lets up, or slows down on this album. 'Not Great Men' is a history lesson served up in a few short minutes. 'I Found That Essence Rare' sums up the entirety of this album-it's a rare essence well worthy of praise when the word 'punk' is now associated with bubble-gum pop stars like Avril and sold downstream by the likes of Rancid. The album softens up a bit towards the end, preparing you to be really depressed with the last song, 'Anthrax', which is a tribute to the dangers of love.
This album is a must have in any collection regarding punk or 80's music. If only we'd listened to 'Gang of Four' way back when.....

THE BEST CD OF MY RAT YEARS
This album is freakin awsome. Its one of the the greatest punk/funk albums ever. the guitar work is so alienated.It sounds like the great guitar works of the 80s.

Better than a car alarm
This is going to be a bit of a rambling review, but I promise to make it worth your while.

You see, I was in my crappy Volvo tonight, driving around town, blasting Entertainment!, and pretty much feeling as cool as Kevin Bacon in the opening scenes of Footloose. I rarely give a five star review, but any album that makes me feel like Kevin Bacon deserves either a five of a zero. Kevin Bacon in Footloose? A five for sure as long as it's not a Kenny Loggins record that puts me in the mood.

Now, there are a lot of so-called "seminal punk albums" that are either overly simplistic or purely unlistenable. Many are good time capsules, but little else. However, Entertainment! is none of these things. The crisp, clean songs sound more like the Clash than anyone else, but where the Clash was influenced by reggae and early ska, Gang of Four rode improbably on the back of disco - quite a feat for a group that was one of the pathologists dissecting the "disco is dead" movement. While the connection between Gang of Four and disco is not strong, it is fully evident in the band's bouncy bass lines which give the music more energy and immediacy than a lot of its droning contemporaries. The bass work also gave birth to a legion of disciples, ranging from Fugazi and the Red Hot Chili Peppers to dance punk outfits like The Rapture.

Some other Gang of Four albums, like the recently re-released Hard/Solid Gold compilation fit squarely into the "time capsule" category, but Entertainment! is consistently clean and engaging. In addition to the great bass and tight drums, hard, haltering, funk-infused guitar chops round out the backing music while John King's vocals are passionate without ever getting sloppy or obnoxious. Perhaps this album's greatest asset is that is continually listenable.

As I was driving around singing along with "Natural's not in it" -- this heaven gives me mee-graine - a migraine headache was the furthest thing from my otherwise tortured little mind. I parked my car in a pretty sketchy neighborhood, and went to see a mediocre show by a band who ought to be paying royalties to Gang of Four. When I came out, the window to my car was smashed, and though I had tons of stuff lying around my car, the only thing that was gone was my stereo. But on the passenger seat, placed carefully and unscratched, was Entertainment! I don't know why the thief left Entertainment! (or any of my other stuff) behind, but I'd like to think it was because he respected my choice in music. I'm a little pissed about the broken window and lost stereo, but as I sit here listening to the song "5.45," I know things could be worse.

Stomping!
It would be a pretty bizarre idea to say that James Brown studied with the Frankfurt School, yet that's the only way I could describe Gang Of Four to friends. Some groups have great technical ability but lack musical force, some have great anger but without lyrical insight and yet others refuse to take away from the poigiancy of their words and use an undynamic backing. Go4 were suberb players with impecable timing, lyrical broadsides that were a college education in themselves and enough power and anger to start a small guerrilla war.

On 'Entertainment' the dehumanizing effects of mass consumerism have never sounded so good! On 'Ether' Jon King deals with the then explosive situation in Northern Ireland, evoking a time when paramilitary conflict was as frequent as the football scores on British television. Although primarily identified as a punk band, 'Natural's Not In It' is an exercise in pure funk with King drawing inspiration from situationist slogans.

My favourite track on the album is 'Damaged Goods'. There are few rock tracks on which you can say the guitar plays backing rhythm and the bass plays lead, but here it is! Dave Allen's bass is sometimes so spontaneous it threatens to overwhelm the track. 'Glass' could almost be a minor Samuel Beckett play portraying as it does the mundane alienation of everyday life. The Go4 were supposed to appear on the BBC chart show 'Top Of The Pops', performing 'At Home He's A Tourist', but were denied because they wouldn't change the lyric about 'the rubbers you hide'. '5.45' was warning us about the dangers of news as entertainment a decade before it became widely appreciated.

And all the way through you just can't stop stomping! ... Read more

Reviews (66)

The Best of The Best
In my opinion, this is THE essential post-punk LP. In Ian Curtis, Bernard Sumner, Peter Hook and Stephen Morris, Manchester had its answer to the overflow that London started with the basic chords of punk and the Sex Pistols. Joy Division were the full meating of Bowie-influenced ambience and disregard for conventional music as punk exemplified.

Joy Division formed in 1977, one of the many second-rate thrash acts to come into being after the Sex Pistol's legendary gigs a year earlier. They were rough, but they began to form a cohesive unit by 1978, developing their own sound in the relative isolation of their native Manchester. Finally able to record for the legendary RCA (which had Curtis' idol David Bowie on its label), the band found their recordings were already dated by the time the album was finished, and a parting of the ways allowed them to sign with Tony Wilson's upstart Factory Records.

Unknown Pleasures, the first fruit of that meeting, came out in June 1979 and marked a break with the aggresive posturing of punk. Instead of spitting on his audience and barraging them with incomprehensible lyrics, Curtis instead spoke slowly, enuciating the angst of post-Pistols England, where Thatcher was the new power and things went from bleak to worse. The Falklands War was only a few years away, and the young people of England were fearful of being used as so much cannon fodder for an uncaring government. It is only in this enviroment that protest music can flourish, but Joy Division did not protest, they merely articulated the fear underneath the surface.

The songs are incredible, full of energy even on the slower numbers. Martin Hannett's producing was cited by the band as "ruining" their sound, but to the casual fan no such crime is commited.

All in all, this is high on the list of great debut albums, and it is rendered more poignant by the fact that they would only record one more album, released almost exactly a year later, after Ian Curtis took his own life. But back in 1979, on this record, Joy Division have never sounded more alive. Buy this album now. Quit wasting your time with pop records, this is the real thing. U2 learned all they know from the boys from Manchester, and this album is a perfect primer for any upstart wannabe rock band. More than that, it is a road map to the mind of Britain in the Thattcher age.

'Unknown Pleasures' is a true masterpiece
Right now, i am currently 15 years old and i recently released my first solo album completely single-handedly. I believe that music is the essence for living. It is my true salvation in life. For me, music is all about letting go of your emotions through your heart and soul in a way that you couldn't otherwise, and Joy Division did so with 'Unknown Pleasures'. This record carries a very foreboding and cryptic vibe through its entirety. It is an ingenius work form the late poet of despair, Ian Curtis. It is so unfortunate he let the world slip out of his hands, he is still missed to this day. Joy Division changed the world of music forever, and if it wasn't for them, i would never have known the true beauty with which music can convey. The top cuts on this record are the chilling, but brilliant "Insight" and "New Dawn Fades." Rest in Peace Ian.

An Album Of Despair and Lost Love That Isn't Emo
This is an emotionally draining album, straight from the broken, depressed mind of Ian Curtis, who on another note looks a bit like Elijah Wood. Most people already know the tale of Joy Division and Ian Curtis, a band whose singer suffered epileptic fits regularly on stage and at the age of twenty-five took his own life. Now I'm not one to give a band better letter grades because their singer died tragically, I hate Sublime, Drowning Pool, and am not too fond of INXS. Listening to this album it's not at all a surprise that Curtis killed himself, the album is dark and devoid of almost any hope. But let's not focus on Curtis, but the band as a whole. The sound of Bernard Sumner's guitar is stripped down to a skeleton, brittle and unpolished. Peter Hook's booming bass would later become a staple in post-punk and new waveish bands for years to come, and Stephen Morris's drums are loud and slow, pacing the music. Ian Curtis is still the star of the show though, and is a very engaging frontman, his droning, broken voice demands your attention.

Let's get down to what matters though, the tunes. The opener Disorder is an excellent opener, and ends with Curtis screaming "I've got the spirit, but I'm losing feeling" and it really gets the blood pumping. There is not a sucker in the bunch though, and every song is excellent, of course some moreso than others. Insight is particularly noteworthy, as is She's Lost Control which may or may not be about Curtis's epilepsy. If you're looking for lots of synths in this album ala New Order, you may be a bit disappointed as the music is alot rougher. The lyrics are excellent but I'm not going to comment on them much. Whether Unknown Pleasures or Closer is better I'm not sure, because their both almost flawless.

Debut album by hugely influential band
Not as good as Closer due to the production and weakness of the songs included. It sounds really stunted and nowhere near as emotionally engaging as Closer. Transmission is not included, even though it was their first proper single, which is crazy. However, Disorder, New Dawn Fades, She's Lost Control, and Shadow Play are included and they are just perfect songs. However, I do prefer the live versions of all of the songs here, because on Unknown Pleasures, all of the songs sound like they have been recorded from a mile away, so everything is really quiet and toned down, whereas Joy Division always seemed to excel in their ability to engage the listener with their mania.
Some of the songs on here are just crap really. I mean Interzone and I Remember Nothing do nothing but make me want to skip them as soon as possible and go back to Disorder. I personally think they were best when playing short, sharp, bleak 'pop' songs with the best lyrics ever written. I think I Remember Nothing and Autosuggestion (not on this album) are too similar to Velvet Underground ramblings really to be any good. But if you like that sort of thing they could be for you.
Enough of the negatives. New Dawn Fades is the ultimate existential song of all time: 'Directionless, so plain to see, a loaded gun won't set you free, so you say'. No one toys with the idea of suicide in such a devastatingly bleak and serious manner. It really sends shivers down your spine. She's Lost Control is so sparse and hypnotic, it feels like you are the one having the epileptic fit. Shadow Play has wonderful images of 'assassins all grouped in four lines dancing on the floor'. Very manic and out of control. Wilderness shows the same profound sadness through the eyes of victims throughout history. Not as good as Closer, but in comparison to all of the vile wannabe bands out there today, it tears them into to little shreds and spits them out.

awesome
JD's debut Unknown Pleasures is an extremely strong debut, an essential record. Each song is full of Ian Curtis' emotional power and all songs on here is written through human emotion, no fakes here. Great record, I suggest it. The sophomore album (and last album) Closer is amazing as well. But I think Unknown Pleasures is better, just by a little. ... Read more

Amazon.com

So Depeche Mode releases a singles compilation featuring only one previously unreleased song ("Only When I Lose Myself") in anticipation of a major tour. Sound suspiciously like a shameless cash-in? Sure. But The Singles, 86-98 needed to be made. This is a worthwhile purchase for casual admirers and completists alike. The two-disc set contains revamped versions of the major singles from 1986 to 1998 and a version of "Little 15" that was first released only in France. The set's "grand finale" is the live recording of "Everything Counts," from the 101 album.Although the original studio version of the "Everything Counts" single appeared on 1984's People Are People, DM fudged the chronology to justify including this astounding live recording on the album (a ploy to psych up concert-ticket buyers?). The live recording highlights the worshipful crowd applauding, cheering, and chant-singing "The grabbing hands / Grab all they can / Everything counts in large amounts" long after the song has ended. Ka-ching! --Beth Bessmer ... Read more

Reviews (137)

Flawless singles collection of DM's later (and better) years
Depeche Mode were/are by far the greatest synthpop band, essentially because of the gothic influence that they have in their music that gives it its menacing edge. Singles 86 > 98 is a fabulous collection of their singles, which were often their best tracks. 'Enjoy The Silence' is their most classic song ever, and it still sounds chilling and intense now. But there's so much more on offer here: the darkly menacing yet simultaneously beautiful 'A Question of Lust'; the driving, synth-heavy 'Never Let Me Down Again' and the rockier, howling 'Barrel Of A Gun', for starters. There's also a stunning live version of one of their better earlier songs, 'Everything Counts'.

Exclusive song 'Only When I Lose Myself' is something of a disappointment, but classics like 'I Feel You', 'In Your Room', 'World In My Eyes', 'Stripped' and of course the bluesy 'Personal Jesus' make this little of an issue, especially considering the album that followed, Exciter, was classic Depeche Mode, blowing away worries that Only When I Lose Myself was to usher in a period of mediocrity.

Overall, this is a great 21 tracker that rounds up all of Depeche Mode's great songs from their later, and better, years. 5 stars.

Depeche Mode - the Multiplatinum Years.
This is Depeche Mode's second hits compilation, a double-disc containing the group's singles from 1986's "Black Celebration" to 1997's "Ultra." "The Singles 86>98" chronicles a Depeche Mode finally achieving multiplatinum status ("Violator"), experimenting with rock ("Songs of Faith and Devotion"), experiencing the loss of member Alan Wilder, and surviving David Gahan's near fatal tailspin with drugs. While these songs lack the charming innocence of early gems like "Just Can't Get Enough" or "Everything Counts," this hits compilation does a fine job of showing how well this electronic act has musically evolved over the years. There's the twangy guitar of "Personal Jesus," the burning urgency of "A Question of Time," the catchy bounce of "Behind the Wheel," and the understated beauty of the gentle track "Only When I Lose Myself," which was recorded exclusively for this CD. Considering that these discs run in chronological order, it feels a little weird to include as the final two tracks 1987's "Little 15" and the 1989 live recording of "Everything Counts." Personally, I would have eliminated these songs altogether, but that's a small gripe from me. "The Singles 86>98" is nonetheless an excellent, well-presented anthology of the Mode's work, and comes highly recommended.

A Must Have
If you are someone like myself who is just starting to get into Depeche Mode, this is the album for you. The two CD set is packed with old favorites. It's a great start on your way to getting familiar with Depeche Mode.

This collection really shows the differentiation and evolution of Depeche Mode. The amazingly addictive "Stripped" begins the set of classic DM songs and the appeal doesn't stop there. If you're like me, you'll find once you buy this collection, the CD will barely leave your CD player.

After buying this album, the most logical sequence of events would be to buy Violator. (arguably the band's most popular album) However, since about half the songs from that CD are in this collection (although they're slightly different versions of most of the songs), I'd reccomend either Songs of Faith and Devotion, or possibly Music For The Masses.

This is an amazing collection fans both old and new of Depeche Mode will certainly appreciate. In this album, you can really see what made the band so influential and unique. Honestly, what other band has had one of their songs covered by BOTH Marilyn Manson and Johnny Cash? I rest my case. This album is definately worth taking a listen to.

Dumb Editorial Reviews!
The above editorial review suggests that DM included the live version of "Everything Counts", which was originally released in 1983, to milk a cash cow, and even "fudged chronology" to do so. This isn't the case at *all*. This live version was released as a hit single in 1989 (Mute Cat# Bong16) and therefore fits perfectly into the chronology and theme established by the title.

As for this record itself, it's a fantastically put together and very historically accurate document of DM's output of hit singles during the years in question. The idea is simple and straightforward: compile the 7" versions of each of their singles between the years 1986-1998 (with a few technical exceptions that would only be noticed by the most devoted fans). It's not by any means their most consistent or best album; look to either "Violator" or "The Singles 81-85" for such an item. Never-the-less, the album itself is very, very good and an excellent place to start for anybody who wants to become acquainted with the band and hear some excellently written and produced electronic music.

My sole complaint with this album is that the singles "Little 15" and "Everything Counts Live" aren't put in their proper chronology but rather placed at the very end of the album for whatever reason.

But as for accusations of milking cash cows...that's alomst complete nonsense. This compliation was built with historical accuracy in mind and if the cash comes, it's only a result of the suberb music and production on this record. Get this along with "The Singles 81-85" for a very good introduction to this superlative pop band.

You NEED this album
I don't care what music you're into but you NEED this album! I'm more of a rockish fan but this album isn't just perfect for it's sound but its flawless lyrics. Never has any band been able to put something down on paper as well as Martin Gore and get it to sound as emotional as it does (it you listen to the lyrics as well). The second disc was average DM stuff while the first disc contains the best music you'll ever hear from DM. If I had to be select and highlight my favourite songs, I'd highlight the first 10. While they are actually quite bouncy and poppy, they were actually designed to be in nightclubs and such but to really appreciate their music, you'll need to listen to what they say. ... Read more

Amazon.com

Big and moody, Staring at the Sea compiles some hits and near misses of these excavators of the dark soul.Beginning with their earliest hits--the sparse "Killing an Arab," the aptly tedious "10:15 Saturday Night," and the charming "Boys Don't Cry"--this collection stops before the comparative giddiness of Kiss Me, Kiss Me, Kiss Me.

Musicians first, brooding art types second, The Cure's unique instrumentation doesn't get the credit it rightfully deserves. The thrashy, trash-can break in "Jumping Someone Else's Train," the sprightly synthesized recorder of "Close to Me," and the techno-pop disco lines in "Let's Go to Bed" and "The Walk" are downright brilliant in their effectiveness and simplicity. A string of money shots if ever there was one. --Steve Gdula ... Read more

Reviews (53)

Sometimes I Dream
"Staring at the Sea" is a collection of singles from the band's albums from "Three Imaginary Boys" (released in America as "Boys Don't Cry," with a few variations) in 1979 up through "Head on the Door" in 1985. This album provides a fine panorama of the Cure's progression from a power (punk) trio (Killing an Arab, Boys Don't Cry), through the heavily synthesized sounds of Faith (Other Voices), the gothic, drum machine of Pornography (The Hanging Garden), to the Cure's most complex (and commercially successful) arrangements in Head on the Door (Inbetween Days, Close to Me). New fans will instantly fall in love with Boys Don't Cry, Love Cats, Caterpillar, Inbetween Days and Close to Me. "Killing an Arab" was the band's first single, and despite its name, is merely an adaptation of Albert Camus' "The Stranger," not a reflection of any racial animosity. "Charlotte Sometimes" is a gem on this album. It was never released on a full-length album, yet it is a favorite of many Cure fans; the studio version is a bit sluggish, though, and fans will find that songs like "Let's Go to Bed," "The Walk," and "Charlotte" (though cleverly appealing as mid-80s antiquities) are literally transformed by the performances of these songs in the live CDs "Show" and "Paris." This compilation is outstanding, though. New fans are encouraged to check out "Galore," which is a collection of more recent singles that most people are more familiar with, but when you are ready to fall in love with the Cure, and you will, this album should immediately become part of your CD collection.

Give Me The Cure
As with most "greatest hits" albums, "Standing on the Beach" is merely a collection of previously released material. Nowadays the only reason to really buy the compact disc version of this album is for "Charlotte Sometimes", a single released in 1982, and only released on vinyl. "Charlotte" is a classic Cure track based on a children's book written by Penelope Farmer and it conveys the mood and style for much of The Cure's work in the early Eighties.

However, the cassette version of this album is a definate recomendation! It contains most of the songs avaliable on the cd and a "B-side" collection of unreleased songs from "Boys Don't Cry" all the way up to "The Head on the Door." There are some very interesting songs on the b-side that express how multi-dimensional the band can be. And some of the Cure's rejected songs sound better than a lot of bands released material!

Either way, being a long time fan of Robert Smith and The Cure, you could hardly go wrong with either medium, though the cassette will definately put you through so many moods you will need a psychiatrist when you are done listening!

Oh Meursault...
What else can be said about this that hasn't already? We shall see. If there is just one album by the Cure that you could get (excluding Disintegration) by all means make this the one! This album includes a very nice array of earlier Cure material ranging from their brilliant ode to Camus (that alone makes this cd worth it) in Killing an Arab, the ironically cheerful Boys Don't Cry (oh, but they do) and the brooding atmosphere created in the Hanging Garden to the wonderful meandering of A Forest and playfully upbeat tempo created by Close to Me, brass and all, the Lovecats and of course the beutifully simplistic The Caterpillar.
There are just so many great songs on this album it is hard to describe mention them all; every track is truly a jewel, and, perhaps, most impressive is the range of emotion and subject matter that the Cure covers here, all with brilliance, wit and a graceful passion unmatched in most music that is being made today. In this collection, as with all of the Cure's material, Robert Smith's lyrics ring true and the accompanying music never fails to intensify the the mood that they evoke. The Cure are without a doubt one of the best bands to come out of the 70's and 80's and this album illustrates why. Go on go on your choice is made...

The Cure: a singles band? Here's proof...
Thanks to the recent TV commercial for HP Digital cameras, I found myself really wanting to have some Cure in my life again and went looking for "Pictures Of You." Yes, at one time I had almost all the Cure CD's in my collection, but time and economics had weeded them away. "Staring At The Sea" offered me an opportunity to get a batch of other songs I remembered with fondness.

As dark and morose as The Cure's image had always been, their albums up to "The Head On The Door" frequently found them making dazzlingly brilliant singles. Hard to believe it, but Robert Smith was just as pop song smart as any New Romantic period hit maker, and in songs like "The Walk" or "Love Cats" he showed the kind of playfulness that many of his fans didn't always "get." Nonetheless, early efforts like "Killing An Arab" or "Hanging Garden" reinforced that dark depressive atmosphere that early Cure fans embraced so completely. Smith himself never had any problem with playing against preconceived notions of what a Cure song should be; I doubt a jazzy Robert ("Let's Go To Bed") was in any goth fan's must hear list.

I also found it ironic that the "Staring at the Sea" image of an old man was mirrored by the baby with the ice cream on "Galore." If you wanted to read more into it, you'd almost suspect Robert Smith was gently trying to remind listeners that he didn't mind playing to his more childlike nature when making music. While there has yet to be a comprehensive single disc collection of the Cure's best, a purchase of "Galore" and "Standing" will at least put all the singles at your fingertips.

Charlotte Sometimes
The one reason to buy this is to have "Charlotte Sometimes" on cd. I myself own everything the cure has released but I had to buy this for that song. Charlotte Sometimes is the most dreamy and mysterious Cure song ever and I swear it puts me in a trance. It steals me away from my dreary life as a teenager with a dead end job and a so-far meaningless exisitence...sounds Cliche' huh?. Well, trust me this album is full of Cure classics but it holds the one Cure song that has a place im my heart forever. Keep an eye out for the new cure album coming...its going to be a great summer. ... Read more

Album Description

2 CDs featuring 5 top 40 singles and a total of 32 songscovering the band's A&M and Virgin Records careers. Alsoincludes the bonus track 'The Real Life' (Raven Maize)(sampling Queen's Bohemian Rhapsody). 2001. ... Read more

Reviews (13)

It is a chronology
"best of simple minds" is an effective double cd collection that covers all of band's most important tracks up to around year 1999. i enjoyed it and it made me get their other albums. i think it is a perfect album for someone who knows only few simple minds songs and wants to know their music better.
from the cold new wave sound up to warm and emotional pop-rock Simple Minds remained a fresh band that has their own recognizable sound. of course they had some weaker spots ("biko" sounds much better in Peter Gabriel's version,and what the heck is the last track?) but who is perfect? even the lack of presence of some tracks doesn't change the fact that it is the best and most ineresting Simple Minds collection avaible.

100 stars would be more like it!
If you're like me you've owned "Glittering Price" (US version) and were deeply dissapointed. I know I was! (The song Glittering Price was not in the US version [DUH] and the imported version missed "Stand By Love" & "Up On The Catwalk" as well!). Well, as most everyone knows, all Glittering Price's songs are here in the "Best Of", plus others that kick rear end. Better yet they are all mostly full versions. I gave my Glittering Price CD away to a friend. Anyone who knows Simple Minds' previous work (prior to Glittering Prize) must have been upset about that compilation.

Well "Best Of"; now that's a REAL compilation!! The only flaw (big one) is leaving New Gold Dream 81 82 83 84 behind (not to worry get the NGD CD and you'll be even), but that always happens with "greatest hits" CDs. To make a full "Best Of" collection for Simple Minds I think they would have needed 4 CDs (impossible, I know) but this gives people a general idea of what he group is really made of. After buying this collection I was inspired to get 5 more Simple Minds CD, and now I can't wait to finish my collection (I only need about 2 or 3). Get this collection now, you wont be dissapointed!!

My faves: See The Lights, Glittering Prize, Life In A Day, Biko, Sanctify Yourself, Stand By Love, War Babies, Alive And Kicking, GhostDancing, Let There Be Love, I Travel, Belfast Child, Up On The Catwalk & Speed Your Love To Me.

I recommend the style of Simple Minds to anyone, its a unique group and nobody has been able to match their special style and uniqueness.

A true desert island fav!
Where do you start with these guys? My first Simple Minds album was New Gold Dream which is another must have.I picked this CD up trying to fill the gaps and really liked it. They have so many different sounds and styles and they are all here (except for New Gold Dream. Their is a different version of Promised You a Miracle which is great with a little more bounce. Just about any person who grew up in the 80's would like this CD as their is something for everyone here. There newer material on disc two was somewhat more mellow but works great at dinner or on a roadtrip. I have a ton of respect for these guys as their songs shaped my childhood and made me feel good. 5 star all the way!!

Great, but where is "New Gold Dream?"
I agree with all of the other reviewers that this is a great compilation of one of my all-time favorite 80s bands, but where is "New Gold Dream?" If it's a greatests collection, this band's greatest tune is missing. Listen to Flashbackalternatives.com for more great Simple Minds tunes.

Where is Dr. Phil
hello:

i bought this cd thinking it was songs about dr. phil mcgraw. these guys may me want to dance like belinda carlisle. it is happy new wave music. leg warmers and big hair.
chest hair and sharls.

jack e. jett
the jack e. jett show ... Read more

Reviews (7)

NOT the 80s!!!
Just listened to my friend's CD. This was NOT the 80s I remember. This compilation is the kind of lowest of lowest common denominator garbage that gives the 80s a bad name. Unfortunately there are few alternative collections that roll together the true new wave groundbreakers, godfathers of electronica, and pre-90s alt rocker forebears that made the 80s a phenominal time for good middle-of-the-road pop rock - no such thing even exists today. The radio is full of teeny-bopper pop, rap, or classic rock. Please Music Industry, help us!!!

How can it be 2003 now??? Where did my youth go?
Yes, I am too old for teenie bopping now, but I can listen to this and bring it all back ike it was yesterday. I close my eyes and my hair still shines, there are no crows feet threatening my eye area and my thighs are an acceptable size. Nice selection of hits from the 80s. Sit back and enjoy

Great CD
I love this cd. There are many different types of eighties. If you feel like a ballad there is one if not you can find something fast. Its has many of the songs you love and some you never really heard but sre still great.

A Couple Radio Edits Apparent
Ah, the 80s-a musical era filled with big hair, candy-fluorescent-colored music videos, and some of the most high-style, low-substance pop tunes ever recorded. But in spite of these apparent drawbacks, I found quite a few tracks on this collection of Reagan-era pop-charting tunage to be a reasonably enjoyable and nostalgic diversion. Heck, just listenin' to the first disc alone took me back to those lazy days when I'd veg out to the playlist of the local Top-40 station!

Sadly, although I loved more than a few of the cuts in this collection, I made the sad discovery that at least two of the tunes-- Bonnie Tyler's 'Total Eclipse of the Heart' and Paul Young's 'Every Time You Go Away'-are not the LP renditions. I'm sure a few of the other tracks in this set are the radio edit versions as well, though I couldn't tell ya exactly which ones. Needless to say, if you're a stickler for owning the entire uncut tune, I recommend you look elsewhere...

'Late

80's Pop Hits
Never heard of the songs on the 3rd CD? Whoever said they didn't hear of the 3rd CD must not have been listening too closely. The songs on these THREE CDs are great!!! I was stationed overseas during most of the 80's and heard every song played on the Armed Forces Radio Network. ... Read more

Amazon.com

In the decade of decadence, Duran Duran knew how to live the life. Itwas reflected in their videos (sailboats, silly white hats, tropical surroundings, grease-painted feral women) and garishly displayed in their public lifestyles. But if you can remove these connotations from the album that started it all, you'll be left with music that is anything but gaudy. For the most part, Rio is an eerie and sumptuous record. With their raspy, arpeggio synth sounds and Simon Le Bon's uninflected vocals, the misty ballads "Lonely in Your Nightmare" and "Save a Prayer" can still tear your heart right out of your chest and abandon it bleeding on a rain-soaked cobblestone street. With the dance-oriented singles "Rio" and "Hungry Like the Wolf," you dry out a bit, but the songs are far from airy or whimsical. One anomaly in this release, though, is the inappropriate prominence of John Taylor's bass lines. In every song, it sounds as if he is mixed more in expectation of a solo than as an integral part of the rhythm section. Ignore this technical distraction, however, and you'll enjoy rediscovering this gorgeous body of water-colored synthpop. --Beth Bessmer ... Read more

Reviews (53)

Video Glitch for Win2000 & WinMe
If you are running Win2000 or WinMe and you do not have QuickTime installed on your computer, DO NOT follow the link provided on the enhanced portion of this CD. If you do, you will be downloading an older version of QuickTime that is compatible only through Win98. The result could be severe audio breakup. Instead, go to Apple's site and download the current version of QuickTime [v.5.0.2] which is compatible with Win2000 & WinMe and follow the installation instructions. Then get ready to be disappointed with the notecard-sized videos. As for the CD audio...mastered much too bright. As for the failure to use the ALBUM MASTER to cut the CD...shame on EMI/Capitol. Very amateurish. This disc is a great disappointment. P.S...Where is the ZERO in the ratings system???

Rio - 20 Years Later.
Although it was originally released in May 1982, Duran Duran's second album, "Rio," didn't catch fire on these American shores until a year later, thanks to the breakthrough single and video "Hungry Like the Wolf." It was perfect timing for the British group: the year was 1983, during which MTV culture was taking shape and revolutionized the way we listen to music. That, coupled with the group's stylishly produced videos and new romantic-inspired pop, helped make Duran Duran such an important staple in 1980s music. Here, virtually none of the 80s cheese you find from trendier groups appears on this CD. There's the dynamic title track (replete with a sax solo from Andy Hamilton), the seductive "The Chauffer," the uptempo rocker "Hold Back the Rain," and the funkified "My Own Way" (which differs from the original mix on the 1981 single). "Rio" is one of the first LPs I ever purchased (I still have the original vinyl), and it gives me great teenage memories. On its own merits, the record really deserves 4 stars, but it gets an extra one for its sentimental value. (By the way, this remastered version is the original pressing of "Rio" that was released overseas, and not the remixed version that was once available in America.)

no not five stars,O-N-E STAR ONLY
I WOULD LIKE TO REMIND EVERYONE THAT THIS IS NOT 1982.NO ONE LISTENS TO SUCH SILLY FOGIE NEW WAVE DANCE MUSIC WHICH HAS BEEN FORGOTTEN FOR DECADES.AVOID THIS SLOPPY ALBUM AND GET SOMETHING NICE AND RECENT LIKE AUDIOSLAVE'S AWESOME DEBUT CD INSTEAD AND ENJOY YOURSELF.LET THESE OLD FOGIES LIE IN THE EIGHTIES WHERE THEY BELONG.

"Oh Rio, Rio, dance across the Rio Grande"
This is a good CD for fans of Duran Duran and is hailed as one of their best. I don't agree but it's still very good, I believe. The songs are entertaining, even if they aren't the best things ever written, examples being Hungry Like the Wolf, Hold Back the Rain, and a few others. I was quite impressed with New Religion. Very interesting song that is supposedly a conversation between "the ego and the alter ego". The chorus is great. The lyrics don't make a whole lot of sense but I think they can be understood on a gut level if you don't try to analyze them word for word. Lonely in your Nightmare, Save a Prayer and The Chauffeur are very pretty. I think I may have gotten more meaning out of the songs than was actually intended, or maybe not, but it doesn't really matter as listening to music is a personal experience anyway, and for me this album is a good musical experience.
So if you're not too proud to admit that you like Duran Duran, this might be a good CD to get.
Yes, a good CD but don't get it for the DVD-rom extras. You need a special computer for that. I don't know what the deal is.

For all of you complainers of the fact it's not the version
For all of you complainers of the fact it's not the version you had back in the 80's I know of a website that will straiten you up. There were 5 versions of the ablum made, and many of the songs have even 13 versions of the songs, only 1 song from the album is the same no matter which version you have or had for it is the only song that has 1 version that song is Last Chance On The Stairway. (...)

By the way stop your bitching about the album I have the US 1st version I LP, I have The US 3rd version on cd..with bonus tracks, the remasterd cd, plus I only the 81>85 box set, Night Versions, and Strange Behaviour, plus Decade, and Greatest, plus Decade on VHS and Greatest on DVD..so I have many versions of the songs, not all...I consider all versions to be a goal for me to have...so..read about the different versions before you complain! ... Read more

Album Description

Import only collection originally released in 1992.Features 16 tracks including 4 tracks that did not make the US 'Every Breath You Take: The Classics'collection, 'SoLonely', 'The Beds To Big Without You', 'Synchronicity 2' & 'Tea In The Sahara'. This import edition also contains theoriginal versions of 'Message In The Bottle' & 'Don't Stand So Close To Me' whereas the aforementioned US collectioncontains updated versions. The remaining 10 tracks are thetracks everybody knows, 'Roxanne', 'Can't Stand LosingYou', 'Walking On The Moon', 'De Do Do Do, De Da Da Da','Every Little Thing She Does Is Magic', 'Invisible Sun','Spirits In The Material World', 'Every Breath You Take','King Of Pain' & 'Wrapped Around Your Finger'. ... Read more

Reviews (18)

The Police Rock!
The Police where one of the greatest acts of the late 1970's and the 80's. The music is characterised by a strongly accentuated subsidiary beat with a distinct reggae resemblance. Also noticeable are the bands powerful lyrics.
The Police Greatest Hits takes us through the bands best known songs. My personal favourites are 'Can't Stand Losing You' (1978), 'Message In A Bottle' (1979), Walking On The Moon (1979), 'Don't Stand So Close To Me' (1980), 'Every Little Thing She Does Is Magic' (1981) and social commentaries like 'De Do Do Do , De Da Da Da ' (1980) and 'Spirits In The Material World' (1981).

Greatest Compilation
The Police - Greatest Hits is probably the best Police compilation you'll be able to get your hands on.

Arriving in the midst of punk, the Police hid their more advanced musical skills under a sound that was like punk, but with more difficult chords and varied drumming. This got them a record contract. As the years went on, they expanded their sound, adding phase to their guitar, synths started to appear, singer Sting started talking politics. This all got the attention of the world.

You get a taste of their faux-punk beginnings with "Roxanne", "So Lonely" and "Can't Stand Losing You". You get the new wave anthems "Message in a Bottle", "Walking on the Moon", "Don't Stand So Close to Me" (a song about a student-teacher affair). You get the big American hits "De Do Do Do, De Da Da Da ", "Every Little Thing She Does Is Magic" and "Spirits In The Material World". You get the droning politics of "Invisible Sun", you get the Synchronicty tracks "King of Pain" and "Wrapped Around Your Finger", whose sound point more toward to Sting's solo career. and of course you get the Police's most famous song "Every Breath You Take".

If you're the casual listener, this is the Police compilation to get. Despite some great album tracks in their career, they were more of a singles band, and on this disc the best of those singles are covered. The extra money for it being an import is worth it.

For a good dose of Sting, Andy and Stuart, get the Police - Greatest Hits

All the hits are here!
I could never really get my self into any of the Police's albums. They were the kind of album you'd borrow off someone else, and tape the few good tracks. Through their career, the police released about four variations of best ofs and greatest hits. They did release a greatest hits in 1986 that featured a remix of "don't stand so close", but missed out on many of the popular hits. Out of all their material they have produced, this compilation is IT!

This one has all their hits from their reggae roots in the mid seventies through to their new romantic sound in the mid eighties. All my favourites are on here including "every little thing she does is magic", "Roxanne", "Can't stand loosing you", "message in a bottle" and and and at long last, the original version of "don't stand so close". I hated that remix that was done in the late eighties. Other hits on this set include "every breath you take", "spirits in the material world", "wrapped around your finger", "de do do do, de da da da" and "synchronicity". This CD covers all their great hits with 16 selections. If you like the police in any way, you can't go wrong with this disc.

Greatest Police Compilation Ever!
Even Though This CD Is An Import From Who Knows Where, This CD Is Way Better Than "Every Breath You Take: The Classics", Because The Only Songs It's Missing Are Remixes! Those Songs Are "Don't Stand So Close To Me '86", & "Message In A Bottle (New Classic Rock Mix", Which Aren't As Good As The Original Versions. Plus, This Collection Has My Favorite Police Song, "Synchronicity II"!, Plus 3 Other Songs You Can't Get On "Every Breath You Take"! I Recommend This CD Worth Buying Than Buying That Crappy Other Compilation!!!!!!

The Best Band of the 80s
The Police were undisputably the best band of the early 1980s: they were critically acclaimed, they scored huge hits on both the radio and MTV, and they made simply fantastic music that stands out from the pack of 80s excess. Not only that, but lead man/bassist Sting also went on to have a successful solo career after the band disbanded.
When a Police song comes on the air, you can tell right away who it is: the mix of reggae and rock, with lyrics that mean something stands out sharply from they typical songs released in the early years of 80s. With their disbanding in 1984, they symbolically pased the torch to Irish band U2, who released "The Unforgettable Fire" that year, and followed with "The Joshua Tree" three years later.
Everyone knows these songs, and because there's 16 on this album as opposed to 14 on the "Classics" CD, this is a much better buy if you're willing to depart with an extra few dollars. I've said it once, and I'll say it again: they were the best band of the 80s (maybe excepting the Smiths and Stone Roses). Get this collection today and see why. ... Read more

Amazon.com essential recording

It's a simple concept--the first dozen singles by New Order collected, a couple of them rerecorded--but it's also a totally entertaining seven-year history of the band that married British post-punk alienation to the relentless hedonism of the dance floor. The band's hits were always deeply unconventional (like the haunting "Blue Monday," essentially a seven-minute drum machine test with a short lyric that alluded to the Falklands War), but they were brilliant productions, layering dozens of electronic countermelodies and percussion tricks over Barney Sumner's uncertain warble and Peter Hook's lead bass parts. Though they're audio snapshots of the dance beats of their time, they've held up both as club classics and as idiosyncratic rock songs. --Douglas Wolk ... Read more

Reviews (83)

Impressive New Order Compilation - some unnecessary tracks
This early new order compilation compiles the full length 12" singles from 1981 to 1987. The opening track "Ceremony" still sounds very Joy Division-like, tying perfectly into their past with Ian Curtis (Lead singer of Joy Division that took his life in 1980). This chronologically organized compilation shows the impressive string of singles new order released. The hypnotic "Everything's Gone Green", the moving "Thieves like us", the danceable "Perfect Kiss" and the classics "Blue Monday", "Bizarre Love Triangle" and "True Faith". The 2nd CD doesn't really cut the mustard fully, they are b-sides after all. There are some great tracks here though. "In a Lonely Place", the opener is the companion track to "Ceremony", very haunting. "The Beach" and "Kiss of Death", great instrumental remixes of "Blue Monday" and "Perfect Kiss" respectively and "1963", the b-side of "True Faith". All in all a worthwhile compilation. The 2-cassette version is also worth looking out for; it includes as extra tracks dub-mixes of "Subculture", "Shellshock" and "Bizarre Love Triangle"

Great compilation
Substance is a great compilation of singles and B-sides by New Order from the early years. Starting with the Joy Division song "Ceremony" they breeze through all the 12" singles in chron. order. The first disc is nearly perfect. Dance tracks dominate here: "Blue Monday", "Confusion" and "Perfect Kiss". There is a new "Temptation" which, even though not as good as the original, is good. This is a great testament to a band that mixed dance with rock instrumentation.

The B-sides are not everyone's slice of pie. Owning the LP i had to go out and get the CD version of disc 2. (Not hard to find in a used CD store). The instrumental versions of the dance tracks are ok. "Thieves Like Us" probably is more pretty as an instrumental. Remember it's use in Pretty in Pink? But the real gems of disc 2 are "Procession", "Lonesome Tonight", and even "1963". Fairly brooding tracks but that's what's so good about this collection and New Order in general. It's a band that mixed dance with introspection and isolation. Substance is essential New Order.

Quintessential New Wave Album
This album is gem, a diamond even, as amazingly beautiful tracks are compacted and fluff is really nowhere to be found. This is an album that doesn't require shuffling through tracks to find the ones you like. The sheer volume of talent on this single album is amazing, the essential album for any fan of New Wave and anyone looking to get a taste of the invigorating sound of New Order.

sold this in 1995 cause no Age of Consent....
now I realize the new one disc New Order best-of
CD does have the greatest (to me) New Order track,
"Age of Consent." Where the heck was it on this
otherwise solid collection? not sure if it was a single,
but for goodness' sake it should've been. My two stars aren't for the band or the music, cause I like it all, I'm even more
into Joy Division but that's another tale entirely,
as most New Order/Electronic fans know quite well.
This collection was lacking a lot of great songs,

so I ended up selling it for credit and got some
better CDs that held up better, like Julian Cope's
Floored Genius vol. 1 hits collection which I STILL play a ton more than stuff like New Order these days (being an older
punk/new waver now). I think if they'd included a few
better selections like "Consent" (a classic club dance
floor fave and my own fave NO song) this would be a stronger
collection. As it stands in 2004, it's at least a good intro.
to the band if you only know a few songs, but the new
Best Of New Order might serve new listeners better (and less of an initial investment).

Nothing like you've ever heard before!
New Order is definitely my favourite band. Substance is their best album as it brings all their early 80's work together, which in my opinion is New Order sounding their best. The best thing about New Order and this album is that it does not sound like any other band, they had a distinct sound that nobody else could even come close to replicating.
"Ceremony" is an excellent song. I particularly like 'Everything's Gone Green' for its drum machine beat and the guitar chords. 'Temptation' would have to be my fav song as its very melodic and hypnotic. I do prefer 'Temptation' being played live as it sounds much more like an anthem and more joyous. 'Perfect Kiss' would have to be one of the best electronic songs ever. 'Blue Monday' of course, one of the best dance songs. Bernards cold, deep vocals help make this song stand out from the rest.
The second cd which are the b-sides are also very good. I must admit it took me awhile to 'get' the songs but once you do they are fantastic. My favs from the second cd are Procession, Mesh, Hurt, The Beach, Lonesome Tonight and 1963.
If you like alternative music and not into the mainstream, then this album is certainly worth buying. Believe me you will be hooked! ... Read more

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Elvis Costello kicked off his debut album with a formal device that would also serve his next two long-players well: the first thing you hear is his voice. That opening phrase--"Now that your picture's in the paper..."--was more than sneakily, if not intentionally, appropriate, since Costello was quickly declared the second coming. It's become de rigueur to dis the pub-rock backing of U.S. band Clover, but their work here is satisfactorily edgy; guitarist John McFee makes some of the arrangements with his wailingly articulate fills. The remastered Rhino reissue includes a full second disc of demos and rarities. --Rickey Wright ... Read more

Reviews (27)

An Intro. to Costello
This is a quintessential Elvis Costello album. If you don't own an Elvis Costello album, then this album will be a great introduction. Every song is on here is catchy and stands on its own as a rock hit. Costello has a unique style unlike a lot of Rock, yet when listening to his songs I think that this is what Rock and Roll is about. With catchy lyrics and upbeat rhythms, My Aim is True will have you coming back to listen to it over and over again.

Opened my doors of perception
Scene One; A sixteen year old boy is happily sitting in suburban Detroit. The soundtrack to his life is what would later come to be known as Classic Rock Radio. There are rumors of punk rock and new wave from England, however these are not audible yet in the midwest. One Saturday evening, he sits down to watch SNL with special musical guest Elvis Costello. Snap! That was the sound of a dropping jaw breaking the coffee table as Mr. Costello (looking like an exhumed Buddy Holly) plays Radio Radio. Scene Two; Said boy brings home My Aim is True. His mind is blown. Every song sounds like a hit single. He is amazed. Maybe there are other unheard things out there like this. Epilogue; This album helped open my doors to Punk, New Wave, Reggae, Ska, Jazz, Blues, World Music, Country, well you get the idea. Thank you Mr. McManus. One classic album.

The Marking of an Arrival
"If he didn't exist, someone would try to invent him", read a promotional poster for Elvis Costello's 1977 debut. However, sometimes truth is stranger than fiction, and to try to invent Elvis Costello would be like trying to invent Woody Allen, a personality whose singularity is on par with Elvis's. Elvis Costello was the angry young man par excellence, and if punk is all about attitude, then he certainly fit the bill (he was only 22 when the LP was released). My Aim is True also introduced a superb artist who could cover half a dozen styles (punk, rockabilly, reggae, Tin Pan Alley, new wave, singer/songwriter) and emotions (bitterness, anger, lust, ruefulness, whimsy, and musical inspiration) in an equal number of songs. Top that off with his moniker and unsettlingly warped Buddy Holly appearance, and you have the walking popular music museum that Costello is.

On My Aim is True - which must have come as a shock to his ex-office colleagues - his greatness manifests itself in about six tracks, five of which are undeniably brilliant, the other of which any individual listener can choose for him or herself. The other songs, while hardly mere filler, pale by comparison, and are perhaps ill-served by bare-bones production, slow tempos, and somewhat forced lyrics. The greatness of My Aim is True lies at least as much in the fact that it is the marking of an arrival as it does in the half-dozen truly great songs it contains.

On first listen, "Welcome to the Working Week" seems to start off the disc beautifully, and provide a great introduction to what makes Elvis tick. It is angry, bitter, and pithy (which is probably the single best and most oft-used word to describe his lyrics). However, one cannot be struck by the song's overly abrupt ending (a technique which can be effective, especially in punk, but isn't here), and the fact that the song doesn't make much sense and therefore fails to pack its potential lyrical punch (why is someone whose picture is in the paper being "rhythmically admired" being welcomed to the working week?). "Miracle Man" further reveals Elvis' lyrical abilities, and has that patented Elvis mix of bitterness and guilt, but is a bit ill-served by its matter-of-fact presentation (as are "Blame it on Cain" and "Less Than Zero," the latter of which was the first indication of what one critic called his "bizarre fascination with fascism"). "No Dancing," a chronicle of an eager-to-please, sex-starved nice guy (I wonder who?), is more pleasantly poppy, and is the best of the first four songs

Finally, at track five, we arrive at "Alison," the first undeniable indication of Elvis' talent. Here he is a singer-songwriter in the best sense of the term. Elvis packs all of what were to become his trademark emotions into this song, as he laments a lost love from whom he just can't keep the appropriate physical and emotional distance ("Sometimes I wish that I could stop you from talking" / "I can't stand to see you this way"). The singer of the song wants Alison back, but cannot accept her as she is now (and he probably shouldn't), but would gladly have her as she once was (and she might be just as happy to be that person again, too). This song should lay waste to any doubts that the first-time listener might have.

After "Alison," the CD alternates between truly undeniable brilliance and pleasant enough pop songs. In the latter category are the Tin Pan Alley ditties "Sneaky Feelings" and "Pay It Back," which are entertaining, but serve mainly to indicate Elvis' range, and may not impress listeners who appreciate the pithy Elvis. "Less Than Zero", the first line of which was immortalized by Elvis's first (and, for a very long time, only) Saturday Night Live appearance, might have worked better if it were a bit tighter, and played at a quicker tempo, while "Waiting for the End of the World" sounds more like a report than a song (although the guitar work is quite tasteful).

But don't let this frighten you away. The second half of the disc also treats the listener to four of the best songs Elvis ever recorded, which, in combination with "Alison", almost make pointing out the weaker moments of the disc sound like nit-picking. "(The Angels Wanna Wear My) Red Shoes" sublimely reveals a kinder, gentler, whimsical Elvis, who seems to think he's good enough, smart enough, and possibly liked by non-existent entities. It also contains some of the best lyrics on the CD (eg, "I used to be disgusted, but now I try to be amused" / Oh, I said 'I'm so happy I could die'/She said 'drop dead' and left with another guy"). "Mystery Dance" reveals the sexually frustrated Elvis in an impossibly catchy one-and-a-half minute glory days of rock and roll song drenched in the attitude of punk. Hearing Elvis Costello sing "I'm not angry anymore" - in a quintessential Costello self-portrait - is like hearing a fish sing a song called "I'm Not Wet." And the disc's closer, the reggae-infected "Watching The Detectives", almost sounds out of place on My Aim is True, but it nicely foreshadows the greater sophistication of his future releases (but the soon-to-be-released single "Radio Radio" seems to belong on this album).

All things considered, Elvis emerged more or less fully formed on the finer moments of My Aim is True. The weaker songs, at the very least, indicate an amazing musical facility, while the stronger songs are strong not only by comparison to the others on the disc, but to any song released in 1977. The CD is less of a sign of things to come than a full-fledged revelation of a great musical talent and palpably unique personality. I do believe that he has better, or at least more consistent, albums (eg, This Year's Model, Armed Forces), but the best songs on this CD are at least as good as the best ones anywhere in his catalog. Still, the lesser songs do subtract a bit from the overall quality and momentum of the disc. Even if they are good enough songs, they are less impressive in a way that makes them seem unsatisfying and disappointing. But this can fade with repeated listenings, and My Aim is True is a fine place to start or to continue appreciating one of the best singer-songwriters of the past three decades.

(The bonus disc included with the Rhino re-issue is worth having not only for the alternate takes and live songs, but for the fascinating liner notes, penned by Elvis himself. All nine of the Ryko version bonus tracks are included, and the alternate versions of "No Action" and especially "Mystery Dance" - which is solo and all acoustic - are welcome additions. Live versions include those of "Less Than Zero" - with some interestingly different lyrics - and the David/Bacharach song "I Just Don't Know What to do With Myself". Several other tracks are presented in what are appropriately called "Honky Tonk demos," and showcase Elvis' lifelong enthrallment with country. Plus, lyrics to every song - bonus tracks too - are thrown in. So be sure to shell out the extra few bucks for the Rhino 2-disc set.)

World 's Introduction To E.C.
This album is a great beginning for any Elvis Costello collection. What can you say about this album that hasn't already been said. I feel that some of standout tracks here are:
"Watching the Detectives", "The angels want to wear{my red shoes} "lESS THAN ZERO" and "Blame it on cain". The only thing that's missing here is the full group of "the Attractions; instead it is the pub-rock backing of U.S. band"clover". I don't think some of the arrangements that guitarist John McFee made were the appropriate choices that he picked, for example: when E.C. and "the attractions" played together on later albums this sounded much better and more sonically intense. Therefore, I think this debut album is quite different than any other of his recordings. The deluxe 28 page booklet and the new liner notes are in my opinion a great addition to this Rhino record collection.

Perfection!
Simply put, one of the top 5 rock albums of all time! ... Read more

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Helmed by the unabashed rock-god vocal sass of frontman Michael Hutchence and powered by a club-pub musical ethos rooted in the '70's funk and R&B of Chic and others, Australia's INXS became international superstars by cutting against the grain of '80s new wave and '90s post-punk. That rhythmic spirit infuses much of this comprehensive 21-track hits anthology, which leans smartly on single versions ("Need You Tonight," "Original Sin," "Not Enough Time") and remixes (maxi-singles of "Suicide Blonde" and "Devil Inside") to set it apart from previous INXS single-disc collections. Two previously unreleased outtakes (the nervous "Salvation Jane" from X and a hip-hop-infused dub remix of Welcome to Wherever You Are's "Tight") offer the band's fans a couple of new angles on the band's legacy. The set also includes written introductions from the five surviving members of the band. --Jerry McCulley ... Read more

Reviews (13)

An excellent single disc collection of hits.
This is a fine single disc overview of the career of INXS and has great sound and nice liner notes. Most of the band's high points are here and I highly recommend this disc to anyone who's looking for a collection of the band's most popular material. I have a problem with the two previously unreleased songs though ("Salvation Jane" and "Tight"). When a band's best songs can't all fit on one disc, why take up valuable space with tracks that were originally considered inferior? That's obviously the reason that these songs were not included on the albums for which they were recorded. Instead of those two songs (which I will always skip when playing this CD) the compilers could have included any two from the following list of INXS classics: "I Send A Message", "Dancing On The Jetty", "The Swing", "Good Times", "Heaven Sent" or "Elegantly Wasted". Nevertheless, this is a solid collection of hits from this innovative band.

How many INXS compilations do we need?
I normally wouldn't comment like this, but being that there is already INXS's greatest hits and their anthology, which is rather new and complete, I don't see why there is a need for a best of. It seems that the surviving members are trying to bleed what they can out of people. There is almost nothing here that isn't available on the anthology, which is probably the best compilation anyone could own by INXS. This compilation doesn't even include songs like Elegantly Wasted and like all the other compilations misses Mediate. I know nothing of the new tracks, but I don't think they make this worth buying over the anthology. I do suppose this compilation is a bit better than the original greatest hits, and if someone is really only looking for just one disc, then this is better than the original greatest hits. You may do better though to just buy Kick or X which contain over half of their greatest songs anyway.

Excellent INXS collection from Rhino
It hasn't been that many years since the death of singer Michael Hutchence and his band INXS is already in the Rhino catalog. Rhino has presented a somewhat different collection of tracks than the previous hits collection offered by INXS' previous major recording label. Singles of several of INXS' biggest hits are here along with some remix version tracks. There are some tracks I would like to have seen added, such as Elegantly Wasted, Shine Like It Does, and Guns In The Sky, but overall this albums covers all the hits and most memorable INXS songs. INXS blended rock, funk, blues, soul, and new wave dance styles over the years into memorable modern pop hits. Their hits continue to be sampled by rap and dance DJs, and INXS songs stands up well in comparison to current popular music. For a collection of INXS songs or to review the career of Australia's most popular rock/pop export, this album is highly recommended.

The Essence Of INXS
It's true that INXS made three great studio albums in KICK, X, and WELCOME TO WHEREVER YOU ARE, but THE BEST OF INXS contains the true essence of the band's appeal. That's because they were primarily a great 80s singles band; even the aforementioned studio albums contained a bit of filler. Their sound basically distilled 70s rock, new wave, R&B, and funk/disco into an appealing blend that was best heard on singles. This compilation is better than GREATEST HITS because it includes the hard rocker "Don't Change", which was not on GREATEST HITS, and it tells the story better than the double-disc ANTHOLOGY, which, unfortunately, starts off with some awkward early synth-pop. Unless you're a true fan or were a teenager (like myself) in the late 80s, this may be all the INXS you'll ever need.

This is the Best?
The title of this album is definately a misnomer if they think this is the "Best" of INXS. While it does have many fan favorites, there are many tracks noticeable absent. Where is Mediate, Heaven Sent, The Stairs? How could they not put the most popular self-titled track "Elegantly Wasted" on an album of "The Best?" With the band no more, this should be the final "greatest hits" album, yet somehow they manage to screw it up.

The bonus unreleased tracks are mediocre, but don't belong on an album that is already missing several notable favorites. Even though it was produced 7 years earlier, "INXS - Greatest Hits" is a superior album to this one, and I would recommend it over this poor sequel. ... Read more

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Squeeze wanted to be the next Beatles, and you can't fault them for trying. Their distinctive Brit-pop stylings often came close; with songwriters Chris Difford and Glenn Tilbrook marrying supremely catchy melodies to equally adept wordplay just like, well, The Beatles. Singles: 45s & Under gathers a dozen of their most well-loved classics into one truly five-star collection. It represents the prime of their first five years and it's all, well, prime--from Difford croaking out "Cool for Cats," to Tilbrook chiming "Another Nail for My Heart," to former Ace vocalist Paul Carrack crooning the delightful "Tempted." Necessary stuff for pop fans. --Michael Ruby ... Read more

Reviews (32)

A definitive Squeeze collection
Squeeze made quite possibly the catchiest music in the history of rock and roll. These songs--"Pulling Mussels from the Shell," "Goodbye Girl," and "Another Nail from My Heart"--have had an effect on me that one could compare to (if the reader will indulge me in a bit of gratuitousness) those ear slugs in the movie "Star Trek II: The Wrath of Khan." By that, I mean that they have entered through my ear canal and insinuated themselves in my brain, gradually assuming control. If this sounds awful, I assure you that it isn't, at all--unlike the slugs in the movie, these songs came in by my invitation!

Like other well-chosen collections, this one tells the story of its subject well, including the odd and unpredictable changes in direction that the group took. The album's two most famous songs, "Tempted" and "Black Coffee in Bed," are much closer to Motown soul than British new wave. "Tempted"--probably the only Squeeze song that many people in America have ever heard--featured a new keyboardist/singer, Paul Carrack, who upstaged band leaders Chris Difford and Glenn Tilbrook with his only lead vocal for the group! (How long has this been going on? The group's first keyboardist--Jools Holland--also became the voice of Squeeze with a single vocal performance, "Cool for Cats," which is also included.) This makes this collection ideal for newcomers to Squeeze; old veterans probably already have a lot of these tunes, although they still might want to buy the CD if their old copy of "Argybargy" skips.

Catching the New Wave
This collection brings back memories of high school and family get-togethers since most of my siblings had a copy and would play it when I'd come over. Difford and Tillbrook knew how to write catchy and innovative songs back in the "new wave" era. "Cool for Cats" is a unique and funny song. Of course, there are the 1st songs I remember hearing "Another Nail in my Heart" and "Pulling Mussels" from FM radio (I love the piano lick on "Pulling Mussels"). It also features their most popular song "Tempted" (which helped make Paul Carrack a star). "Is That Love" features Beatlesque melodies and wry lyrics. Then, finally, there are the final songs of Squeeze's history (I was really sad to hear about their breakup in 1982)-"Black Coffee in Bed" (their last big hit which is reminiscent of Marshall Crenshaw and possibly influenced Crowded House, another great sounding band) and "Annie Get Your Gun". Greatest hits collections don't get much better than this!

Fun and maturity
To me, Squeeze represented all that was right about the British New Wave/No Wave movement of the late 70s and early 80s. (Note, I say early 80s--this cd doesn't contain any of the songs from Sqeeze's reunion albums of the late 80s, most of which can be safely dismissed.) Singles "45's and Under" doesn't omit anything that any Squeeze fan would miss.

Each of these songs showcase the amazing songwriting talents of Difford and Tilbrook, and the tremendous talent of the musicians. Squeeze could always be relied upon for perfect polish, mature and above-average intelligence lyrics, FUN, and a lack self-importance and pompousness that others of the era smacked of. Each song is a hit. Nothing is a miss.

Perfect
The melodies, the lyrics, the rhythms--everything makes this the perfect compilation. I'd never heard of Squeeze when I first listened to this and to say it was a startling revelation is an understatement. It is a diverse collection with each song better than the one before. Each song is my favorite from the collection, depending on the day. To use more superlatives--wonderful and fresh.

what a great collection of songs
this CD is so what the 80's was all about. Different new wave
or alternative bands which gave up relieve from the 80's
music that took a stall. The 80's music was fin,experimental,
and a rebirth in the music scene. We all know the song "Tempted"
but all the songs on this CD are fantastic. Alot of them sound
alike and then again there is a whole new melody thrown in for
some songs. I love bands like this they are so unique and pleasant relief from the heavy metal which took over in the 80's. If all you know is "Tempted" believe me every song on this
CD is just as good ... Read more

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This is the only Howard Jones album you'll ever need. HoJo was a founder of early '80s synth-pop, which was as easy to sing to as it was to dance to. The rhythms on this record pop like new wave corn kernels in heated oil, tempered by Jones's high-strung vocals extending over the top. Jones makes good use of the bright synth piano patches available during that time, especially during "Things Can Only Get Better." "No One Is to Blame" is a solid ballad, just Jones and his keyboard. It's heartfelt and regretful--a little cheesy, but in a good way. --Beth Bessmer ... Read more

Reviews (23)

Some Nostalgic value
This album covers Howard Jone's singles from 1983-1993. It would have been a better album if it had stopped at 1989. The album does have some nostalgic value (at least it does for me) and a couple of great singles, like What is Love?, Things Can Only Get Better, Life In One Day, You Know I love you, Noone is to Blame, Everlasting love, and Like to Get to Know You Well. Beyond those singles, the rest of the album is pretty weak, in my opinion.

I was a big fan of New Wave in the 80's and there is no doubt that Howard Jones was a piece of the puzzle that was 80's synth-pop. If you are looking to recapture a piece of your past and Howard Jones was part of it, by all means buy this album. It is worth it for the memories that the handful of good songs on it resurrect. If you already have Dream Into Action, don't bother with this one.

You'll like to get to know this well
Like most people, I purchased Best of Howard Jones because I really liked the songs I heard from him on the radio--and they're all here! The catchy "What Is Love?," the even catchier "Things Can Only Get Better," the inspirational "No One Is To Blame," and my personal favorite, the upbeat "Everlasting Love," were all big hits back in the 80s. And they sound as good as ever.

I was skeptical as always (with compilations) that the rest of the songs would be filler that I wouldn't care all that much about, but I liked the songs I did know enough to go ahead and make the purchase. I'm glad I did! Though I didn't know the other 14 tracks, it didn't take many plays for me to become a fan of them. The majority of the songs are slow, catchy tunes with top-notch singing and nice music to boot, and not a single of them are bad at all.

There's just something about Howard Jones's music. He seems to have a knack for making catchy hooks (listen to the way he says "love" in "What Is Love?," for instance) and for singing songs about as well as they could be done. You name it. "Pearl In The Shell," "Like To Get To Know You Well," "Life In One Day," and even the pleading "Look Mama," in which Jones says "Look mama, I love you. But you gotta let me live my life" are all nice to listen to, whether you're relaxing in the comfort of your own home or driving to and from work.

Perhaps there are some filler tracks that could've been left off to make the album stronger, but that's not the way I look at it. I'm now a proud owner of the songs I've been hearing for years on the radio, and the other 14 songs....well, I may not know them by heart, but I don't consider them to be filler. They're just more Howard Jones to listen to. Like some Howard Jones songs? This is the album to get.

Remember the spikey hair and the big fat synthesizer?
Looking at him, a wild parallel comes to mind. In a sense, Howard Jones seems to have been to the early-to-mid eighties what Moby became to the late nineties and early XXI century: the embodiment of a musical genre, funny, vegetarian, with a peculiar look, and above all, musicians at heart, releasing their first albums the same year, Moby with a new wave/punk band and Jones on his own, though at much late age (28).

I can almost see him today, over twenty years after, with the spikey hair, wearing the mic on his head (like it became a standard years later) and sitting in front of a big fat synthesizer. The year was 1983 and the song was "What Is Love?" (I missed his debut single, "New Song"), my first introduction to Howard Jones' music, and one of several songs to become Synth-Pop standards. Followed by many other classics, such as "Things Can Only Get Better", "Life In One Day" and "No One Ever Is To Blame", Jones' music continues to have the same effect on everyone: it gets you off your seat, and if you're driving, it gets you to tap on the wheel while you sing along his catchy tunes.

This compilation captures them all, sadly (for him) rendering most of the rest of his collection pointless, but making his best works easy to access for longtime fans of his music as well newcomers into his musical legacy.

Excellent compilation from the master of eighties synth-pop
Howard Jones. Though a synth-pop superstar in the eighties, he has been forgotten by many in the modern age, due to the shifting of the music industry. Fortunately, with the release of this compilation, his work won't have to go forgotten much longer. Read on for my review of The Best Of Howard Jones.

PROS:
If you want the Howard Jones hits you'll hear on your local eighties station, you've come to the right place. Things Can Only Get Better, No One Is To Blame, What Is Love?, and Everlasting Love are all here. Plus, you get one of Jones' underrated masterpieces - Like To Get To Know You Well, as featured in the 1985 film Better Off Dead. The other tracks are excellent too; there are very few fillers.

CONS:
I really can't think of many bad things to say about this compilation, because it's excellent. But there are a few filler tracks, and a few excellent tracks that didn't make the cut. But then again, aren't these things problems that haunt every hits compilation?

OVERALL:
Do you like Howard Jones? Get THIS compilation. Don't get The Essentials or the budget-priced best of, get THIS one.

classy workmanship
I only bought this cd because i heard the song "what is love" on satellite tv and loved it.Howard jones is the best of pop from the 80's because he left out all the-now thought of as goofy looks and antics,sound.Very impressive use of the synth sounds that most artists caught on to only five years later.This cd can be put in and left to play all the way throught without skipping.That is a big plus for me.my 21 year old wife loves the cd now proving that good music is good music regardless if britny spears giant cheeseball has people liking over produced machine composed music.No hi-tech music software can duplicate a class act Howard Jones tune... ... Read more

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In retrospect, the second and final album by this Manchester postpunk band seems to point straight at singer Ian Curtis's suicide, which happened a few months before it was released. The band's reverberating mesh of minor-key lines and Curtis's tremorous bass voice are doomy enough on their own, and attention to the words reveals references to blacker-than-black stories by J.G. Ballard and Joseph Conrad; the void and its terrors were splitting Curtis apart from the inside. "I put my trust in you," he sings, and his voice leaves no doubt that that trust has been betrayed. But the music, grim and powerful as it is, points to the direction the surviving members took as New Order, incorporating the mechanical gravity of club rhythms. --Douglas Wolk ... Read more

Reviews (104)

The Most Influential Record Of The Post Punk Era.
Joy Division were one of the most influential bands in history. They influenced bands like The Cure, The Smiths, Nine Inch Nails, Nirvana, The Smashing Pumpkins and pretty much every goth band that ever existed. No one will ever match Ian Curtis' baratone voice and the band's incredible musicians. Expecially, Steve Morris' percussion. Only the legendary John Bonham and Dave Grohl can match Morris' ferocious pulse pounding drumming.

The album, Closer, is the second and last album by Joy Division but their defining masterpiece. Its Ian Curtis' last cry of utter despair right before his untimely death. Ian Curtis was a true musical prodigy. His lyric writing was the greatest of any musician who ever lived and his vocals sounded like no one else on the planet. He has created the godfather of goth albums and has become an icon and inspiration to those who share the same feelings of hopelessness and despair and alienation from society.

Closer is a perfect record with every song a masterpiece. Every song flows perfectly with the next and creates an atmosphere that is both melancholy and uplifting at the same time. All the songs are upbeat except "The Eternal." "The Eternal" has to be the saddest, most depressing song ever recorded in a studio. Many consider it to be Joy division's ultimate masterpiece followed by the last track, "Decades," which is just as haunting.

This is an album that has not grown old with age. It's best played on vinyl and in its entirety. If you are new to Joy Division, 'Closer' is a perfect place to start. If you already own 'Closer,' I recommend you pick up the first album, 'Unknown Pleasures' and the rarities album, 'Substance.' to get the full Joy Division experience.

An Incredibly Depressing Record
Man, is this record so sad! And yet, it's a brilliant masterpiece that helped shape up mope rock. Ian Curtis, Bernard Summer, Stephen Morris, and Peter Hook have created an album that's absolutely hypnotic in mood and atmosphere. You can't always follow what Ian Curtis is saying in the lyrics, but that's beside the point. "Closer" is a triumph of despair and detachment, and the guys from Manchester pull it off wonderfully without faking a single move. "Mother I tried, please believe me/ I'm doing the best that I can/ I'm ashamed of the things I've been put through/ I'm ashamed of the person I am," cries Curtis in the crushing "Isolation," and the rest of the album is similar in lyrical tone. Musically, "Closer" has a lot to offer as well. It's not an overproduced record, relying heavily on technology or studio gimmickry. Ominous basslines, and creepy synth touches nicely compliment Curtis's trademark moan. Joy Division didn't last long after this record was released, but the members persevered and evolved to the synth-rock act New Order. "Closer" is a brilliant album that's one of the most influential British releases of all time.

what?!?
Ok let me first state this is a wonderful album and a wonderful band....but i am writing this more because i was disgusted by "A music fan"'s review titled 'Depressing!'

i cant believe anyone could suggest 'i'm happy they ditched the singer...' He killed himself, and if you said that to the guys in New Order i think they'd be quite pissed at you...i'm bafled anyone could say that....

!
this was the first joy division album i bought, at first, i was "eh" with it, but then after a few listens i was addicted. and knowing the fact that ian curtis hanged himself not long after the production of the album gives this record life. all the tracks are placed in an organized order, great beginning, and descending into a great end. although the debut "unknown pleasures" may be a little better, this record is still extremely good. joy division is one of those bands that has it's 15 minutes of fame and then ends, and i have much respect for those bands.

Into The White
This one time when I was partying with this buddy of mine and a bunch of others, we were partying like a bizatch, drinking pints and pints of yagermeister. At the party they had a booming stereo hookup, and me and my friend were all like badass. So I like had my carrying case with me and I popped in Joy Division's Closer for everyone to hear. Boy was that a mistake. By the time the first song was over three people had wrote suicide notes and killed themselves and dozens were going to jump off my friend's balcony in a mass suicide because suddenly life just wasn't worth living. This album has that kind of vibe.

Yeah this is definately not something you'd want to play at parties or social gatherings because it would get everybody's spirits way down and you wouldn't want that because the neighbors would tell all their contemporaries that you throw really bad parties and then your membership to the classy club downtown would be denied and your kids would not be able to go to the private school of their dreams.

This album is more or less Ian Curtis's suicide note. He killed himself pretty much right after recording it and the album didn't come out until after he was buried in the ground. Ian Curtis was an excellent songwriter and vocalist, and the rest of the band were excellent musicians. The songs on here are from the darkest realms of post-punk, not a synthesizer in sight, well actually there are synthesizers, but even they are dark and brooding. Everything on this album is tight, not one section feels rushed or lazy. Listening to this album one can only draw the conclusion that The Cure's darker albums owe a lot to Joy Division. Songs like Heart and Soul and A Means To an End sound like something directly off one of The Cure's better albums. Of course that fat dude from The Cure would never place any credit where it's due. Highlights from the album include "Isolation", which has the coolest synth line out of anything from the seventies, "Heart and Soul", which has Ian Curtis's voice manipulated by effects to make him sound like some kind of hologram or robot or something, and "Twenty-Four Hours" that starts out drudgy but explodes into a canon of despair and frustration. I'd say that Closer is pretty much the quintisential depressing album. Ian Curtis will be missed. ... Read more