Greatest hits compilations are odd birds. Record companies inevitably try to walk the line between giving you an enticing sampler of an artist’s oeuvre and giving away the farm. Often, the final product ends up leaving fans irate and neophytes scratching their heads as to what all the hype was about. So, despite several delays, big ups are owed to Warner Bros. for releasing a thoughtful and relatively comprehensive collection of the Gospel According to the Purple One. Far from simply cashing in on Prince’s recently renewed renown, Ultimate features some of the funktastiest music you’ll ever hear, including some rare remixes, all tucked into a convenient, double-CD case. Almost every major hit from the ‘80s and the Artist Formerly Known As era is included here, though there are some notable exceptions, including “Mountains” and the massive 1989 blockbuster “Batdance.”
Of the tracks that do show up, about a dozen are remixes or extended versions that were, for the most part, available only on vinyl up until Ultimate‘s release. Admittedly, hastily cobbling together remixes of B-sides has become commonplace on greatest hits records (the disastrous second CD of Death Row: Greatest Hits comes immediately to mind). But Ultimate shows up with some honest-to-goodness, tried-and-true revamps that do much more than just highlight the basic song with an amped up drum machine. The dance remix of “Let’s Work,” for example, throws a twisting, thumping beat, funked-out horns and a lengthy extend into an already roiling pot, while the long version of “U Got The Look” adds some tasty vocal calisthenics for His Purpleness to chew up and spit out.
As for the standard tracks, they need little introduction. Ultimate includes such masterpieces as “1999,” “When Doves Cry,” “Sign ‘O’ The Times,” and “Alphabet St.” Prince even reclaims his sultry ballad “Nothing Compares 2 U” in a powerful, live recording. The tracklist is generally chronological in order, and it’s striking to see the variety of themes that Prince has tackled over the years. Starting out with politically-oriented fare like “Controversy,” we move from Prince’s overtly religious “I Would Die 4 U” to his explicit “Gett Off.” Not too many artists can claim to have that kind of thematic range, let alone the musical genius required to give such songs mass appeal. Of course, not too many guys who dress in crushed velvet leotard pants and a panama hat can claim to have a number one single either. If nothing else, Ultimate should make you bow down to the raw talent of a single individual.
On the other hand, apart from some of the remixes, Ultimate contains only one track (the admittedly awesome “My Name Is Prince”) that has not appeared on one of Prince’s other greatest hits compilations. So if you’re a casual fan who’s already got 1993’s The Hits/The B-Sides, you’re not going to be getting much for your money with Ultimate. And, if you’re a worshipper at the Purple Altar, then you’ve probably got most of these tracks, in one form or another, sitting on your shelves. While a greatest hits album necessitates trotting out the old classics, it would have been nice to see some truly unique tracks on Ultimate (the 12-inch remixes of “America,” for example, are notoriously hard to find). Additionally, while the remixed songs are generally tip-top, if you happen to be partial to an album version of one of those songs, you’re SOL as far as Ultimate is concerned. Nevertheless, given the recent success of Musicology and 3121, newbies looking for the O.G. magic will not be disappointed with Ultimate. In fact, even for veterans, the album can be a convenient way to consolidate all those records, bootleg tapes, and MP3s into a single, friendly package.
Label: Rhino Release Date: August 21, 2006 Buy: Amazon
Review: Guster’s Look Alive Is the Sound of a Band Rejuvenated
Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.3.5
Guster has long been associated with “college rock,” and not without reason. Even though every member of the Boston-based band is now over 40, they still make bright, hyper-polished alt-pop tailor-made for campus radio. The band’s eighth album, Look Alive, adds synths and contemporary production flourishes to their sonic repertoire, but all the hallmarks of their sound remain: winsome melodies, soaring hooks, and tight, immaculate songcraft that combines the best of Britpop, 1960s folk, and post-grunge.
Like most Guster albums, Look Alive has a few duds, a few modest successes, and at least one showstopper—a song that makes you wonder why the band was never more successful. On 2006’s Ganging Up on the Sun, that song was “Satellite,” a shimmering power-pop masterpiece that split the difference between the Shins and Neutral Milk Hotel. Here, it’s “Hard Times,” which also happens to be the least Guster-like track on the album. Drenched in Auto-Tune, buzzing synth frequencies, and stadium-ready percussion, the song doesn’t sound anything like “Satellite,” let alone like the band’s output before 2000. Yet, true to form, it’s a remarkable piece of pop. “Sinister systems keep us satisfied/These are hard times,” Ryan Miller wails. It’s a simple statement, but it makes for a stunning chorus, and Miller’s effusive delivery renders it the most cathartic moment on the album.
On “Not for Nothing,” the band ventures into dream-rock territory, surrounding themselves with icy synth textures that wouldn’t sound out of place on a Wild Nothing track, while “Hello Mister Sun” is unabashed bubblegum pop that pays homage to whimsical Paul McCartney tracks like “Penny Lane” and “Good Day Sunshine.” Likewise, the sprightly “Overexcited” bounces along with a spoken-word verse and pounding, piano-centric chorus. While none of these tracks tackle complex themes, they’re playful, infectious, and eminently listenable.
Many of Guster’s best-known songs delve into same subject matter: newfound love, crippling heartache, the pain of being young, restless, and alone. Yet much of Look Alive is more elliptical. “Maybe we’re all criminals and this is just the scene of a crime,” Miller sings ambiguously on “Terrified,” forcing the listener to fill in the blanks. “Summertime” similarly defies easy explanation: Brimming with obscure religious imagery, whispered background vocals, and references to an unspecified war, it follows no logical narrative, instead allowing the track’s mood—a feeling of triumph over some great adversity—to tell the story.
For better and worse, Look Alive’s production mimics the spacious, ‘80s-inspired aesthetic that pervades much of contemporary indie-rock. “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.
Label: Nettwerk Release Date: January 18, 2019 Buy: Amazon
Review: Toro y Moi’s Outer Peace Bends Boundaries with Mixed Results
Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.3.0
Having already concocted brainy dance music under the alter ego Les Sins, chillwave trailblazer, synth-pop alchemist, and psychedelic rock enthusiast Chaz Bear fully embraces the dance floor on Outer Peace, his sixth studio album as Toro y Moi. Pulling from sources as disparate as R&B, tropical house, and trap, the California-based singer bends the boundaries of club music, albeit with mixed results.
Upon first listen, it seems like Outer Peace colors a rough sketch of a dystopian future where the material is mistaken for the immaterial, technology becomes a gateway to the metaphysical, and fleeting pleasures, prompting ever greater hedonistic pursuits. It doesn’t take long to realize, though, that this dystopia isn’t some future prospect, but the present moment. With lines like “Mystic staring at his phone for oneness,” Bear masterfully defamiliarizes our world, exposing the absurdity of the digital age.
Bear charmingly pairs this oft-heavy subject matter with club-ready grooves. The existential crisis of “Who Am I” is juxtaposed with sweetly pitched-up vocals and a fizzy patchwork of synths. Bear’s playful approach to house music ensures that no amount of existential dread and doom can dampen the mood he creates throughout the album.
Bear’s tinkering, however, isn’t always transportive. The rather vanilla tropical house beat of “Baby Drive It Down” recalls Drake’s dancehall-lite, with a lifeless performance from Bear. His experimentation with trap is at first promising on “Monte Carlo,” with the support of a dreamy pillow of vocal samples, but coming in at two minutes, the track feels one note, lacking any tempo changes or even a bridge, suggesting it was perhaps better fit for an interlude.
The cover of Outer Peace depicts Bear gazing intently at a computer screen, surrounded by instruments in a clean, sterile room. He reportedly created the majority of the album during an unaccompanied two-week retreat off Northern California’s Russian River, and this isolation can be felt throughout. The album’s title represents the remarkable possibility of finding freedom from the outside world by letting loose on the dance floor and experiencing liberation in a crowd of strangers. Bear certainly takes the album there at several points, but in the limited scope and cerebral slant of these too-brief songs, he loses that outer peace.
Label: Carpark Release Date: January 18, 2019 Buy: Amazon
Review: Joe Jackson’s Fool Is a Concise and Punchy Nostalgia Trip
On Fool, Joe Jackson sounds younger and angrier than he has in years.3.0
Joe Jackson has spent the better part of four decades trying to put some distance between himself and his debut, Look Sharp!, a collection of acerbic new-wave pop songs that earned him the label of “angry young man.” But on his 21st album, Fool, he sounds younger and angrier than he has since 2003’s deliberately retro Volume 4. Maybe it’s a symptom of nostalgia: Fool, after all, is being released almost 40 years to the day after Look Sharp!, accompanied by a tour that promises to draw from Jackson’s entire career.
The album’s first two singles, “Fabulously Absolute” and “Friend Better,” both seem to deliberately rekindle the spirit of 1979: the former with its wiry post-punk guitar and synth riffs, the latter with its snotty vocal cut from the same cloth as early Jackson hits like “Is She Really Going Out with Him?” Even the refrain of the opening track “Big Black Cloud”—“No luck, no money, no sex, no fun”—is torn straight out of the London punk playbook.
Not all of the album calls back so specifically to Jackson’s debut: With its jazz-inflected piano and flute, closing track “Alchemy” is a welcome return to the moody sophisti-pop of 1982’s Night and Day. More often, however, Fool‘s refined pop-rock recalls an amalgamation of styles from Jackson’s “classic” era while also reflecting his late-career maturity. Tracks like the elegiac “Strange Land” marry his long-standing jazz and classical ambitions with his undeniable knack for pop melody in a way that doesn’t shortchange either.
Jackson, though, still hasn’t quite shaken his tendency to overextend himself. The title track is well-played, with some virtuosic runs by longtime bassist Graham Maby, but it also careens from Jackson rapping into a megaphone to a madrigal-like bridge to a synthesized surf guitar solo. The Beatles-esque “Dave” holds together better musically, but its character study of a pure-hearted but simple-minded everyman, who could have something to teach us about slowing down and enjoying life, feels cloying and condescending.
If Fool doesn’t quite measure up to Jackson’s sterling early work, it’s still more concise and punchy than 2015’s Fast Forward and less self-consciously arty than his late-‘80s and ‘90s work. By now, Jackson has surely come to terms with the fact that he’ll never be able to outrun his new wave days; keeping it as just one of the tools in his expansive arsenal is a fine compromise.
Label: earMUSIC Release Date: January 18, 2019 Buy: Amazon