The title may be lengthy, but it's also perfectly accurate; this release serves as a fine catch — all of the earliest remixes done for Björk. Compared to the explosion of mixes and alternate takes that would surface on later singles, the mere six mixes totaling 41 minutes here seem paltry. The quality level, thankfully, remains quite high (quite happily, Mick Hucknall's mix of "Venus as a Boy" has been ignored). It starts with the definite highlight, Underworld's radical revamp of "Human Behavior." A 12-minute long masterpiece, it replaces the shuffling stutter of the original's percussion with a combination of crisp disco pulse and fast-paced funk loop, with other quirky keyboard bits and spoken samples floating in and out of the mix as needed. Björk's vocals remain intact, but otherwise this is pretty much Underworld's showcase, and a fine one; the addition of piano at the end adds to the unexpected charm and power of the mix. The remaining mixes are split between avant- techno trio Black Dog and remixer extraordinaire Andy Weatherall, more specifically his Sabres of Paradise project. The Sabres' "Endorphin" mix of "One Day" is a chilled, stoned slice of loveliness, light piano and dub-touched echoes matching the slow beat and Björk's slightly reverb-treated vocals. A faster-paced mix of the same track, the "Springs Eternal" take, has some good crisp electronic percussion but isn't as strong, while a version of "Come to Me" feeds Björk's vocals through heavy reverb and echo over a quiet series of beats. Black Dog's mix of "Come to Me" has echoes of Muslimgauze's Arabic/techno fusion to it, a nice touch, while their take on "The Anchor Song" has a nicely strange, second-long loop and a totally a capella mid-song vocal break that works wonders. ~ Ned Raggett , All Music Guide
Double-CD, career-spanning retrospective that offers little in the way of surprises: it's a tastefully selected overview of her career highlights, heaviest (and justifiably so) on her late '60s albums. There's the inevitable feeling of letdown as disc two progresses; her post-early '70s material is far less interesting than her earliest work, even if it's inoffensive. All of the first five albums (through 1971's Gonna Take a Miracle) are now on CD, so this is most suitable for the fan who isn't passionate enough to be a completist. Includes a couple of previously unreleased live tracks from the 1990s; the version of "Sweet Blindness," unfortunately, is not the original late-'60s recording, but from a late-'70s live album.
Blues for the Lost boasts an intriguing concept, as it captures John Mayall reminiscing about all the friends, family, heroes, lovers, and places he has loved and lost over the years. The album is startling in its unvarnished autobiographical approach, but the concept doesn't work nearly as well as it should…
The Sonics that Wailers bassist Buck Ormsby took into a small studio and unleashed on the world show a live band at the peak of its power, ready to mow down the competition without even blinking twice. Their debut long-player (originally issued on the Etiquette imprint) is reprised here with new liner notes by Norton prexy Miriam Linna in the original mono. The flame-throwing hits of "The Witch," "Psycho," "Boss Hoss," and "Strychnine" are aboard, along with versions of "Do You Love Me," "Dirty Robber," "Have Love Will Travel," and "Walkin' the Dog" that are no less potent. This long-play vinyl reissue also boasts the addition of four bonus tracks: "Keep a Knockin'" (the original B-side of "The Witch") and three selections from an Etiquette Christmas album, "Don't Believe in Christmas," "The Village Idiot," and "Santa Claus." Another important chunk of Seattle rock & roll history.