With their beautiful harmony vocals and gentle melodies, Peter, Paul & Mary were the most popular folk act of the 1960s. While Bob Dylan was unquestionably the genre's most influential and revered performer by the mid-1960s, it was Peter Yarrow, Noel Paul Stookey, and Mary Travers who helped him to reach a larger audience with their accessible '63 renditions of his "Blowin' in the Wind" and "Don't Think Twice, It's All Right." In addition to Dylan, the group also championed the work of Gordon Lightfoot and John Denver, most notably with the wanderlust tales "For Lovin' Me" and "Leaving on a Jet Plane" (a runaway hit in '69), respectively.
All of the aforementioned tunes are presented on THE VERY BEST OF PETER, PAUL & MARY, a 25-track set carefully compiled by the trio itself. This 2005 collection focuses almost exclusively on the '60s and '70s work of PP&M, with the exception of the deceptively breezy "El Salvador" (from '86) and 2003's "Don't Laugh at Me," which finds the threesome in fine voice more than 40 years after the group was founded in New York City's Greenwich Village. Also included are three early-'70s solo tracks–one apiece by Yarrow, Stookey, and Travers–rounding out this wonderfully selected disc, which is a must for any folk collection.
Peter, Paul & Mary: Noel "Paul" Stookey, Peter Yarrow (vocals, acoustic guitar); Mary Travers (vocals).
Recording information: 1962 - 2003.Dirty Linen (p.85) - "It's fun to see the group really lay its politics on the line in 'El Salvador,' and 'Weave Me the Sunshine' is as vibrant as anything Peter, Paul, and Mary ever recorded."
"Hard to believe, but Capitol's 2008 collection Idolize Yourself: The Very Best of Billy Idol is only the second Billy Idol hits album to be released in America, following the first – 2001's Greatest Hits – by just seven years. [~ Stephen Thomas Erlewine, All Music Guide]
Originally a two-LP set, The Very Best of Poco was a decent compilation in its time, assembling the group’s best-known songs from singles and album cuts in a straightforward order with no particular surprises.
Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.
The material here was recorded for the Verve and MPS labels, and this two-disc, import retrospective of the work of legendary pianist Oscar Peterson is not only representative, but solid from top to bottom, showcasing many of his finest moments on wax in both live and studio recordings with his great trio of Herb Ellis and Ray Brown as well as in other settings. This is as fine an introduction as there is and, for the money, simply cannot be beaten.
Midge Ure's career, as fans well know, did not begin or end with Ultravox, and so If I Was: The Very Best of Midge Ure & Ultravox attempts to give an overview of one of '80s' Britain's most popular singers. As a career retrospective goes, however, it's pretty spotty. The Scottish vocalist first found fame with the pop band Slik, who scored a chart topper with "Forever and Ever" in 1976. Unfortunately, you won't find that here, nor its hit follow-up, scored just as a car accident took the band out of the charts. Once recovered, Ure moved on. His first port of call, in 1978, was ex-Pistol Glen Matlock's punk/post-punk supergroup the Rich Kids, who released a single and album, although this compilation draws nothing from this period, either. The following year, with the Kids in disarray, Ure helped form the even more illustrious Visage. Joining him there was Ultravox's Billy Currie and, before the year was out, Ure was fronting two hit-bound bands. Visage gets short shrift here, with Ultravox invariably, if unfairly, better represented. But even this wasn't enough to keep the singer busy. In 1981, as both bands' albums and singles swept up the charts, Ure linked up with Thin Lizzy's Phil Lynott for yet another hit, "Yellow Pearl".