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DISCID=df0d5c0f
DTITLE=Marshall Crenshaw / The Definitive Pop Collection - Disc 2 of 2
DYEAR=2006
DGENRE=Rock
TTITLE0=Little Wild One
TTITLE1=The Distance Between
TTITLE2=Calling Out For Love (At Crying Time)
TTITLE3=This Is Easy
TTITLE4=Somebody Crying
TTITLE5=Crying, Waiting, Hoping (from ''La Bamba'' Soundtrack)
TTITLE6=You Should've Been There
TTITLE7=Someplace Where Love Can't Find Me
TTITLE8=Better Back Off
TTITLE9=What Do You Dream Of?
TTITLE10=Starless Summer Sky
TTITLE11=Television Light
TTITLE12=West Of Bald Knob
TTITLE13=From Now Until Then
TTITLE14=Alone In A Room
EXTD=The Definitive Pop Collection - Disc 2 of 2\n2006 Warner Bros./Rh
EXTD=ino\n\nOriginally Released November 7, 2006\n\nAMG EXPERT REVIEW:
EXTD= Once you've made the perfect pop album, it's hard to say what to
EXTD= do for an encore, and this is the dilemma that's dogged Marshall
EXTD= Crenshaw's career, at least from a commercial standpoint. Crensh
EXTD=aw's self-titled debut album, released in 1982, was a grand-slam 
EXTD=collection of 12 superb songs, delivered with fresh-faced passion
EXTD= and sincerity and performed with smarts and concision; it was th
EXTD=e sort of instant masterpiece so good that almost anything that f
EXTD=ollowed would be seen as a disappointment, and when Crenshaw's se
EXTD=cond album, Field Day, reached stores a year later, most fans and
EXTD= critics focused on Steve Lillywhite's cluttered, boomy productio
EXTD=n and ignored the fact that Crenshaw's songwriting had, if anythi
EXTD=ng, improved in the 12 months that separated the two albums. Cren
EXTD=shaw's career never quite recovered from the backlash over Field 
EXTD=Day, and as a result, plenty of fans of the first album ignored t
EXTD=he records which followed; each one a solid piece of pop craftsma
EXTD=nship with great songs and performances dozens of more popular ac
EXTD=ts would have envied. Anyone who doubts the consistent strength o
EXTD=f Marshall Crenshaw's body of work need only to pick up The Defin
EXTD=itive Pop Collection to find out what they've been missing. Featu
EXTD=ring tracks from each of Crenshaw's studio albums, as well as a c
EXTD=ouple of rare single sides and his cover of Buddy Holly's "Crying
EXTD=, Waiting, Hoping" from the La Bamba soundtrack, The Definitive P
EXTD=op Collection pretty much lives up to its title, and while Crensh
EXTD=aw's lyrical concerns take a turn towards greater maturity over t
EXTD=he course of these two discs and the sonic palate broadens a bit,
EXTD= Crenshaw's instincts remain dead-on throughout -- he writes song
EXTD=s that are melodic, hooky and emotionally true, and he sings and 
EXTD=plays them with an honesty and force that still find room for hum
EXTD=or without venom. If there's a criticism to be made of this set, 
EXTD=it's that it features all of the 22 songs that appear on Rhino's 
EXTD=2000 collection The Best of Marshall Crenshaw: This Is Easy, whic
EXTD=h accomplishes the same task in more concise form. But the eight 
EXTD=additional tracks present here are certainly welcome, and Bill Ho
EXTD=ldship's liner notes offer a fitting appreciation of an underappr
EXTD=eciated artist. Anyone who loves great pop music will love this. 
EXTD= -- Mark Deming\n\nAMAZON.COM CUSTOMER REVIEW\nGreat Artist, good
EXTD= compilation, January 15, 2007\nReviewer: J. Kenney\nIt is a fair
EXTD=ly priced double-cd, although so much of this repeats what's on t
EXTD=he one-disc Greatest Hits that those who have that might not need
EXTD= this -- that had more detailed liner notes and personal quotes f
EXTD=rom Crenshaw on each tune, so, honestly, if you're just dabbling,
EXTD= I would likely steer you in that direction. \n\nThat being said,
EXTD= this is the most comprehensive G.H., in that it has material fro
EXTD=m the two albums not represented on the previous, so if you want 
EXTD=a complete-career retrospective this is it, at least until the ne
EXTD=xt album comes out. Certainly nothing wrong with the quality of t
EXTD=he new tunes; he's been a remarkably consistent performer, never 
EXTD=putting out an album until it was safely on the side of "Damn Goo
EXTD=d." \n\nTrack selection? Crenshaw OK'd it, so for many, the artis
EXTD=t's wishes reign supreme. Nevertheless, it always can be argued, 
EXTD=although as this was the "Definitive Pop" collection I might've l
EXTD=iked him to go a little more pop in the choices. \n\n"TMD", for e
EXTD=xample, is a brilliant pop song from #447, but he instead chose a
EXTD=n instrumental track. Good tune, but TMD is a shoulda-been-a-numb
EXTD=er-one-hit-single track. Also, he chose "Alone in a Room" from th
EXTD=e most recent album when "Where Home Used to Be" was a tune that 
EXTD=got a bit more public radio play. So for the non-obsessive they m
EXTD=ay have been better choices. This often happens when artists make
EXTD= their own track choices -- they are drawn to tracks where they s
EXTD=tretch their wings or show of certain chops over sticking to the 
EXTD=basics, which is fine, to an extent. So we get "Like a Vague Memo
EXTD=ry" a country tune from DOWNTOWN which is fine, but no "Some Hear
EXTD=ts", which was the leadoff single from GOOD EVENING. Crenshaw dis
EXTD=owns this tune (as non-cool Diane Warren wrote it), but it sounds
EXTD= pretty damn good to me (he eccentrified it into a very Crenshaw-
EXTD=ish tune).TCarrie Underwood from AMERICAN IDOL has recently had a
EXTD= huge hit with this Diane Warren tune for her first single. The c
EXTD=uriosity factor, along with the fact it's an excellent version an
EXTD=d WAS the only single from the record, makes me feel it should ar
EXTD=guably be here. But we get a replay of the two tunes, both excell
EXTD=ent, that were already represented on the first Greatest Hits. \n
EXTD=\nSo he doesn't stick to the "singles" (few, alas, were hits) and
EXTD= throws in a few curveballs that I wouldn't have. But the sound i
EXTD=s fine, pretty much each track is indeed excellent, and certainly
EXTD= it works as an intro. Does it work better than the one-disc opti
EXTD=on? Not necessarily.\n\nAMAZON.COM CUSTOMER REVIEW\nGreat idea, b
EXTD=ut clearly not the best selection of his tunes by any means...!, 
EXTD=November 24, 2006\nReviewer: Darin (Denver, CO, USA)\nAs a long-t
EXTD=ime and very devoted fan of this artist, I'm one of those who wil
EXTD=l buy just about anything with his name on it. Thus, I was thrill
EXTD=ed to hear he was getting a long-overdue career retrospective "Gr
EXTD=eatest Hits" set. While I generally agree with the majority of so
EXTD=ngs selected by whomever was responsible here (and I get the feel
EXTD=ing from reading the liner notes that Mr. Crenshaw was not involv
EXTD=ed in compiling this release), I have a couple of complaints, as 
EXTD=follows. \n1) It's simply way too short! For example, CD 1 clocks
EXTD= in at under 50 minutes, while CD 2 clocks in at under 60. In oth
EXTD=er words, why only give us 15 songs per disc when they could have
EXTD= filled them to at least 20 or so? (If you want a great and recen
EXTD=t example of getting one's money's worth, please buy the new R.E.
EXTD=M. compilation "And I Feel Fine: Best of the IRS Years 1982-1987,
EXTD=" which offers a full 21 songs per disc!). \n2) In that same vain
EXTD=, why did they choose only one song from the artist's brilliant 1
EXTD=991 release "Life's Too Short," while including two from the medi
EXTD=ocre "What's In the Bag?" from 2003? I would have definitely also
EXTD= included "Stop Doing That" or "Fantastic Planet of Love" as well
EXTD=, if it had been up to me. \n3) I don't get why they included the
EXTD= original and very roughly-produced versions of his (apparent) fi
EXTD=rst singles "Something's Gonna Happen" and "You're My Favorite Wa
EXTD=ste of Time," which are seemingly directly lifted from "The 9 Vol
EXTD=t Years: Battery Powered Demos & Curios." In other words, why cou
EXTD=ldn't we at least have gotten the actual single version of YMFWOT
EXTD=, however rare? \n4) I would have loved for them to have included
EXTD= the much cleaner sounding 1984 U.S. Remix of "Our Town" (from th
EXTD=e UK 12" single) with the bells, instead of the original version 
EXTD=from Field Day (even though both are outstanding). \n5) A few ful
EXTD=ly-produced "B sides" or outtakes (e.g., "You Belong to Me" from 
EXTD=the soundtrack to "Peggy Sue Got Married") would have cool too to
EXTD= flesh out the collection, especially for those of us who already
EXTD= own all of his LPs/CDs. \nAnyway...if you don't already have any
EXTD= of his stuff, go ahead and buy this career retrospective or the 
EXTD=single disc "This is Easy!" compilation from 2000, which, ironica
EXTD=lly, includes almost the exact same songs, albeit only up to 1989
EXTD='s "Good Evening." Or, I'd recommend any of the recently re-issue
EXTD=d stuff on Wounded Bird records. In closing, for what it's worth 
EXTD=my three favorite albums/CDs of his are (in chronological order):
EXTD= Field Day, Life's Too Short, and Miracle of Science, so take it 
EXTD=from there and definitely enjoy...!
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