| | Stevie Wonder Ballad Collection CD Stevie Wonder Discography of CDs
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Our Price: $46.59 CDFor Sale Usually ships in 1-2 days (Only 1 available)
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Japanese exclusive two-CD version features special packaging, a new track, and remixes of older songs. Collecting some of the most remarkable R&B released by any artist in the second half of the 20th century, let alone some of the greatest pop ballads, this down-tempo set concentrates chiefly on Stevie Wonder's early-'70s albums, including the heartfelt "Never Dreamed You'd Leave," from 1971's innovative WHERE I'M COMING FROM, the shimmering keyboards of the classic "You Are the Sunshine of My Life," from TALKING BOOK, and INNERVISIONS' "All in Love Is Fair." The U.K. disc Ballad Collection contains 17 ballads, largely from Stevie Wonder's '70s peak, but also containing a fair amount of songs cut in the '80s, including such soundtrack-only oddities as "Kiss Lonely Good-Bye" (from Pinnochio) and "Stay Gold" (from The Outsiders). Wonder, of course, had a lot of hits with ballads, but this shouldn't be taken as a hits collection, and while many of these songs are excellent, there are so many album tracks that it's hard not to look at the collection and wonder why personal favorite ballads are missing. Nevertheless, as a sampler it's enjoyable and it does unearth a couple of fairly hard-to-find cuts, so it's worthwhile for the casual fan while providing some nice bait for collectors. ~ Stephen Thomas Erlewine
Japanese edition of 2000 compilation previously only availble in Europe. Limited edition available for three months from initial release includes one exclusive bonus track, 'To Feel The Fire' and a five track bonus disc featuring, 'To FeelThe Fire' (New Version), 'Angie Girl', 'Do I Love Her', 'Yester-Me, Yester-You, Yesterday' and 'Think Of Me As Your Soldier'. Slimline double jewelcase. Ballad Collection Review
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This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Goo Goo Dolls: Johnny Rzeznik (vocals, guitar); Robby Takac (bass, background vocals); Mike Malinin (drums). Additional personnel includes: Tim Pierce (guitar); Kim Bullard, Doug McKean (programming); Luis Conte, Greg Suran, Jamie Muhoberac, Rob Cavallo. Japanese edition adds an extra song. CD contains 1 bonus track. Prior to "Name," nobody would ever have picked the Goo Goo Dolls to be stars. Not only were they saddled with a terrible name (there must be worse names in the history of rock, but outside of Dumpy's Rusty Nuts, I can't think of one off the top of my head), they were either seen as lovable ragtag group of ne'er-do-wells (by their fans) or shameless Replacements obsessives (by critics), and both rightly saw the group as simply too modest for the big time. But that modesty paid off, since it was the quality that gave their big hits ("Name" and "Iris") humility. Since they arrived in an era where singles could stay on the charts for a full year, if not more, and stay on the radio for even longer, these two hits gave the impression that the Dolls were bigger stars than they really were, even if they sold many, many copies of A Boy Named Goo and Dizzy Up the Girl. So, Gutterflower, their first album in four years, was treated with the utmost care, crafted and polished on the level of a superstar release -- thereby giving a glossy sheen to a record that, at its core, is another Goo Goo Dolls album. Yes, there may be some darker currents roiling underneath the surface in Johnny Rzeznik's lyrics, but when the production glistens like this, it takes some deliberate, intensive listening on the part of the audience in order to discern it. Ironically, that's the good thing about Gutterflower -- as it shifts from ballads to chugging, layered mid-tempo pop, with Rzeznik's Paul Westerberg being punctuated every few tracks by Robby Takac's Tommy Stinson (these comparisons, for better or worse, still hold up, well over a decade into the band's career), it all goes down easy, smoother than any other mainstream rock album this side of Matchbox 20. It's so expertly produced, so evenhanded in its sound, that even if the songs sound hooky as they're playing, they're hard to remember once the next starts. This, of course, isn't the same thing as the songs not being memorable, since repeated listens do reveal that both Rzeznik and Takac are in good form (they better be after a four-year lay-off), but the record is so slick, songs don't stand out, and the pain that fuels some of Rzeznik's post-divorce lyrics is dampened by the gloss. Now, the gloss is good and results in a very listenable ...
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