Kyua Cure (1997)

It's ironic that the Cure, a band whose albums have always seemed like definitive artistic statements, were at their best as a singles band. On the group's singles, Robert Smith's ideas reached their full potential, since they captured not only the group's off-kilter pop sense, but also the haunting melancholy and wacky humor that interlaced Smith's songs. Galore rounds up the singles from the second part of the Cure's career, beginning with "Why Can't I Be You?" from 1987's Kiss Me, Kiss Me, Kiss Me and ending with "Gone!" from 1996's Wild Mood Swings. Between those two are 15 more songs, nearly every one of which is a gem. The Cure were never a repetitive singles band, and there's a dizzying array of styles here, from infectious jangle pop ("Friday I'm in Love," "Mint Car") and monolithic, chilly goth rock ("Fascination Street," "Pictures of You," "Just Like Heaven")…

Priming the pump for their new 2008 studio album, the Cure invite five of their modern-day disciples to remix the first round of singles from their forthcoming 4:13 Dream - all released during the summer of 2008 - for theHypnagogic States EP. All the acts here - Pete Wentz and Patrick Stump of Fall Out Boy, Jared Leto of 30 Seconds to Mars, Gerard Way of My Chemical Romance, Jade Puget of AFI and Cure opener 65 Days of Static - do demonstrate some clear debt to the Cure, which manifests not in a doomy, sultry fashion but oddly, in mixes that are somewhat reminiscent of early-'90s Cure B-sides - an appropriate enough sound given the ages of the musicians, but not quite the classic Cure that provides their inspiration (although to be honest, apart from parts of MCR and AFI, none of these bands really sounds that much like the Cure, they just like Robert Smith's makeup)…

An assortment of remixes, re-recordings, old singles, and one new song ("Never Enough"). Most of the remixes are quite radical, leaving only the bare bones of the original song. There are enough oddities and rare tracks on Mixed Up to make it necessary for Cure fans, but it's too specialized for casual listeners.

Exile is probably the first album to see him firmly on the path, following-up the career reviving and direction-resurging Sacrifice. Musically dark and moody with touches of techno and goth, it's the lyrics here that truly set the tone. It's a far cry from some of his earlier work. After his innovative and coherent music of the late '70s and early '80s, Numan had taken up residence in the musical doldrums with album after album of little consequence. 1994's Sacrifice proved he wasn't too far gone, and was a wonderful return to relevance. Exile, meanwhile, took it all a step further, and is likely where he would have ended up had he never gone astray in the first place. By far his darkest album up to that point, and a wonderful contrast to the dark-in-its-own-right Replicas from 18 years earlier.

The Cure were never afraid of artistically defining themselves. They had their own sound, an eerie glamour surrounding a dark whimsicality, yet fans flocked to them throughout the '80s and '90s. Commercial or cult favorites, they're impressive as being one of the '80s' seminal bands who culled more than 30 critical singles. Compilations like 1986's Staring at the Sea: The Singles and 1997's Galore showcased the Cure's accessibility; therefore, having a solid greatest-hits collection might be a bit nonessential. Then again, releasing an album like this at the tip of the new millennium calls for a celebration, and that's what the Cure did. They collected 16 amazing cuts which spanned 23 years and recall what once was…

The Best of Rainbow compiles 16 of the best tracks from Rainbow's first seven studio albums, wisely avoiding 1977's live On Stage release. The first two tracks from their debut album, 1975's Ritchie Blackmore's Rainbow, showcases the instant bond that was formed between Blackmore and Ronnie James Dio, especially on "Man on the Silver Mountain." Blackmore changed the band for the following year's Rainbow Rising, with Jimmy Bain replacing bass player Craig Gruber, and Cozy Powell taking percussion duties away from Gary Driscoll. Adding keyboard player Tony Carey helped tracks like "Starstruck" and the lengthy "Stargazer" to sound a little more dimensional and fluent than the group's first effort.

It is appropriate that the first recording of the first version of Forza should come from St Petersburg, where the work had its premiere in 1862. However, whilst the premiere was predominantly an Italian affair, this set is given entirely by Russian artists. The differences between this version and Verdi's 1869 revision for La Scala are marked: they are delineated by two essays in the accompanying booklet but even more discerningly in Julian Budden's indispensable The Operas of Verdi (in this case Vol. 2, Cassell: 1978). So it isn't necessary for me to rehearse here all the changes (even if I had the space to do so), only the main ones.