Frankly, we Won

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The Smiths are one of music’s most influential alternative rock bands. "Complete" features the 2011's hi-definition remastering and includes the band’s historic studio recordings: "The Smiths" (1984), "Meat Is Murder" (1985), "The Queen Is Dead" (1986) and "Strangeways, Here We Come" (1987).

Yo, it’s ya boy Jeffy. Has this ever happened to you? You approach a group of women and attempt to strike up a conversation… only to have them COMPLETELY IGNORE YOU. Maybe they didn’t hear, you think. You repeat your opening line again, this time in what you think is a louder voice. They continue their conversation as though you weren’t even there. Literally, you have failed to even enter into their consciousness as a being worthy of recognition. Without skipping a beat the girl you addressed turns her back to you and keeps talking to her friend, leaving you standing there with your dick in your hand. The girls won’t even LOOK at you… EVEN IF YOU’RE DOING EVERYTHING RIGHT.

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Aside from her 2006 album, Law of Old, this 21-track compilation contains virtually everything Thelma Jones recorded as a solo artist, including 1967-1968 singles for the Barry label; all the tracks from her 1978 Columbia LP; and a couple non-LP Columbia cuts from the same era. Jones is most known for issuing the original version of "The House That Jack Built" (included here), covered for a hit by Aretha Franklin, who frankly gave it a superior, more memorable interpretation. While this anthology shows Jones to be a solid soul vocalist, that's bound to remain the footnote for which she's known. The late-'60s Barry sides are sturdy soul with stirring vocals and a dash of orchestrated pop, but more respectable than outstanding. The final dozen tracks are all from the Columbia era, and such is their difference from the Barry material that they could almost be the work of a different artist. That's understandable, as about a decade had passed in the meantime and trends in soul music had been totally overhauled. It still makes for an incongruous juxtaposition, the production getting slicker in accordance with the musical changes of the era, Jones' vocals and the material again being more competent than noteworthy. For those who want all of Jones' 1960s and 1970s recordings in one place, however, this is almost one-stop shopping – "almost" because one of her Barry singles, "Souvenirs of a Heartbreak" and "I Won't Give Up My Man," is represented by alternate takes of the songs.