Bruce Springsteen: 18 Tracks (Columbia)
These highlights from the four-CD box set, Tracks, fall between two stools of thought. Those who don't revere The Boss with the required level of loyalty won't be converted by these tracks from the vaults, while card-carrying Bruce disciples won't be satisfied with this mere taster for the bigger box of treasures. Listening to this album is like doing a minor chore, when what you really want to do is roll your sleeves up and get down to some real, sweaty work. There are some undeniably great Springsteen moments here, such as Growin' Up, Loose Ends and My Love Won't Let You Down, but this reviewer reckons he did his stint for The Boss back in the late 1970s, and doesn't particularly feel like going back and finishing the task.
By Kevin Courtney
Ivy: Apartment Life (Sony 550)
They sound like St Etienne fronted by Letitia from Stereolab, but Ivy actually hail from New York, and their second album is chock-full of catchy, compelling pop tunes courtesy of key-boardist/guitarist Andy Chase, bassist Adam Schlesinger (also a member of Fountains Of Wayne) and French-born singer Dominique Durand. The flanged guitars and driving momentum of songs such as Get Out Of The City, I've Got A Feeling and You Don't Know Anything are more graceful and poised than much of Garbage and Republica's recent output, and the cool, clearly-enunciated vocals of Dominique add a Chanel-scented charm to The Best Thing, Ba Ba Ba and This Is The Day. Contributions by Lloyd Cole and James Iha from Smashing Pumpkins only add to the allure.
By Kevin Courtney
Supertramp: It Was The Best of Times (EMI)
I'm delighted Supertramp did their "reunion" world tour in 1997, because as soon as the century changes, the music police will surely put a stop to this kind of nonsense. Sure, millions of people paid top bucks to attend the gigs commemorated with this "live" album - but Supertramp always was prog-rock at its most banal. Listening again to The Logical Song, its lyrics sound even sillier than you remember, and as for its oh-so-forced rhyme scheme, it's already legendary. But all the hits are here, including Take The Long Way Home, Breakfast In America and School, all over-blown and preposterous - if, at times, maddeningly catchy. As for the song title Crime of The Century, how could Supertramp have got it so right?
By Joe Jackson
