Posts Tagged ‘Peter Cetera’

  
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Friday, September 25th, 2009

CHART ATTACK!: 9/24/88

by Jason Hare

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Hi everybody! It’s CHART ATTACK! time once again, and this week’s pretty solid, if I do say so myself. (And I do.) This week, we bid a fond (okay, maybe not-so-fond) farewell to three artists who had a slew of Top 10 hits in the ’80s but came to a dead halt within a few weeks of this chart. One day, someone will write a requiem for Loggins, Lewis and Palmer (sounds like a really bad supergroup), but until then, we’ll just have to pay tribute to them here, as we look back to September 24, 1988!

10. Don’t Be Cruel — Bobby Brown Amazon iTunes
9. Nobody’s Fool — Kenny Loggins Amazon iTunes
8. If It Isn’t Love — New Edition Amazon iTunes
7. One Good Woman — Peter Cetera Amazon iTunes
6. Perfect World — Huey Lewis & the News Amazon iTunes
5. Love Bites — Def Leppard Amazon iTunes
4. Simply Irresistible — Robert Palmer Amazon iTunes
3. I’ll Always Love You — Taylor Dayne Amazon iTunes
2. Sweet Child O’ Mine — Guns N’ Roses Amazon iTunes
1. Don’t Worry, Be Happy — Bobby McFerrin Amazon iTunes

10. Don’t Be Cruel — Bobby Brown

Whenever I’m feeling down in the dumps, I like to present myself with some perspective. I always used to think about the Blues Traveler line “It won’t mean a thing in a hundred years,” but I think I’m switching to “hey, you could be Bobby Brown.” Because I don’t know if anybody is such a great example of having everything and then flushing it right down the toilet. He’s even worse than Andy Gibb. I mean, Bobby Brown is so universally hated that even Whitney’s Oprah interview can’t bring her back to the top. You only need to spend a few minutes with Bobby Brown to know that it’s generally a bad idea (case in point? Glenn Medeiros); Whitney spent what, five years with this tool? Maybe if she could still sing, we’d take her back, but this is all besides the point. The point is that no matter how bad you think you’ve screwed up, or how much you think you’ll never be able to get back to a better place, remember: hey, you could be Bobby Brown.

Bobby’s first solo album King of Stage didn’t do so well on the charts (quite possibly because was not the king of the stage). Not so with Don’t Be Cruel, both the album and the single. This was the lead-off single, and though it took a couple of months, it eventually peaked at #8 and paved the way for the other hits from the album. “Don’t Be Cruel” is a pretty sweet R&B song; dare I say it deserved to chart higher, or at least higher than “Humpin’ Around.” My only criticism of the song, and I can’t believe I’m going to say this, is that it ends too abruptly. Bobby does a nifty lil’ rap, and then there’s a fade-out. I seriously want more.

9. Nobody’s Fool — Kenny Loggins

As we’ve said before, Kenny Loggins was the undisputed King of the Soundtrack Songs in the ’80s. You can’t deny the awesome montage/we’re-gonna-make-it-after-all power of “I’m Alright,” “Footloose,” “Danger Zone,” and “Meet Me Half Way.” Kenny would agree; they’re included on his 1997 greatest hits collection. “Nobody’s Fool,” however, isn’t on there. Seems odd, right? The song did reach #8, certainly higher than other included songs like “Forever” (#40), “Conviction of the Heart” (#65) and “The Real Thing” (#∞).

So why isn’t it included? I’m going to guess that perhaps it’s because the song was the “Theme From Caddyshack II,” which was a terrible, terrible movie. And because it actually includes the line “Back to the shack,” which just reeks of desperation. Take a look at the video, which — of course — includes numerous clips from the movie itself. When you’re competing with Jackie Mason for screen time, you know you’re in serious, serious trouble.

“Nobody’s Fool” was Loggins’ final appearance not only in the Top 10, but in the Top 40. That might be another reason why the song isn’t included. It’s actually a shame, because the chorus is pretty damn good. You can read more about the song and its video at Gavin Edwards’ Rule 42 blog. (more…)

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Thursday, August 6th, 2009

CD Review: Bill Champlin, “No Place Left to Fall”

by Ken Shane

Bill Champlin - No Place Left To FallFirst an admission. Even though I am the New Music Editor for Popdose, I can be pretty old school. If you’ve been reading along, you already know that. There’s some really good new music coming out, but I have a soft spot in my heart not only for the older artists, but for the old way of doing things. I like real guitars, drums, and pianos. They’re doing amazing things with technology these days, but there’s no doubt that some of music’s soul has been lost in the process. Another issue I have is that so much new music is presented in hushed tones, per the “quiet is the new loud” movement. There’s a place for that, but I need an injection of good, upbeat rock and roll now and then as well.

I was happy when the new album by Bill Champlin came over my transom. Although Bill has been a member of Chicago since 1981, and has contributed songwriting, keyboard playing, and vocals to many of the band’s hits, I haven’t really been following Chicago, so I’ve pretty much missed that. My admiration for Bill goes back to the late ’60s when he fronted a San Francisco Bay-area jazz/funk band with horns called the Sons of Champlin. The band made several albums, but the one that sticks out for me was their wonderful debut album Loosen Up Naturally, which was released in 1969. It is pretty much solely on that album that Bill Champlin’s reputation rests with me. (more…)

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Wednesday, August 5th, 2009

The Popdose Interview: Bill Champlin

by Michael Fortes

Bill ChamplinBill Champlin has a lot to be happy about these days. He’s got a steady gig singing and playing keyboards with Chicago, a spot he’s held since 1982. His solo album No Place Left to Fall, released digitally last year, is finally seeing release as a physical CD this week. He has his first proper solo tour lined up for November along the West Coast. And he’s surrounded by amazing musicians, people he is all too eager to talk up and rave about. Champlin’s enthusiasm is positively infectious, which is something we all could use in this day and age. Not only was Bill generous with his copious good vibes we we phoned him for this interview last Tuesday, he delved into his distant past, at our request, to give us some perspective on the San Francisco music scene where he paid his dues in the Sons of Champlin before going on to co-write the Grammy Award-winning Earth Wind & Fire hit, “After the Love Has Gone,” and racking up further hits with Chicago (”Hard Habit to Break,” “Look Away,” “You’re Not Alone”) and playing on countless other sessions. All the while, Bill has maintained a healthy “other life” with his solo work and occasional Sons reunion gigs, and the benefits clearly come across in this interview.

I’ve really been a big fan since, you know, I guess since I started looking at credits on Chicago records. And I just remember being really, really jealous that I couldn’t come out here on the west coast when you reunited the Sons of Champlin. I was like, ‘oh man, what’s goin’ on here? Why can’t I go see the Sons?’ But now I’m in San Francisco and all is well.

Well, you know, we actually kinda kept doin’ that for about, I mean up until 2005 we’d do, at least once a year we’d do like a three or four week run of just at least weekends with the Sons. And after a while it just got to the point where we pretty much played out our welcome, know what I mean? (more…)

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Friday, June 19th, 2009

CHART ATTACK!: 7/19/86

by Jason Hare

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Hello again, folks! Last time we met, we reviewed a pretty awesome chart from June of 1975. Well, since I choose these charts pretty much at random, you had to know it was inevitable that our luck might not hold out. Or did it? I’ll be interested in hearing what you think — let’s take a look at the pop-filled chart for the week ending July 19, 1986!

10. Love Touch — Rod Stewart Amazon iTunes
9. Your Wildest Dreams — The Moody Blues Amazon iTunes
8. There’ll Be Sad Songs (To Make You Cry) — Billy Ocean Amazon iTunes
7. Glory of Love — Peter Cetera Amazon iTunes
6. Who’s Johnny — El DeBarge Amazon iTunes
5. Holding Back the Years — Simply Red Amazon iTunes
4. Danger Zone — Kenny Loggins Amazon iTunes
3. Nasty — Janet Jackson Amazon iTunes
2. Sledgehammer — Peter Gabriel Amazon iTunes
1. Invisible Touch — Genesis Amazon iTunes

10. Love Touch — Rod Stewart

Even in 1986, how did Rod Stewart keep a straight face when singing the line “I’m gonna give you my love touch”? No, even worse, let’s look at the middle of the song, where Rod actually sings “Oooh, you’re gonna get a/oooh, you’re gonna get a big love touch.” That’s the worst of the bunch. “A big love touch”? Shame on you, Rod. I’d even take you making love to the camera a la “Do Ya Think I’m Sexy?” over this dreck. And who had the idea for steel drums? What a terrible idea! Although I think it’d be fun to go to the Bahamas and ask a traditional steel drum band if they know “Love Touch.” (C’mon, do we really need to hear them play Bob Marley’s “Three Little Birds” yet again?)

All this being said…for some inexplicable reason, I like the chorus of this song. (Well, up until he says the words “love” and “touch,” anyway.) I specifically love the line “Just gimme a chance!” because of the way he pronounces “chance.” It sounds like Harry Caray.

This is the first of four songs on this week’s chart taken from a movie soundtrack. This one in particular is from Legal Eagles, and some brilliant director decided to set the (awful) video in a courtroom, inserting scenes from the movie featuring Robert Redford, Debra Winger and Daryl Hannah. Fortunately, all three actors had the good sense to not make themselves available for the video, unlike another certain movie star…well, you’ll see.


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Friday, May 15th, 2009

Chartburn: 5/15/09

by The Chartburn Panel

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Mainstream Rock: The Black Crowes, “Remedy” (1992)

David Lifton: It’s easy to mock them, but the Crowes were a good gateway drug if you didn’t know their influences. Those first couple of records had some good songs on them, regardless of how derivative they were. They were unabashed music fans, and had really good taste. There’s nothing wrong with that.

Beau Dure: Really a pretty song and not a bad band, even if Chris Robinson always looked like he’d blow away in a mild breeze. And Kate Hudson, for the record, could surely do better. How many years can you really stay in a serious relationship with a dude whose first love is always going to be herbal?

Scott Malchus: Great rock and roll song. Plenty of swagger and southern blues. Talk about a band that had a good thing and imploded. I wish this song got as much airplay as that damn remake of the Otis Redding song, I’m sure the Robinson brothers feel the same way.

David Medsker: When I first heard the riff to this song, I couldn’t believe that it hadn’t been written yet. It just sounded like something knocking around classic rock radio since 1972. I’ve still never heard a Crowes record in its entirety. I don’t hate them or anything. They just don’t excite me.

Will Harris: I listened to this album a thousand times upon its initial release if I listened to it once, thanks to working at a record store at the time, which would probably explain why I’ve still never gotten around to buying it. But that doesn’t explain why I’ve never bought any of their other albums. Listening to “Remedy” now, however, I think I’ve figured it out: I just don’t really like the Black Crowes very much. (more…)

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Friday, May 8th, 2009

CHART ATTACK!: 5/13/89

by Jason Hare

Hey, hey, hey! It’s Friday, and you know what that (sometimes) means! That’s right, it’s time to take a look at another Billboard Top 10 from ages past, and today we’re heading back a full 20 years to see what the charts were like on May 13, 1989!

10. Wind Beneath My Wings — Bette Midler Amazon iTunes
9. Patience — Guns n’ Roses Amazon iTunes
8. Rock On — Michael Damian Amazon iTunes
7. Second Chance — 38 Special Amazon iTunes
6. After All — Cher and Peter Cetera Amazon iTunes
5. Soldier of Love — Donny Osmond Amazon iTunes
4. Forever Your Girl — Paula Abdul Amazon iTunes
3. Real Love — Jody Watley Amazon iTunes
2. Like a Prayer — Madonna Amazon iTunes
1. I’ll Be There for You — Bon Jovi Amazon iTunes

10. Wind Beneath My Wings — Bette Midler

I try to stay away from directly quoting Wikipedia entries, but this sentence is just perfect: “Because of the song’s soaring imagery and the extreme earnestness of Midler’s iconic performance, the song has become ripe for parody.” I mean, that’s totally it, isn’t it? It doesn’t really get any more earnest than this, unless you count “From a Distance,” which was totally Midler’s (successful) attempt to repeat her newfound success as an inspirational singer. Midler didn’t actually care for the song when she first heard it — she was convinced to do it by Marc Shaiman, her long-time musical director (as well as the genius behind the songs in the Broadway version of Hairspray and a million other movies, including South Park: Bigger, Longer & Uncut and Team America: World Police). The song won Grammy awards for both Record of the Year and Song of the Year, but strangely lost the Earworm of the Year award to “Love Shack.”

Although the song will always be tied to Bette Midler, she was far from the first person to record it. The song was written in 1982 by Jeff Silbar and Larry Henley, and was first rejected by Kenny Rogers and Barry Manilow. (When Barry Manilow is turning down your sappy song, you know you’re in trouble.) Artists who recorded the song before Midler include Roger Whittaker, Sheena Easton, Lou Rawls, Lee Greenwood, B.J. Thomas, Gladys Knight (her version was called “Hero”) and Gary Morris, who recorded a country version, much to the chagrin of Silbar and Henley…until it won Song of the Year at the Country Music Awards. Apparently when Morris performs it, he often says “Bette is free to sing this however she wants, but personally, I think she butchered it.” Har!

My favorite version, however, is the duet between Midler and Krusty.

9. Patience — Guns n’ Roses

Written by Izzy Stradlin, “Patience” peaked at #4 on the charts and, recorded in a single session with three acoustic guitars, clearly showed a different side of the band. It very clearly said to audiences that Guns n’ Roses wasn’t just happy getting with teenage girls backstage. They wanted their mothers, too. Even my Lionel Richie-lovin’ mother liked this song…until the end when Axl started that “awful screaming” (which is kind of my favorite part of the song). By the way, I wish people would take that specific vocal section into account before they decide to sing this song at karaoke. It’s always painful.

8. Rock On — Michael Damian (download)

What’s sadder: the fact that I hadn’t heard “Rock On” before Damian’s version, or that I can immediately tell you that this was on the soundtrack to Dream a Little Dream, the movie starring Corey Feldman and Corey Haim? Both are pretty sad, don’t you think? I agree. (I’m sure Kelly Stitzel is with me on this one.)

You may be thinking what I’m thinking: Michael Damian, “Rock On,” total one-hit wonder, right? Actually, it turns out that he’s had two other hits in the Top 40, both in 1989: “Was It Nothing At All” made it all the way to #24, and “Cover of Love” reached #31. Damian had recorded “Rock On” a couple of years earlier in his garage with his two brothers, but it was rejected by most record labels. Dream a Little Dream director Mark Rocco asked Damian’s brothers if they could write some music for the soundtrack, and they brought him “Rock On.” The track reached #1 in early June and surpassed the original, a #5 for David Essex in ‘74.

Apart from “Rock On,” Damian’s had numerous successes: he played a lead role on The Young and the Restless for 18 years, appeared in the revival of Joseph and the Amazing Technicolor Dreamcoat (and earned a Grammy nomination), and even won the BMI Songwriting Award for “Was It Nothing At All.” Furthermore, he’s directed two award-winning independent films! So there’s no mocking Damian here, folks. This guy hasn’t really done anything to…aw, Jesus. Wait a second.

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Friday, December 5th, 2008

CHART ATTACK!: 12/3/77

by Jason Hare

I know what you’re thinking: isn’t Popdose closed for the season?  What the hell is CHART ATTACK! doing here?  You raise a good point, but today’s post is here for two reasons.  First, I scheduled this CHART ATTACK! well over a year ago, before Popdose was even hatched, and second, today’s chart is by our good friend (and talented writer) David Eastman.  And we all owe a big debt of gratitude to David Eastman.  You wouldn’t be here now if it weren’t for him.

You see, it was back in September ‘07 when our fearless leader Jefito had his website, well, pwned.  His web hosting company went under, and took all of Jeff’s hard work with him.  Jeff wasn’t so sure he ever wanted to bother doing a personal website again.  I wrote a post about it, and in the comments, Mr. Eastman wrote the following:

I humbly submit that Jeff and Jason join forces, divvy up the work, and rely on a growing cadre of eager submitters to build J-blog v. 2.0.

Jeff could be the editor and do whatever features he pleased, Jason could do Mellow Gold and post McD. pictures, and the rest of us could kick in other flotsam on a regular basis to help them build the bestest blog ever. It’d be like Voltron!

Well, it didn’t exactly happen just like that, but Jeff and I took David’s suggestion to heart, and a few months later, Popdose was born.  So this holiday season, when you’re either reflecting on how thankful you are for Popdose or cursing us for the Mellowmas dreck we’re putting you through, remember that it’s pretty much because of David.

On that note, enjoy one final CHART ATTACK! for 2008 and we’ll see you in the new year.  Take it away, David!  — JH

1977 was a monster. “Bohemian Rhapsody” was named top single of the previous 25 years. Punk spewed forth in the form of the Damned, the Clash, the Ramones and the Sex Pistols. Billy Joel planted his flag with The Stranger; Steely Dan gave us Aja; Fleetwood Mac unleashed a little collection known as Rumors. The Police, Van Halen, the Cars and Devo all signed their first record contracts. Led Zeppelin and the Supremes, meanwhile, performed their last US concerts. Lynyrd Skynyrd’s plane went down. Studio 54 went up. And Elvis Presley, the King of it all, died on his porcelain throne.

Yeah, ‘77 was huge. But man, speaking of toilets …

Ha-ha, I kid, of course! The pop charts of ‘77 were as good as the greater rock scene; bedecked in gems the likes of which we’ve ha-ha-ha-ha, I kid you again! A lot of this stuff sucked. Not all of it, but a lot of it. Really, there must have been something in the water that year. (Note: the obvious Jonestown joke would not be operative for another 11 months.) That said, most of these songs have long been lurking on my iPod, so you can’t trust me for anything but hypocrisy. Hey, speaking of awkward segues, let’s talk about the week of December 5, 1977:

10.  (Every Time I Turn Around) Back in Love Again — L.T.D. Amazon iTunes
9.  It’s So Easy — Linda Ronstadt Amazon iTunes
8.  Boogie Nights — Heatwave Amazon iTunes
7.  We’re All Alone — Rita Coolidge Amazon iTunes
6.  Heaven on the 7th Floor — Paul Nicholas Amazon
5.  Blue Bayou — Linda Ronstadt Amazon iTunes
4.  Baby, What a Big Surprise — Chicago Amazon iTunes
3.  How Deep is Your Love — Bee Gees Amazon iTunes
2.  Don’t it Make My Brown Eyes Blue — Crystal Gayle Amazon iTunes
1.  You Light Up My Life — Debby Boone Amazon iTunes

10. (Every Time I Turn Around) Back in Love Again –- L.T.D.

L.T.D. was formed in 1968 by two former members of Sam & Dave’s backing group. Within a year they were fronted by drummer/vocalist Jeffrey “Wings of Love” Osborne. This song, the band’s second top 40 hit, was penned by Messrs. Zane Gray and Len Ron Hanks, who would later write hits for Tavares (”Never Knew Love Like This Before”) and Will Smith (”Da Butta”).

Hahahahahaha! I kid a third time! Wait, no I don’t. There really is a song called “Da Butta” by Will Smith. Damn. Well, in any event, L.T.D.’s little slice o’ funk is pleasant enough, and the echoes of Stax in the track start our Attack off pretty strong. Move to the groove with this Soul Train appearance, starring the USC Marching Band and 12 bolts of shiny red fabric:

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Thursday, November 20th, 2008

Into the Ear of Madness: Week 24 — Surrender

by Terje Fjelde

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Over the next year Terje Fjelde has agreed to listen to nothing but David Foster on his iPod. He’s loaded the thing with over 1,200 songs produced, arranged, composed, and/or played by David Foster. A deal with the devil? He keeps wondering.

I received the new David Foster CD/DVD in the mail yesterday along with his autobiography, Hitman! Forty Years of Making Music, Topping Charts & Winning Grammys.

I wasn’t ecstatic in any way – I jumped up and down a couple of times and did a pirouette in front of my bewildered wife – nothing major. The CD concept was a bit of a disappointment — no studio recordings, merely a selection of audio files from the PBS Special Tribute Concert featured on the DVD. I didn’t expect this Vegas extravaganza to affect me in any way, and a small part of me didn’t even want to see it. After all, what could Eric Benet, Michael Johns, or Katharine McPhee bring to the table? Sure, I used to adore David Foster, but I’m not that guy anymore – I haven’t been for the past 15 years. David Foster’s syrupy ballads doesn’t move my heart these days; John Coltrane and Bill Evans do.

And even though I always tell people I’m so uncool, it’s really just a way to downplay people’s expectations. I’m secretly convinced that I’m about the coolest person on this side of the North Pole. I have a giant ego and no doubt a seriously disturbed positive self-image. And most importantly, David Foster, Peter Cetera or “I Swear” have no place whatsoever in this delusion. So, when I sat down to watch the DVD, I was prepared to laugh at Peter Cetera’s spasmodic performance jerks. I was prepared to tsk and groan in despair as this poperatic catastrophe evolved before my eyes and ears.

Then something funny happened. I was about to turn away as Kenny G entered the picture two minutes into the concert, but once again the seductive tones of “Love Theme from St. Elmo’s Fire” had me transfixed. I suddenly took in the beautiful autumn leaves flowing over the background screen, I found myself smiling at Foster’s playful glances at his audience. And good, old Kenny G — he looked pretty great for a 52-year-old, didn’t he? NO! I did not think that thought! But I did. (more…)

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Thursday, October 16th, 2008

Into the Ear of Madness: Week 20 — More Power, Ballad Style

by Terje Fjelde

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Over the next year Terje Fjelde has agreed to listen to nothing but David Foster on his iPod. He’s loaded the thing with over 1,200 songs produced, arranged, composed, and/or played by the man. A deal with the devil? He keeps wondering.

I’m on vacation, spending the rest of the week by the Mediterranean, but hagen wouldn’t let me off the hook, so here’s a little something for you to enjoy while I’m away. Due to the circumstances, I’m afraid this week’s entry will be painfully short. I left my Fosterclopedia tools at home, so there’ll be no amusing anecdotes or pointless trivia to accompany the music. You may claim that I could have foreseen these events and written this week’s post ahead of schedule, and of course you’re absolutely right. But that’s just not how I work. To paraphrase David Foster, I’m “living for the moment” (from his 1990 solo album River of Love).

“Hold Me Til the Morning Comes,” by Paul Anka

We’re starting this week with a duet. You may remember my duet ramblings from last time, when I mentioned the Paul Anka-Peter Cetera collaboration. I’m sure you were excited by the idea, and who am I to let you down? Here’s the track in all its splendor. Someone — I think some guy at a fan site — noted that it sounds like a lost track from Chicago 17, and I agree. Replace Mr. Anka with Bill Champlin and you’ve got a perfect Chicago ballad (”perfect” being a relative term, of course) in the style of “Hard Habit to Break.”

“I Can Wait Forever,” by Air Supply (from the Ghostbusters soundtrack)

And then we have this memorable ballad from Australia’s most popular soft rockers. It’s my favorite Air Supply ballad, if indeed there is such a thing. “I Can Wait Forever” is a tight, solid David Foster production in the style that made him so famous (or infamous, depending on your tastes) in the early 1980s. In fact, both of the featured songs’ melodies are really strong and infectious. Don’t be surprised if you find yourself humming these tunes as you’re walking home from work this afternoon; I know I do it on a pretty regular basis (note the deliberate ambiguity here).

That’s all for this week. We’ll soon be done with all these power ballads, and then we’ll enter the realm of David Foster: The Solo Artist. Well, gotta go — I have an appointment with Michael Caine and Steve Martin in about half an hour.

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Wednesday, July 9th, 2008

Bottom Feeders: The Ass End of the ’80s, Part 15

by Dave Steed

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A few weeks ago I was at a record show for a few hours flipping through thousands of $1 records. I fully admit that I am a nosy person — I like listening to conversations going on around me, and it’s almost impossible to avoid them in this setting. I pick up some of the worst-looking albums you could possibly imagine, so I usually don’t make fun of people for their purchasing choices, but sometimes it’s inevitable. The best time to do this is when people are flipping through records and loudly talking to their friends or family like they’re experts on every artist, album, and song ever made. They seem to be trying to impress the seller or other seekers to the point where we somehow magically ignore the fact that Debbie Gibson’s debut is in their hands. This brings me to my first character. We’ll call him “The Shrink.”

The Shrink was probably in his mid-20s and was there with a buddy around the same age. The friend picked up Michael Bolton’s The Hunger and held it up for show. The Shrink then went off on a tangent that I’ll attempt to re-create as much as possible here. He said, “Is that a greatest-hits album? If that’s a greatest-hits album you should put it back, because greatest-hits albums don’t truly reflect where an artist’s head is at the time, and that’s why you should be buying a ‘real record.’ Why would you want just pieces of albums thrown together when your purpose should be to listen to the artist’s mind-set in one period of time?”

Of course I had to let out a little chuckle, not just because of the Shrink completely ripping the greatest-hits concept — which I clearly am not against — but because a harmless Michael Bolton record is what set him off. I’m pretty sure there were no signs given off that this was indeed a greatest-hits record, because if it was, wouldn’t there be some sort of indication on the record sleeve?

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