Sunday, December 21, 2003

“Mad World” hit #1 in the UK

First posted 5/7/2020.

Mad World

Michael Andrews with Gary Jules

Writer(s): Roland Orzabal (see lyrics here)

Released: December 15, 2003

First Charted: December 21, 2003

Peak: 11 AA, 30 MR, 13 UK, 93 CN, 28 AU (Click for codes to singles charts.)

Sales (in millions): -- US, 0.7 UK, 0.92 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 157.53 video, -- streaming


About the Song:

Tears for Fears broke through in the United States in 1985 with the #1 hits “Everybody Wants to Rule the World” and “Shout” from their album Songs from the Big Chair. Their first album, The Hurting, had little impact on U.S. soil, but was a chart-topper in the UK, propelled by three top-five hits, including “Mad World.”

Roland Orzabal wrote the song “about a depressed young person who feels out of place in this world.” SF Orzabal wanted to write a new wave song like Duran Duran’s “Girls on Film.” It was inspired by Arthur Janov, who wrote The Primal Scream, and his theories. The line “the dreams in which I’m dying are the best I’ve ever had” comes from the notion that dreams of intense experiences are best at releasing tension. WK Bandmate Curt Smith ended up handling lead vocals because, as he said, “It worked better with my voice because it’s more melancholic, darker.” SF

The song was revived in 2001 for the soundtrack to the film Donnie Darko. The director, Richard Kelly, commissioned television and film composer Michael Andrews to develop the score. Because of the project’s low budget, Andrews recorded all the instruments himself, but wanted vocals on at least one song. He tapped Gary Jules, a childhood friend with whom he’d worked in the Origin and the Greyboy Allstars. WK Tears for Fears was one of their favorite bands so they opted to record a stripped-down version of “Mad World.” Jules said, “I think it’s a really beautiful example of a person struggling with the fact that life is mad.” WK

The “slower and more melodic” SF version was more fitting to the somber lyrics, although some considered the original “upbeat dance tune by Tears for Fears” SF to be deliberately ironic. Jules said, “Every so often a song with just vocals, piano, and cello creeps up on you and says something about who you are, where you’re going which stops you in your tracks.” WK

Donnie Darko was well received by critics, but didn’t do well commercially. However, after its DVD release, it gained a cult following and demand grew for a single release of “Mad World.” It was released in late 2003 and it topped the UK charts. Orzabal said the cover reaching #1 was the proudest moment of his career. SF

The song had yet another comeback in 2020 during the coronavirus epidemic when people found themselves quarantined worldwide. Many musicians turned to in-home, intimate performances to reach out to fans and offer some entertainment and comfort. Curt Smith and his daughter Diva performed “Mad World” in a style more like the Andrews/Jules version and it went viral.

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Saturday, December 13, 2003

OutKast hit #1 with the Song of the Decade, “Hey Ya!”

Last updated 4/6/2020.

Hey Ya!


Writer(s): André 3000 (see lyrics here)

Released: September 9, 2003

First Charted: September 19, 2003

Peak: 19 US, 17 RR, 13 A40, 9 RB, 16 MR, 3 UK, 15 CN, 12 AU (Click for codes to singles charts.)

Sales (in millions): 3.0 US, 1.2 UK, 4.46 world (includes US + UK)

Airplay/Streaming (in millions): 0.7 radio, 473.6 video, 200.0 streaming



Although obsolete, the Polaroid camera will maintain a place in pop music history, thanks to singer André 3000’s call to “shake it like a Polaroid picture.” That catchphrase and others like the response to “What’s cooler than cool?” with “Ice cold,” made the song iconic. However, it is the song’s rallying call for every demographic to flood the dance floor that makes it, as quoted on Consequence of Sound, “the decade’s ‘Teen Spirit,’ man.” CS As said, “you could see yourself partying to in college just as easily as you could watch your parents sweat to it in spin class.” PE

Like Nirvana’s “Smells Like Teen Spirit,” “Hey Ya!” was the moment when a masterful artist “made a record that sounded like everything on the radio and nothing anyone had heard before.” PE “Married to the sound of some mid-’60s dance craze that never was, ‘Hey Ya’ exemplified something very few tunes of the time had; a sense of fun.” PE Its merge of genres suggested “the walls between rock and R&B and hip-hop were about to topple.” PE

The song “featured rap lines fed through a vocoder and re-recorded up to 30 times” NME and engineer Rabeka Tuinei was the lone voice behind the “ladies” cheering halfway through the song. RS500 On top of that, Dre told Rolling Stone that its guitar chords, the first he ever learned, were inspired by the Ramones, the Buzzcocks, the Smiths. RS500

There was also an “equally brilliant paradigm-smashing video” PE aping the Beatles’ appearance on The Ed Sullivan Show Add a clever viral video with A Charlie Brown Christmas footage spliced to match the song, and you’ve got the decade’s signature hit.

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Sunday, November 30, 2003

Rolling Stone's Top 100 Albums of All Time

image from

This is not an official Rolling Stone magazine list; rather it is a consolidation of five major lists published by the magazine. (See the specific links at bottom of page). The best resource for reading more about these albums is Rolling Stone’s 500 Greatest Albums of All Time book, published in 2005 by Wenner Media, LLC. The list differs slightly from the original list in the magazine, but all of the albums below are in the book. Besides, this is a must-have for music list junkies.

Also, check out Rolling Stone’s annual picks for album of the year. They have made such picks since 1978. However, by looking at the consolidated lists described above, the DMDB has expanded the list back to 1965.

1. Exile on Main Street: The Rolling Stones (1972)
2. Sgt. Peppers Lonely Hearts Club Band: The Beatles (1967)
3. The Beatles (aka “The White Album”): The Beatles (1968)
4. Abbey Road: The Beatles (1969)
5. London Calling: The Clash (1979)
6. Are You Experienced?: The Jimi Hendrix Experience (1967)
7. Born to Run: Bruce Springsteen (1975)
8. Blood on the Tracks: Bob Dylan (1975)
9. What's Going On: Marvin Gaye (1971)
10. Astral Weeks: Van Morrison (1968)

11. Velvet Underground & Nico: Velvet Underground & Nico (1967)
12. Let It Bleed: The Rolling Stones (1969)
13. Never Mind the Bollocks, Here’s the…: Sex Pistols (1977)
14. Who’s Next: The Who (1971)
15. Sticky Fingers: The Rolling Stones (1971)
16. Led Zeppelin IV: Led Zeppelin (1971)
17. Electric Ladyland: The Jimi Hendrix Experience (1968)
18. The Rise and Fall of Ziggy Stardust and the Spiders from Mars: David Bowie (1972)
19. Pet Sounds: Beach Boys (1966)
20. Nevermind: Nirvana (1991)

21. Blonde on Blonde: Bob Dylan (1966)
22. Rubber Soul: The Beatles (1965)
23. Highway 61 Revisited: Bob Dylan (1965)
24. Horses: Patti Smith (1975)
25. Beggars Banquet: The Rolling Stones (1968)
26. The Band: The Band (1969)
27. Dark Side of the Moon: Pink Floyd (1973)
28. Blue: Joni Mitchell (1971)
29. Plastic Ono Band: John Lennon (1970)
30. Darkness on the Edge of Town (1978)

31. The Doors: The Doors (1967)
32. Thriller: Michael Jackson (1982)
33. Trout Mask Replica: Captain Beefheart and His Magic Band (1969)
34. Rumours: Fleetwood Mac (1977)
35. The Clash: The Clash (1977)
36. Bringing It All Back Home: Bob Dylan (1965)
37. Ramones: Ramones (1976)
38. There's a Riot Goin' On: Sly and the Family Stone (1971)
39. Purple Rain: Prince & the Revolution (1984)
40. Born in the U.S.A.: Bruce Springsteen (1984)

41. Moondance: Van Morrison (1970)
42. Led Zeppelin II: Led Zeppelin (1969)
43. Off the Wall: Michael Jackson (1979)
44. After the Gold Rush: Neil Young (1970)
45. Lady Soul: Aretha Franklin (1968)
46. My Aim Is True: Elvis Costello (1977)
47. Pretenders: Pretenders (1980)
48. Surrealistic Pillow: Jefferson Airplane (1967)
49. Tonight’s the Night: Neil Young (1975)
50. 12 Songs: Randy Newman (1970)

51. Revolver: The Beatles (1966)
52. Music from Big Pink: The Band (1968)
53. This Year’s Model: Elvis Costello (1978)
54. Marquee Moon: Television (1977)
55. Green River: Creedence Clearwater Revival (1969)
56. The Joshua Tree: U2 (1987)
57. Innervisions: Stevie Wonder (1973)
58. Appetite for Destruction: Guns N' Roses (1987)
59. Achtung Baby: U2 (1991)
60. Raw Power: The Stooges (1973)

61. Tapestry: Carole King (1971)
62. The Queen Is Dead: The Smiths (1986)
63. Automatic for the People: R.E.M. (1992)
64. Hunky Dory: David Bowie (1971)
65. Imagine: John Lennon (1971)
66. Layla & Other Assorted Love Songs: Derek and the Dominos (1970)
67. Greatest Hits: Sly & The Family Stone (1970)
68. Loaded: Velvet Underground (1970)
69. Talking Book: Stevie Wonder (1972)
70. Tommy: The Who (1969)

71. Dusty in Memphis: Dusty Springfield (1969)
72. I Never Loved a Man the Way I Love You: Aretha Franklin (1967)
73. Remain in Light: Talking Heads (1980)
74. The Harder They Come (Soundtrack): Various Artists (1973)
75. Paranoid: Black Sabbath (1970)
76. Every Picture Tells a Story: Rod Stewart (1971)
77. Dirty Mind: Prince (1980)
78. Ten: Pearl Jam (1991)
79. Sail Away: Randy Newman (1972)
80. Murmur: R.E.M. (1983)

81. What’s the Story Morning Glory?: Oasis (1995)
82. New York Dolls: New York Dolls (1973)
83. The Gilded Place of Sin: Flying Burrito Brothers (1969)
84. Nuggets: various artists (1968)
85. Like a Prayer: Madonna (1989)
86. The Basement Tapes: Bob Dylan & The Band (1967)
87. Between the Buttons: The Rolling Stones (1967)
88. Some Girls: The Rolling Stones (1978)
89. MTV Unplugged in New York: Nirvana (1993)
90. Siamese Dream: Smashing Pumpkins (1993)

91. Odelay: Beck (1996)
92. Rust Never Sleeps: Neil Young (1979)
93. I Want to See the Bright Lights Tonight: Richard & Linda Thompson (1974)
94. Piper at the Gates of Dawn: Pink Floyd (1967)
95. Willy and the Poor Boys: Creedence Clearwater Revival (1969)
96. Siren: Roxy Music (1975)
97. The Smiths: The Smiths (1984)
98. Live at the Apollo: James Brown (1962)
99. Forever Changes: Love (1967)
100. Kind of Blue: Miles Davis (1959)

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Saturday, November 1, 2003

Johnny Cash charted posthumously with “Hurt”

First posted 11/18/2019.


Johnny Cash

Writer(s): Trent Reznor (see lyrics here)

Released: March 2003

First Charted: November 1, 2003

Peak: 56 CW, 33 MR, 39 UK, 66 AU (Click for codes to singles charts.)

Sales *: 2.75 US, 0.6 UK, 3.5 world (includes US + UK)

Radio Airplay *: --

Video Airplay *: 66.0

Streaming *: --

* in millions


In 1995, Nine Inch Nails released the song “Hurt” from their second album, The Downward Spiral. The top 10 modern rock hit references self-harm and heroin addiction, but the overall meaning of the song has been disputed. Some have said it is a suicide note written by the protagonist and others see it as a more uplifting song about finding a reason to live in spite of depression and pain. WK It has also been characterized as “about realizing consequences and regret.” SF Nine Inch Nails’ Trent Reznor has said it is the most personal song he’s ever written. SF Little did he know it would become the quintessential eulogy for one of country music’s greatest legends.

Reznor was friends with Rick Rubin who, in the last decade, had served as “the svengali of [Johnny] Cash’s reinvention.” NME Rubin suggested the song to Cash, knowing its vulnerability and expression of pain would match his failing voice. The song didn’t catch Cash’s ear initially, but he eventually called it “the best anti-drug song I ever heard.” SF

“The stark, desolate sorrow of the original was translated into harrowing, minimal balladry by the Man In Black.” NME By whittling the song down “to little more than an acoustic guitar and the trembling voice of a dying man,” RS Cash was effectively “writing his own grim eulogy.” PD “His authoritative baritone has all but disappeared, and even his legendary dark humor has deserted him, replaced by painful honesty about life, death, and regret…It’s the crowning achievement of one of the great musical lives of our era; it’s the necessary reminder of age and mortality in the middle of youth and promise.” DS

“It’s hard to imagine anyone but Johnny Cash making it sound like a standard.” PD His take on the song captures “the fear and regret we rarely like to acknowledge until faced with our own mortality.” PD Kudos to “Rubin for recognizing that Cash’s genius would transform a ‘90s goth-rock dirge into a classic on par with his ‘50s murder ballads.” AM

Reznor was originally angry about the cover, saying it felt invasive, SF but after seeing the video he said, “That song isn’t mine anymore…It really made me think about how powerful music is as a medium and art form. I wrote…about a bleak and desperate place I was in, totally isolated and alone. [Somehow] that winds up reinterpreted by a music legend from a radically different era/genre and still retains sincerity and meaning – different, but every bit as pure.” WK

The video was directed by Mark Romanek, who had previously collaborated with Nine Inch Nails WK and shot videos for U2, Michael Jackson, and Madonna. SF The video mixed archival footage of Cash with current shots of “one of America’s most iconic figures suddenly looking so vulnerable, so human, so utterly spent.” PD By showcasing “the stark and seemingly cruel reality of the present,” WK the video served as an obituary for Cash, who died seven months later on September 12, four months after his wife, June Carter Cash, who is also featured in the video. Cash’s management wasn’t sure it should be released because it was so intimate, but his daughter Rosanne convinced him. SF

It won Grammy and Country Music Assocation Awards for Video of the Year. In July 2011, New Musical Express magazine named it the best video of all time, as did Country Music Television (CMT) in 2004. WK The Country Music Association also awarded it Single of the Year in 2003. In a 2007 BBC poll, Cash’s take on the song was voted the best-ever cover of another artist’s song. SF

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Tuesday, October 21, 2003

Eagles Release Yet Another Greatest Hits - But It's the Best One Yet

First posted 2/11/2011; updated 6/17/2019.

Their Greatest Hits 1971-1975


Released: 2/17/1976

Charted: 3/6/1976

Covers: 1971-1975

Peak: #15 US, #2 UK, #12 CN, # AU

Sales (in millions): 38.0 US, 0.3 UK, 42.9 world (includes US and UK)

Genre: California country rock

Greatest Hits Volume 2

Charted: 10/22/1982

Covers: 1975-1980

Peak: #52 US, #63 CN, #5 AU

Sales (in millions): 11.0 US, 15.0 world (includes US and UK)

Genre: classic rock

The Very Best of (1994)

Released: 7/11/1994

Covers: 1971-1979

Peak: #4 UK, #28 CN, #2 AU

Sales (in millions): 0.6 UK, 1.87 world (includes US and UK)

Genre: classic rock

The Very Best of (aka “The Complete Greatest Hits”) (2003)

Released: 10/21/2003

Charted: 11/8/2003

Covers: 1971-2003

Peak: #3 US, #9 UK, #43 AU

Sales (in millions): 5.0 US, 0.6 UK, 10.8 world (includes US and UK)

Genre: classic rock

Tracks: (Click for codes to singles charts.)

    Eagles (1972):
  1. Take It Easy (Glenn Frey/Jackson Browne) [3:29] (5/20/72, #12 US, #9 CB, #12 AC, #12 UK, #8 CN, #49 AU) G1,94,03
  2. Witchy Woman (Don Henley/Bernie Leadon) [4:10] (8/26/72, #9 US, #11 CB, #8 CN, #81 AU) G1,94,03
  3. Peaceful, Easy Feeling (Jack Tempchin) [4:16] (12/23/72, #22 US, #20 CB, #20 AC, #35 CN) G1,94,03

    Desperado (1973):
  4. Tequila Sunrise (Don Henley/Glenn Frey) [2:52] (6/9/73, #64 US, #40 CB, #26 AC, #68 CN) G1,94,03
  5. Desperado (Don Henley/Glenn Frey) [3:33] G1,94,03
  6. Doolin-Dalton (Jackson Browne/Glenn Frey/Don Henley/J.D. Souther) [3:30] 94,03

    On the Border (1974):
  7. Already Gone (Robb Strandland/Jack Temphcin) [4:13] (5/4/74, #32 US, #17 CB, #12 CN) G1,03
  8. James Dean (Jackson Browne/Glenn Frey/Don Henley/J.D. Souther) [3:40] (9/7/74, #77 US, #49 CB, #56 CN) 94,03
  9. Best of My Love (Don Henley/Glenn Frey/J.D. Souther) [4:35] (11/30/74, #11 US, #4 CB, #11 AC, #11 CN) G1,94,03
  10. Ol’ ‘55 (Tom Waits) [4:22] 03
  11. Midnight Flyer (Paul Craft) [3:58] 03
  12. On the Border (Don Henley/Bernie Leadon/Glenn Frey) [4:28] 03

    One of These Nights (1975):
  13. One of These Nights (Don Henley/Glenn Frey) [4:51] (5/30/75, #11 US, #11 CB, #20 AC, #23 UK, #13 CN, #33 AU) G1,94,03
  14. Lyin’ Eyes (Don Henley/Glenn Frey) [6:21] (9/13/75, #2 US, #3 CB, #3 AC, #8 CW, #23 UK, #19 CN, #34 AU) G1,94,03
  15. Take It to the Limit (Don Henley/Glenn Frey/Randy Meisner) [4:48] (12/20/75, #4 US, #5 CB, #4 AC, #12 UK, #16 CN, #30 AU) G1,94,03
  16. After the Thrill Is Gone (Don Henley/Glenn Frey) [3:56] G2,03

    Hotel California (1976):
  17. New Kid in Town (Don Henley/Glenn Frey/J.D. Souther) [5:04] (12/11/76, #11 US, #2 CB, #2 AC, #43 CW, #20 UK, #11 CN, #16 AU) G2,94,03
  18. Hotel California (Don Henley/Glenn Frey/Don Felder) [6:29] (2/22/77, #11 US, #11 CB, #10 AC, #8 UK, #12 CN, #60 AU) G2,94,03
  19. Life in the Fast Lane (Don Henley/Glenn Frey/Joe Walsh) [4:45] (5/13/77, #11 US, #11 CB, #12 CN, #96 AU) G2,94,03
  20. Victim of Love (Don Henley/Glenn Frey/Don Felder/J.D. Souther) [4:10] G2,03
  21. Wasted Time (Don Henley/Glenn Frey) [4:55] 03
  22. The Last Resort (Don Henley/Glenn Frey) [7:25] 03

    Christmas single (1978):
  23. Please Come Home for Christmas (Charlie Brown/Gene Redd) [2:58] (12/9/78, #18 US, #29 CB, #15 AC, #30 UK, #63 CN, #46 AU) 03

    The Long Run (1979):
  24. Heartache Tonight (Don Henley/Glenn Frey/Bob Seger/J.D. Southern) [4:25] (9/28/79, #11 US, #11 CB, #38 AC, #40 UK, #12 CN, #13 AU) G2,94,03
  25. The Long Run (Don Henley/Glenn Frey) [3:42] (11/30/79, #8 US, #10 CB, #34 AC, #66 UK, #9 CN) G2,94,03
  26. I Can’t Tell You Why (Don Henley/Glenn Frey/Timothy B. Schmit) [4:54] (2/3/80, #8 US, #9 CB, #3 AC, #5 CN) G2,94,03
  27. The Sad Café (Don Henley/Glenn Frey/Joe Walsh/J.D. Souther) [5:32] G2,03
  28. In the City (Joe Walsh/Barrry DeVorzon) [3:46] 03
  29. Those Shoes (Don Felder/Don Henley/Glenn Frey) [4:56] 03

    Eagles Live (1980):
  30. Seven Bridges Road (live) (Steve Young) [2:58] (12/2/80, #21 US, #27 CB, #17 AC, #55 CW) G2,03

    Hell Freezes Over (1994):
  31. Get Over It (Don Henley/Glenn Frey) [3:29] (10/21/94, #31 US, #35 CB, #21 AC, #4 AR, #4 CN, #74 AU) 03
  32. Love Will Keep Us Alive (Pete Vale/Jim Capaldi/Paul Carrack) [4:00] (11/20/94, #22 US, #13 AC, #52 UK, #10 CN) 03

    The Very Best of (2003):
  33. Hole in the World (Don Henley/Glenn Frey) [4:19] (#69 US, #5 AC, #69 UK, #11 CN) 03

G1 Their Greatest Hits 1971-1975
G2 Greatest Hits Volume 2
94 The Very Best of (1994)
03 The Very Best of (aka “The Complete Greatest Hits”) (2003)

Review: Their Greatest Hits 1971-1975 (1976)

This album wasn’t just the “first album ever certified platinum;” WR1 it was the best-selling album in the U.S. in the 20th century. WK1 It lost the title to Michael Jackson’s Thriller after the artist’s death in 2009, but regained it in August 2018. WK1 “There may be no explaining that, really, except to note that this was the pervasive music of the first half of the 1970s, and somehow it never went away.” WR1

“On their first four albums, the Eagles were at pains to demonstrate that they were a group of at least near-equals, each getting a share of the songwriting credits and lead vocals. But this compilation…demonstrates that this evenhandedness did not extend to singles – as far as those go, the Eagles belong to Glenn Frey and Don Henley.” WR1 They wrote or co-wrote eight of the collection’s songs and one or the other sang lead on every song but Take It to the Limit.

Of the ten songs that comprise this collection, nine were released as singles (b>Desperado is the sole exception). Eight were top 40 hits on the Billboard pop chart (only Tequila Sunrise missed the top 40), five went top ten, and two of them (One of These Nights and Best of My Love) topped the charts.

The band, however, didn’t have any say in putting together the album and complained it was “nothing more than a ploy by the record company to sell product without having to pay additional production costs.” WK1 Don Henley didn’t like that songs like “Tequila Sunrise” and “Desperado” were taken out of the context of their original albums. WK1 The album did, however, buy the band time while they worked on what would become their best-selling studio album, 1977’s Hotel California.

Despite Henley’s frustration that songs were taken out of context, “these songs make up a collection consistent in mood and identity” WK “unlike the albums from which they come.” WK1 Thre result is that this compilation “works so much better than the band’s previous discs [that it] practically makes them redundant.” WR1

“The tunes are melodic, and the arrangements – full of strummed acoustic guitars over a rock rhythm section often playing a shuffle beat, topped by tenor-dominated harmonies – are immediately engaging. There is also a lyrical consistency to the songs, which often concern romantic uncertainties in an atmosphere soaked in intoxicants. The narrators of the songs usually seem exhausted, if not satiated, and the loping rhythms are appropriate to these impressions.” WR1

In addition to phenomenal sales, this was the rare compilation that topped the Billboard album charts. It debuted at #4 in its first week and then went to #1 the next week, where it stayed for five non-consecutive weeks. Over the years, the album has logged the equivalent of five years on the album chart.

Review: Greatest Hits Volume 2

Considering the monstrous success of Their Greatest Hits 1971-1975, it was a no-brainer to release a second collection. The band officially disbanded in May 1982 and this set, collecting seven Top 40 hits as well as three album cuts, followed that fall. While not as huge as its predecessor (what could be?), this album still achieved multi-platinum status and outsold all the band’s studio albums except Hotel California.

While that album should be a staple of anyone’s catalog, this collection spared casual listeners from buying “mediocre albums like The Long Run and Eagles Live just to have copies of the best-known songs from those releases.” WR2 This set “was perfect for listeners who knew the band through number one radio hits like New Kid in Town, Hotel California, and Heartache Tonight.” WR2

Review: The Very Best of (1994)

That seemingly was the last anyone would hear of the Eagles, but they surprised the world with their Hell Freezes Over reunion tour in 1994. That same year, a single-disc retrospective of the band’s 1972-1979 years was released in Europe, Australia, and New England. The collection included 9 of the 10 songs from Their Greatest Hits 1971-1975, inexplicably opting to substitute the album cut Doolin’ Dalton instead of the hit single Already Gone, but also adding the minor hit James Dean from that era.

The other six cuts from the Eagles’ latter two albums were all hit singles featured on Greatest Hits Volume 2. This collection jettisons the three album cuts that rounded out that collection, but unfortunately also omits Seven Bridges Road, a top 25 hit from the band’s 1980 live album.

Review: The Very Best of (aka “The Complete Greatest Hits”) (2003)

In 2003, the Eagles were anthologized yet again – this time with a double-disc collection. This seemed especially unnecessary, given that roughly two-thirds of their entire studio catalog of six albums would fit on two CDs. However, this set completely replicated Their Greatest Hits 1971-1975, Greatest Hits Volume 2, and the 1994 Very Best of sets, rendering all three of them unnecessary. This compilation added Get Over It and Love Will Keep Us Alive, studio cuts from Hell Freezes Over, and a new song, Hole in the World. In addition, the 1978 Christmas single Please Come Home for Christmas finally earned a spot on an Eagles’ greatest-hits package.

The collection does start feeling bloated when another seven album cuts are slapped on. Songs like Midnight Flyer really don’t belong here, but other cuts, like The Last Resort and Ol’ ‘55, seem just as worthy as some of the better-known material.

This set also does something none of its three predecessors did – presents the material in chronological order. This allows for a nice progression from the country rock of the band’s early days through the more guitar-driven album rock of the latter half of the ‘70s.

Review Source(s):

Awards: G1

Awards: G2

Awards: 03