Search - Diana Ross :: Motown Anthology

What Kind of Fool Am I?

Ristobee | South of LAX | 04/24/2001

(3 out of 5 stars)

"When will Motown quit re-releasing the same "greatest hits" compilations? When we quit buying them! Am I guilty - yes I am!Being that I had given all of my previous (disappointing) Diana Ross greatest hits/ultimate collection/boxed sets away and resisting the latest wave of reissues, I hesitated to purchase the Motown Anthology as well. But my curiosity of the "unreleased, alternate versions and hard-to-find material" won over my common sense. Motown marketing wins again!Here are the reasons I am glad I purchased this set: The unedited version of "LAST TIME I SAW HIM." I've always liked this song very much. It's not only a different version here, there are additional lyrics. The original version of "LIVING, LOVING, GIVING" (I actually bought the soundtrack to 'Thank God It's Friday' to get this original version of the song only to find that they replaced it with the new re-edited/mix. Again -what kind of fool am I?). "OLD FUNKY ROLLS" I have been waiting since the 45 for this song to reappear. Miss Ross evidently has a lot of fun on this silly song. The arrangement of the extended version of "NO ONE GETS THE PRIZE" is a big improvement over the album version. It's fun to hear "DOOB'NDOOBE DOOBE..." after not hearing it for so long (The vinyl album wore out years ago). The studio version of "HOME" from 'The Wiz' is very nice. The radio edits of songs are a nice change from the album versions, especially "WORKIN' OVERTIME" and "ONE LOVE IN MY LIFETIME." Reasons I purchased this set that turned out to be disappointments: "TIME AND LOVE" - the vocals are good, but after hearing The Supremes version for so many years I keep expecting to hear Jean's voice with this arrangement (Jean also puts more energy into the song). "REMEMBER ME" - the released version, although not much different, is a bit more polished. "REACH OUT (I'LL BE THERE)" - heard this version before. Nice but nothing new. "MY MISTAKE" I have heard about 4 different versions of this song and they all sound very much alike. This version offers nothing outstanding.The only RCA recordings I wish would have been included here are "MISSING YOU" and "ALL OF YOU." Because of the inclusion of The Supremes recordings, the poor sound quality and the weak "never-before released material", I still consider this set superior to the "Forever" boxed set. This may not be all of Diana Ross' very best recordings (we all seem to have our personal views on that), but this is certainly a good representative of her most popular. The sound quality is very good and, for a two-disc set, her career at Motown is well represented. Miss Ross' major hits are all here ("AIN'T NO MOUNTAIN HIGH ENOUGH (edit)," "TOUCH ME IN THE MORNING," "DO YOU KNOW (WHERE YOU"RE GOING TO)," "LOVE HANGOVER" "THE BOSS") as well as the minor hits ("ONE LOVE IN MY LIFETIME," "IT'S MY HOUSE," "I'M STILL WAITING," "SORRY DOESN"T ALWAYS MAKE IT RIGHT"). It is very nice to hear them all from one source and this is the best collection released so far. If you don't have any of the previous compilations and you're looking to purchase one, this would be it.Hopefully this compilation is part of a plan Motown has to get us to buy just one more compilation before releasing Miss Ross' entire library. In the next batch of "Lost and Found" albums, an entire album of her never-before-released solo recordings would be great, too - and a good excuse for not including them in this set.Whatever is released, as long as it's not another greatest hits package - I'll undoubtedly buy it."

THE ESSENTIAL DIANA ROSS

Ian Phillips | Bolton, Lancashire, UK | 05/26/2005

(5 out of 5 stars)

"The Motown Anthology (2001) represents the cream of the soul diva's

work. During her solo reign at Motown between 1970 - 1981, she pumped

out an endless river of classics, ranging from adventurous disco to

romantic ballads and to urban soul/r&b. These recordings define why

she is still the leading female singer of our era and easily the most

successful. Her career spans over 4 decades and in that time she has

clocked up over an incredible 70 hit singles, plus scores and scores

of studio albums, which many from the Motown era have been

unjustifiably deleted.



For a start, perharps being something of an over-eager Diana Ross

fan, I still wanted more than these two discs, with perharps a whole

box set dedicated to her time with The Supremes, her lengthy Motown

run from 70 - 81, to her erratic stint at RCA, through to the latter-

day Ross tunes that are lesser known than many of the tracks featured

on here. Many motown album recordings i'd love to have seen included

on here are: You're All I Need To Get By, Keep An Eye, Somethings On

My Mind (all from her solo debut set - Diana Ross 1970), My Place,

Ain't No Sad Song and her enduringly soulful version of The Beatles,

Come Together (all featured on Everything Is Everything 1970), And If

You See Him, A Simple Thing Like Cry, All The Befores (all from

Surrender 1971), All Of My Life, Medley (a) Brown Baby (b) Save The

Children (all from Touch Me In The Morning 1973), You Are Everything,

Don't Knock My Love, Stop! Look! Listen, To Your Heart all sung with

the soul genius and fellow Motown colleague, Marvin Gaye (Diana And

Marvin 1973), Love Me (Last Time I Saw Him 1973), You're Good My

Child, After You (from Diana Ross 1976), You're Love Is So Good For

Me, Too Shy To Say, The Same Love That Made Me Laugh (all from Baby

It's Me 1977), Once In The Morning, Sparkle (from The Boss 1979) and

Have Fun (Again) and Give Up (from diana 1980). These recordings

perharps display Dianas wonderful craft for diversity and deserve a

mention in this review as they have all been passed by with little

acknowledgement from critics who have always seemingly had an adverse

opinion on much of Diana Ross' work. Still, you can't have it all and

the majority of tracks found on The Motown Anthology are superb so

lets get to the track line-up on here.....



Disc 1:

1. Time And Love

Recorded under the guidance of Bonie Howes in the summer of 1969,

Time And Love was initially considered as a debut for her solo career

that was launched in early 1970. This upbeat pop/r&b tune that

contained vast elements of Jazz would have perfectly suited the times

but instead it was canned and never saw the light of day again until

the release of this compilation. Time And Love was eventually re-

recorded by The "New" Supremes, featuring Jean Terrell as their new

appointed lead vocalist and was used as an album track and then was

later re-recorded by the legendary Barbara Streisand.



2. Reach Out And Touch (Somebody's Hand)

Too be honest, I have always found this Diana Ross classic, a little

on the monotonous side. Completely defecting from the swinging Motown

phenomenon, the track encapsulates a waltz-like rhythm that was

considerably uncatchy, yet had anthemic qualities with its profound,

heart-felt lyrics. Dianas angelic performance is indeed as beautiful

as ever but this track was admitedly a rather low-key start to a much

anticipated debut. The track became a Top 40 struggler in both the

U.K and U.S and though was a respectable position, was a rather

disappointing start to a career that had spanned 12 No.1 hits as lead

singer of the Supremes. Even so, Diana to this day uses Reach Out And

Touch as a staple in her concerts, where she gets the entire audience

to hold hands, unite a sway and sing along with her.



3. Ain't No Mountain High Enough

However what did deliver Diana Ross the success she had certainly

become accustomed to was this rip-roaring soul classic. Ashford and

Simpson always knew how to really make great records for Diana Ross

and you could argue that they provided Diana her most remarkable and

fully-formed productions to work on. Diana glides through the verses,

talk-singing in that gloriously effective and sensual voice. She is

then joined by a shimmering line-up of gospel-influenced backing

singers whilst the rhythm steadily and compellingly leads up to an

exalting climax on which the chrous is then sung. It really is a

remarkable recording and one of the major highlights of Diana Ross'

career to date. Ain't No Mountain High Enough quickly launched itself

into pole position on the charts in the U.S. This became one of the

featured recordings on her classic self-titled debut solo set, Diana

Ross (1970) which was by far one of her most stunning studio albums

at Motown. Magnificent!



4. Remember Me

Delivered with a vengeance, Remember Me continues Dianas blatant

penchant for melodrama and is as equally as effective, dynamic and

compelling as Ain't No Mountain High Enough. Remember Me marked

another explosive collaboration with the genius duo, Ashford And

Simpson. The track is hauntingly atmospheric in its tone and Diana

sends shivers down the spine as she delivers those opening

lyrics "Bye baby/see you around/didn't I tell you I wouldn't hold you

down" in a chilly yet passionate vocal performance. Despite the

beautiful and exceedingly dramatic orchestrations, the track told the

sad tale of love lost. Infact Remember Me could almost be a direct

message to her one-time lover, her mentor and the illegimate father

of her first child, Rhonda, Berry Gordy. Everyone at Motown believed

that Diana Ross and Berry Gordy would marry one day but revelations

caused a sensation in the media in early 1971 where news hit that

Diana had married a white Jewish man, Robert Silberstein, during a

vacation. This must have come like a bolt out of the blue to Berry

Gordy who had always been enchanted by Diana. Listen to the lyrics to

this song and theres no doubt that Diana was thinking about Berry

Gordy as she sang the strongly emotive lyrics in this classic.

Remember Me became a Top 10 smash hit in the U.K whilst gliding in at

No.16 in the U.S. Another Soul classic in the La Ross catologue.



5. Reach Out I'll Be There

This stunning, complete re-working of The Four Tops 1966 chart-

topper, was a blatant attempt at re-creating the magic of Ain't No

Mountain High Enough, where Diana talked through the verses whilst

the rhythm builds to an exciting climax. Despite not quite re-

capturing the momentum of Ain't no Mountain, the track certainly has

individual merits of its own. The track became part of the line-up

for the fabulous Surrender album of 1971 and was eventually lifted as

a single in the U.S where it climbed to a disappointing No.29 on the

main singles charts.



6. Surrender

This urban classic, contains a strikingly husky performance from

Diana who really pushes her voice fowards on this swinging R&B tune.

She completely becomes evidently absorbed in the sassy, streetwise

musical arrangements and sounds fabulous in the process. Diana Ross

clearly is a diverse and highly versatile vocalist. Surrender bounced

into the U.K Top 10 charts, whilst crawling quietly into the lower

reaches of the U.S Top 40.



7. I'm Still Waiting

This beautiful Deak Richards produced track, was only released as a

single in the U.K at the persistent urging of British Radio DJ, Tony

Blackburn, a huge fan of the divas. He promised Motown that he would

play the track incessantly on his radio show if they released I'm

Still Waiting as a single. Motown relented and Tony Blackburn kept

his end of the bargain and not before long, I'm Still Waiting

catapulted to the top of the U.K charts, clinging on for four weeks

at the top. This delicious ballad features an angelic and exuberant

performance from its star and quite simply is touching in its mere

simplicity. However when released on the strength of its staggering

British chart-topping success, American audiences were less impressed

and the track became a Top 75 struggler.



8. Doobedood'ndoobe, Doobedood'ndoobe, Doobedood'ndoobe

An enjoyable confection of radio-friendly pop/r&b that was released

in the U.K in 1972 (though was recorded in 1970 as part of the track

line-up for her Everything Is Everything album) and became a Top 20

seller, during which time she was busy working on her silver screen

debut, Lady Sings The Blues. Though you could perharps describe this

as dated now with its slightly sugary content, the track still has a

catchy feel from the customary gospel backing vocals to Dianas

glossy, crystal-clear voice (despite its meaningless title). This was

Diana and Motown being adventurous and experimental and the results

ae satisfying.



9. Good Morning Heartache

Only 1 offering from her dynamic, oscar-nominated movie, Lady Sings

The Blues, which Diana tackles and performs over-all, impeccably

well. Her diction and phrasing is so precise and captures the mood

and spirit of the origanal, remarkably well. Good Morning Heartache

was lifted as a single in the U.S where it climbed to No.34.



10. Touch Me In The Morning

Another golden soul classic, this time round being produced by the

genius Michael Masser. The lush orchestrations are ignited by Dianas

breathtaking delivery and she tackles the fiery chrous with style and

finesse. Similar ethos to Ain't No Mountain, but still utterly unique

within itself and is something of a masterpiece. Unsurprisingly,

Touch Me In The Morning leapt to the top of the U.S charts.



11. My Mistake Was To Love You (With Marvin Gaye)

Despite the reported clash between the two during the recording

sessions for the Dian And Marvin album (a heavily preganant Diana was

infuriated by Marvins excessively smoking weed during rehersals),

their diverse range of harmonies marked a neat transistion on the

productions. An air of sizzling sexual chemisty sizzles when these

two voices are captured together on record and sound so perfectly

compatable. Strangely enough, only 1 of her duets with Marvin Gaye

turns up on here, with My Mistake Was To Love You, which emerged as

one of the highlights of the Diana and Marvin album and became a Top

20 seller in the U.S.



12. Last Time I Saw Him

Marking an odd but interesting combination of funky, swinging country

music and a neat injection of R&B, Last Time I Saw Him goes down as

one of her more diverse recordings, even though never really has been

regarded as one of her major classics. Silly but fun and that old

sassy charm still filters through on hearing the track today. Last

Time I Saw Him became a Top 40 struggler on both sides of the

Atlantic.



13. Sorry Doesn't Always Make It Right

Another transistion between country and soul music on this glorious,

lush ballad where Dianas delivery is more angelic than ever, though

is still otherwise utterly engaging. Her recording career had slowed

down at this point as she was working on her second movie, Mahogany.

Released in 1975 as a single, the track raced up to No.23 on the U.K

charts, yet didn't even so much as dent the American Top 100.



14. Theme From Mahogany (Do You Know Where You're Going To)

This epic classic is made memroable from its sweeping musical

arrangements to Dianas heavenly performance. This classic had for

some preposterous reason, been deemed qualtively ineligable for a

grammy award nomination. After strong protest, the track was

deservedly added to the nominations though sadly failed to win.

However the track was another U.S chart-topper and the track had

certainly made an impact and became one of the key classics in her

already-huge catalogue.



15. I Thought It Took A Little Time (But Today I Fell In Love)

An exotic ballad, again written and assembled by the fantastic,

Michael Masser. Featured on the classic, Diana Ross album of 1976. No

one delivers a ballad quite like Diana Ross, and this is yet another

superb recording which once again displays her uncanny and effortless

flair for great, exalting ballads such as these. I Thought It Took A

Little Time also became a U.K/U.S Top 40 smash hit.



16. Love Hangover

YEAH! We have a monster disco classic here. This adventurous, tempo-

shifting disco classic, containing undertones of red hot, pulsating

funk, marks the beginning of Dianas disco diva era. The song begins

slowly with Diana delivering her trademark sultry and evocative vocal

performance and then swiftly steers direction and catapults into hot,

compelling disco. Diana sounds amazing on this track and at one point

she even does a brief mimmick of Billie Holiday. An exciting classic

that was well ahead of its time on its origanal release in 1976 where

the song raced to the top of the U.S charts.



17. One Love In A Lifetime

Another sparkling disco tune that didn't quite have the impact and

immediacy of Love Hangover, but was still overly excellent in its own

right. That swinging, early Motown sound creeps back in with its hot,

infectious rhythm containing again vast undertones of compelling

funk. One Love In A Lifetime jumped to No.25 on the U.S charts.



18. Gettin' Ready For Love

This infectious number marks an interesting transistion between disco

and jazz. The lyrics are playful yet expressive and Diana delivers

this in her usual lush and vibrant singing style.



19. Lovin' Livin And Givin

An exciting, hypnotic disco number where Diana really breathes life,

fire and soul into the recording across its trance-like arrangements.

Lovin' Livin And Givin' was used as part of the soundtrack to the

1978 movie, Thank God It's Friday which featured the Queen of Disco,

Donna Summer. The track was also issued as a single in the U.K where

it surprisingly stalled at No.54 despite its seemingly winning

commercial appeal.



20. Home

And finally disc 1 closes with this tear-jerking and remarkably

powerful ballad, plucked from her movie, The Wiz. Anyone witnessing

Diana singing the song at live performances will have noticed tears

streaming down her face as she sings those touching lyrics. It

evidently stirs up a lot of emotions inside her and in the process,

Home really brings out the natural beauty and soul in her voice.





Disc 2



21. The Boss

Anyone doubting Diana Ross' vocal abilities, should take a listen to

her stunning, acrobatic performance on this raging masterpiece disco

classic. It truly is one of the highlights of her career, which she

delivers seemingly with a vengeance. The Boss became a Top 20 seller

in the U.S.



22. It's My House

Again produced by Ashford and Simpson, It's My House is seemingly a

declaration of her newly found independence. She had freed herself

from the clutches of her obsessive boss, Berry Gordy and had divorced

from her first husband, Robert Silberstein. This mid-beat number

which is simply fantastic, became a U.K Top 40 hit.



23. No One Gets The Prize

Never before had Diana Ross sounded so strong and self-assured as on

this recording. A riotously funky masterpeice, No One Gets The Prize

features a compelling performance from its star across the complex

musical arrangements and she proves that she indeed does possess a

lot of power and volume in her voice. However the track faltered

within the U.K Top 60 after being released as a single but is still a

winner!



24. Upside Down

Bernard Edwards and Nile Rodgers, the dynamic duo behind 70's disco

group, Chic, produced the landmark album of her career, diana (1980).

The projects debut release would be the compellingly funky, Upside

Down on which her razor sharp delivery is vastly impressive. The

track almost sounds like a nursery rhyme set to music and apparentely

Diana had asked Edwards and Rodgers for a song her children could

sing along to and with Upside Down, she certainly got it! It quickly

zoomed into pole position on the U.S charts whilst hitting No.2 in

the U.K.



25. I'm Coming Out

Another raging disco classic, which was screaming out about her new

independence and also became something of a gay anthem where it is

known that a large portion of Dianas audience has always consisted of

gay men (myself included of course). I'm Coming Out captures one of

her strongest performances on record and the rollercoaster musical

arrangements adds to the dazzling effect making this another ultimate

Diana Ross classic that raced its way into the U.S Top 5 charts

whilst making it to No.13 in the U.K.



26. It's My Turn

Diana was now preparing to leave Motown records for a reported

$20,000,000 deal with RCA Records. This tugging ballad with its

strongly emotive lyrics and a dynamic and passionate performance from

Diana could easily be a direct message to Berry Gordy. This tear-

jerker of a ballad became a Top 10 hit in the U.K whilst reaching

No.16 in the U.K. It also was the initial theme song to the movie of

the same name.



27. Stay With Me

A pleasant, if not a little slushy album track that was featured on

her Motown set, ToLove Again (1981). Dianas delivery is as warm,

passionate and vibrant as always and does indeed encapsulate a

timeless quality.



28. One More Chance

Another beautifully mellow ballad, courtesy of Michael Masser, that

was origanally featured on the To Love Again album. One More Chance

also was lifted as a single where it stalled within the U.K Top 50

whilst stopping at No.79 on the U.S charts. One More Chance captures

one of Ross' most strongest performances on records. Her exhilirating

vocals at the exalting climax of the recording are astounding and

proved what a highly adept vocalist she really is. Should have been a

No.! Hit!



29. Endless Love (With Lionel Richie)

No one has done Endless Love better than Diana Ross and Lionel Richie

(not even the divine singers Luther Vandross and Mariah Careys

version comes close). Touching in its simplicity, this epic, sweeping

duet which became the theme song to the movie of the same name, shot

to the top of the U.S charts, remaining there for 9 weeks in a row

and proudly became Motowns biggest selling single to that point.

Theres a nice gelling of harmonies here from the sweet falsetto of

Diana Ross to the more forceful delivery of Lionel Richie. The pair

met only breifly and the song was recorded in the early hours of the

morning. Fantastic!



30. We Can Never Light That Old Flame Again

Rare Diana Ross recording that was issued as a single in the U.K and

bombed. A disco track that is extremely catchy though lacks the

immediacy of the likes of Love Hangover, The Boss and I'm Coming Out.



31. Old Funky Rolls

B-side to the previous track and not much better. Bland and

forgetable.



32. If We Hold On Together

This was actually recorded on MCA Records as part of the soundtrack

to the Steven Speilberg animated classic, The Land Before Time, so

its a mystery as to why its included on here as this compilation

obviously was intended to highlight her Motown recordings. Even so,

its a glorious, exotic ballad that amazingly topped the Japanese

charts, remaining in their charts for over two and a half years and

became the biggest ever selling Foreign single in Japan of all time.

Quite remarkable.



33. Workin' Overtime

Diana Ross made headlines in 1988 when the soul supreme returned back

to Motown Records after a shaky and erratic stint with RCA between

1981-87. Hip-Hop was an increasingly growing new trend in black music

and Diana jumped on the bandwagon in order to remain a vital,

youthful artist and at the aid of Nile Rodgers came up with this

number. Though catchy, hip and infectious in its day, Workin'

Overtime now sounds dated an met with a cool response from critics

and audiences alike where the track failed to make the U.S Top 100,

though received some recognition in the U.K where it breifly entered

the Top 40 charts, peaking at No.32.



34. When You Tell Me That You Love Me

Diana rebounded in 1991 with this breathtakingly beautiful ballad

which goes down as one of the best latter-day Ross recordings. It

holds a special, timeless appeal and really can move you to tears

from its lyrics, to the impeccable performance from Diana and the

sweeping musical arrangements which leads to a dazzling crescendo.

The track clung on for weeks on end at No.2 on the U.K charts when

released in late 1991 and was one of her biggest hit singles in some

years.



35. The Best Years Of My Life

To coincide with her 30th anniversary celebrations in showbiz, Diana

Ross recorded a specifically dedicated song to her wide, loyal fan

base. It was a touching dedication and certainly an enjoyable one

which soon hit the Top 40 charts in 1994.



36. Take Me Higher

This bouncy confection of radio-friendly r&b/pop was delightful and

one of Dianas great dance recordings of the 1990's. Upbeat in its

content, Take Me Higher is the perfect vehicle in the latter-day Ross

catalogue. Infectious, bursting out with energy and fantastically

delivered, Take Me Higher was an overall winner in some aspects yet

only made it to No.32 on the U.K Charts (whilst failing to even hit

the U.S Hot 100). Despite that though, Take Me Higher is the one

Diana Ross recording i've heard sampled and remixed on several

different versions by various House/dance/techno d.j's of the day so

it defintley made an impact and also enjoyed some club success.



37. I Will Survive

This was an ode to her large legion of gay male fans. Though not

quite having the force of the 1979 Gloria Gaynor version, the track

is still fabulous in its own right which is re-worked into

contempoary dance trends of the day. I Will Survive deservedly jumped

into the U.K Top 20 charts.



38. Until We Meet Again (Club Remix)

Diana Ross has always had that sassy, streetwise side to her and she

still possesses one of the greatest voices in soul/r&b. Her voice

perfectly suits this dance remix of a track, origanally from her

Everyday Is A New Day (1999) album. This tune is infectious in every

possible way from its strong dance arrangements that just makes you

get up and dance to the startling ignition of Dianas strikingly

unique and classy vocal delivery that gels well across the

contemporary dance mix. A fabulous close to a rollercoaster ride of

an album.





Diana Ross remains the ultimate soul diva and a living legend. Her

work remains totally unparalled and she still continues to be a

driving force with todays new generation of singers. The Motown

Anthology is a fitting tribute to the most successful female singer

in history.





Ian Phillips



"

Supreme

Marc200 | Los Angeles, CA | 03/27/2001

(5 out of 5 stars)

"Just what the doctor ordered -- a brand new anthology bringing together all of Ross' big hits "Ain't No Mountain High Enough", "Reach Out And Touch", "Upside Down", "The Boss" "Remember Me" and "Endless Love" along with some of her better, not-so-big hits "Surrender", "One Love In My Lifetime" and "Gettin' Ready For Love". No one does melancholy like Ross, DO YOU KNOW WHERE YOUR'E GOING TO and TOUCH ME IN THE MORNING can still make you cry. NO ONE GETS THE PRIZE features one of her most searing vocals, and the very hard-to-find extended version is included here. I THOUGHT IT TOOK A LITTLE TIME is the No.1 hit that never was, starts off slow and sugary before building to its exuberant climax. This collection shows how much Ross' voice matured over the years -- from the chirpy thrush (I'M STILL WAITING) to cooing vixen (LOVE HANGOVER) to its current, voluptuous beauty, best demonstrated by THE BEST YEARS OF MY LIFE, one of her finest latter-day ballads. There are even a few surprises for the diehard Ross fan -- Ross' version of Laura Nyro's TIME AND LOVE which was slated to be her first solo single and a previously unreleased (slicker, more glossy) version of HOME from The Wiz. Also included are previously unreleased alternate versions of LOVIN', LIVIN', AND GIVIN' and MY MISTAKE(WAS TO LOVE YOU). The tracks have been digitally remastered, a first for many of these songs, and the sound quality is excellent for the majority of the tracks -- apparently all the digital remastering in the world cannot remove the vague hissing sound from SURRENDER and REMEMBER ME. The packaging is very nice and contains some Ross photos that I've never seen as well as Billboard chart rankings for her singles and her albums. This CD is a great starting point for new fans. Maybe one day Motown will do right by Miss Ross and release the whole solo Ross catalog on CD (with previously unreleased bonus tracks!). In any event, this sterling anthology is a step in the right direction."