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Product details
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Track Listings
| 1. In The City | |||
| 2. All Around The World | |||
| 3. The Modern World | |||
| 4. News Of The World | |||
| 5. David Watts | |||
| 6. "A" Bomb In Wardour Street | |||
| 7. Down In The Tube Station At Midnight | |||
| 8. Strange Town | |||
| 9. When You're Young | |||
| 10. Smithers-Jones | |||
| 11. Eton Rifles | |||
| 12. Going Underground | |||
| 13. The Dreams Of Children | |||
| 14. That's Entertainment | |||
| 15. Start! | |||
| 16. Funeral Pyre | |||
| 17. Absolute Beginners | |||
| 18. Town Called Malice | |||
| 19. Precious | |||
| 20. The Bitterest Pill (I Ever Had To Swallow) | |||
See all 21 tracks on this disc
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Product Description
Amazon.co.uk Review
Most compilations portray a state of arrested development, a band or performer driving a single idea into the ground. This one, though, does the opposite. As a songwriter, Paul Weller was never content to rest on his laurels, quickly moving from youthful gestures of defiance ("In The City", "All Around The World", "The Modern World"), to cold-eyed social reportage ("The Eton Rifles", "Town Called Malice") and more personal, more confessional modes (the incomparable "That's Entertainment"). And, all the while, he was subtly shifting his allegiances, from spiky guitar-pop--derived initially from The Who, The Kinks and The Small Faces--to soul, as exemplified by the closing tracks, "The Bitterest Pill" and "Beat Surrender", each paving the way for his subsequent work with the Style Council. By any standards, this is a remarkable achievement. --Andrew McGuire
Most compilations portray a state of arrested development, a band or performer driving a single idea into the ground. This one, though, does the opposite. As a songwriter, Paul Weller was never content to rest on his laurels, quickly moving from youthful gestures of defiance ("In The City", "All Around The World", "The Modern World"), to cold-eyed social reportage ("The Eton Rifles", "Town Called Malice") and more personal, more confessional modes (the incomparable "That's Entertainment"). And, all the while, he was subtly shifting his allegiances, from spiky guitar-pop--derived initially from The Who, The Kinks and The Small Faces--to soul, as exemplified by the closing tracks, "The Bitterest Pill" and "Beat Surrender", each paving the way for his subsequent work with the Style Council. By any standards, this is a remarkable achievement. --Andrew McGuire