"Mellow" might have been recorded in a shipyard–augmenting Jack Hersca's nagging if fetching guitar and Gene Lake's steady if seething drums is a rhythm element that suggests a boat whistle heard across a moonless harbor. Next track the artist makes his pop bid with a catchy femme-chorus refrain and a guest star: Polly Jean Harvey, what a draw! For another three songs, a decent level of musical amenity is maintained: Martina's crooning tale of woe underpinned by low-register guitar/keyb riffs of unspecified origin and Calvin Weston's free drumming, three-note distorto hook beneath Tricky's speed-mumble, xylophonish tinkle countered by a keyb belch like an engine that won't catch. Thereafter the residues of grimy technologies settle into permanent low-level disorder: foghorns lowing, brakes complaining, clocks sounding across windswept nights, locomotives struggling uphill. He's a hater not a fighter, and the devil is in his details. So give that man a set of horns–he's earned them.
As always with Tricky, the right idea for pop isn't necessarily just right for him. Beats, of course; songs, sure; a band, who could say no? And right, individual tracks connect pretty good–hot lesbian porn, you devil you. Yet though his soundscapes be obscure and forbidding, they're what he's great at; his rap affinities and rock dreams are off the point, especially in the studio. So the best thing about these shapely selections is that they remain obscure and forbidding as they stand up and announce themselves. Second-best is their scorn for criminal pretensions, always a boon from a borderline nihilist.
Fronted by former model Doro Pesch, the German metal band Warlock consisted of guitarists Rudy Graf and Peter Szigeti, bassist Frank Rittel, and drummer Michael "Micha" Eurich. Originally formed in 1983, the group was heavily influenced by such fellow European metal outfits as Iron Maiden, Judas Priest, and Accept, both musically and with their lyric/subject matter. The quintet issued their debut album in 1984, Burning the Witches, following it up with 1985's Hellbound, 1986's True As Steel (the same year Warlock played at England's annual mammoth metal festival, Castle Donnington), and 1987's Triumph and Agony. Warlock called it quits by 1988, as Pesch launched a solo career.
The Faces were unanthologized on CD prior to 1999, but ever since Rhino's corking single-disc Good Boys…When They're Asleep…, the group has seen a number of different compilations of different sizes, of which Rhino U.K.'s 2012 set Stay with Me: Anthology is the fifth. At two discs, this has 2007's The Definitive Rock Collection as its closest cousin: they're both double discs that cover a tremendous amount of ground, but Stay with Me has a slight edge, weighing in at 36 tracks compared to Definitive's 30. Of those 30 tracks, 27 cuts are present and accounted for on Stay with Me – the missing numbers are "Open to Ideas," "Jodie," and "(I Know) I'm Losing You," the latter two cuts from solo Rod Stewart albums where he was backed by the Faces – and those other nine songs include some of the Faces' very best, including the roaring rocker "That's All You Need," Ronnie Lane's sweet, plaintive "Richmond," and the gloriously shambolic "On the Beach." Serious fans should pony up for 2004's Five Guys Walk into a Bar…, which is one of the great rock & roll box sets, but this double-disc set is like that box in miniature, containing the essence of the Faces in all their messy glory.