Greatest Hits is the first greatest hits album by American rock band Boston. The album released on June 3, 1997 features songs originally released on both the Epic and MCA labels, as well as three previously unreleased recordings ("Higher Power", "Tell Me", and "The Star-Spangled Banner"). Tom Scholz, the band's leader, felt that the album's sound quality was not up to his standards, so a remastered version of the album was released in 2009 with a slightly different track listing. The album was certified double platinum by the RIAA on December 4, 2003, and it has sold 2,234,000 copies in the US as of August 2014.
A Slight Case of Overbombing gathered together material from goth merchants the Sisters of Mercy's three major-label releases. That fact immediately sets the stage for complaints from longtime fans desiring their indie music. However, for the listener more familiar with the band's mid- to late-'80s college radio tracks, this is a very good collection. The lyrics are rather pointless and Andrew Eldritch's vocals lack dynamics, but his singing has personality that overcomes his limitations. It's the edgy, hard gothic rock of the music that is their strength. There's an undeniable pull to songs like the galloping "This Corrosion" or the epic "More" (both produced by Jim Steinman). There's also a mix of "Temple of Love," featuring Ofra Haza, and an unreleased track, "Under the Gun." Not essential, but a good record for the casual fan (although more extensive liner notes would have been nice).
It should come as no surprise that Enrique Iglesias' 2008 Greatest Hits begins in 1999, when he made the leap from the Latin market into the mainstream. All his very successful '90s albums on Fonovisa are bypassed, written off as prehistory, so the spotlight shines only on his English-language singles of the new millennium: the club tracks and syrupy slow songs that gave him a significant number of crossover hits. With the exception of a couple of minor blips on the charts like 2000's "Sad Eyes," all these are here, starting with 1999's "Bailamos" and "The Rhythm Divine," running through 2000's "Be with You" and 2001's "Hero," stopping for 2004's "Not in Love," winding up with 2007's "Do You Know? (The Ping Pong Song)" and wrapping up with two new duets, "Away" with Sean Garrett and "Takin' Back My Love" with Ciara. While this approach may lop off half of his career, it also does exactly what hits collections should do: it gives the casual listener the hits they want to hear and nothing else.
Despite being renowned in certain parts of the world (especially in Italy and their hometown of Paris), the space-age outfit Rockets remains largely obscure – even though they arrived on the scene at almost he same exact time as Kraftwerk and prefaced Devo by several years. The multi-membered outfit originally formed in 1972, under the name Crystal, performing on-stage in their regular street clothes. But by 1974, Crystal had evolved into Rocket Men, issuing a debut self-titled single, while its members began to assume the identities of aliens; complete with silver makeup covering their skin, grey contact lenses, space suits, and bald heads. It was also around this time that the group hooked up with producer Claude Lemoine, who would remain behind the studio boards until the early '80s. Over the next year, the group went through another name (Rocketters), before finally settling on Rockets, and issuing further singles, including such titles as "Rocket Man," "Future Woman," and "Samurai."
The only blunder made with the selections on Ginuwine's Greatest Hits is that it doesn't contain "Love You More," a sweet ballad that received a fair amount of play on U.S. radio stations and scaled up to the Top 30 of the R&B chart. Apart from that, there are no gripes to be had with Greatest Hits. It otherwise remains true to its title. The spread from Ginuwine's first five albums, released from 1996 through 2005, is fairly balanced. While another three or four songs could've been added to the program, it'll satisfy anyone with a moderate interest in one of the more successful male R&B vocalists of the late '90s and early 2000s – one who handled the club tracks ("Pony," "Hell Yeah"), ballads ("So Anxious," "Differences," "Stingy"), and midtempo material ("What's So Different") equally well.