Music » Dance Pop Music

Taken literally, this album's title is sure to cause endless arguments. Nothing from Dirty Mind, not a trace of the early anthem "Controversy," no "Erotic City"--no non-LP cuts at all, save some edited single versions--and a cold shoulder to the criminally out-of-print Gold Experience. Damn. As a compendium of 17 key A-sides from 1979 to 1992, however, The Very Best of Prince is (ahem) a quick-'n'-dirty review of the days when the Artist was, in the estimation of R.E.M. guitarist Peter Buck, one of the weirdest musicians in the Top 10. Blessed with both creative cunning and the wish to reach every listener possible, Prince revitalized rock and soul modes from the sex-crazed ("Little Red Corvette") to the cryptically spiritual ("Purple Rain"). Often he blurred lines between attitudes as surely as he did musical ones; the New Testament image of "Thieves in the Temple" became in his hands a complaint about a stolen girlfriend. Though a fine party artifact, this disc is still likely to prove too scanty even for many casual Prince fans. --Rickey Wright

Release Date: 1990-12-08, Audio CD, Sire / London/Rhino

Where Off the Wall was pretty much straight good times, Thriller introduced dread into Michael Jackson's solo work. By 1995's HIStory, this element curdled into overwhelming self-regard and out-of-touchness, but here it's bracing. While Thriller offers its share of cute ("The Girl Is Mine," a duet with Paul McCartney that was the album's first single; "P.Y.T."), the most memorable cuts remain "Billie Jean," "Beat It," and "Wanna Be Startin' Somethin'," all of which meld musical imagination and worried-mind lyrics. There's also the title track, which takes a cue from Parliament's concept pieces in employing Vincent Price to warn that nonfunky forces will "terrorize y'all's neighborhood." Thriller, of course, continues to battle with the Eagles' first greatest-hits package for the title of biggest-selling U.S. long-player ever. Bonus material on this edition includes "Someone in the Dark," from Jackson's E.T. children's album, and a Quincy Jones interview in which the producer cites "My Sharona" as the inspiration for "Beat It"--and, even better, the real-life Billie Jean's claim that Michael was "the father of one of her twins." --Rickey Wright

A greatest-hits package sampling four Enigma discs released between 1990 and 2000, LSD splendidly documents the influential output of Michael Cretu, a techno-bohemian who successfully creates cinematic, otherworldly New Age-like musical suites. Now, more than a decade removed from the arrival of Sadeness (Part 1) and its eyebrow-raising mix of sacred and sensual subplots, people can debate whether Cretu's music represents savvy commercial calculation or satisfying art. LSD suggests a split decision, though tracks with intriguing blends of atmosphere and rhythm, such as "Gravity of Love," "T.N.T. for the Brain" and "Morphing Thru Time," reveal an inventiveness that demonstrates Cretu is capable of more than sophisticated novelty tunes. Two new songs, neither especially noteworthy, open this package. Meanwhile, remastered older tracks segue beautifully to exude a satisfying, seamless unity. Big bonus: run time exceeds 76 minutes. --Terry Wood

Release Date: 2001-11-13, Audio CD, Sony

Features guest appearances by Eve, Redman, and Dave Navarro. Track production by Rockwilder, Glen Ballard, Alicia Keys, Scott Storch, Steve Morales, Rob & Heather and Linda Perry.

This has the best collection of songs

Release Date: 1990-10-25, Audio CD, Warner Bros / Wea

2005 Japanese standard jewel case pressing of Prince's 1987 album. Features the same tracks and mastering as the US edition but includes an OBI and Japanese/English insert. Warner. 2005.

The Soup Dragon's only commercially successful release, Lovegod was a definitive album of a short-lived but blissful movement in alternative dance that began in the late '80s and ended in the early '90s. Lead with fellow Scotsmen Primal Scream and other proto-trip-hop bands like the Happy Mondays, the Charlatans U.K., the Stone Roses, and the Farm, the scene revolved around community--masses joined in various forms of often chemically enhanced euphoric states, dancing till breakfast and beyond. Like Primal Scream's Screamadelica, this album follows a path clearly cut by the Rolling Stones. Their hazy, blues-on-Ecstasy psychedelic grooves fueled the club-going shoe gazers swaying in place for what could have been forever, while at the same time uplifted souls (and soles) with money-maker shakers like "Backwards Dog" and a cover of the Stones' "I'm Free." Because of its combination of timeless rock influences and its preturntablism dance sensibility, Lovegod has aged well, losing little of its capacity for elation. --Beth Massa