Original Hits: 70s is a decent six-disc set, highlighting 111 pop singles released in that decade. Along with the original versions of radio classics by Al Stewart, Blondie, the Knack, KC & the Sunshine Band, and Dr. Hook, are less-than-obvious inclusions by Peter Tosh, XTC, the Move, and Benny Hill!

UK Subs - Original Punks: Original Hits (2006) {2CD Set, Demon Music MCDLX023 rec 1979-1981}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 706 Mb | MP3 @320 -> 225 Mb
Full Artwork @ 300 dpi (png) -> 65 Mb | 5% repair rar
© 1979-81, 2006 Music Club Deluxe / Demon Music | MCDLX023
Rock / Punk Rock / British Punk

Never less than rough, ready and raw the UK Subs proved with the 7 top 40 hits included here that smooth edges weren’t needed in the wake of the Punk explosion. The singles CID, Tomorrows Girls and Stranglehold perfectly captured the mood of the times and remain as impressive as they were upon first release. A retrospective covering the most successful period of the bands career during Punk’s high tide in the late 70s. Includes the hits Tomorrows Girls, Stranglehold, She’s Not There and Warhead. Sleevenotes and compilation by Alan Parker.

In a way, the Ramones are an ideal band to anthologize. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context; hell, the haphazard Ramones Mania proved that. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection – it strives to be the final word on the Ramones.

It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits – Blondie had been reaching the Top Ten for two years running – but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop – girl group harmonies, to be sure, but surf-rock echoes throughout – but filtering it through the nervy energy of punk.