|The Best of the Call:|
20th Century Masters The Millenium Collection
|Previously released material|
|Released on October 31, 2000|
|no chart information|
|Find it at GEMM|
|560 825-2 cover
[high resolution scan]
K ronomyth 9.5: BEEN THERE DONE THAT. I am a Christian. One plagued by sin and human failings, sadly, but I have Jesus Christ for my redeemer, a fact that gives me joy in my weakness. I mention my Christianity because Michael Been, the creative force behind The Call, was a Christian (I write "was" because he passed away in 2010). You'll hear that Christianity at work in songs like "Surrender," "I Still Believe (Great Design)," "Everywhere I Go" and "What's Happened To You." It wasn't always apparent in the music of The Call; their early records were aligned with the new wave movement and focused more on social injustice than Christian faith. And here's the awkward moment where, as a Christian, I confess that I've never enjoyed Christian pop/rock music. Case in point: I actually prefer the early hits from The Call's career: "War Weary World," "Turn A Blind Eye." Beginning with Scene Beyond Dreams, the band's music became more overtly Christian and rock centric, and thus less interesting for me. What I've ended up doing over the years is appropriating non-Christian songs for my own God-centered reveries: "Heart of the Sunrise" by Yes, "Home" by Jethro Tull, "Wonderboy" by The Kinks (I know they don't all make immediate sense, but the lyrics are very personal if a little left of center). I reckon that God, as the source of all things, can appropriate anything for his glorification, even three-minute pop songs. It's when we try to glorify God as human beings that it often comes out strangled and weak. This is just my opinion, of course, and I envy Christians whose ears aren't so jaded that they can hear Christian music without critiquing it. Not that I critique The Call's music as Christian, since it's more subtle than that; no doubt a lot of listeners thought "Everywhere I Go" was a love song (and it is, though not in the worldly sense of the word). Yet songs like "Let The Day Begin" and "Walls Came Down," both cornerstones of The Call, never resonated with me. You'll wonder why someone for whom The Call is only a passing fancy would bother with a discography of the band, but that seems to be my unusual calling: cataloging records. If that sounds a little, well, worthy of pathos, bear in mind that my former hobbies included collecting stamps and, later, baseball cards, so record cataloging is the least pathetic of my possible hobbies. (I also write with tongue in cheek most of the time, so don't feel too bad for me.) As for this Millenium Collection, it's actually the best of The Call's compilations so far, drawing at least one song from almost every album they've done including their last live album. Using my Scorpiometer (which admittedly makes no sense to me now), this compilation would score a 6, minus a half point for reminding us that Al Gore ran for president.
Mike Ragogna -- compilation producer
Pat Lawrence -- executive producer
Barbie Insua -- design
Pat Johnson, Gary Greshoff, Dennis Keeley -- photos
return to THE CALL discography
|REGION||RELEASE DATE||LABEL||MEDIA||ID NUMBER||FEATURES|
|US||October 31, 2000||Hip-O Records||CD||560 825-2|
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