Pure Shores

Album review

Labeled as a more credible alternative to the Spice Girls, London four-piece All Saints racked up an impressive string of number ones in the late '90s to become the girl power purveyors' biggest rivals before acrimoniously disbanding in 2001. Like their fellow girl group, they surprisingly reunited later in the decade, but whereas the Spice Girls' comeback resulted in a hugely successful sell-out world tour, All Saints' re-emergence was met with total indifference, with their Studio 1 album charting at a rather embarrassing number 40. Following the release of 2002's All Hits, the rather slim 11-track retrospective of their initial four-year career, their second compilation, Pure Shores: The Very Best of All Saints, is much more extensive, covering four songs from their most recent opus, the entirety of 2000's Saints and Sinners, all but three of 1997's self-titled debut, and several remixes and B-sides. From their eponymous first offering, the sassy R&B of lead single "I Know Where It's At," the timeless, simplistic melodies of transatlantic hit "Never Ever," and the gorgeous, sweeping strings of soulful ballad "War of Nerves" have aged better than most of their contemporaries' output, unlike the tinny production on "Lady Marmalade," which sounds positively ancient when compared to the all-star Moulin Rouge version, while the chilled-out nu-soul of "Heaven" and saucy funk of "Bootie Call" showcase the impressive songwriting abilities of the group's linchpin, Shaznay Lewis. But it was their sophomore outing that produced their most accomplished and mature work. Alongside the lush, electronic soundscapes of the William Orbit-produced chart-toppers "Pure Shores" and "Black Coffee," the flamenco-led guitars of "Distance," the Lucy Pearl-esque "All Hooked Up," and" the fusion of breakbeats and futuristic synths on "Love Is Love" indicated a band at the top of the game. The joyous Lily Allen-ish ska-pop of "Rock Steady" and the infectious dancehall rhythms of the MIA-influenced "Chick Fit" prove that their comeback wasn't entirely without merit, but its poor showing here, compared to their first two albums, speaks volumes. Of the slightly less-familiar inclusions, there are intriguing remixes from Neptunes and Timbaland, several mediocre B-sides ("I Remember," "Inside"), and Melanie Blatt's garage pop collaboration with Artful Dodger, "TwentyFourSeven." With only three albums to cherrypick from, it's a surprise that there are still some notable absences on the 38-track, two-CD collection. Their surprisingly subtle cover of Red Hot Chili Peppers' "Under the Bridge" is bizarrely omitted, as is "Fundamental," the stand-out track from Studio 1, and although Blatt's solo career is recognized, far superior material from Lewis and Natalie Appleton's debut albums have been completely ignored. But overall, Pure Shores is an extensive anthology, which allows listeners to fully appreciate All Saints' often-inspired pop brilliance without the distraction of the group's previously overshadowing tabloid-baiting antics.

© Jon O'Brien /TiVo