One thing you can say about The Goo Goo Dolls is they do not take the fans for granted. This is a follow up to it’s first Vol.1 of “Greatest Hits” but to fans who only know the hits, this is like a treasure trove of songs, B-sides and covers that aren’t heard on the radio. With over two and a half hours of music and video, it touches on the bands entire career, from the early punk roots of “Torn Apart” to the demo of the popular single “Iris.” It’s not generally known that The Goo Goos have done a ton of movie soundtrack songs, and for fans this puts a bunch of them in one disc (like “Lazy Eye” from the Batman and Robin Soundtrack). The covers are also pretty good with the highlight being The Plimsoul’s “Million Miles Away” and they make Fleetwood Mac’s “I Don’t Want To Know” their own. If you’re not a huge Goo Goo fan then this will give you a shorthand into the depth of it’s musical history beyond the hits. Otherwise stick to “Vol.1” – – By itself it’s a good collection of music, but the addition of a DVD full of 17 videos and a “Live At Red Rocks” concert makes this a real bargain. Until a Goo Goo’s retrospective box set is made, this will satisfy most. Diehards may protest at the lack of “missing” near-hits, but that will have to wait.

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The sound you hear is brothers Dominic and Robert Campanella (Brian Jonestown Massacre) with prominent twelves string Rickenbacker and rich melodies that are all over the Quarter After’s latest exercise in psychedelic revival. They are joined by a collection of LA musicians including power pop faves Ric Menck (Velvet Crush), Matthew Sweet, Eric Heywood (Son Volt), Probyn Gregory (Wondermints, Brian Wilson Band), and Matthew Sigley (Lovetones, Daytime Frequency). Most of all this is an album that will appeal to fans of Roger McGuinn and The Byrds in all their psychedelic glory. The sonic details in the opener “Sanctuary” set the tone and period-perfect effects take the listener back to 1968. Using the Byrds template is just the beginning for the Campanella brothers, as “She Revolves” swirls with dynamic melodies and CSN styled harmonies. “Counting The Score” has a bit of Graham Parsons country folk style. Another standout is “See How Good It Feels” with cavernous echoing chorus and guitar solo. It is a definite improvement in songwriting over the debut album, as almost everything works here. Some navel gazing songs can also go a long way toward boredom if you’re not too careful (“Winter Song”), but this album is essential listening if you are a fan of The Grip Weeds or The Pillbugs. Listen to the entire album here. Groovy, man.

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