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An album entitled Renaissance is long overdue for the widely acclaimed Renaissance Man Marcus Miller. In among the most enviable careers in music, Miller is a two-time Grammy-winner and the composer/producer of ten critically acclaimed and genre-defying albums (seven studio and three live). Even the most devoted follower may be astonished to realise that Renaissance is only his eighth studio project since his 1983 debut, Suddenly, considering the abundance of occasions Miller's name has appeared within album credits and that he has dazzled with performances, compositions and productions in the company of some of the world s most respected and accomplished players and superstars - from the mid-'70s to the present.
Adam Faith was a contemporary of early British rock & rollers like Cliff Richard and Billy Fury, but Faith's sound was less Elvis Presley-derived and more aligned with teen idol pop such as that of Bobby Vee (who covered Faith's number one U.K. hit "What Do You Want?"). John Barry had a hand in Faith's early efforts, and the instrumental arrangements are truly remarkable, from the surprising hoedown-style fiddling on "Don't That Beat All" to the musical saw on "What Now." In fact, it is the arrangements that elevate this music above standard teen idol fare. Faith rocked occasionally, as on "Made You," had moderate success adapting to the changes wrought by the Beatles, and later worked with folk-pop material. The Very Best of Adam Faith tracks his evolution by collecting 26 U.K. chart hits from 1959-1966, four of which were recorded with the Roulettes. Faith had two minor hits in the U.S. in 1965 that aren't included, but The Very Best of Adam Faith is otherwise an exemplary and essential anthology of an early British pop star.