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Big Audio Dynamite: Super Hits

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Album Review

Like many conceptual bands, Big Audio Dynamite were primarily an album-based group, turning out records that had a consistent sound and theme. The problem was, Mick Jones had too many ideas. Each B.A.D. record was teeming with intriguing sounds that only made sense on a handful of tracks — in other words, they were an album band most listenable in small doses. That made them easier to anthologize than the average album-rock band, as the enjoyable hits collection Planet BAD proved. Super Hits, a budget-line comp that concentrates on their Columbia recordings, is nearly as entertaining as the full-fledged hits package, since it contains nearly all of their biggest hits, including "The Bottom Line," "C'Mon Every Beatbox," "Rush," "E equals MC2," "Contact," "Medicine Show" and "The Globe" — everything except "Free," really. Hardcore fans will naturally prefer the full-fledged albums, and some will like the more extensive hits package, but this Super Hits will satisfy the needs of most casual listeners, especially those on a budget.

Biography

Formed: 1984 in London, England

Genre: Rock

Years Active: '80s, '90s, '10s

After Mick Jones was fired from the Clash in 1983, he formed Big Audio Dynamite (B.A.D.) one year later to continue the more experimental funk elements of the Clash's Combat Rock. The group's original incarnation included Jones, video artist and Clash associate Don Letts (effects and vocals), Greg Roberts (drums), Dan Donovan (keyboards), and Leo "E-Zee Kill" Williams (bass). Adding samplers, dance tracks, and found sounds to Jones' concise pop songwriting, B.A.D. debuted on record with the single...
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Big Audio Dynamite: Super Hits, Big Audio Dynamite
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