36 Songs, 2 Hours, 33 Minutes

EDITORS’ NOTES

Bryan Adams has been an incredibly successful singer-songwriter since emerging in the early 1980s with his modest, workmanlike pop tunes that bypass the usual rock star poses for clean, concise pop hooks and a heartfelt sincerity. “Cuts Like a Knife” may not be the most inventive use of the phrase, but its pleasing radio presence, highlighted by Adams’ gritty voice, made it a true sign of the times. This 36-track collection includes an eye-popping amount of versatile radio hits. “Run to You,” “Heaven,” “Summer of ‘69” begin what became an effortless hit machine, while “Everything I Do – I Do It For You,” “the flamenco-based “Have You Ever Really Loved a Woman,” the slightly embarrassing “The Only Thing That Looks Good On Me Is You” are the sound of a professional songwriter (Adams worked best as a collaborator with Jim Vallance and Robert John “Mutt” Lange) finding the perfect balance between AOR accessibility and the stringent demands of modern rock radio. The absence of an arrogant rock star attitude gave Adams a nice guy persona at odds with most cocky rockers of his day. His dedication to his craft has helped these songs last beyond the trend-conscious contributions of his many contemporaries.

EDITORS’ NOTES

Bryan Adams has been an incredibly successful singer-songwriter since emerging in the early 1980s with his modest, workmanlike pop tunes that bypass the usual rock star poses for clean, concise pop hooks and a heartfelt sincerity. “Cuts Like a Knife” may not be the most inventive use of the phrase, but its pleasing radio presence, highlighted by Adams’ gritty voice, made it a true sign of the times. This 36-track collection includes an eye-popping amount of versatile radio hits. “Run to You,” “Heaven,” “Summer of ‘69” begin what became an effortless hit machine, while “Everything I Do – I Do It For You,” “the flamenco-based “Have You Ever Really Loved a Woman,” the slightly embarrassing “The Only Thing That Looks Good On Me Is You” are the sound of a professional songwriter (Adams worked best as a collaborator with Jim Vallance and Robert John “Mutt” Lange) finding the perfect balance between AOR accessibility and the stringent demands of modern rock radio. The absence of an arrogant rock star attitude gave Adams a nice guy persona at odds with most cocky rockers of his day. His dedication to his craft has helped these songs last beyond the trend-conscious contributions of his many contemporaries.

TITLE TIME
3:41
3:47
3:31
5:16
3:19
3:53
4:42
4:03
3:35
4:32
3:15
5:06
3:30
6:33
4:28
4:40
5:48
3:29
5:55
4:42
4:52
4:03
3:37
6:19
3:40
4:41
4:28
3:29
4:10
4:43
13 3:50
14 2:57
15 3:31
16 4:00
17 3:24
18 3:39

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