Album Review: Doves - The Places Between: The Best of Doves
- Written by Matt Churchill
The Places Between: The Best of Doves is a compilation of Doves’ greatest hits to date. From the trio's beginnings as early 90's dance act Sub Sub, they've always had an ear for a good single - see 'There Ain't No Love And There's Ain't No Use' as a case in point. This has meant that some of the band's album material has largely gone unnoticed by the populous, clinging to radio friendly tracks like 'Black and White Town' and 'Pounding' as their only foray into Doves territory. The Manchester threesome are, of course, so much more than that, as demonstrated by this package.
Kicking off with the epic 'There Goes The Fear', 'Black and White Town' and 'Snowden', you know that this record will flow as naturally as any of their four LPs (Lost Sides not included). Jez Williams, Jimi Goodwin, and Andy Williams owe their success to songs that are particularly underrated - the magnificent 'Here It Comes' being a perfect example. 'Words' and 'Kingdom of Rust' ensure the first half of the LP has representatives from each album, demonstrating the dexterity of the band's musical breadth and influence.
After first seeing Doves supporting Oasis at Wembley in 2000, I was hooked and listened to Lost Souls on repeat constantly, annoying the hell out of anyone within earshot for a good six months. It was worth it, by the way. The song that stood out on that day, and still sits as one of their best songs (if not the best?), was 'Sea Song'. Drifing out into the blazing sun-filled Wembley afternoon, it captures and weaves you helplessly into the fabric of the band's easy going ethos. It still works a dream.
Sitting in the middle of the running order, the tipping point for any record, is 'Pounding' - arguably the band's most recognisable and important song - the four and three quarter minute masterpiece which really caught the attention of the music-buying public. It shifts the dynamic to a more lively tempo and gives the LP an extended sense of purpose.
The second half of the LP is more ethereal affair with 'Jetstream', 'The Man Who Told Everything' and 'The Cedar Room' floating carefully through earshot. Meanwhile, the bonus disk features a clutch of B-Sides, a smattering of alternative versions and rare tracks. Some of these appeared on Lost Sides, though many didn't and it gives you an insight into the wealth of material Doves have at their disposal. To not fit 'Darker' or 'Valley' onto a full album is quite an achievement, given their status amongst Doves fans. Alongside these, fresh versions of 'Friday's Dust' and 'Willow's Song' add a different dimension to songs that are in their own way, mini encapsulations of what Doves are all about.
A greatest hits package usually indicates one of three things: the band have run out of money and need some quick and easy cash; their record contract has come to a close and the label are trying to make as much money from them as possible; or the band are splitting up. Doves have denied they're going to split up, so it must leave one of the other two options. I'd imagine they're not doing too badly after the release of 'Kingdom of Rust', so let's plump for the end of their contract.
The next move for Doves is an important one. Do they sign to a more commercial label and go for a fresh crack at the world domination they so deserve; do they sign for a smaller label who can give them they amount of support they need; or do they remain at Heavenly and stay in almost but-not-quite territory? These are important times for Doves - their brand of indie rock isn't in vogue at the moment and the next decision they make could be one of the most important of their career.