The Great Crossover Potential (CD - 1998)

Producers: D. Birkett, Ray Schulman, The Sugarcubes, Paul Fox.

Includes liner notes by Chris Roberts.

Personnel: Björk (vocals).

Audio Mixers: Ray Schulman; David Birkett; Paul Fox .

The Sugarcubes were one of the great cult bands of collegiate rock, not only because they had a distinctive sound, but because they were so damn weird. They sounded like nothing else in the late '80s/early '90s or anything that came before, creating an unusual hybrid of pop, dance, and the avant-garde. So rabid was their cult that some critics said they could cross over into the mainstream, yet that never really happened, despite their strong English following. However, that notion gives the title to their best-of collection, The Great Crossover Potential. The 14-track compilation proves that they could never really have crossed over, mainly because their pop sense is quirky and they're often an acquired taste. Björk, of course, wound up being a pop star with equally ambitious music, and while her talent is apparent here, it's often submerged by Einar's excruciatingly ridiculous showboating. Einar was often overbearing on the Sugarcubes albums (particularly toward the end of their career), and it is true that he's less irritating here than on the proper records, but casual fans should be aware that The Great Crossover Potential is only slightly less uneven than the actual albums, with the exception of the remarkable debut, Life's Too Good. The collection, however, remains a nice way to round up the highlights, particularly those from Here Today, Tomorrow Next Week! and Stick Around for Joy. ~ Stephen Thomas Erlewine

They seemed to be from outer space, but actually they were just from Iceland. Arriving from the ultra-arty rock scene of Reykjavik, the Sugarcubes redefined the modern rock paradigm as a truly limitless thing, expanding the boundaries and raising the bar for a generation of artists. Though only Bjork was fated for global conquest, the Sugarcubes are assured their own place in the pantheon, as is attested indisputably on THE SUGARCUBES: THE GREAT CROSSOVER POTENTIAL.

Driven by the harmony of opposites, the Sugarcubes pitted the otherworldly wail of Bjork against the anarchic ranting of Einer Orn, who added a voice of abstract rage as a foil to her childish innocence. From the overt sensuality of "Cold Sweat" to the philosophical absurdity of "Deus," the Sugarcubes were always unpredictable--"Regina" features a majestic vocal by Bjork, contrasted by Orn's shouts of "I really don't like lobster!" "Pump" adopts a sultry groove, soon punctuated by Orn's leering shrieks of "I hate you!" The absurdist drama and the constant tug-of -war between Heaven and Hell exemplify the confusing, magical and infinitely satisfying power of the Sugarcubes. minimize