Dr. Feelgood - Singles (The U.A. Years+) (2LP)

Singles (The U.A. Years+) is one of those compilations that earns its place on the shelf, not just as a handy catch‑all but as a front‑to‑back rush through the best of British pub rock. Issued in 1989, it corrals Dr. Feelgood’s United Artists run from the mid‑70s to 1980, when the band went from Canvey Island cult heroes to bona fide chart botherers. It’s also a perfect primer on the two classic lineups: the razor‑edged Wilko Johnson years and the hook‑smart Gypie Mayo era that delivered their biggest hits.

Spin it and you get a timeline set to a Telecaster chop. Early on, the Wilko/Lee Brilleaux chemistry is wild and lean. “Roxette,” “She Does It Right,” and “Back in the Night” sound like they were recorded in sweat and nicotine, all clipped chords and Brilleaux’s bark pushing the beat forward. There’s a reason people still talk about the band’s mono debut album, Down by the Jetty, like it was a creed; this singles set carries that same no‑nonsense thump, produced to feel like a gig three feet in front of you. Bassist John B. “Sparko” Sparks and drummer The Big Figure keep it tight, dry and tough, the kind of rhythm section that makes you stand up straight even when you’re just flipping through Dr. Feelgood vinyl at a shop.

Then the hinge point. Wilko exits in 1977 and Gypie Mayo steps in. The sound doesn’t soften, but it does tilt toward sharper hooks and radio‑ready choruses. You can hear the shift on “She’s A Wind Up” and the Mickey Jupp‑penned “Down at the Doctors,” both driven by Brilleaux’s righteous howl and harmonica. The lightning‑in‑a‑bottle moment arrives with “Milk and Alcohol,” co‑written by Nick Lowe and Gypie. It cracked the UK Top 10 in early 1979, and its tight, clipped riff still lands like a handshake that hurts. Richard Gottehrer’s production on that era fits the band like a well‑worn leather jacket, cleaner on the edges but still built for forward motion.

One of the joys of this set is how it doubles as a pocket history lesson. Dr. Feelgood weren’t just a precursor to punk; they were a working band that proved grit and economy could still hit the charts. Stupidity, their 1976 live album, even went to No. 1 in the UK, which tells you how ferocious the buzz was. Singles shows the studio side of that story with zero padding. The “+” in the title signals B‑sides and extras, which is where you catch nifty curio moments and alternate angles on the band’s personality. “As Long as the Price Is Right” turns up with the swagger you want, and it’s a small thrill to remember the original UK single came with multiple sleeve variants sporting different “prices” printed on the front, a collector’s daydream now.

The sequencing is strong, building from short, sharp shocks to bigger choruses without losing momentum. Brilleaux remains the through‑line, a frontman who never blinks: sandpaper voice, cutting harp, and an instinct for when to bite down on a lyric. Whether it’s Vic Maile capturing the earlier rawness or Gottehrer tightening the screws later, the production choices across these singles keep the drums dry and the guitars right in your lap. No flab. No fuss.

If you’re crate‑digging, Singles (The U.A. Years+) vinyl is a satisfying way to experience this arc in one sitting. The band’s sound loves a turntable, all those short songs snapping to attention between the speakers. For anyone hunting Dr. Feelgood albums on vinyl, this sits neatly alongside Down by the Jetty, Malpractice, and Private Practice, and it saves you the pain of chasing clean copies of every single. Plenty of people buy Dr. Feelgood records online, but this is the sort of title you’ll also stumble on in a Melbourne record store, nodding at the clerk who knows exactly why you’re grinning. And if you’re browsing sites that ship vinyl records Australia wide, keep an eye out for it; condition matters, since these tracks reward volume.

The best compilations make you want to go deeper. This one does that. It sends you back to the albums, to live clips from the Kursaal, to interviews where Wilko talks about chopping at the strings and never using a pick. It also works cold, for anyone who only knows “Milk and Alcohol” from late‑night radio. There’s no bloat here, just punchy R&B‑charged rock that still quickens the pulse. If you want a single piece that captures what made Dr. Feelgood dangerous and beloved, this is the one to grab. And yes, if you see Dr. Feelgood vinyl with the U.A. tag, don’t hesitate. This band belongs on wax, loud enough to rattle the doors.