What an unexpected surprise to see this collection of singles surface here in 2018. Previous to this release, the Wildlife were one of those ‘60s bands that recorded a handful of standout singles on high profile Columbia Records, but their music could only be partially found as Youtube recordings of the original records. Legacy is most likely releasing this digitally in order to extend their copyright and prevent having these 50-year old recordings slip through their grasp and into the public domain. The front cover photo presents the band in their full pop art glory-almost looking like a ‘90s Madchester band sitting in on a Stone Roses photo shoot. The first half of the album opens a trove of folk-rock pop songs that I have heard before by other acts, but needed to refresh my memory in order to recall their exact origins. “This is What I Was Made For” came from the prolific pen of PF Sloan. “Where Do You Go” was actually Cher’s first single and written by none other than Sonny Bono. “Hard Hard Year” is a deep cut by the Hollies in waltz time, while “New Games to Play” was written by Ritchie Cordell who composed some of Tommy James’ biggest hits. “Come See About Me” is the Supreme number, which could be considered a brave & bold move by the band or simply foisted on by Columbia atop the heavy slab of Vanilla Fudge. After uncovering these covers, we get the downbeat & folked up “Time Will Tell” which could be considered the chiming centerpiece of the collection. The verses presents the conflicted jilted lover pleaing for that one last chance, while the choruses have him convincing himself of the eternal truth and foregone conclusion that "Time Will Tell." Directly following is the previously unissued "Visions" which is mid-tempo psychedelic-propelled pop at its mid-sixties finest. The tale of a combo from the Ohio hinterlands getting lost in proverbial New York major label hustle-bustle-shuffle is among the oldest tropes in show business. However, their captivating and enduring songs have reemerged 50 years later, thanks to copyright extension, to convey there are sometimes second acts for unsung American garage bands.