seemed to be everywhere but the record was not selling. Nevertheless, "Endless Art" became A House's signature, replacing "Call Me Blue" as the song everyone associated with them. The video was memorable, and the song itself – somewhat unusual in its musical approach, and even more so in its lyrics, which led off with a quotation from Oscar Wilde and ran through an extensive roster of famous artists from various fields, all dead, with years of births and deaths specified – stabilized the band as a cult favorite among indie lovers, and is the paradigm of the surprisingly successful "list" style of song which Couse has frequently used (the first example of this style had been the title track on I Want Too Much). At the time, however, the band had run into criticism because all the artists mentioned in the original "Bingo" release of the song were men. Despite the facetious excuse that they thought Joan Miró was a woman, they tried to make amends by making available a second version of the song, called "More Endless Art", which lists only women artists, as the B-side of the single version. Controversy aside, "Endless Art" is frequently featured on representative compilations of Irish rock and pop music. The 12" single included two other tracks, "Freak Show" and "Charity" which had been recorded for the band's second John Peel Session early in 1992. I Am the Greatest The Parlophone distribution of "Endless Art" was the flagship single from A House's new album, called I Am the Greatest (1991), Parolophone again taking over distribution from Setanta. This new record represented a musical expansion for A House. Alongside new drummer Dawson, the recording introduced two other new members to the band, Susan Kavanagh, who had sung with a Dublin band named 'Giant', and had been working on the TV show Jo Maxi, on backing vocals, and David Morrissey on keyboards. This new trio remained with A House until it dissolved although they were less involved in the creative process than the remaining original trio. However, their presence enabled A House to significantly further the transition begun on I Want Too Much beyond the fairly straightforward sound of Merry-Go-Round to a broader musical palette. This was enabled further on "I Am the Greatest" by Collins's production work, and extra contributions from Susie Honeyman's violin. Lyrically, the songs on the record addressed themes running from