| Tinker to Evers to Chance | |
| Type: | Compilation album |
| Artist: | Game Theory |
| Cover: | Game_Theory_Tinker_to_Evers_to_Chance_album_cover_art.jpeg |
| Released: | March 1990 |
| Recorded: | 1982–1989 |
| Genre: | Power pop, jangle pop |
| Label: | Enigma Records |
| Producer: | Mitch Easter and Scott Miller |
| Prev Title: | Two Steps from the Middle Ages |
| Prev Year: | 1988 |
| Next Title: | Distortion of Glory |
| Next Year: | 1993 |
Tinker to Evers to Chance is a compilation album of songs by Game Theory, released in 1990. The liner notes describe the included tracks as songs which "reached national obscurity, as opposed to local obscurity." Band leader Scott Miller went on to form The Loud Family.
The album's ironic title refers to Joe Tinker, Johnny Evers, and Frank Chance, who played baseball for the 1910 Chicago Cubs, and who were immortalized in the poem "Baseball's Sad Lexicon." According to Miller, their famous double play was "a case in baseball where someone didn't get a hit, so it was definitely an appropriate title for our greatest hits."[1]
The cover image adds Miller's visual puns on the "evocative" names of the three players,[1] featuring a piece from a Tinkertoy set ("tinker"), a pocket watch ("evers"), and a die ("chance").
Three songs were recorded in April 1989 for this compilation: A cover of "Beach State Rocking" by Miller's first band Alternate Learning and re-recordings of "Bad Year At UCLA" and "Sleeping Through Heaven" from Blaze of Glory.[2] These songs were recorded by the lineup of Scott Miller, Michael Quercio, Nancy Becker and Jozef Becker, and were the final Game Theory recordings before the band disbanded in early 1991.
The Chicago Tribune wrote in 1990 that Tinker to Evers to Chance, while displaying all of Miller's shortcomings during the band's "seven-year history of obscurity", also made a "powerful case" that Game Theory had been "unjustly overlooked." Citing songs such as "the jangly, angst-ridden '24,' the lush 'Regenisraen' and the soaring 'Room for One More, Honey'", critic Mark Caro wrote that Miller "covers heart pains and dissatisfaction with a liveliness and playfulness missing from other literate popsters", displaying "an instinctive feel for pop hooks and textures, and his ambition often pays off, allowing him to hit climaxes like the acoustic guitar rush that elevates 'Throwing the Election' after you'd have thought the song was over."[3]