One record at a time: 134. Erasure - Day-Glo (Based on a true story)

Once again, Erasure have somehow managed to turn one mediocre album into no less than four separate releases (we have been spared the live album here as, up to press, the vinyl hasn't been released). 

The promo blurb describes this record as an 'unexpected bonus' that manipulates the sound files form the original to create a new atmospheric and introspective album. Basically Vince was bored during lockdown and started experimenting in Logic Pro. After a while Andy added some new vocals and before they knew it, they had a new album.

You will be unsurprised to hear this record is pressed on 'neon green' vinyl which sounds OK without being spectacular. 

It's relatively easy to discern which of the original album tracks form the basis of these reinterpretations, but they do move in strange an unexpected directions. Opening track "Based on a True Story" has a very atmospheric introduction but ends up using a sequence that Front Line Assembly would be proud of. "Pop Beat" chops up the vocals of the single "Hey Now (Think I got a Feeling)" and sets them against a new beat that is much more layered and atmospheric than the original.

Vince's riffs and flourishes are as distinctive as Andy's vocals (even when they have been cut up and manipulated) and you get the feeling this record was fun to make. "The Conman" seems to catch Andy chatting into the microphone between takes as Vince pours out a river of analogue delights. Less successful is the song "3 Strikes and You're Out" which is a more traditional composition. The strength of this album is its experimental nature and the atmosphere that Vince builds. Adding a straight forward vocal track spoils the mood a little and seems superfluous. I notice most of these tracks are all between three and four minutes. Vince should have had more courage in his conviction and teased out some of these tracks at the expense of some of the weaker material. But all in all this album is better than the original. 3/5

This album brings our odyssey through the Erasure back catalogue to an end. Thank you for sticking with it (readership figures have waxed and waned during the course of these albums). Next time we dive into another legendary band that found fame in the eighties.

One record at a time: 133. Erasure - The Neon REMIXED

This is a remix album on double coloured vinyl. The mixes are the usual club oriented material that can make for a worthy listening experience but are more often best left to the dance floor (not that many clubs will be playing Erasure in any form). Also included is one new song called "Secrets" which I can only assume is there to drive sales.

The pick of the mixes here are "Shot a Satellite (GRN Extended Remix)" and the atmospheric "Tower of Love (BSB's Stella Polaris Remix)" which both improve on the originals immensely.  Also worthy of mention is the Matt Pop remix of "New Horizons" which retains the feeling of the original but adds a new glossy layer over the top. 

None of these mixes are terrible but the version of "No Point in Tripping" by JC Carr and Bill Coleman is a little tedious with its cheesy Korg M1 piano riffs and sampled break beats. Whilst Andy Bell and Gareth Jones's "Sapphire and Steel" mix of "Nerves of Steel" breaks the club tedium, it lacks a little punch compared to the pumping dance tracks that surround it.

There were 3 CD singles of remixes released alongside the original album and none of the 29 tracks featured there seem to be repeated on this album. There is also a download code included in the package which provides access to all the mixes plus another 7 included on the digital version. The fourteen minute "Octa Octo Psychedelic Visions Disco Dub" of the new track "Secrets" is not for the faint hearted.

Whilst Erasure can't be criticised for not offering value for money, I do miss the days of a remix album that only had 6 or so high quality mixes across a variety of styles. Having listened to this album I can still hear TR-909  style bass drums pounding in my head. 3/5

One record at a time: 132. Erasure - The Neon

Having trawled through the entire Erasure back catalogue, we finally come to their most recent project "The Neon".

This is a 'neon' orange vinyl that, despite being pressed by Optimal Media, sounds uncharacteristically poor. There are quite a few crackles and my copy seems to have a lot of sibilance. I've noticed this shift towards coloured vinyl, and whilst it might look good, it rarely provides sonic fidelity. There are a few exceptions, such as the Audio Fidelity pressing of Vangelis's "Blade Runner", but generally I find coloured vinyl inferior. 

The music on offer here is okay, but nothing exceptional. The lead single "Hey Now (Think I Got A Feeling)" sees Vince creating some great analogue bass sounds and twinkling percussion, but the repetitive nature of the melody becomes slightly annoying. "Nerves of Steel" is a another highly repetitive single which has some bizarre lyrics about finding love in the "Motor Hotel". The third and final single to be released, "Fallen Angel" is catchy but continues the penchant for eccentric lyrics. If riding on the top of roller-coasters or "walking up the down escalator" gives Andy love then he is much more easily pleased than I am.

"No Point in Tripping" is fairly standard stuff, but the next track "Shot a Satellite" is a bit funkier and features some great flourishes by Vince. I can also recommend the Initial Talk remix of this track which has much more of an eighties sound and really satisfies."Tower of Love" is something of a dirge that has nothing to say and goes nowhere. "Diamond Lies" sounds like it was pieced together from snippets of other songs and I can't help but think I've heard the ideas before. "New Horizons" is a piano driven piece that has a great melody and is one of the best compositions on this record. Penultimate track "Careful What I Try To Do" ticks along quite nicely and would probably be have been better at the front of the album breaking up the mediocre singles. The last track, "Kid You're Not Alone" sees Andy singing falsetto about nothing in particular. And this is one of the most disappointing aspects of Erasure's more recent material: the lyrics are either nonsensical or so bland as to be without any meaning. Okay, so "Blue Savannah" is hardly a message to the world, but the words were at least memorable. I can't recall most of the lyrics from this album, and when I can, it is simply because they are ludicrous. 2/5

One record at a time: 131. Erasure - World Be LIve

You've had the album. You've had the 'classical' reinterpretation of the album. Now you get the live album. The saving grace this time around is that the back catalogue has been rolled out to save the day.

It has to be said this vinyl version of "World Be Live" is a rather lavish package with plenty of attention to detail. As I ordered this limited edition coloured vinyl via PledgeMusic, my name in the credits and I also received an art print of the sleeve.

Two eighties classics "Oh L'amour" and "Ship of Fools" provide a good introduction and offer some initial reassurance. However, things go awry quite quickly. "I Love Saturday" is pretty awful: the introduction alone seems to move between at least three different keys. "Always"  and "Turns the Love to Anger" sound fragile and are a pale imitation of the studio recordings. A needless homage to Blondie comes in the form of "Atomic", which is mediocre in execution but is strangely well received by the audience.

Contemporaneous material such as "Love You to the Sky" and "Take Me Out of Myself" sound very similar to their album versions and their reception is suitably lukewarm. "Sweet Summer Loving" is a poor song and this live version must have bored the crowd to tears. Favourites such as "Victim of Love", "Blue Savannah" and "Stop!" do carry some energy and prove to be the highlight of this album. 

I didn't go to this tour as the parent album didn't inspire me to buy tickets. I've seen Erasure live many times over the years and this record does not replicate the experience at all. I don't expect (or want) live versions to mimic the original recording, but presenting them 'warts and all' can end up sounding, well, rubbish.

The mediocre result makes me ask the question, "Why release this album at all?" Well I think bands release live albums as a way of squeezing some profit from a costly tour and I guess this becomes even more pressing when the album it based on is not commercially successful. A nice looking record, but it has nothing between the ears. 2/5

One record at a time: 130. Erasure - World Beyond

OK, here is a confession: I have never listened to this record. In fact, I didn't really understand what it was until I read the promo sticker telling me it consists of 'classical' re-recordings of the songs from the "World Beyond" album. Why you would want to re-record mediocre songs with a Belgian string quartet I have no idea, but that's what they did. What is worse, I bought the thing.

The first track is my favourite from the original album "Oh What A World". The string arrangement is relatively sympathetic to the material even if it is a little uninspired. Thankfully Andy's vocal carries the melody and allows some of the quality of the original song to shine through. 

The maudlin "Be Careful What You Wish For" is only three and a half minutes long but it feels like it goes on forever. The sparse arrangement of "World Be Gone" gives the tune a new lease of life and is almost quite good. "A Bitter Parting" injects a little bit of rhythm, but the violin that mirrors Andy's vocal in the verses makes it sound like a sea shanty. The first hint of vocal fragility comes with "Still It's Not Over" where Andy struggles to overcome the building cacophony behind him. 

Weaker songs such as "Sweet Summer Loving" and "Tale Me Out of Myself" don't emerge well from the 'classical' arrangement but the single "Love You to the Sky" is a little better. As with most of the recordings here the remaining two tracks are just too long as the arrangement doesn't do enough to maintain my interest. Lets face it, even the most ardent Erasure fan won't be spinning this very often. 1/5

One record at a time: 129. Erasure - World Be Gone

"World Be Gone" is not a commercial album and the songs have very little immediate appeal. To add insult to injury, the orange vinyl doesn't sound all that great either. I don't think even the most ardent Erasure fan would argue this is one of their best albums.

Proceedings kick off with the single "Love You to the Sky" which is a reasonable attempt at an uptempo pop song with a darker edge. The second track "Be Careful What You Wish For" confirms that this album definitely not a sequel to the dance-floor beats of predecessor "The Violet Flame". Another single "World Be Gone" has a good melody that heaves and sighs along at a medium tempo. At this point the album reminds me of the eponymously titled album from 1995 - everything is a little over indulgent. "A Bitter Parting" is just too repetitive and monochrome to be entertaining but the next track "Still It's Not Over" wins points for its piano driven backing track.   

Unfortunately the slide from mediocrity to hopeless is realised on the second side of the record. "Take Me Out of Myself", "Sweet Summer Loving" and "Lousy Sum of Nothing" are just plain boring. "Just a Little Love" was released as a single but it sounds like b-side material to me. Only "Oh What A world" comes out of the debacle with any real merit but some of the lyrics are strange to say the least. 1/5

One record at a time: 128. Erasure - The Voilet Flame

By 2014 Erasure seem to have become aware of the vinyl resurgence and this white and violet double album was made available a few months after the initial CD and digital release. I seem to remember this version was initially exclusive to the now defunct PledgeMusic service. The basic premise of this retailer was to take your money upfront (a 'pledge') which was then used to finance the production of the physical product. 

When this album was announced I thought that an Erasure album produced and co-written (well he gets publishing anyway) by Richard X was guaranteed to be a winner. Whilst this record is undoubtedly better than some of its predecessors, "The Violet Flame" isn't quite as successful as I imagined it would be. Yet again Erasure deliver an album with a terrible title and art work that seems to be completely unrelated to the project.

Things kick off with the rather splendid "Dead of Night" which has some great synth arpeggios and a thundering bass. I seem to remember reading Vince and Andy changed their traditional approach of writing songs using a guitar or piano and wrote with the synths used to create the final product. You can hear that some of these tracks are a little more reliant on a groove than traditional chord structures but this isn't necessarily a bad thing. The club friendly single "Elevation" is a case in point where there isn't a great deal of differentiation between the verse and chorus, but somehow it doesn't matter.

Another single "Reason" continues the club vibes with its TR-808 style hit hats, bubbling bassline and resonated sweeps. Richard X turns up the compressor to emphasise the pounding of "Promises" but it lacks melody. The first four tracks on this record have been pretty relentless but "Be The One" is our first opportunity to catch a breath before another trance inflected single "Sacred" comes rolling through. "Under the Wave" cuts back a little on the heavy club vibes and allows the melody to emerge much more successfully. Things go a bit avant-garde with "Smoke and Mirrors" and whilst the end result isn't brilliant, it makes for a welcome change of pace. "Paradise" sounds like some kind of disco reject or a poor "Supernature" pastiche that I can leave or take. The obligatory closing lament is delivered by  "Stayed a Little Late Tonight".

The vinyl version of the album includes six extended and club mixes taken from the two singles which had been released up to the point of the vinyl being made available. Whilst all of the mixes are competent, none stand out particularly.

I went to see the band live on the tour that accompanied this album and, to be honest, this new material fell a little flat. In isolation this album sounds good, but when these songs are held up to the best of the back catalogue, they pale in comparison. This album is much more club orientated than I remember it being and I can't help but feel this sound was two or three albums too late in their career. 3/5

One record at a time: 127. Erasure - Snow Globe

"Snow Globe" is a Christmas album that was released 2013 but not pressed on vinyl until 2016 when Erasure's back catalogue was bought by BMG. 

When I found out Erasure were recording a Christmas album, I have to admit, I wasn’t very excited. In fact I was anticipating it being as bad as “Other People’s Songs”. Yet, somehow this album isn't the car crash it could have been.

Tracks like “Silent Night” and “Silver Bells” work because Andy sings them so well. Vince’s sparse arrangements augment the beauty of the vocals as they are imaginative and unique. 

Strangely, a quarter of the tracks here are original material that are unrelated to Christmas. This means "The Christmas Song" sits cheek by jowl with new pop songs like "Loving Man". Whilst the running order of the album is incongruous, the new material is actually very good."Bells of Love", the afore mentioned "Loving Man" and "Make it Wonderful" are some of the best songs Vince and Andy had written in the 8 years since "Nightbird". An oddity of an album, but definitely worth a look. 3/5 

One record at a time: 126. Erasure - Tomorrow's World

If I were to use single word to sum up this album it would be "disjointed''. The complete disconnect between the title and the artwork is a good example of the incoherent nature of what is happening here. The way producer Vincent Frank (Frankmusic) manipulates the sound on some tracks is quite jarring and out of step with the traditional sound of the band. Whilst this album has a more contemporary feel, I get the impression things didn’t necessarily sit well with Vince and Andy.

The single "Be With You" is insipid and a bit of a poor start. The best track for me is "Fill Us With Fire" which also happens to be Vince's favourite. This track builds and releases in the best dance floor tradition and carries a real sense of euphoria. A couple of unremarkable mid-tempo songs "What Will I Say When You're Gone?" and "You've Got To Save Me Right Now" follow before the twisted dance funk of "A Whole Lotta Love Run Riot" whips things up again. "I Lose Myself" is another contemporary sounding dance track that pounds along and satisfies if you're in the mood for a boogie.

"When I Start To Break It All Down" was a curious choice for the lead single as it is a bit limp. There were a raft of remixes issued in what felt like a desperate attempt to shore up a fundamentally weak composition. It is no wonder it stalled at number 172 in the charts. 

When it was released, this album disappointed me as I felt the impetus gained on "Nightbird" was being frittered away. In the interceding 10 years, nothing has happened to lessen my disappointment. 2/5

One record at a time: 125. Erasure - Light at the end of the World

"Light at the End of the World" was released in 2007, but like a few Erasure albums, it wasn't released on vinyl until 2016. 

I tried hard to like this album when it came out, but I could never really warm to it. Their previous effort "Nightbird" had reignited my interest (and belief) in Erasure and the lead single "I Could Fall In Love With You" was a very promising introduction. The anticipation for this release was also heightened by Vince describing it as more dance orientated. In reality this is an album of “so-so” compositions with unremarkable execution.

The first track, "Sunday Girl" is naive and has terrible, nonsensical lyrics. Whilst the single version of "I Could Fall In Love With You" is superior to the version here, it remains a  passable effort. "Sucker for Love" continues in the same vein as "Sunday Girl" with its annoying melody and disjointed backing track. In fact, all of the backing tracks on this album sound uninspired and as if Vince was just phoning in his contribution. 

"Storm in a Teacup" has a very promising start but it doesn't quite realise its potential. The tracks "Fly Away" and "Golden Heart" come close to realising the "dance orientated" sound that Vince hinted at prior to the album's release, but the compositions simply aren't strong enough. One of the better songs here is "How My Eyes Adore You" which has a great melody but the transition between the different parts of the song is clunky. This song is also an example of Andy forcing his vocal in an unnatural fashion. Normally Andy's vocals soar effortlessly over Vince's bleeps and beats, but on this album the vocals seem to be fighting for room and Andy has to sing louder to force his way into the mix. 

The remainder of the album is forgettable and listening to it has been a bit of a chore to be honest. As I said earlier, I tried to like this album and I listened to it many times when it came out in an effort to force my appreciation. But, realistically, if you have to force an album into your consciousness in an effort to like it, surely it has failed. 2/5

One record at a time: 124. Erasure - Nightbird

Despite being released in 2005, "Nightbird" wasn't made available on vinyl until 2016. My copy came with a free 12x12" art print of the sleeve which is horrendously blurred and doesn't seem worth the effort. Still, this is quite a good pressing and the sound of the record is very good.

At this stage in their career, Erasure were transitioning from being regarded as a washed up eighties band to electronic pop royalty. This record was the first in a few years that wasn't toe curling awful and it certainly put their legacy back on track in my mind.

"No Doubt" begins with some unremarkable percussion noises before suddenly exploding into a Technocolor world that reassures us that planet "Loveboat" has been left behind. As the song progresses the repeated notes of the bassline build a tension that resolves as Andy sings: "It's more than enough just to gaze in your eyes, I'm dying to show you what love is about."

"Here I Impossible Again" was a single that has a great chorus. I always find myself singing along to this song but I don't have much clue what it is actually about. One of the highlights of the album is the magnificent "Let's Take One More Rocket to the Moon" which is intricate and satisfying. These songs aren't the pure pop of "The Innocents" or "The Circus" but something more considered and mature. Whilst Andy's lyrics have always been subject to a certain degree of introspection, they are especially so on this record. Lead single "Breathe" seems to reflect on a life lived and the need to believe: "Stood the test of time, Though I treated you rough, You were always kind".

The backing track for "I'll Be There" is archetypical Vince Clarke, yet the analogue synthesizers seem to be handled much more imaginatively this time around. I'm guessing Vince began using Logic Pro for this album as the music has both a greater depth and possesses a polished edge that had been lacking on some predecessors. "Because Our Love Is Real" has almost nursery rhyme style verses which are punctuated by a more mature chorus. This song made me reflect on the prominence of Andy's performance and the restraint being shown in the backing tracks.

Another magnificent single "Don't Say You Love Me" opens side two with an amazing flourish. The pulsating synths and vocoder effects rumble under Andy's soaring vocals in a way that I find fascinating. The next track "All This Time Still Failing Out of Love" sounds a bit like ABBA being recorded in a rave style. The reflective mid tempo "I Broke It All In Two" is a great piece of song writing that is well executed. The low point of the album is the unfinished sounding "Sweet Surrender". However, given that this song is still better than anything they had recorded in the preceding 8 years I can live with it.

The ending of this album is something special. Everything about "I Bet You're Mad at Me" is pretty much perfect. The melody is complimented by Vince's swell of synth effects until we reach the all too brief crescendo. A magnificent end to an album that restored my faith in Erasure. 4/5

One record at a time: 123. Erasure - Union Street

Having released a bad album of their own material and an even worse one containing other people's songs, Erasure decided to accelerate the demise of their career by releasing an album of their old songs recorded with acoustic instruments. 

I am trying not to be too negative here I promise you; but in pursuing vanity projects such as this, Vince and Andy left a sizeable number of their casual fans (such as myself) behind. As an admirer of electronic music, "Union Street" is an anathema to me. Yes, artists are perfectly entitled to stretch themselves and try something new, but it doesn't mean I have to like it.

Like its predecessor, I only own this album because it completes my collection. I haven't listened to the record and I do not intend to - low quality mp3 will suffice for this review I am sure.

The song choices are intriguing ("Piano Song" with no piano?) and the arrangements are much better than "Other People's Songs" - but the basic concept of an electronic band re-recording their tracks with acoustic guitar (and even worse, pedal steel guitar) is abhorrent to me. 0/5

One record at a time: 122. Erasure - Other People's Songs

This record is an unmitigated disaster. The only reason I own it is because I felt the need to possess a complete collection of Erasure's albums on vinyl and it was cheap. When the record arrived I hid it away in my collection and pretend it didn't exist. As a consequence, this record remains sealed in its cellophane cocoon and I have absolutely no intention of opening it.

When the lead single "Solsbury Hill" was released in 2003 I remember hardcore Erasure fans being more than a little smug that the band had secured a top ten hit after years in the commercial wilderness. Yet, as an outsider, it was fairly obvious that this success was attributable to clever marketing and a co-ordinated effort by fans to buy multiple copies of the single. Vince and Andy's version of the Peter Gabriel classic is perfectly listenable with the "Radio Mix" on the DVD single being the pick of the bunch, but this is as good as the parent album will get by quite some margin.

I dislike this album for a number of reasons. In some cases I actively dislike the song being covered ("Make Me Smile", "When Will I See You Again"), for other tracks it is because they are very badly executed ("Ebb Tide", "Video Killed The Radio Star") and sometimes it is because the cliche is too much to bear ("You've Lost That Loving Feeling", "Can't Help Falling in Love").

I guess there are people who enjoy this album and I understand that my taste can be eclectic. But to me this is a dumpster fire. 0/5

One record at a time: 121. Erasure - Loveboat

I own the original pressing of Erasure's "Loveboat" along with the 2016 re-issue and a test pressing. I won the the test pressing in a random draw and feel lucky to own it. Well, when I say that, I think I feel lucky to own the object, but the music on this record bemuses me. 

When I originally bought this album back in 2000 I put it in my car CD player and was alarmed to find my speakers had blown out. Or at least that's what it sounded like. The music was distorted, EQ-ed with far too much bass and was a complete mess. When I listened to the CD at home I was shocked to find there was no fault with my car and that this sound was intentional.

This album is a fine example of Erasure's penchant for committing commercial suicide. Many bands are susceptible to this behaviour, but Erasure specialise in finding new ways of going down the dumper. Whilst "Loveboat " didn't represent the bottom of the barrel, it wasn't far off.

Personally, I don't think there is much merit in the songs here and the lo-fi production techniques only detract further. For electronic music fans the coup de grâce is delivered by the heavy handed use of acoustic guitars. Such a disappointment. 1/5

One record at a time: 120. Erasure - Cowboy

I bought the lead single from this album, "In My Arms" at the beginning of 1997 and I was very impressed by it. On the back of this, I decided to buy the CD of "Cowboy" when it was released later in the year.

Unfortunately I didn't buy the vinyl when the album was released, so I have to settle for the 2016 repressing here. Not only did this record come with a free art print of the cover image, but I was also lucky enough to win a signed test pressing. Admittedly the cover image is a little weird, but who doesn't like a freebie?

The first track, "Rain" is a good song, but what is more significant is the production. The Korg M1 piano has been resurrected and there is a more club orientated beat driving things along. Vince's previous stance of restricting himself to analogue synthesizers and CV/Gate sequencers seems have been dispensed with and the result is a much more diverse sound. 

There's also something about the basslines on this album which are deeper, funkier and more dance orientated. I suspect this is in part due to the change of equipment but also as a result of the involvement of The Prodigy producer Neil McLellan. Erasure haven't made a record that sounds quite like this before or since; it remains a wonderful anomaly.

Whilst not all of the songs on this album are immediate I find the melodies intricate and beguiling. This is typified by songs like "Worlds on Fire", "Treasure" and "Save Me Darling" which flow seamlessly and are imaginatively produced. The album reaches its peak with the fantastic "Boy". This song has a soaring melancholic vocal which wraps itself around Vince's synthetic guitar arpeggios and analogue synthesizers whilst the backing vocals provide harmony and rhythmic impetus. Perfect.

In truth there isn't a bad song on here and the production is satisfying. Whilst this album didn't turn around Erasure's fading commercial fortunes, it did restore some musical credibility and reminded us of their talent. 4/5

One record at a time: 119. Erasure - Erasure

Erasure's eponymously titled album was supposed to be a grand artistic statement with finely crafted compositions presented in an extended form. Vince Clarke continued to limit himself to analogue synthesizers and Gareth Jones and Thomas Fehlmann were roped in to produce. Francois Kevorkian seemed an odd choice to mix given the tranquil mid-tempo character of the songs, but his pedigree is unquestionable. 

The first I heard of this album was the lead single "Stay With Me". Despite receiving a promotional postcard through the post, I wasn't tempted to buy it. I think I acquired the second single "Fingers & Thumbs" simply because both CD singles were 99p each. I would have felt a little short-changed if I had paid much more. 

The trouble with this album is that its experimental nature means it often becomes self indulgent. This might not be a problem if the music was entertaining but by and large, it just sounds a mess. There's a real lack of direction and the music is almost schizophrenic. Take the introduction "Guess I'm Into Feeling" which starts with a long fade and washes of synth textures before it abruptly explodes into a weird disco pastiche. The second track "Rescue Me" rolls along for four minutes but seems to have a three minute long coda bolted onto the end. Not only does this ending make the song overly long but it sounds forced and uninspiring. "Sono Luminous" is a more promising composition and, of all the tracks here, it is the only one that lends itself to the extended format. 

As I am not a big fan of this album, it is ironic that it contains my favourite song by the band: "Rock Me Gently". Yet, as fantastic as this song is, it's 'experimental' coda with Andy shrieking becomes a bit wearing after ten minutes. I tend to stick to the single mix. 

The rest of the album carries on in a similar vein but with increasingly mediocre songs. This record is definitely a case of the concept getting in the way of the execution. The band can't have been surprised by the poor sales, but its failure as an artistic statement must have been disappointing. 2.5/5

One record at a time: 118. Erasure - I Say I Say I Say

This is without a doubt my favourite Erasure album. Here Vince Clarke and Martyn Ware use analogue synthesizers to create the most beautiful music that perfectly compliments Andy’s soaring vocals. This album restricts its sound palette even more than its predecessor by not using drum machines. In another break from the norm, Andy's vocals were recorded first and the backing tracks sculpted around them. The end result is an album of shimmering beauty that has a unique and beguiling sound.

The mood is set by opening track "Take Me Back" with its wistful falsetto vocals and delicate synth textures. The single "I Love Saturday" injects some urgency but the delightful "Man in the Moon" brings us floating back down. "So the Story Goes" takes a while to get going and the discordant choir can be a bit jarring until you become accustomed to it.

I remember an interview in a magazine describing "Run to the Sun" as, "Eurodisco in a sort of 2 Unlimited style". Today this description is puzzling, but it did make sense to me back in 1994 - the opening riff is undoubtedly influenced by dance music but it remains distinctly an Erasure song. The big hit single "Always" has an amazing melody that anyone faintly antiquated with it can't help but sing along to. There are three more fantastic songs on the b-side of the album but the final cut, "Because You're So Sweet" remains my favourite. 5/5

One record at a time: 117. Erasure - Chorus

Here we have the 2016 re-issue and the original 1991 pressings of "Chorus".

When I heard the debut of the title track on Radio 1, things didn't seem to go well. The feedback from the listeners wasn't very positive and one caller even branded the track, "Their worst single ever!" 

When the album was released Q magazine could only bring themselves to award it 3/5 (a mystifying misjudgment that probably gives us an indication of why they went out of business). 

I think this reaction was, in part, caused by the new direction Vince had taken with the production and sound of the music. Having suddenly declared himself dissatisfied with the timing of MIDI sequencers, Vince decided to use the Roland MC-4 which employed CV/Gate technology. As a result of this decision, the album had to be created using vintage analogue synthesizers and was limited to monophonic sequences. 

Personally I love the resulting sound but it seemed to come as a shock to some. All of the ingredients for success were here: Vince and Andy's songwriting, a myriad of analogue synthesizers, skilled producer Martyn Phillips and the inimitable Dave Bascombe mixing. So despite some early naysayers, this album did prove to be a terrific success both artistically and commercially.

My favourite tracks are "Turns the Love to Anger", "Waiting for the Day" and "Breath of Life" and only "Love to Hate You" falls a bit short to my ears. "Joan" and "Home" are prime examples of songs that require repeated listening to fully appreciate them and the final track "Home" open like a beautiful flower. 5/5

One record at a time: 116. Erasure - Wild!

Here we have a copy of the original UK pressing and the 2016 re-issue of Erasure's fourth album "Wild!". 

Personally I think the title of this album is rubbish. I also think the sleeve is pretty poor. Why go to the expense of commissioning Pierre et Gilles to build sets and take beautiful photographs to just use an out of focus shot of some leaves? It doesn't make sense.

The lead single "Drama!" in 1989 was the first time I remember a remix CD single being released along with the more conventional formats - strangely, this was not something they would repeat with the other singles taken from the album. Erasure had such strong material at this stage of their career that they could casually consign tracks such as "Sweet, Sweet Baby" to b-side status; despite it offering irrefutable proof that Vince Clarke was a genius.

The album itself kicks off with a short instrumental version of "Piano Song". The Korg M1 piano may sound 'plastic' to modern ears, but at least it has character. Today, piano patches are so realistic they are all indistinguishable from each other. Personally I am a big fan of the piano sound they used and I can't imagine this song being any other way

"Blue Savannah" is one of Erasure's finest tracks as it has the perfect pop melody, accessible lyrics and pulsating electronics. Strangely I never really liked the Kraftwerk 'influenced' "Der Deutsche Mix I" included on the remix 12", but the more traditional extended mix by Mark Saunders is well worth seeking out. "How many times?" offers a nice change of pace with its laid back TR-808 beat and washes of Korg M1 presets.

I was never convinced of the merits of "Star" and releasing it as a single felt like a mistake to me. "Brother and Sister" and "2,000 Miles" seemed like much more radio friendly tracks to promote the album and they remain some of my favourites on the album. "La Gloria" is just trying too hard to be 'different' and ends up sounding trite and forced. "You Surround Me" is a good track that finds a perfect balance between electronics and Andy's soaring vocal. "Crown of Thorns" is a nonsensical folk influenced dirge that I cannot recommend, but the vocal version of "Piano Song" that follows is rather brilliant. 4/5

One record at a time: 115. Erasure - The Innocents

As with the previous Erasure album "The Circus", my pursuit of a good quality pressing has led me to own three copies of "The Innocents". I have two original pressings and the 2016 180g reissue. I seem to remember buying a second copy of the original as I thought mine didn't include the poster that was given away with the initial run. However, my memory was faulty and so I now own two copies with a poster (but only one has the promo sticker on the sleeve telling us this).

Discogs users have strong opinions about the fidelity of the repressing. Whilst the experience isn't exactly, "like the neighbours are playing an Erasure record and you're hearing it through the wall", it definitely has less clarity than the original and the EQ is not sympathetic.

The actual music on this album is very good indeed; but there are a couple of party poopers in here. Things kick off with the mega single "A Little Respect" and another chart success "Ship of Fools" follows hot on its heels. The best track on the album, "Phantom Bride" is criminally tucked away as the third track where it falls in the shadow of "Chains of Love" somewhat. Side one ends with "Hallowed Ground" which is another jewel of a song that stands up against the more up tempo chart singles we have heard to this point.

Unfortunately, the second side of the record is not nearly as strong as the first. Instrumental cover version "Sixty Five Thousand" is fun, but it's pointless pretending it is anything other than filler. "Heart of Stone" is a well executed pop song replete with a typical eighties horn section. However, the sequencing of the album sees the track sit incongruously and it suffers as a result. "Witch in the Ditch" is one of those twee, folk influenced melodies that Erasure seem to generate now and again (see "Crown of Thorns" on follow up "Wild!" as another example) and is probably the low point. 

In my youth I never heard much merit in the final track "Weight of the World". It was only in the last 10 years or so that my wife pointed out it actually is a good song with a strong melody. This forces me to reflect that this track is another victim of poor sequencing. I assumed that this was down to some disinterested intern in A&R, but on conducting a little research I found that it was actually Andy Bell that decided.

It is well documented that the gestation of this album was problematic as Vince found it difficult to work with producer Stephen Hague. I think some of that struggle comes through in the music and tracks like "Imagination" and "Yahoo!" sound like they were thrown down quickly in an effort to get he record finished and draw an end to the whole affair. For the first time on an Erasure album it is easy to identify large numbers of presets and the distinctive EMU Drumulator. The combination of a slightly bland sound palette with poor choices in defining the running order means this album isn't able to achieve the pop perfection that was within reach of Erasure in 1988. 4/5