SMASHING PUMPKINS - DISARM

The Smashing Pumpkins were one of the bands playing heavily on Xtreme radio in Vegas back in the 90's.  I heard them everyday and became a huge fan.  I started buying everything I could find.  This magical little single showed up at a used CD store one day for a measly $2 and I couldn't leave it there.

'Disarm' is a lovely grand tune composed by Billy Corgan.  It sweels, soars and pretty much lifts your spirit from whatever ground it might be standing on.  I'll discuss it more on the full length album.  The second track is 'Soothe (Demo)'.  This acoustic soft cut is a tune about desire/longing/love overcoming something that should or would destroy a relationship.  He's hungry for his lover again.  And that desire allows him to forgive and move past the negative feelings.

Finally, band member and sometime songwriter, James Iha contributes 'Blew Away' featuring himself on lead vocals.  It's an enjoyable song that faintly reminds me of something I'd expect to hear from the Beatles.  Iha has a softer voice.  He's missing the sharp distinction of Corgan, but it's often refreshing to hear it in a Pumpkins tune.

This single with two b-sides it certainly worth the expense of finding.  I'm very happy with mine.  The "Smile" cover is misleading, but memorable.  My final words:  ANOTHER GREAT PUMPKIN, CHARLIE BROWN!!!  PICK THIS ONE UP!

SMASHING PUMPKINS - DISARM
01. Disarm
02. Soothe (Demo)
03. Blew Away

BLACK BOX - DREAMLAND

I remember watching a late night video program.  I think it was on NBC or something.  It was called Friday Night Videos and the video for 'Everybody Everybody' came on.  House music was on its way to becoming the dominate electronic sound and set the tone for a large part of the 90's.  I loved the song!  I had to have it.  The very first thing I bought from Black Box was the 'Everybody Everybody' cassette single.  I still have it today.

I picked up the CD many years later.  I don't remember where I bought it but I do know I paid full retail price.  And I was very happy when I got it.  Of course, Black Box is a band surrounded by controversy.  The lead singer appearing in videos and on album and single covers is a model.  The real vocalist is a woman named Martha Walsh.  For whatever reason, they didn't make her a part of the band, instead choosing a model to lip sync.  On the heels of the Milli Vanilli disaster just a year or so before, Black Box bore the brunt of a backlash when it was revealed the lead singer was lip syncing.

Years later, Martha Walsh was the Grand Marshall at a Las Vegas pride event.  I remember watching her perform.  That was the closest I came to seeing Black Box live.  

Even today, this record is a great disc and I enjoy it!  The opening track is 'Everybody Everybody' and it's fun, dance-able and groovy.  Usually, if you like a single, you'll find the rest of the record boring.  But not the case here.  'I Don't Know Anybody Else' comes in next and it's absolutely brilliant.  Another smashingly great number in the same vein as 'Everybody Everybody'.  One thing you realize quickly is that a lot of the music on this record sounds the same.  But the vocal arrangements are different.  Some better than others.  'Open Your Eyes' is one that doesn't live up to the energy of the previous songs.  'Fantasy' is the first track to change tempo.  It still maintains a steady pace, but it's technically a ballad.  A very good number.

The title track is actually an instrumental and is followed by one of the biggest selling singles from the disc, 'Ride On Time'!  This is another controversial track because it uses the vocals of another singer.  So far, they've ripped off two vocalists.  Yikes.  'Hold On' is a major sound departure for the band.  This track relies heavily on the street sound at the time.  It sounds more gritty and rough than the rest of the disc.  The slick production isn't as dominate.

'Ghost Box' is a mellow, jazzy number featuring sax and melodic piano.  This is also an instrumental.  It's nice to have some different sounds.  It helps to break up the record and make it more digestible.  You don't get trapped in a sound loop.  The album closer, 'Strike It Up' is a return to form and ends the record on the high note it started with and became so famous for.

All around, this is a well balanced album.  There are certain choices I would've made differently from the band.  And I never would've dumped Martha Walsh for a skinny model.  You just can't deny this record has strength in both the writing and the sound.  It was on the top of a movement that some people will probably be glad is over.  But for a minute, house music was in and Black Box was hot all over the world!

 My final words:  DEFINITELY WORTH OWNING!  A GREAT EXAMPLE OF HOUSE MUSIC STYLE.

BLACK BOX - DREAMLAND
01. Everybody Everybody (Le Freak Mix - 7" Edit)
02. I Don't Know Anybody Else
03. Open Your Eyes
04. Fantasy
05. Dreamland
06. Ride On Time (Remix)
07. Hold On
08. Ghost Box
09. Strike It Up

LIV WARFIELD - THE UNEXPECTED

This disc is a no brainer for me.  And anyone who knows it knows why.  Liv is a member of the NPG.  Not only is she a member, but the album is on the NPG label and features song writing contributions from Prince.  So...  yeah.  I needed it.  

So I've been aware of Liv for some time now.  And I've heard her sing more than a few times.  I know she's a voice, I know she's a talent, I know she's got a great look, but is she strong enough to front an album or a live touring band?  Without making you wait too long, I'll just say now...  Um, hell yes!

The album features two Prince tracks, so that's another reason to own it.  But let's get to the breakdown and discuss the music.

'Coat Of Arms' is an introduction segue of sorts.  There's a voice welcoming you to the world of Liv Warfield.  I actually find that bit a little corny.  Then you get a short horn arrangement.  All of this seems to stem from Liv's time with the New Power Generation and her access to a diverse group of musicians.  'The Unexpected' is the first full length track.  This is an interesting song for a number of reasons.  First, it's written by Prince.  Second, he released his version of it on his most recent album.  Third, it has two titles.  It's 'The Unexpected' on Liv's album, but on Prince's it's called 'Wow!'.  That all makes sense when you listen to the chorus.  There's a lyric that states, "U can call it the unexpected or u can call it - wow!"  So I guess you can take your pick.  Prince's version is more rock oriented while Liv's features a fuller band feeling.  Of the two, I prefer Prince's, but I love Liv's as well.  The song just kicks your butt from start to finish.  

It's followed by 'Why Do You Lie?'.  Like 'The Unexpected', there's a full band sound to this track.  I'm fairly certain this is the first single off the album.  It's pretty good and full of energy.  But it's 'Blackbird' that really punches you.  Liv composes intensely powerful music.  She's aggressive and forceful in her writing style.  The guitar work on this track is outstanding and punctuated with horns.  Once again, that band sound reverberates when you play the track.

'Stay - "Soul Lifted"' comes in easy and starts off sounding almost spiritual before transitioning into a story of longing and suffering.  'Catch Me If You Can' reminds me of something you'd expect to hear from Rufus & Chaka Khan back in the day.  It's got a go-go beat and this wonderful rhythm urging you to get up and groove.  But it's a much more complicated and segmented tune than Rufus would compose.  It progresses through a series of short movements that slow or speed the tempo according to what Liv is expressing vocally.  It's another great effort.  Easily one of my favorite tracks on the disc.

'Don't Say Much' is an amazing ballad in the vein of Barbra Streisand's 'Somewhere'.  Where Streisand was looking for a place to belong to her lover, Warfield is looking for an emotional connection to hers through physical contact.  It's very powerful.  The build is natural and fierce.  

Then the album downshifts and you fall into the groove of  'Lena Blue'.  Everything on this track is working.  From the beat, to the instrumentation.  The lyrics are interesting.  I keep hearing similar concepts though.  It's like an alter ego Liv has developed.  A character she can assume.  I remember hearing Beyonce talking about something similar at one point.  I'm not sure I fully understand what's happening here, but I like the vocal arrangement and I dig the music.  Next up is 'Freedom' and it begins with a drum rolling into a slow piano/horn line.  Liv's vocals are sorrowful and you can hear the desperation in her voice.  There's a lot of complex change-ups happening musically.  It's reminiscent of certain tricks Prince pulls in some of his compositions.  There's scales, sudden changes and some free form improvisation happening.  This is a beautiful number.  And speaks to the heart of anyone who's ever felt trapped.  For any reason.

'Come Back' delves into 70's R&B sounds for a nice slow ballad.  It's followed by the second Prince composition, 'Your Show'.  He shares songwriting credit with Warfield.  Musically, it maintains the pace set by 'Come Back'.  There's an old school groove to this one too.  Warfield's vocals are seductive and the horns accentuate the tune quite nicely all throughout.  It almost sounds like a disco track without the beat.  This is without a doubt a very sensual number.

'Fanfare' could be considered the album closer and it follows the theme of the opener.  It's a segue of horn scales.  'Fly' is listed as a bonus track; which would therefore indicate 'Fanfare' is the true album closer.  'Fly' continues the band sound with the 70's sound.  But it's a great tune and it's got an nice flow.

There are so many great ideas on this record...  Sometimes, with Prince, it's a hit or miss.  He surrounds himself with two types of people.  Those that are truly and incredibly talented or those who he's interested in for other reasons who aren't talented at all.  Liv is one who delivers the goods.  She's got a unique and interesting look, she's got the voice and she's a talented song writer.  If she plays anywhere near me, I'm going.

My final words:  AN UNEXPECTED BUT AMAZING RECORD FROM A VITAL NEW ARTIST!

LIV WARFIELD - THE UNEXPECTED
01. Coat Of Arms
02. The Unexpected
03. Why Do You Lie?
04. Blackbird
05. Stay - "Soul Lifted"
06. Catch Me If You Can
07. Don't Say Much
08. Lena Blue
09. Freedom
10. Come Back
11. Your Show
12. Fanfare
13. Fly

HAMMER - THE FUNKY HEADHUNTER

Before you get upset and give me a lot of grief, let me first say...  This probably isn't the most informed review of a rap album.  There are some rap artists I enjoy and buy, but overall, I haven't delved too deeply into the genre.  So I have an outsiders opinion.

Here's my overview of rap...  When it started, it was innovative and new, but the music was largely sampled.  Over the years, rap evolved and now, it's a much more serious and vital form of art than it was in the 80's and 90's.  That being said, an artist like Hammer is never going to compare with newer more aggressive rappers like 50 Cent or Eminem.

The purpose for picking up this record is pretty simple.  I was looking up Prince compositions in the Library of Congress online data base and a song called 'Oaktown' popped up.  When I saw the disc in a used CD store, I picked it up.  'Oaktown' isn't actually a song Prince contributed to.  It's a song that uses a portion of the music Prince wrote for a tune he wrote for The Time called, 'Get It Up'.  It sounds like a musician actually plays the part though.  And that's better than sampling it right from the vinyl.

By the time this record came out; most people had already written Hammer off.  There were all kinds of public scandals surrounding him.  About him being broke, wasting millions of dollars, etc.  This disc was released in an effort to rebrand Hammer.  He dropped the MC from the front of his stage name and moved away from the heavily recognizable samples from his previous album.

It starts out with 'Intro' and what should be a short segue seems to go on forever.  2:12 minutes of forever.  Then, the reason for my purchasing this record pops up.  That's right, it's 'Oaktown'.  Sadly, this song drags quite a bit.  I don't really like it.  'It's All Good' kicks in next and we finally have a tune with a good beat.  The song is a bit cliche lyrically and Hammer raps it like he was copying Curtis Blow.  Still, the beat is thumping so it's not all bad.  'Somethin' For The O.G.'s' is 4th on the disc and this is the song that's a basic game changer for the disc.  Great beat, excellent music and Hammer seems to be free flow rappin' on the track.  Best number on the disc so far.  'Don't Stop' moves the record into a totally new realm.  The background vocals are straight from a Funkadelic cut and the deep slamming beat is funky!  Another proper track.

'Pumps And A Bump' spends most of the time in the head of a teenage boy who objectifies women.  He almost loses me here.  I don't see the point of this song or why it's here.  For an artist who wants to reinvent himself, putting this kind of number on a record practically guarantees it won't change the world or have a great impact.  'One More Time' maintains a hypnotic deep beat that seems to be working its way through the entire record.  There's some keyboard added to give the song a stronger R&B feel and the vocal delivery softens dramatically.  However, it doesn't really move into new or undiscovered territory.  It's a nice enough listen though.  
'Clap Yo' Hands' maintains the trance-like beat.  It's starting to feel like we're trapped in a beat hole.  The sound is nice, but again, it's starting to sound the same.  'Break 'Em Off Somethin' Proper', incorporates a nifty rhythm guitar that gives it a slightly differentiating sound but the beat...  No variation there.  'Don't Fight The Feelin'' is the first number with a change in beat tempo.  It's a ballad bordering on a reggae/Motown feel.  We finally get something changing up and it's a welcome relief.  'Somethin' 'Bout The Goldie In Me' sounds like something you'd hear on the New Power Generation's "Goldnigga" disc.  It's got that old swing vibe all the way through and the beat is subdued and jazzy.  Imagine Mark Morrisson's 'Return Of The Mack', without the Digital Underground drums.  Love this song.

'Sleepin' On A Master Plan' is an interesting tune with experimental sounds and a straight forward rhythm track.  Still, it's different enough to make me think he might be on the verge of doing some really interesting music.  'It's All That' returns to using an R&B sound to make a friendly rap.  Sadly, the idea is cliche and it undercuts whatever strength the song has.  However, the music is highly interesting in places.  It's worth checking out.  

'The Funky Headhunter' returns to the beat that dominates the first huge block of tracks on the disc.  It's OK, but nothing to get excited about.  'Pumps And A Bump Reprise (Bump Teddy Bump)' is basically 6 minutes of a tricked out beat.  'Help Lord (Won't You Come)' is the final cut and it combines Soul II Soul beats with a female vocalist who goes un-credited on the track.  It's fine for what it is, but there's no build, no climax and for an album closer, it kinda leaves you blah...

Honestly, I look at this record and do I think it helped Hammer reinvent himself?  No.  Do I think it achieves its goals?  Also, no.  But I was surprised at the tracks that did work.  The ones I like, I really like.  And I hear a lot of potential in the sound on this disc to think with a little more time and effort, this could've been a highly influential record.  My final words:  ANOTHER SKIP UNLESS YOU CAN FIND IT CHEAP.  BUT LOTS OF GREAT TRACKS YOU SHOULD BUY INDIVIDUALLY.  YOU DON'T HAVE TO BE A FAN TO GROOVE TO SOME OF THIS MATERIAL.

HAMMER - THE FUNKY HEADHUNTER
01. Intro
02. Oaktown
03. It's All Good
04. Somethin' For The O.G.'s
05. Don't Stop
06. Pumps And A Bump
07. One Mo' Time
08. Clap Yo' Hands
09. Break 'Em Off Somethin' Proper
10. Don't Fight The Feelin'
11. Somethin' 'Bout The Goldie In Me
12. Sleepin' On A Master Plan
13. It's All That
14. The Funky Headhunter
15. Pumps And A Bump Reprise (Bump Teddy Bump)
16. Help Lord (Won't You Come)

PSYCHOSLAPHEAD - PSYCHOSLAPHEAD

This is a confusing release for a number of reasons.  Released in 1992, this is the precursor for what would become Juno Reactor.  In fact, there's a notation on the back cover listing the disc as a Juno Reactor production.  I believe this is technically the first time Juno Reactor appears on a music release from Ben Watkins.  So a more appropriate title would probably be, "Juno Reactor - Psychoslaphead".  It also features one of Ben's brothers cover designs.  His collage paintings would become a staple for later Juno Reactor releases.  But alas, it wasn't to be.

Psychoslaphead is the name of the song and also the name of the project/band.  The 4 tracks listed on the back are actually remixes of the main number, although one of them sounds different enough to be it's own song.  It seems like the mixes are all named after Thomas Harris' books about Hannibal Lector.  "Manhunter" was the name of the movie that first introduced audiences to Hannibal, but it wasn't until Jodie Foster took on the role of Clarice Starling that the franchise took off.  Nevertheless, Watkins must have been impressed enough with what he saw in the first movie to compose this song.

The tune is a typical 90's rave sounding track.  You hear some sounds that would surface again on later Juno tracks.  Some of them signature sounds iconic to JR music.  But otherwise, the tune is fairly standard rave from that point in time.  I find the female vocal extremely irritating throughout the single.  Especially when she's screaming.  

Track 2, the "presidential" mix is probably the best of the mixes and is the one I think sounds so dramatically different, it merits it's own title.  But again, that's not my decision.

Considering this is the only place I think you can find this song, I'm going to highly recommend seeking this little release out and buying it asap.  My final words:  A VERY NECESSARY PART OF THE JUNO REACTOR LIBRARY THAT WAS LEFT OUT.  VERY NICE RELEASE.

PSYCHOSLAPHEAD - PSYCHOSLAPHEAD
01. Psychoslaphead (Hannibal The Cannibal)
02. Psychoslaphead (Presidential)
03. Psychoslaphead (Manhunter)
04. Psychoslaphead (Asylum)

COOLER KIDS - MEGAMIX

OK, so this is the CD that got me hooked on Cooler Kids.  I saw Erasure in Las Vegas during the "Other People's Songs" tour and Cooler Kids were opening up for them.  I remember not liking them during the opening set.  But that was mostly because I was so excited to see Erasure.  I've made this mistake many times in the past.  I overlook an opening band because I'm looking forward to the main act.  But I've changed that habit.  I've discovered a number of great bands by giving opening acts a chance and I find them before too many other people are listening to them.

Sisley Treasure threw a bunch of these promo CDs to the crowd and I caught one.  I didn't think much of it at the time, but about a year later, I was listening to it in the car one day and it blew my mind.  I had to get the full length album.  I ordered it, paid full price and fell in love with the pop styling of this wonderful group.  

You can read more about the individual tracks in my previous review of the entire album so I'm not going to break this down.  Essentially, the disc is a mix of 5 tracks from the album.  They blend together to make one mix and it's wonderful.  You get a comprehensive idea of what the group are capable of in this one 9 minute long megamix.  If you can find it, I suggest picking it up.

My final words:  SAVED FROM IGNORING A POP TALENT THROUGH THIS LITTLE GEM.  GET IT.  DO YOURSELF A FAVOR!

COOLER KIDS - MEGAMIX
01. All Around The World (Punk Debutante)
02. Sugartown
03. Vive Le Fever
04. E Is For Everybody
05. Morning Star

WENDY & LISA - RE-MIX-IN-A-CARNATION

The one thing I can say for certainty about this release is it wasn't released in the US.  It's a European release, though I'm not 100% sure I know the country of origin.  I remember discovering this disc and going out of my way to locate a copy.  I think I bought it on eBay or Amazon.  I do remember this was a disc I went looking for and I paid whatever was asked to get it.

This disc is basically a remix EP.  The mixes contained on the disc span the duo's first three records.  Two of the mixes are from their debut release, "Wendy And Lisa", three are from "Fruit At The Bottom" and the last one is from "Eroica".

The title of the album is interesting.  It's playing on the word reincarnation.  And that's not entirely far from the truth.  Each one of the songs appearing on this disc is reborn in a remix.  Not always successfully, but reborn nonetheless.

The first track is 'Lolly Lolly' and it's remixed by William Orbit.  It's a fairly straight forward mix.  The drum track is altered and there are some new electro sounds added in.  Some of the instrumentation is stripped out making it a deeper cut, but that move sacrifices the cheerful nature of the tune and makes it sound a little dull.  Nellee Hooper is responsible for the 'Waterfall' mix and this is by far, the best mix on the disc.  It's subdued, flowing and it compliments the song rather than obstructs it.  I quite love this mix actually.

'Are You My Baby' is remixed by Paul Oakenfold and Steve Osbourne.  They add some deep bass grooves, but stay fairly faithful to the original.  Nothing wrong here.  I think of all Wendy & Lisa tracks, this one is probably the most remixed.  'Staring At The Sun' is reworked by Youth and The Orb.  It has a psychedelic intro added and then it moves into an almost spiritual tantric version of itself.  The drum track is completely unnecessary.  The piano and vocals could carry this mix all on their own.  It's soaring and lovely.  

D.J. Premier tackles 'Satisfaction' and this is perhaps the most staggeringly different mix of the whole bunch.  Virtually all the music is scrapped in favor of the pseudo swing beat Premier makes.  It doesn't compliment the song and seems quite at odds with the vocals.  About the only thing it does compliment is the rap added toward the end.  Unnecessary.  Finally, Steve Anderson hypes up 'Sideshow'.  This is another great mix with the addition of percussion.  I think this mix demonstrates how instrumentation can enhance a track while the previous number distracts.

Ultimately, this is a great disc and one well worth owning if you're a fan.  I'm not sure what it's selling for these days, but if it's too much, you may want to consider buying a digital copy.  No matter what you do one thing is certain, Wendy & Lisa wrote amazing music and it lends itself well to mixing.  My final words:  DON'T MISS RE-DISCOVERING THESE CLASSIC TUNES IN THEIR NEW FORMS!

WENDY & LISA - RE-MIX-IN-A-CARNATION
01. Lolly Lolly (William Orbit Remix)
02. Waterfall (Nellee Hooper Remix)
03. Are You My Baby (Paul Oakenfold And Steve Osbourne Remix)
04. Staring At The Sun (Youth And The Orb Remix)
05. Satisfaction (Gangstarr Remix)
06. Sideshow (1991 Remix)

YAZ - UPSTAIRS AT ERIC'S

I'm trying to remember how I discovered Yaz.  I do remember not knowing how closely they were tied with both Depeche Mode and Erasure.  In fact, I stumbled across them rather late in the 80's rather than when they were actually releasing.  My fascination with the group was sealed when I bought a copy of this album on cassette and heard the song, 'Midnight'.  At the time, I thought the group featured a male lead singer.  If you consider that and the lyrics of the song, it's no wonder I found this group fascinating.  I was struggling with my sexuality at the time and hearing a tune that seemed to be from the perspective of a gay man was something any kid in my position would gravitate to.  Finally, someone was writing music I could identify with.  Ultimately, 'Midnight' was written and performed by a female singer.  So that's slightly disappointing, but also goes to show you how undercover sexuality still was back then.  How desperate gay kids were for music and culture that they could relate to.

Now, let's talk about the music.  The album features vocalist Alison Moyet and electronic music wizard Vince Clarke.  The group was called Yazoo in the UK but here it was shortened to Yaz.  The music highly resembles the structure and sound of Depeche Mode's first album almost entirely written by Clarke, but Moyet brought something to the mix Clarke didn't have before on his own.  She brought soul and volume.  Moyet is a strong vocalist and she can dump a lot of emotion into her singing.  Although the songs are split up crediting one or the other as writer, it's obvious Vince did most of the music arranging and in some cases, wrote music for Moyet's songs.  Her style and depth forced Clarke to develop deeper rhythms and stronger bass motifs.  In effect, she brought R&B to his compositions.

Right off the bat you hear phatter beats driving the intensely paced rhythm of 'Don't Go'.  This song is absolutely brilliant.  It's followed by 'Too Pieces'.  Another smashing number.  This sparse tune is effectively one verse surrounded by a souffle of sound.  It's light, delicate and provocatively sad.  'Bad Connection' is another superb track.  It bounces, it bops and dances along at such a wonderful speed.  The lyrics are simple, fun to sing along with and catchy.  This is one I always get in trouble with.  Just the other day, while I was driving home, I was singing this one at the top of my lungs in my truck with the window down right up until I noticed by neighbors were watching me.  I quickly stopped singing only to get shouts and applause.  Doubtfully because my singing was so go...  Mostly because they enjoyed watching me make a fool out of myself.  But there you go, sheer perfection and I couldn't stop myself.

'I Before E Except After C' is a rather strange number.  It's one of Clarke's early forays into composing soundscapes or writing music specifically to evoke or create a feeling.  It features various people including Moyet reading instructions manuals to various keyboards and one speaker talking about the mythology of dragons.  It's highly experimental and oddly captivating at the same time.  I actually like the song!  'Midnight'...  What can I say?  It's soulful, amazing and sheer joy when you hear it.  This is a song I could picture many famous divas covering.  It has the depth and the power to successfully transition to a soul medium.  Imagine Patti LaBelle, Aretha Franklin or Rosie Gaines tackling this one.  Wow.

'In My Room' is one song I enjoyed but didn't think much about until I saw a movie towards the end of the 80's called, "The Chocolate War".  This was one of the tracks featured in the film and it was quite effective.  After seeing used in a narrative, I've never viewed it or heard the same way again.  It's more meaningful now.  'Only You' is probably the biggest hit from the album and although I like the number, it's not my favorite off the album.  I've heard dozens of covers, but nothing compares to the original.  'Goodbye Seventies' is a Moyet written number and this one really swings.  It's got those deep beats, the heavy bass motif running throughout and an overall stunning vocal delivery.  This one has the guts and power some of the others are lacking.

'Situation' is another pulse pounding powerhouse from the album and it's awesome!  This was another successful single and you have to hear it to believe it.  'Winter Kills' is the second experimental track on the disc.  I say this because it is surprising, unexpected and stark.  It's almost entirely comprised of a classical piano piece with a slightly sinister edge playing just below Moyet's striking dialogue and singing.  It's haunting, spooky and sad all at the same time.  Well done, Yaz...  They swing and hit again on the experimental songs.  The final number is 'Bring Your Love Down (Didn't I)'.  This is another soul infused blistering pop effort that leaves you breathless and wanting more.

Ultimately, this album doesn't have a weak link in the chain.  It's great for whatever reason you may be listening to it.  It's an amazing example of British synth pop, New Wave, soul pop, whatever...  You can be a diehard fan of Moyet, Clarke or Depeche Mode and walk away completely satisfied with the record.  My final words:  ABSOLUTE YAZZY PERFECTION!!!

YAZ - UPSTAIRS AT ERIC'S
01. Don't Go
02. Too Pieces
03. Bad Connection
04. I Before E Except After C
05. Midnight
06. In My Room
07. Only You
08. Goodbye Seventies
09. Situation
10. Winter Kills
11. Bring Your Love Down (Didn't I)