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)