ERASURE - THE CIRCUS

I'm really gonna catch it here from Erasure fans so I'm going to tred as lightly as possible when I say this...  First, let me be honest and say although I knew about Erasure and I listened to them on the radio, at school and with my friends, I never actually bought one of their albums until I was 20.  I knew who they were, I knew Vince Clarke was writing the music, but during my high school years, I was more into Martin L. Gore and Depeche Mode than Vince.  I had the Yaz albums, but I didn't latch onto Erasure.  And a large part of that was simply because they were hugely popular in my school.  To this day, I know straight classmates who will go to Erasure's outlandish concerts even though deep down, they're anti-gay just because Erasure was such a huge part of their teenage lives.

When I finally started getting into Vince as a song writer, I went back and picked up Erasure's back catalog, but for me, these earlier albums will always be remembered mostly by the singles I was hearing rather than the albums as a whole.  That's why, as I put this disc in to listen to it, I honestly lump it together with pretty much everything right up until "Chorus".

"The Circus" is responsible for some of Erasure's most popular and mainstream music.  It is a serious album.  I'm always amazed when I listen to these records how incredible all of this early Erasure material is.  Not only were they writing incredible pop music, they were also championing a cause and breaking the rules of established music companies.  Erasure might not have been "Out" but they weren't "In-the-closet" either.  In my mind, Erasure were a band that helped change the cultural opinion of a generation about gay and lesbians in society.  They're so much more than just a pop band.

Although not all of these songs were released as singles, I know each and every one of these songs as if they were.  They were played in assemblies, school dances, during lunch period...  pretty much any social event you can think of I was exposed to this music.  I even remember one of my art classes...  The teacher would let students play cassettes while we were working if she approved of the music and Erasure made the cut quite a few times.  I knew all of these songs by heart well before I purchased the CD.

In my opinion, the best tracks on this disc are 'It Doesn't Have To Be', 'Sexuality', 'Victim Of Love', 'Leave Me To Bleed' and 'Sometimes'.  But let's be honest, the rest of the material is just as strong and good.  

I'm not sure if this is limited to the US release, but my CD includes 3 bonus tracks.  Edvard Greig's 'In The Hall Of The Mountain King' from Henrik Ibsen's play, "Peer Gynt".  This unusual cover went a long way to prove Clarke's image as a true musical genius.  And also showed Erasure fans, the band wouldn't limit itself to bubble gum pop.  Instead, they would do whatever they deemed worthwhile musically.  This appreciation for non-popular music would show up many times again throughout their recording history.  The other two tracks are mixes of 'Sometimes' and 'It Doesn't Have To Be' respectively.

The album is produced by Flood who ended up being credited with taking Depeche Mode to rock and I believe was responsible for some amazing work with U2; which sorta surprises me.  As daring and progressive as the material is, it maintains the strong pop sound of the band's 80's material.  Flood is a producer I normally think of as pushing and challenging a band's sound.  Maybe this was at the start of his career and he was cutting his production teeth on records like this.

No matter how you choose to look at this record, it's a classic.  Either it's part of the 80's run of super hit records by Erasure the band, or it's a classic 80's record anyone interested in that musical period should listen to.  It certainly defined much of my youth.  No doubt there are reissues with more tracks and a better overall showcase of the band during this time, but my copy is simply this one.  And I think it's great!

My final words:  AN 80'S CLASSIC FROM ONE OF THE MOST PROGRESSIVE AND INFLUENTIAL 80'S BANDS!

ERASURE - THE CIRCUS
01. It Doesn't Have To Be
02. Hideaway
03. Don't Dance
04. If I Could
05. Sexuality
06. Victim Of Love
07. Leave Me To Bleed
08. Sometimes
09. The Circus
10. Spiralling
11. In The Hall Of The Mountain King
12. Sometimes (Extended Mix)
13. It Doesn't Have To Be (The Boop Dopa Doo Mix)

NITZER EBB - AS IS

Industrial rockers, Nitzer Ebb dropped this EP in 1991.  They'd supported Depeche Mode on some tour dates and I assume it's because of this exposure, they worked with the people they did on this release.

'Family Man' would appear on the subsequent release, "Ebbhead" and it's a great number.  The version appearing here was mixed by Jaz Coleman of Killing Joke.  Since the same/similar version appears on "Ebbhead" I won't go into much detail here.  'Lovesick' features production and mixing by Flood.  He was popular during the 90's and worked with everyone from U2 to Depeche Mode.  I think this guy was everywhere.  And this track sounds like a stripped down DM number.

Douglas McCarthy's vocals are always slightly grinding.  He kinda assaults your senses with his sound.  They sound evil!  And that's part of the reason he's so effective as a front man.  He oozes creepy.  But in a cool way.  The industrial sound they've created is a hybrid mash-up of traditional industrial sounds from bands like Einsturzende Neubautin and the bands they later inspired like DM and NIN.

'Come Alive' is produced by ex DM member, Alan Wilder.  He went on to work with McCarthy on his solo Recoil project.  And 'Come Alive' sounds like it belongs on one of these records.  It features McCarthy's flat expressionless vocal delivery with the sinister sounds Wilder loved to use with Recoil.  It's easily my favorite track on the disc.  'Higher' is produced and mixed by Barry Adamson and PK.  Adamson is probably best known for his part with Nick Cave And The Bad Seeds.  Of the four tracks on this EP, I think 'Higher' is my least favorite.  It doesn't really escape from a drone and the musical progressions only increase the sound or intensity of the droning.  Sadly, I just don't think this track gets over.  Still, it's not a bad song.

Nitzer Ebb are a band I think have a lot of potential and I find them fascinating.  They have strange subject material and they cross over effectively from one sound style to another.  Even though most of the time, they stick firmly in the industrial category.  A smart producer would harness this energy and channel it toward a more pop friendly record.  But in a way, it's a good thing they don't.  My final words:  A NICE EP!  IT'S GOOD FOR TAPPING YOUR SHOES AND ROCKING OUT.

NITZER EBB - AS IT
01. Family Man
02. Lovesick
03. Come Alive
04. Higher

UNTIL THE END OF THE WORLD - MUSIC FROM THE MOTION PICTURE SOUNDTRACK

I've never actually seen this film. Just picked up the soundtrack because Depeche Mode had a track on it. The only place you can find the original version of the song. It was at a record store in St. Gallen, Switzerland and I found it used for something like 7 CHF. So I bought it. I'm not sure you could call the song an actual Depeche Mode track. It sounds more like a solo effort by Martin L. Gore. There's a lot of big names on this record and most of them you wouldn't expect to see together. Yet somehow this record comes together in a harmonious fashion. You expect it to sound like a big messed up pot of gumbo; instead it sounds and tastes delicious. Graeme Revell composed the score for the film and some of his more prominent pieces feature as segues throughout the album. I've heard some of his stuff on other scores and although I think he does a pretty good job, I also think he's predictable. There's nothing really outstanding about his material. It's a little offbeat, but still sounds similar to other work he's done.

The first band track is 'Sax And Violins' by the Talking Heads. I really like this track. It has a mellow, almost reggae sound to it until the chorus. Then they hit you with the full synth barrage. Excellent addition and opening number for the record. 'Summer Kisses, Winter Tears' is a cross between a lounge number and something you'd hear in a honky tonk bar about 3am. Julee Cruise's voice features nicely on this number. She croons like a female version of Chris Issak. Very similar sound. Neneh Cherry's 'Move With Me (Dub)', sounds like a stripped down version of the original tune, but it follows the previous song and maintains a haunting tempo. The next couple tracks move into a different style entirely. It's more hillbilly rock n' roll. Especially the Lou Reed number. Both of them are ok, but not my favorite tracks.

Can's 'Last Night Sleep' creeps back in and pulls you back into the midnight romp of the album. It makes you feel like a black hole is opening up all around you. Listen to the track in the dark at high volume. R.E.M.'s contribution keeps the sound in a dark place. while Elvis Costello's 'Days' takes a meandering punch at moving the record to the next phase. Nick Cave's track is hard to listen to. I've never been a huge fan of his and the narrative track, '(I'll Love You) Till The End Of The World' reinforces my disinterest. There's these awkward country'ish songs and then there's the trance rhythm songs that drag you down into a deep dark place. The Patti and Fred Smith track pitch you headlong back down that rabbit hole and then the Depeche Mode track comes in like salvation on high shining down from a Sunday cloud. Brush drums and electric guitar... A different and new sound for Depeche Mode.

Another segue by Revell and Jane Siberry's 'Calling All Angels' starts. Having basically created a name for herself by creating the saddest most heartfelt tunes in alternative films throughout the 90s, Siberry's contribution once again pulls your heartstrings. T-Bone Burnett's song is the one track I really feel doesn't belong on this record. It is, however, better than some of the other cuts. It's a rockin' number and certainly worth checking out. The Daniel Lanois song is another meandering country tidbit. I didn't enjoy it at all. Finally, U2 round the record out with there record selling contribution. Overall, this record is surprisingly good. It maintains a tempo and a feel. It's worth listening to and worth buying. Even if you're only after one of the many one-off tracks appearing here. My final words: THE UNDISCOVERED GEM OF SOUNDTRACKS.

UNTIL THE END OF THE WORLD - MUSIC FROM THE MOTION PICTURE SOUNDTRACK
01. Graeme Revell - Opening Titles
02. Talking Heads - Sax And Violins
03. Julee Cruise - Summer Kisses, Winter Tears
04. Neneh Cherry - Move With Me (Dub)
05. Crime & The City Solution - The Adversary
06. Lou Reed - What's Good
07. Can - Last Night Sleep
08. R.E.M. - Fretless
09. Elvis Costello - Days
10. Graeme Revell - Claire's Theme
11. Nick Cave And The Bad Seeds - (I'll Love You) Till The End Of The World
12. Patti Smith And Fred Smith - It Takes Time
13. Depeche Mode - Death's Door
14. Graeme Revell - Love Theme
15. Jane Siberry With K.D. Lang - Calling All Angels
16. T-Bone Burnett - Humans From Earth
17. Daniel Lanois - Sleeping In The Devil's Bed
18. U2 - Until The End Of The World
19. Graeme Revell - Finale

READY TO WEAR - MUSIC FROM THE MOTION PICTURE

I saw this movie long before I realized my interest in the soundtrack. Let me state for the record... This film is absolutely brilliant. The soundtrack is another matter entirely. Although it has moments of absolute brilliance, it isn't a complete collection in that it leaves out a large number of songs appearing in the film. The tracks it does include seems to consist of the songs the producers thought would make the most money. Not always the smartest move when it comes to compiling a soundtrack.

The Ini Kamoze track opens the disc and it's ok. I remember it got some airplay and I saw the video on VH-1 a couple times. The Supercat track is awesome. It's a nice bluesy 50's number with a great beat. I quite like it. I really love the Salt-N-Pepa track, 'Here We Come'. It's funky, straight up and in your face. Salt-N-Pepa have always interested me and this track is a wonderful addition to the record. M People's contribution is cool, but somewhat standard fare for house records at the time. I'm sure it was mixed like crazy. Janet Jackson's number is lackluster but also fairly common for her during this time. This is right about the time I checked out on her. She became boring and everything sounded largely the same.

The Rolling Stones number is laughable and unwelcome. It's place in the movie is also annoying. It's the one song I absolutely feel has no business anywhere near this project. The Sam Phillips cover of 'These Boots Are Made For Walkin'' is wonderful. She captures the intensity of the original number with a folksy twist.

For years, I dished The Cranberries. I just hated them. Every song sounded like a broken record. Then I saw this film and heard this number. I think this song is incredible for a number of reasons... First and foremost, I love the message. "You're so pretty the way you are..." What an amazing statement in both the film and the music. Plus the mix is absolutely riveting. The Deep Forest song called 'Martha' is actually the track 'Marta's Song' from their album 'Boheme'. I like this track quite a bit as well. There is a slight difference in the bass track, but otherwise, it's the exact same number.

The Brand New Heavies tune is interesting but not remarkable. I enjoy the vocal delivery and although I've never invested much time or energy into this band, I'm interested in hearing more. The Cece Peniston song is pretty typical of her stuff, but it's fun and I really like the song. I can sing along and tap my feet. That's a great feature in a tune.

Now here's the reason I should've bought the disc. There's a Prince composition by The New Power Generation here. 'Get Wild' appears on the 'Exodus' record, but this version is quite different in a number of ways. There's different effects happening throughout the song. Specifically, Mayte in the background saying stuff in Spanish. There is a different vocal take as well. It really is worth having. It shows some of the progression in the way Prince writes and records music.

TTD clocks in with 'Supermodel Sandwich'. I have to be honest, as much as I normally enjoy his work, this is one of my least favorite numbers ever. The Perfecto Mix of 'Lemon' by U2 is pretty interesting though not incredible by any means. It's got a nice rhythm and flow. But the gasping cries of Bono detract from the overall effect of the song. It's all beat and no substance.

Overall, it's an interesting collection, but hardly one that goes well together. Like the fashions in the film, this disc is all over the place. You'll probably pick this up for one or two numbers you're interested in rather than the entire collection.

If that's the case, save the money and buy the tunes online individually. Check that... I just saw how much this disc was selling for on Amazon... If you want more than two songs, you might as well go ahead and buy the disc online. With prices like $.01... You can't get it cheaper. My final word: INTERESTING.

READY TO WEAR - MUSIC FROM THE MOTION PICTURE
01. Ini Kamoze - Here Comes The Hotstepper (Heartical Mix)
02. Supercat - My Girl Josephine
03. Salt-N-Pepa - Here We Come
04. M People - Natural Thing
05. Janet Jackson - 70's Love Groove
06. The Rolling Stones - Jump On Top Of Me
07. Sam Phillips - These Boots Are Made For Walkin'
08. The Cranberries - Pretty (Remix)
09. Deep Forest - Martha
10. The Brand New Heavies - Close To You
11. Cece Peniston - Keep Givin' Me Your Love (West End Mix)
12. The New Power Generation - Get Wild
13. Terence Trent D'Arby - Supermodel Sandwich
14. U2 - Lemon (Perfecto Mix)