The Assembly – Never Never

After a few stormy years with Depeche Mode and YazooVince Clarke‘s third attempt at a group was The Assembly, formed with Yazoo‘s producer (and provider of the first album title) Eric Radcliffe. It was a short-lived project, which supposedly was intended to consist of collaborations with multiple vocalists, but after the follow-up with Paul Quinn failed to break the charts, Clarke moved onto Erasure, and the rest is history.

So the lovely Never Never sadly never made it onto an album. Released thirty-five years ago this week, barely a year and a half after Yazoo had disbanded, it peaked at number four on the UK charts. As a standalone hit, it’s largely forgotten now, but it’s worth remembering from time to time.

It’s a great song, for the first time on a Clarke production featuring some very audible acoustic guitar work, and also including some early pre-echoes of Erasure‘s early work. But the overriding mood here is of Yazoo‘s unfinished business – you can’t help but wonder whether Clarke wrote this intending that Alison Moyet would be delivering the vocal. Instead, it’s Feargal Sharkey who does the honours, and he does a great job.

Side B brings us the brilliantly syncopated instrumental Stop/Start. Again, this would have fitted perfectly on the tail end of Yazoo‘s imaginary third album, and it’s hard to stop thinking about that now, but there’s also a fairly different feel to this track that maybe would prevent it from fitting in quite so well with Upstairs at Eric’s and You and Me Both.

The 12″ version of the single just gives us two extended versions – Never Never gains a long introduction which honestly sounds exceptional, and Stop/Start also gets some extra bits at the front, although they don’t add a huge amount in this instance. They also seem to have left the radio on in the background for the extra part of this recording, for some reason.

It’s a short, compact single, with just two tracks on each format, but you have to wonder slightly what might have happened if an album had followed. Instead, Clarke found peace and sold millions of records as half of Erasure, and Never Never was largely forgotten.

The 1996 CD reissue of Never Never has long since fallen out of print, but you can still find it as a stream or download.

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Stowaway Heroes – Vince Clarke

One of the most prolific names in music is Vince Clarke. After a couple of excellent false starts including Yazoo and The Assembly, he’s spent most of his career as the knob-twiddling genius responsible for Erasure‘s backing tracks.

Things started out, of course, with Depeche Mode, and we can’t really overlook his sunglasses and designer stubble in their breakthrough hit Just Can’t Get Enough:

Of course, Erasure is where he’s spent most of the last thirty years, and it would be difficult not to give him credit where it’s due for his exquisite performance in the video to Abba‘s Take a Chance on Me:

In recent years, he has branched out, working again with his old bandmate Martin L. Gore as well as half of Orbital, all of Jean-Michel Jarre, and others. From 2Square, his project with Paul Hartnoll, here’s Better Have a Drink to Think:

Genius is an over-used word without a doubt, but it’s absolutely fair to say that Clarke should be one of our stowaway heroes.

Erasure – Pop! The First 20 Hits

Pop! With a simple synth chord, Who Needs Love (Like That) begins. A very minor hit in 1985, Erasure‘s career definitely launched with a slightly uneven start. This collection, released an astonishing quarter of a century ago this week, would enter the charts at number 1 just seven years after that debut single, but it did take them a bit of time to get going.

In the four years since leaving Depeche ModeVince Clarke had founded the hugely successful but turbulent Yazoo, and released two albums as part of that project before attempting a multi-vocalist collaboration called The Assembly which faltered after just one (admittedly substantial) hit. One flop collaboration with Paul Quinn left him scraping around for a new vocalist. Andy Bell replied to the advert, performed amazingly, and so Erasure began.

Debut album Wonderland was, bluntly, a bit of a mess, and the second single Heavenly Action, which flopped in late 1985, is pretty representative of that album. It’s definitely catchy, but it’s far from their best. Oh l’Amour, on the other hand, is one of the best tracks that Erasure ever recorded, and it really is a shame that it charted so low, peaking at number 85 in early 1986.

Fortunately, rather than splitting up immediately, Erasure went back to the drawing board, and reappeared in late 1986 with the astonishing Sometimes, peaking at number 2. The subsequent album The Circus yielded a further three huge hits, It Doesn’t Have to BeVictim of Love, and finally my favourite, title track The CircusErasure‘s legacy was sealed.

By the time The Innocents was released in 1988, they were really at the top of their game, and lead single Ship of Fools, while perhaps not as catchy a lead single as Sometimes, is a beautiful, melancholic, piece of synthpop music. The uptempo follow-up Chains of Love, after some initial signs of potentially being very cheesy, grows into another brilliant song. But I suspect what you remember from this album is A Little Respect, the biggest single from this album, released in September 1988.

I could probably live without the snappy Christmas hit Stop!, but it appears to have become a live favourite in recent years, so I might be alone in that regard. Then we’re on to the 1989 album Wild! (also spelt with an exclamation mark), which launched with the single Drama! (there’s another one) in September 1989.

By 1989, Erasure were pretty much guaranteed a top twenty hit – actually, they had an unbroken run between 1986 and 1997, but more impressive was their string of five consecutive number one albums, of which Wild! was the second. To say that the public loved them would be an understatement, as even their slower tracks such as You Surround Me, a beautiful piece released as their Christmas hit for 1989, still managed a very respectable number 15 at a traditionally very competitive time of year.

Now in the 1990s, the hits continue to fly, with Blue Savannah and Star, before the deeply analogue and beautiful Chorus album opens with its brilliant title track, a number 3 hit in mid-1991. Then, of course, comes Love to Hate You, with its injected crowed noises and middle section borrowed from I Will Survive. Pure pop perfection.

Seasons continue to pass, with the deliciously autumnal Am I Right?, followed by the bubbly spring hit Breath of Life, before the unexpected summer 1992 hit Take a Chance on Me, from the Abba-esque EP, which held onto the number 1 spot for five weeks. This was the most popular of the four Abba covers that made up the EP, and much as I like the others, the decision on their next singles compilation Hits! The Very Best of Erasure (2003) to include no fewer than three of the tracks was clearly misguided.

On the US edition of the album, that’s your lot, but the rest of the world fares better, with the brilliantly punchy Hamburg mix of debut hit Who Needs Love (Like That). This version finally took the song to its rightful place in the top ten, and bookends the album perfectly.

So there’s really no doubt about it – after a slightly uncertain start, Pop! The First 20 Hits builds into a fantastic collection, compiling the first seven years of Erasure‘s career. While they did have some very worthy hits over the next seven years, they slowed down and their consistency finally started to falter. But that’s another story, for another time.

The original Pop! is still widely available, but why not be brave and go with the slightly cheaper double-disc Total Pop!?. Sorry, the punctuation got a bit confusing there.

Erasure – Buried Treasure II

In 2006, Erasure decided to unearth some more of their hidden delicacies with Hidden Treasure II, a second collection of demos and oddities from their past. We looked at the first volume a while back, and this one is a little more straightforward – and less interesting.

The first two tracks are Andy Bell‘s original auditions to become part of Erasure way back in 1985. His skills as a vocalist are unquestionable – he’s pretty much pitch-perfect all the way through Who Needs Love (Like That). So much so, in fact, that the novelty of the track lies more in its corny demo qualities. Vince Clarke clearly had a lot of work left to do on this – it sounds like a weird halfway house between Yazoo and Erasure.

One Day was a one-off single in 1985 for Vince Clarke and Paul Quinn as a follow-up to the success of The Assembly, but entirely failed to chart. It’s not a great song anyway, but Andy does a reasonable job, despite getting his cue wrong at one point.

Twilight is, by the sounds of things, an early version of 1994 b-side Ghost, and is nowhere near as good. The final track was atmospheric, moody, and beautiful, while this is just another of Erasure‘s corny tracks. Tune 5 is a Chorus dropout, with hints of Turns the Love to Anger, but again, nothing particular going for it. And Siren Song was, as you may remember, one of the stronger tracks on Chorus, but seemingly only after having had its initial lyrics ditched. Clearly lyric writing is an iterative process for Erasure.

The demo of I Love Saturday is almost more interesting than the finished track – it may be a little empty, but it also channels Breath of Life somewhat with its production, making it quite a fun listen. An early version of Miracle follows, pleasant but less exciting, and definitely less overblown without Martyn Ware‘s involvement as producer. All Through the Years, one of the best tracks on I Say I Say I Say, gains a haunting feel in its demo form, which again is definitely no worse than the completed track – it’s possibly even better.

But in general, it would be tempting just to say, “not as good as the finished version,” for most of these. The early lyric of Reach Out is unpromising, and the demos of tracks from Loveboat are every bit as unexciting as you might expect. “Got the window wipers on / They hypnotise,” is not exactly an example of the finest lyric writing ever. The unfinished tracks My Love and Earth are unremarkable. The latter, an instrumental, is marginally better, but you can see why they might not have ever been completed.

Buried Treasure II has relatively few highlights, and so it’s difficult to recommend it to anyone except absolute completists in need of a new Erasure fix. Which is definitely a shame, given how good the first volume was, but life is full of its little disappointments!