album // Other People's Songs
Erasure's fortunes reached a depressing low
with 2000's unsuccessful Loveboat, the solitary chart-eligible
single from that album barely denting the UK singles chart. For
the non-fan, Erasure were beginning to slip from view, worryingly
pigeon-holed in with the has-been eighties bands forced to join
the Hear & Now circus tours - their albums from 1994 onwards,
while each contained excellent material, failed to catch the pop
buyer's attention in the way that their earlier material had. Those
poor fortunes were reversed in 2003 with the release of Other
People's Songs, which, as it's name suggested was a collection
of covers. Financially unrewarding as it may have been, this album
put Vince Clarke and Andy Bell back on the musical
map.
There are a number of reasons for the success, and
the first is itself a cover version, namely US rock band Wheatus'
revision of 'A Little Respect', the 1988 third hit single from The
Innocents. Strange as it may seem, Wheatus in a funny way made
Erasure 'cool', but more realistically the burgeoning underground
electropop movement encouraged its followers to top up their knowledge
of the original progenitors. The second big factor was the tactics
of then Erasure Information Service guru Johnny, who encouraged
Erasure fans to buy up the first single ('Solsbury Hill') on pre-order
- distributors would not stock the single unless sufficient demand
was created through pre-ordering, and thus Erasure fans - scared
of seeing Erasure flop impressively - obliged, sending the single
to number ten. For the second single ('Come Up And See Me'), Mute
indicated that if it didn't sell, it could well be Erasure's last
ever single. It's a dubious claim, but one that was heeded by fans
and that single also went top twenty. Finally, 2003 saw Erasure
putting themselves out there - they made countless radio and TV
appearances, and crucially went on an international tour - not once,
but twice. Vince even appeared to enjoy it. Despite a panning from
the printed press, Other People's Songs was a big success,
and Erasure were back. During its release, Mute was bought by EMI,
which brought all sorts of financial targets, perhaps explaining
the enhanced marketing activity.
The album was produced by Erasure and Gareth
Jones. 'Solsbury Hill' received extra treatment from Chorus
producer Martyn Phillips and that track and several others
had additional production and mixing by Dave Bascombe. The
mysterious FAF and The Dark Brothers (any clues?) also help out
on a number of tracks, but this does not lead to an inconsistent,
patchy-sounding LP.
The album kicks off with 'Solsbury Hill', and is
followed by 'Everybody's Got To Learn Sometime', which I only know
as a dance cover from the nineties by Baby D. In Erasure's hands,
it has a plangent air, and the track is given an inventive edge
via some detuned synth loops and quirky beats, a sincere but maudlin
melody and serene synth chord washes. It's a song about longing,
but here is recast as a sorrowful, regretful tune. The full-length
'Come Up And See Me' is broadly the same as the single edit, but
has a longer middle eight.
Buddy Holly's 'Everyday' is recast as a bouncy,
upbeat pop tune coloured by whooshing synths and chiming tones.
Andy can't resist adding Buddy's 'ha-hey's to the end some
of the lines, but otherwise it's a distant relation to the rock
'n' roll original. 'When Will I See You Again' has an effervescent
beat with resounding snares and burbling noises. Phasing and reverb
give Andy's vocal a Wall Of Sound vibe, the complementary backing
vocals of x providing soulful flourishes. Vince also adds excellent
reverberating electronic pulses of percussion straight out of Kraftwerk's
'Radio-Activity'. 'Walking In The Rain', which begins with wobbly
tones and features a clattering, echo-y beat, also has a classic
Spector vibe, not least because of the Ann-Marie Gilkes and
Emma Whittles' 'doo-doo-doo's and harmonies, providing
that retro vocal sound. Buddy's 'True Love Ways' is truly majestic,
showcasing Andy's upper ranges,which soar and spiral above Vince's
respectful but diverse electronics. There is a section where Andy
appears unable to hit the note at the start of one line, which my
wife always criticises, but I figure it must be an intentional effect.
'Ebb Tibe' is recast as an upbeat, hi-NRG disco showtune, Andy's
vocal rising and rising before crashing down like the tide he sings
about; meanwhile Vince's thick accompaniment wiggles and grooves
underneath, the addition of some crisp snares nudging this camp
number along. Elvis' 'Can't Help Falling In Love With You', a song
I don't much care for, is given an AFX Analogue Bubblebath obscure
beat and weird synth phrasing, rescuing the track from merging with
the innumerable versions already in circulation.
'You've Lost That Feeling' is one of the best songs
here, Andy encompassing the difficult changes in vocal depth with
ease - he did it effortlessly and with such passion on the subsequent
tour that it was simply awe-inspiring. Vince lays down a subtle
backdrop of electrified beats and bassy throbs - a far cry from
Phil Spector's dense mono production sure, but one that links Spector
to Kraftwerk in one four minute slice.
'Goodnight' is a dramatic, emotional ballad with
mystery and melancholy within its lyrics and fragile accompaniment.
The last track, a cover of Buggles' 'Video Killed The Radio Star'
is as quirky as they come - a robotic, computeried voice delivering
the lyric while Vince's synths head into the kind of area of sonic
experimentation that made Chorus' B-sides so compelling. Throughout
the album, which was I believe conceived as an Andy Bell solo album,
Vince's synth accompaniments are subtle - on 'Video Killed The Radio
Star', he lets the circuits fly. Anyone looking for a precedent
to this bizarre cover should track down Vince and his brother Mick
Martin's take on 'What A Wonderful World'.
A fantastic return from Erasure.
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