YAZOO – Upstairs at Eric’s – (Mute) – 1982

This album normally would have no place in my pile of records, let alone my record collection. As a youth in the 1980s this music was all over the radio and at the time, perhaps recklessly, it defined to me who the enemy was.

Juvenile?

Yes.

Immature?

Yes.

I did say I was young.

The 80s was the decade of my youth but (I think I may have ranted on this before), it was perhaps the worst era for mainstream pop music. (well until recently, perhaps) There truly was a lot of shit on the airwaves. I’m not talking just about synth but also AOR Rock, poodle rock, stadium rock, soft rock, adult contemporary, sophisti-pop, dance. It was all largely crap. If you don’t believe me then whack on an album and see for yourself. Don’t rely on the singles, some of which are catchy, put on the albums and see how far you get into them.

In defence of the 80s I will say that I’m of the firm belief that the 1980s was the greatest era for underground / independent / alternative music. No era spewed forth as much worthwhile independent music (well, maybe the 50s with it’s thousands of small record labels). However, movement out of “alternative rock” or “indie” was not easily possible.

Before the 80s there was good music, eclectic music and all sorts of music mixing it up in the mainstream charts so indie wasn’t necessary.

After the 80s there was a change in the parameters of what was “indie” and accordingly what was “mainstream”. Due to college radio, the internet, and who knows what other reasons the musical goalposts moved so bands could move more easily into the mainstream.

But, the 80s was the era when the record companies thought they could control the market. This they tried, and accordingly, much of the mainstream was bland as music was reduced to it’s lowest common denominator … a slick, inoffensive commodity. Without any rough edges, experimentalism, regional accents or jarring instruments the music could appeal to the broadest audience possible.

It’s easy to say the music was made into “pop” but really there is much pure pop which is joyous and I’m not referring to that. What I am referring to is what happens in every era, though it was especially noticeable in the 80s, and that is the music was “slicked up” or “slicked down” (whichever you prefer).

So,

hard rock , slicked, became AOR rock;

singer songwriter, slicked, became soft rock;

dance, slicked, became Madchester;

jazz vocals, slicked, became sophiti-pop;

rap, slicked, became modern R&B;

electronica, slicked, became synth pop;

guitar rock, slicked, became Brit pop

roots rock, slicked, became heartland rock;

disco (which was slick anyway), slicked more, became dance-pop.

I could give you a list of bands that would make your skin crawl …..but no, it’s too late at night.

In their own way in terms of audience there is no difference between Yazoo and Whitesnake, Rick Astley, Huey Lewis or the Dave Matthews Band.

I acknowledge you have to pander to the masses to sell records but rather than feeding them something which they may have to chew on with a little thought it is easier to change the product and make it smoother, blander and more easily digestible.

Yes, I know there are exceptions …

Synth music has never been my cup of tea unless the synth is experimental, avant garde, quirky, mixed with electronica or otherwise obscure. (Suicide, Devo, Perrey-Kingsley, Hrvatski, Titan, Pierre Henry, Gil Mellé I can all stick on the turntable with relish).

But, when synth is used in a pop setting, as exemplified by many English bands, it is mainly pap.

Yes, I know there are exceptions …

They are, however, mainly singles from what I have heard though I admit I’m not intimately familiar with many of the albums (I am familiar enough to pass comment though):

A non exclusive list would contain Depeche Mode’s “Just cant Get Enough” “Personal Jesus” and a handful of albums. A album or so by Ultravox, Duran Duran, and Japan. Singles by OMD ( “Enola Gay”), Visage (“Fade to Grey” ), Flock of Seagulls (“I Ran”) and a handful of 45s by Human League,

All are slight but superior pop singles where the form and content compliment each other perfectly.

But, generally, the music is just to slick for my ears. Pop is great but this slick synth pop has no emotion and the music comes across as an aural façade.

Any cult that revolves around the music seems, rather, to be around fashion with the music being decidedly incidental.

Given my antipathy to this type of music how did this LP end up in the pile?

My wife, being a few years younger than me, and not needing a rallying point, loves 80s music. When you are not part of it perhaps it is more palatable. Certainly it seems that apart from girls, and guys who don’t have a clue, the only people who like the mainstream 80s are those who didn’t grow up, or barely grew up in the 80s.

Incessant LP rotation (on my turntable) by the wife has through a process of osmosis given me some knowledge about the synth world. Yazoo (or Yaz as they were known in the US) was a two piece … a man with a synth and female singer.

Allison Moyet’s vocal I can take or leave though I suspect anyone half competent could have supplied the vocals.

Vince Clarke, the main songwriter of Yazoo, I know as being formerly of Depeche Mode (he was the poppy one) and then later of Erasure.

Wikipedia: Yazoo was formed in late 1981 by Vince Clarke and Alison Moyet in Basildon, Essex, England. Clarke was previously the main songwriter and keyboard player for Depeche Mode, who also came from Basildon and who at that point had recorded one album and three singles for Mute Records, including the hits "New Life" and "Just Can't Get Enough". The name 'Yazoo', according to Moyet, came from the labels of old blues albums: Yazoo Records. Yazoo was signed to Mute Records in the United Kingdom and to Sire Records in the United States. Yazoo's initial foray into the US was disastrous when they received a £3.5 million lawsuit threat over the band's name. Yazoo renamed to Yaz for the US market because the name was already in use by a small American rock band.

The album here is their first of two and the music is perfectly dated – it does not transcend itself.

Of my initial comments the best thing I can say about this album is that it’s a testament to it’s listenable pop strengths that I have heard a few of the songs on it and can even hum the same.

However, I’m not sure where the musical emphasis is supposed to be – the lyrics are bland but the tunes are danceable but there aren’t enough of them. Today’s dance bands have got it down pat – all form no content.

The only theme seems to be alienation and of the most banal type. If music is a form of communicating ideas, emotions or personal tales then this type of music is severely limited.

The music is certainly new wave but it could also be prog pop with synths. No one will veer mistake this for Suicide or the seminal punk synth acts, but do they have to?

A lot of this is the music you would hear on soundtracks to 80s teen dramas and it is more humable than singable but it can also be very catchy and ultimately, a little of this goes a long way.

Of course Yazoo continues to inspire many contemporary bands of bland synth based dance pop. And that is unforgivable, but maybe necessary, if for nothing else than creating a rallying point.

One thing becomes distinctly clear and that is that Vince Clarke is the whole show and is a master of this music. All of the original thoughts seem to be his. Moyets songs are awful and trapped in the past.

This is as good as it gets – it certainly won’t make a convert of me – but my toes have tapped and the aftertaste isn’t atrocious.

Now if we could only get rid of the fans …my wife excepted of course.

Tracks (best in italics)

Don't Go -(Vince Clarke) – catchy, dancy thought I’ve often found the vocals overwrought. Moyet sounds a little like Dave Gahan of Depeche Mode.
Too Pieces -(Clarke) – Without the synth an otherwise straight pop ballad. Actually it’s quite good.
Bad Connection -(Clarke) – Fisher Price music ..but incredibly catchy
I Before E Except After C – (Clarke) – a experimental piece which is all talk in some sort of fragmented stream of consciousness. Good to see someone thing outside the box but it goes on too long.
Midnight -(Alison Moyet) – awful … written by Moyet. Clearly Clarke is the talent. This comes across as bad white soul with synths.
In My Room- (Clarke) – silly. Clarke recites the “Our Father” prayer whilst Moyet sings about something.
Only You– (Clarke) – the hit single. Fisher Price music again but, err , catchy.
Goodbye 70's- (Moyet) – rubbish
Tuesday -(Clarke) – Clarke seems to be running out of ideas here.
Winter Kills – (Moyet) – crap
Bring Your Love Down (Didn't I)- (Moyet) – again, crap. At least Moyet is consistent