Upstairs, with Vince and ‘Alf’

Press, 25 November 1982, Page 18

Upstairs, with Vince and ‘Alf’

YAZOO “Upstairs At Eric’s” (Mute Records, POW 6044) In which she ‘(‘Alf’), an r’n’b refugee, meets , he. (Vince), who couldn't '' get enough out of Depreche Mode. The result is surprising- ■ If you saw a picture of Yazoo, (a narpe nicked from an old delta biues label), you would know that they aren’t competing in the electro-pop fashion stakes. Vince Clarke,' who had a hit load with the. Mode, wears old sweaters,‘■a ridiculous fringe, and doesn’t shave ‘Alf Moyet-is . the opposite of the lithe, leggy, League twins.. • , ■ So the music had to stand to help them reach the public. Reach they did. This album spent several weeks as No. 1 in Britain. Live, they are apparently boring to watch. It has to be a record! -Listen \

‘Alf’ 'has a voice which injects something into the songs. She could start with Dr Feelgood tomorrow - it is raw and a little bit angry.

Vince, one assumes, spends his time programming and counter-programming . . . “Don’t Go> opens the album, and could well be a hit. I didn’t like it at first, and there is nothing more annoyiong than announcing that to all, then warming to it. .

It is the closest to Depreche Mode, except for . the anguish. Compare “All I want to do is see you” (“See You " Depreche Mode) and “I ain’t never gonna let you go . .. don’t go!!” If he doesn’t see her, he sounds like he couldn’t care less. If he goes, SUICIDE .

“Too Pieces” is great, listenable pop music. I am tired of synthesisers at least once a week, but at “Eric’s,” one has patience. Orchestral Manoeuvres fans will like this. "Bad Connection” reminds me* of those Motown telephone wailers, but with a bit more optimism. Vince’s fringe is bopping on the keyboards here. It’s one of

those tunes that makes you want to go and buy your own synth. It ends With a disconnection.

Disconnect yourself, from the silly tape-loop antics of “I. Before E Except After C.” Excuse The Lord’s Prayer on “In My Room ” too. Siouxise did it years ago. After all, they do sing ' “Goodbye Seventies.”. Tina Turner would have a great time doing “Midnight,” a true torch song for the 1980 s. ■

“He’s a good strong man and I love him so, so how on earth can I let him go . . .” The blues charts can only be, a kiss away for “Midnight.” Honest and perfect. (You’re good too, Vince).

“Only You” their first single, begins side two, and it shall eventually stand alongside “Don’t You Want Me” and, “Joan Of Arc.”

A great album for anyone who thinks guitars are dirty. Even for those who don’t. In spite of two awful tracks.

DANCE EXPONENTS “Airway Spies” (Mushroom X 13097). As the band are finding out, “Victoria” is a hard act to follow. The success of this one could be vital to them.

I prefer the B-side, “Your Best Friend Loves Me Too,” which has one of Jordan Luck’s best choruses. It should have been on the top side.

“Airway Spies” has a chaotic video, which will help it along. Once again, Mr Luck has a knack with the choruses, but filling out the song with a siesta-type mayhem, with horns, is perhaps not the stuff hits are made of.

Tbe bonus track on the twelve-inch, “Poland,” is for fans only. Too many guitarists are imitating sirens. Dance Exponents need a rest. -An early exhaustion of their talent would be a waste. How about making it five again, Exponents? DAVID SWIFT