"ONLY YOU" YAZ (1982)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Giorgio Moroder, Donna Summer and Kraftwerk are often cited as a few of the key pioneers of synth pop. But the full body of work by Vince Clarke proves he was one of the finest practitioners of the genre. His synth compositions are almost instantly recognizable, often sporting an upbeat, euphoric demeanor – a style that undoubtedly clashed with Depeche Mode as the band went in a darker, more ominous direction. Clarke’s next stop in his career: a relatively brief collaboration with Alison Moyet in the form of Yaz (Yazoo in the UK). “Only You” might be their most recognizable hit.

Hailing from the unforgettable Upstairs at Eric’s, an album that remains one of new wave’s must-listens from beginning to end, “Only You” was planted right smack in the middle of languid electronic offerings and upbeat dance bangers. “Only You” was the ballad that broke into new melodic territory for a synth-pop band. It emphasized Moyet’s soulful vocals above all else, but those blippy flourishes from the man behind the keyboards are a study in restraint. It truly is a case of less is more. The result: one of the most iconic ballads of the eighties.

“Looking from a window above, it's like a story of love.”

"IN MY ROOM" YAZ (1982)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

The topic of great electronic music can’t be had without mentioning Upstairs at Eric’s and the talented duo of Vince Clarke and Alison Moyet. While I do love Depeche Mode, I was never a real fan of the Vince Clarke years. But, for me, things were different with Upstairs at Eric’s (not to mention many of the early Erasure albums). This is when I truly began to appreciate Clarke’s unique synth pop stylings paired with Moyet’s vastly underrated and underexposed prowess as a lead singer (at least here in the States). Upstairs at Eric’s showcases both commanding synth arrangements and vocal performances. And “In My Room” stuck out like a sore thumb. I love it.

Most of the songs on Upstairs at Eric’s were built to make you dance. Well, not “In My Room”. It’s packed with more samples than dance-worthy keyboard hooks. It’s a sprawling track with miles of space built in between those electronic drum hits. The song prominently features the Lord’s Prayer read robotically and repeatedly, and accompanied by recordings of conversation bits and shattered glass. “In My Room” is a spiritual experience. Clarke’s synth lines are intentionally understated to bring greater prominence to the gravity of the spoken words and Moyet’s resolute vocals.

“And in the room locked up inside me. The cutout magazines remind me. I sit and wait alone in my room.”

"IN MY ROOM" YAZ (1982)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Upstairs at Eric’s (1982)

The topic of great electronic music can’t be had without mentioning Upstairs at Eric’s and the talented duo of Vince Clarke and Alison Moyet. While I do love Depeche Mode, I was never a real fan of the Vince Clarke years. But, for me, things were different with Upstairs at Eric’s (not to mention many of the early Erasure albums). This is when I truly began to appreciate Clarke’s unique synth pop stylings paired with Moyet’s vastly underrated and underexposed prowess as a lead singer (at least here in the States). Upstairs at Eric’s showcases both commanding synth arrangements and vocal performances. And “In My Room” stuck out like a sore thumb. I love it.

Most of the songs on Upstairs at Eric’s were built to make you dance. Well, not “In My Room”. It’s packed with more samples than dance-worthy keyboard hooks. It’s a sprawling track with miles of space built in between those electronic drum hits. The song prominently features the Lord’s Prayer read robotically and repeatedly, and accompanied by recordings of conversation bits and shattered glass. “In My Room” is a spiritual experience. Clarke’s synth lines are intentionally understated to bring greater prominence to the gravity of the spoken words and Moyet’s resolute vocals.

“I stand alone and watch the clock. I only wait for it to stop.”

"ONLY YOU" YAZ (1982)

Before Vince Clarke went on to Erasure and Alison Moyet launched a highly successful solo career, there was this gem of an album from their short-lived collaboration on Yaz. Upstairs at Eric’s remains one of new wave’s must-listens from beginning to end. And “Only You” was the ballad that broke into new melodic territory for a synth-pop band. It emphasized Moyet’s soulful vocals above all else.

“Looking from a window above, it's like a story of love.”