Watch the video for Push Me Shove Me from Erasure's Wonderland (Special Edition) Remastered for free, and see the artwork, lyrics and similar artists. Erasure Wonderland Special Edition Bullet Asylum Pc Download Motherboard Manuals Intel Street Fighter X Tekken Download Pc Free Download Halo 2 For Windows 7 Compressed Download Download Free Uk Postcode Map Artcam Jewelsmith 2012 Crack Simutech Troubleshooting Keygen Crack. Find many great new & used options and get the best deals for Erasure Wonderland 1986 Remastered Special Edition 2 CD DVD F1454 at the best online prices at eBay! Canon 6030 driver windows 10. Free shipping for many products! Item 4 Erasure: Wonderland VINYL 12' Album. Louis Tomlinson Walls Red Coloured Vinyl LP One Direction Limited Edition (1) £29.95 New- Used; Nirvana Nevermind.
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”Wonderland” och ”The Circus” släpps igen!!
![Wonderland Wonderland](https://i.ebayimg.com/images/g/~L8AAOSw3jhfBjB9/s-l400.jpg)
Den 4:e Juli (UK), så släpper EMI nyutgåvor av albumen 'Wonderland' & 'The Circus'. Det kommer att vara 'Special Editions' som kommer inkludera 2st CD´s och 1st DVD. Bla. kommer det på 'Wonderland' att finnas på DVD:n, en inspelning från Kalsson i Stockholm 1986… Får väl också tillägga att det att albumen är 'Remasters'.
Förbeställ gärna från Lexer Music, så får ni limiterade fodral från EIS. Där finns också fina T-shirts att beställa som är speciella för albumen. Bilderna som finns uppe på omslagen är inte dom som är till releasen. (Fast det blir väl antagligen samma?!…)
Wonderland – 25th Anniversary Special Edition
ICPN: 5099908201720
Catalogue Number: LCDSTUMM25
ICPN: 5099908201720
Catalogue Number: LCDSTUMM25
CD One: Original album
- Who needs love like that
- Reunion
- Cry so easy
- Push me shove me
- Heavenly action
- Say what
- Love is a loser
- Senseless
- My heart…so blue
- Oh l'amour
- Pistol
- Say what (remix)
- March on down the line (remix)
- Senseless (remix)
CD Two:
B-sides & mixes
- Who Needs Love Like That (Mexican Mix)
Remixed by Joseph Watt
From the 'Who Needs Love Like That' 12' single - Push Me Shove Me (Extended As Far As Possible Mix)
From the 'Who Needs Love Like That' CD & 12' single - Don't Say No (Ruby Red Mix)
Remixed by Nick Titchener and Colin Peter
From the 'Heavenly Action' 12' single - Heavenly Action (12' Mix)
From the 'Heavenly Action' CD & 12' single - March On Down The Line
From the 'Oh L'Amour' CD & 7' single - Oh L'Amour (PWL Funky Sisters Say 'Ooh La La')
Remixed by The Funky Sisters
From the 'Oh L'Amour' 12' single - Gimme! Gimme! Gimme! (Remix)
Remixed by Paul Kendall
From the 'Oh L'Amour' 12' single
BBC Radio
Radio One Session: Bruno Brookes, 15/11/85 (previously unreleased)
- Cry So Easy
- Who Needs Love Like That
Radio One Session 5/12/85 (previously unreleased)
- Senseless
- Heavenly Action
- Say What?
- Push Me Shove Me
DVD:
Promos
- Who Needs Love Like That
Directed by John Scarlett- Davies - Heavenly Action
Directed by John Scarlett- Davies - Oh L'Amour
Directed by Peter Hamilton/Alistair Rae
Live at Karlsson, Stockholm 8/8/86 (previously unreleased)
- Pistol
- Senseless
- Heavenly Action
- Reunion
- Sometimes
- Who Needs Love Like That
- Cry So Easy
- My HeartcSo Blue
- March On Down The Line
- Say What
- Sexuality
- Oh L'Amour
- Push Me Shove Me
- Gimme! Gimme! Gimme!
The Circus – Special Expanded Edition
ICPN: 5099908203120
Catalogue Number: CDXSTUMM35
ICPN: 5099908203120
Catalogue Number: CDXSTUMM35
CD One: Original album
- It Doesn’t Have To Be
- Hideaway
- Don't Dance
- If I Could
- Sexuality
- Victim Of Love
- Leave Me To Bleed
- Sometimes
- The Circus
- Spiralling
- In The Hall Of The Mountain King
From the Peer Gynt Suite No. 1 Opus 46 by Greig. Arranged by Erasure. - Sometimes (12' Mix)
Remixed by Erasure - It Doesn't Have To Be (Boop Oopa Doo Mix)
Remixed by Mixmaster Phil Harding at PWL
CD Two:
B-sides & mixes
- Sexuality (12' Mix)
Remixed by Flood
From the 'Sometimes' CD & 12' single - Sometimes (Shiver Mix)
Remixed by Rico Conning
From the 'Sometimes' 12' single - The Circus (Bareback Rider Mix)
Remixed by Pascal Gabriel
From 'The Circus' 12' single - Who Needs Love Like That (Betty Boop Mix)
Remixed by Mark Stent
From the 'It Doesn't Have To Be' 12' single - It Doesn't Have To Be (Cement Mix)
Remixed by Rico Conning
From the 'It Doesn't Have To Be' 12' single - The Soldier's Return (The Return Of The Radical Radcliffe Mix)
Produced by e.c. radcliffe and erasure. Remixed by e.c. radcliffe
From the 'Victim Of Love' CD and 12' single - Victim Of Love (Vixen Vitesse Mix)
Remixed by Daniel Miller and Rico Conning
From the 'Victim Of Love' 12' single - If I Could (Japanese Mix)
From the 'Victim Of Love' 12' single
BBC Radio
Radio 1 Session, 10 March 1987
- The Circus
- Gimme! Gimme! Gimme!
- Spiralling
- Phantom Bride
DVD:
Special Edition Beck
Promos
- Sometimes
Directed by Gerard de Thame - It Doesn’t Have To Be
Directed by Gerard de Thame - Victim Of Love
Directed by Peter Scammell - The Circus
Directed by Jerry Chater
Top Of The Pops performances
- Sometimes – 20 November 1986
- It Doesn’t Have To Be – 19 March 1987
- Victim Of Love – 5 June 1987
- The Circus – 22 October 1987
'Live At The Seaside' (previously only released on VHS – never before on DVD)
- Safety In Numbers
- Victim Of Love
- It Doesn't Have To Be
- Don't Dance
- Who Needs Love (Like That)
- Leave Me To Bleed
- If I Could
- Oh L'Amour
- The Circus
- Say What
- Sometimes
- Spiralling
- Gimme! Gimme! Gimme!
It’s September 1985 and my 15-year-old self thinks he is on to something. I’m in John Menzies, a newsagent-cum-Woolworths wannabe and the only record stockist in Stretford’s Arndale Centre. A mile away from a Mancunian footballing mega-corporation, the Arndale is a shithole of bad shops and a honey-pot for bored teenagers and grizzly pensioners. But, I’m on a mission - to seek out a fabulous new song I’ve heard on the radio. It’s called ‘Who Needs Love Like That?’ by a band called Eurasia and I’m so ‘with it’ that it isn’t even in the charts yet.
Unfortunately, the single is so obscure that the bloke behind the counter cannot find it. “We’ve got nothing by a band with that name,” he tells me unapologetically. It’s weird, because he seems to have fingered his way through the ‘Y’ section of the racks of suburban chart fodder. “I think their name begins with ‘E’,” I suggest timidly. “Ah,” he says, the shilling dropping, “I thought you said they were called ‘Your Asia’ – sorry about that.” I stifle a smirk.
A couple of minutes later he’s back, empty-handed. “I couldn’t find anything by Eurasia – the nearest thing I’ve got is by some group called Erasure – what did you say the song was called again?” He doesn’t hide his smirk. However, the mystery was solved - I had found my new band. And, for me, never again would Erasure be shrouded in ambiguity. Erasure were out and proud - the de facto purveyors of straight-up, honest pop delivered by a front man who was entirely comfortable in his own skin.
When I get home and play their debut single, it perfectly represents Erasure’s 25-year career. From its quivering vocal intro – introducing Andy Bell as a suitably functional if technically challenged vocalist – and Vince Clarke’s Eastern-flecked synth line, ‘Who Needs Love Like That?’ sounds like a newborn pop hit, blinking and cooing in its first blast of airtime. It’s a good song – maybe not a great song – and immediately set out to define the DNA of Erasure. From the off, Erasure seemed to be about the creation of pop music – substance over any stylistic smokescreens. Their debut album Wonderland - released 25 years ago - was unflinching in what Erasure seemed to represent. They were a band to latch onto. Were Erasure cool in 1985? Probably not. Did it matter if they kept churning out songs like ‘Who Needs Love Like That?’ Not a jot.
When they met in 1985 Andy Bell and Vince Clarke had cosmically different musical pedigrees. That latter was a one-man hit machine. He couldn’t help himself – the first half of the 80s is virtually soundtracked by Clarke-penned synth-pop anthems. He wrote Depeche Mode’s first three singles, including the ‘ohrwurm’ breakthrough tracks ‘New Life’ and ‘Just Can’t Get Enough’, before decamping to form Yazoo and deliver yet more classic pop songs with Alison Moyet. When the pair split in 1983, Clarke formed The Assembly with Eric Radcliffe and scored yet another hit single with the Feargal Sharkey-fronted ‘Never Never’. But, The Assembly ultimately became a source of frustration for Clarke and he decided to start up a new project, placing an advert in Melody Maker inviting a singer to join him.
Peterborough-born Andy Bell had been a fan of Clarke’s work and in 1985 was working in a meat-packing factory. Legend has it that Bell was the 43rd singer that auditioned for Clarke and that although Bell impressed, the initial idea for Erasure would see Clarke working with a variety of singers on the debut album. It didn’t quite work out that way, and once ensconced, Bell’s boundless energy and blue-collar charisma sparked a chemistry that would see him and Clarke through 13 studio albums and upwards of 20 million sales.
Erasure’s chart life, however, took a while to ignite. The first three singles that preceded the release of Wonderland failed to break into the Top 40. There were, however, sparks of intrigue; the aforementioned ‘Who Needs Love Like That?’ is a hindsight-enhanced classic, while (the admittedly risible in every way) Dollar made a better commercial first of the sweet paean to unrequited love, ‘Oh L’amour’, turning into a sizeable hit in 1987. The original Erasure version was backed with ‘Gimme! Gimme! Gimme! (A Man After Midnight) – their first stab at covering ABBA.
This comparative lack of success – certainly by Clarke’s previous chart heroics – meant that Wonderland was released on 2nd June 1986 with little fanfare. The album was produced by Flood, who at that point in his pre-U2 career had not taken on sole production duties until he began to work with Clarke and Bell (although he had engineered tracks for New Order and Nick Cave And The Bad Seeds). Drivers license generator california. The resultant album is dichotomous beast: aspects of Wonderland are deeply flawed - the record contains a couple of laughably bad songs - but somehow is a very easy album to love. The blemishes and clunky moments make Wonderland special. In an era of high-falutin’ imagery and trowled-on pretentiousness, Erasure’s honest transparency was particularly endearing.
Of the 11 tracks that make up the UK release of Wonderland, Bell and Clarke co-wrote eight and the album’s inconsistent quality points to the newly-formed collaboration flexing their collective muscles and working out boundaries. While there are a number of sparkling tunes - the excellent ‘Push Me Shove Me’ is the rallying cry to end an abusive relationship (“Now I know the game you play / I can see it in your eyes”) - Wonderland includes two or three stinkers. ‘Pistol’ is hilariously terrible; a camped-to-the-max police officer fetish anthem (“Blue boy go get your gun”), which was subsequently removed from the US version of the album.
But even a song as teeth-grindingly naff as ‘Pistol’ had a certain thrill – play it once and you’d probably be singing it for the rest of the day. And therein lay the magic of Erasure – a likeability factor that rode roughshod over cerebral critique. There was a sense that Wonderland showcased a band who were dedicated to the art of crafting pop music, and just happened to use synthesized sounds to make the music, as opposed to a synth band showing-off their technology via the medium of pop. It is a subtle difference, but one which - in this scribe’s opinion - became central to Erasure’s appeal.
Arguably, the foundation for the duo’s success is present on Wonderland. The Bell-penned ‘Cry So Easy’ is a sophisticated take on electro-pop and although ‘Senseless’ maybe sugar-coated it hints at lustful delights (“Inhibition’s slipping away / Stay there, got a lot we can share”). If ‘Reunion’ belly-flops under the weight of a fromage-drenched chorus, ‘Heavenly Action’ is another simpering moment of songwriting purity, with the duo’s chemistry and sense of playfulness shining through.
The other aspect of Erasure’s charm was Andy Bell himself. Wonderland presented a gay man who appeared utterly at ease with his sexuality. In the mid-80s, major pop bands either went to great lengths to hide their homosexuality (Wham! anyone?) or portrayed gay men as cartoon characters (step forward Culture Club and Frankie Goes To Hollywood). From day one, it was apparent - even to this slightly-naive teenager - that Andy Bell was a reassuringly normal gay man, who didn’t feel the need to wear women’s smocks or make videos based on Roman orgies. And, okay, Bell danced like your Dad and his voice got a bit wobbly on the high notes, but that only added to the warmth of Erasure.
However, the reaction to Wonderland was muted. Critics were initially unmoved and there was a sense that the album didn’t stack up to Clarke’s previous work. Some hacks felt that Andy Bell’s vocal style was desperately trying to imitate Alison Moyet – a pointless ploy if ever there was one and a pretty unfounded slice of journalistic bitchiness. Sales were not exactly of the hot cake variety; Wonderland stalled at number 71 in the UK album charts although it did crack the Top 20 in Germany.
But, if the majesty of Wonderland would prove to be a slow-burner, the events of October 1986 would demonstrate that the chemistry evoked on the debut was extremely close to producing classic pop. Only four months after the release of their debut album, Erasure released their fourth single, in the shape of a brand new song. ‘Sometimes’ felt like an instant, nailed-on classic. With its faux acoustic guitar and a lovelorn Bell musing that “The truth is harder / Than the pain inside” the song became Erasure’s first global hit. The Clarke-Bell songwriting partnership was learning fast. Erasure had lift-off.
Erasure Wonderland Special Edition Full
They’d follow ‘Sometimes’ with a flurry of gold-plated singles including ‘It Doesn’t Have To Be’, ‘Chains Of Love’, ‘A Little Respect’ and ‘Stop!’ during a period which encompassed the career highs of 1987’s The Circus and the following year’s The Innocents album and Crackers International EP. These were heady times for – as the imminent release of their 14th studio album Tomorrow’s World confirms – one of Britain’s most enduring pop bands.
Special Edition Tv
My 15-year-old self had been right – I was onto something that day in John Menzies.
Erasure Wonderland Special Edition Dvd
The special edition reissue of Wonderland is out now