Classic Erasure meets acoustic sensibilities

Like any Erasure CD, Loveboat is full of memorable hooks and Andy Bell's amazing vocal range. "Mad As We Are" is perhaps the strongest tune here, with the title track "Freedom" coming in a close second. "Surreal" and "Love is the Rage" are also very strong. In fact, there are only a few weak points on the entire CD.

While it's not as "out there" as the self-titled "Erasure" CD from 1995, Vince Clarke has once again proven that he is a master song smith and in my opinion, Andy Bell fits his style to a tee. Andy's vocal stylings (he does almost all his own backing vocals as well) are perfectly cast against the wash of synthesizers and acoustic guitars. His lyrics, while often times trite, will hit home with many people as well. They're simple, but they're also to the point.

There are only 2-3 tracks that are danceable, which is what most people know Erasure for; many tracks they wrote over a decade ago are still club standards. Like 1995's CD, the majority of these songs are more exploratory and slower in tempo. That's a good thing if you're a fan like me, but those expecting a CD of dance tracks may be disappointed.

I still wish that Vince Clarke had stayed with Depeche Mode as Martin Gore is a masterful songwriter as well but with the "darker" edge. Mixing those two again would produce some interesting results. As it stands, though, both have made names for themselves, both have persevered, and both deserve a spot in any CD collection where beautiful synth work and catchy music are important.

Loveboat; Erasure returns

Erasure have been my favourite band for 7 years now and I must say that Loveboat is one of the better albums they've released the last 7 years.

"Loveboat" is a perfect example of how Erasure can still be fresh after all these years. "Freedom", the first track on the album is an old-fashioned Erasure song, strong hooks and very upbeat. "Where In The World" is a beautiful ballad, with Andy's voice coming out beautifully. "Crying In The Rain" is a dramatic song in Erasure's best tradition, still there's a rough edge to the album, giving it a special sound. "Perchance To Dream" is one of my personal favourites. It's a very weird song, with Andy singing in his beautiful falsetto voice, a true uplifter! "Alien" is probably the descendant of "Sono Luminous" from the selftitled album, serene and beautiful. "Mad As We Are" again is a kind of 20's song, melodramatic and chilling. "Here In My Heart" is an upbeat song, more of the old tradition.

"Love Is The Rage" is a bit of a dark song, I love it. "Catch 22" is again a very upbeat song, a bit like "Angel" on the selftitled album. "Moon & The Sky" is probably the most commecrial song on the album, a great dance-song which will be the new single. "Surreal" is the closer, and as in good old Erasure-tradition, is a ballad which leaves you wanting for more.

Loveboat is a darker album than most Erasure-albums, I feel it even goes back as far as Chorus of 1991. I think Loveboat certainly deserves a place next to that great album. So if you ever loved Erasure, Loveboat will not disappoint you!

Mediocre, horrible sound editing -- wait for the 2005 CD

I have almost every Erasure CD there is, including imports... I have been to all of their concerts in my city... and this CD is by far MEDIOCRE. The songs could be so much better, but the sound editing is so horrible that the you can hardly hear the music.

Not Bad Music

I have heard every Erasure release to date. I was thoroughly disappointed in this release. The songs have great potential, but with the muffled singing and over the top bass, I could not get any feeling from the songs. Surprised, I must admit. I sincerely hope this is not the beginning of the end?

The "Titanic" of Erasure albums

Being a long-time fan of Erasure, I'm surpised and shocked to find such a misfire amongst their rather accomplished catalogue. The recording is muffled, the melodies go nowhere, and Erasure seems to be lost adrift at sea. So bad that no one would release it in the USA for good reason.

They can't win...

You've got to feel sorry for Erasure. For years, they are harassed by fans and critics alike for having much of their music and lyrics sound the same. So, finally, they decided to try something new with "Loveboat," which was trashed by the fans but adored by the critics.



On its own, Loveboat stands fairly well; it just doesn't work well as an Erasure album, with many hip-hop and Eurotrance beats dominating the album, and with some almost entirely acoustic songs. As an album by itself, it works very well. The songwriting and the music are top notch. Sadly, Vince Clarke's superb keyboarding skills are pushed down and hardly used at all.



Some of the songs, such as "Freedom," "Perchance to Dream," and "Mad as we are" are repitive and boring to listen to. The last four tracks, however, are the best songs on the album, with the exception of the beautiful "Alien." They are truly original and fantastic songs.



It's hard to say more about this album...all I can say is, don't buy it expecting classic Erasure.

True To Form

An avid collector of Erasure music (singles, imports, etc), I was anxiously awaiting the US arrival of this long-delayed album. My first impression of this album was mixed. It was not truly in the tradition of the syntho-pop music that made Erasure so reknowned. Nevertheless, I gave "Loveboat" a chance and put it through multiple listening sessions.



Driving along the interstates of Texas, I suddenly realized that this was the Erasure of the 2000s. The message of their music, which meant so much to me growing up, carried through. The sound was somewhat different than what the Children of the 80s may have anticipated, but it was beautifully adjusted to a more current beat.



"Mad As We Are" is a fantastic piece which begins like black & white television then morphs into a classic Erasure ballad. Simplistic and haunting, this song speaks loudly. "Catch 22" is an upbeat tune in the tradition of early Erasure albums. "Alien" is yet another tune that should appeal to the hardcore Erasure following.



There is a new twist to the album that will leave some Erasure-ites with mixed emotions. Several of the songs have a harder edge that speak to a more alternative sort of taste. It took several listenings for me to adapt to this new sound from Bell & Clark.



This album is traditional, campy and innovative. Be prepared for an experience that ranges from expected to the unexpected from our British Boys. The hardcore Erasure fan will find another gem. The casual listener looking for the sound of the 80s may be disappointed. Overall, however, the album is a keeper for anyone who considers themselves a connoisseur of the Erasure, Pet Shop Boys, Depech Mode tradition.

Unmemorable Work

Erasure's previous album "Cowboy" (1997) was one of their strongest later releases and arguably one of the best three albums they had made. Loveboat, musically, is produced in a similar style to Cowboy but is paced significantly slower; the best description I can give is a cross between Cowboy and the self-titled "Erasure" (1995). Unfortunately, for the most part it is blander and less convincing than either.

Unfortunately, it is difficult to think which of Erasure's 10 or so other albums are weaker than this. The only clear example would be their latest flaccid effort of remakes entitled "Other People's Songs": it is obviously not a good sign if a group's ultimate and penultimate releases vie for least auspicious!

There are a couple of outstanding songs, however. "Alien" is a slow to medium paced song of great beauty which develops elegantly. Similarly, "Mad as We Are" is characterised by exquisite atmospherics and evokes memories of Erasure's greatest slow songs.

Yet these are the exceptions and on some of the tracks here (eg. "Love is the Rage"), there are even hints of acoustic guitar as if Erasure have truly run out of ideas...! Although this admittedly forms the nadir, nonetheless most of the tracks are, simply, poor imitations of ones on the most recent two albums before. Listening to this does make one appreciate the earlier works more keenly, which is one good thing.

Varies

There are some great tracks on this disc, but those who have commented on the varying volumes and production are right. You must keep your fingers on the volume control throughout the CD unless you have a limiter hooked up! Still, many of the cuts are vintage Erasure and it is too bad it wasn't released in the US. I still enjoyed it!

Weird, but good

This album is quite a departure from previous Erasure albums. The songs are a bit more abstract (even more so than their self-titled Erasure album). Several songs seem to hint at a more acoustic sound, although the familiar electronic elements come in here and there. Upon first listen, it's easy to see why this album never really took off. It actually takes effort to listen and truly hear the musical arrangements. However, with that effort, you will hear a very well-written collection of songs.



My rating of three stars SHOULD have been four, but I had to take one away for the TERRIBLE mixing and cleanup of the sound. The album sounds like an old cassette tape. The bass is abnormally strong and messy, and some of the more important highs are drowned away. It's really a shame, because the record has huge potential to be one of Erasure's best.



Highlight tracks include the infectuous "Freedom", the melancholy "Alien", and the beautiful acoustic "Love Is The Rage", which is probably one of the best Erasure tracks I've ever heard.



I'd recommend this record for fans only. If you're unfamiliar with Erasure, check out The Best of, Chorus, I Say I Say I Say, Nightbird or The Innocents.