FEATURE:
A Buyer’s Guide
Part Sixty: Alison Moyet
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IT is fitting that this is…
the sixtieth part of this feature, as the great Alison Moyet turned sixty recently. One half of Yazoo, I am exploring her remarkable and decades-running solo career. One of the greatest voices ever, I love her music a lot. 2017’s Other is the most-recent album from Moyet. I hope that we will hear much more in the future! Before getting to her essential albums, here is some biographical guidance from AllMusic:
“A British pop singer known for her rich, remarkably bluesy voice, Alison Moyet sang in the short-lived, hit alternative dance group Yazoo before returning to the top of the U.K. album chart with her 1984 solo debut, Alf. It included "Invisible," her only Top 40 hit in the U.S. She went on to become a steady presence on the U.K. charts, however, with each of her studio albums reaching at least the Top 30. Sticking with a primarily synth-driven adult pop for her first few albums, she eventually experimented with lusher arrangements, including strings on 2002's Hometime, and took on standards with 2004's Voice. Released in 2013, The Minutes marked a return to club-minded electronics while keeping her sound distinctly contemporary. In 2017, Moyet's ninth studio album, Other, was accompanied by her first extensive world tour in 30 years.
Born Geneviève Alison Jane Moyet in Essex in the early '60s, Alison Moyet began her professional career with former Depeche Mode member Vince Clarke in the synth pop duo Yazoo (Yaz in the U.S.). They released two hit albums, Upstairs at Eric's and the U.K. number one You and Me Both, in 1982 and 1983 before splitting. Clarke went on to form Erasure with Andy Bell, and in 1983, Moyet began a solo career, releasing her debut album, Alf, the following year. Alf was a major success in Britain, hitting number one on the charts and launching the hit singles "Invisible," "All Cried Out," and "Love Resurrection"; it was a minor hit in the U.S., with "Invisible" cracking the Top 40. In 1985, Moyet toured with a jazz band led by John Altman. The group recorded a version of Billie Holiday's "That Ole Devil Called Love," which became her highest-charting British single, reaching number two.
In 1986, Moyet had another major U.K. hit with "Is This Love?," which was released while she was recording her second solo album. Raindancing appeared in 1987 and was another success, peaking at number two and spawning the Top Ten hits "Weak in the Presence of Beauty" and "Love Letters." The record also charted in the U.S., reaching number 94. In 1991, she released her third album, Hoodoo, which was her most musically ambitious collection to date, though it didn't match the commercial success of her previous albums. Essex, her fourth album, arrived in 1994, and she released a greatest-hits collection, Singles, the following year.
After a nearly nine-year layoff involving litigation with her longtime label, Sony, she signed with Sanctuary Records for 2002's Hometime, produced by the Insects. It saw her expanding her palette with strings and layered guitars as well as synths. Two years later, Voice arrived filled with standards and became her third Top Ten album. In 2005, it was reissued in America with her version of "Alfie" as a bonus track. After joining the W14 Music label in late 2006, Moyet released The Turn in October 2007.
Signing a new worldwide deal with London-based label Cooking Vinyl, Moyet returned to a more electronic sound with her eighth studio album, The Minutes, issued in 2013. It became her highest-charting album since Raindancing in the U.K., reaching number five. A couple of live records followed in 2014's full-length Minutes and Seconds: Live and 2015's Live for Burberry, an EP recorded during that year's London Fashion Week. Inviting back The Minutes' Guy Sigsworth to produce, her ninth studio LP, Other, arrived in June 2017. In support of the album, Moyet embarked on a major world tour, which was documented on 2018's The Other Live Collection”.
To celebrate the work of a remarkable artist, I have highlighted the four solo albums that are a must, the latest album from her and the album that is underrated – I am not including a book recommendation this week. Here is the very best…
FROM the amazing Alison Moyet.
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The Four Essential Albums
Alf
Release Date: 9th November, 1984
Labels: CBS/Columbia (re-released on C.D. in 1990 by Sony Music Entertainment and 2000 by Sony-BMG)
Producers: Steve Jolley & Tony Swain
Standout Tracks: For You Only/Invisible/All Cried Out
Buy: https://www.discogs.com/sell/list?master_id=57478&ev=mb
Stream: https://open.spotify.com/album/5VuZzAwXSUGcT81VxY7QQO?si=PgGLt4ZaTgCycl50EgHmzA&dl_branch=1
Review:
“Moyet rolls up her sleeves when she sings: her rich alto fairly booms the licentious "Love Resurrection," the story of a woman who wants a little more than just a good-night kiss. "A warm injection/Is all I need to calm the pain," she declares, with the conviction of the blues mamas to whom she is hyperbolically compared. But she can't rescue "Steal Me Blind"; its empty soul homages only make Moyet sound self-pitying. And why is a maddeningly perky glockenspiel chirping on the otherwise chilling "Where Hides Sleep"?
In the end, Moyet has to pull much of this record out of the fire all by herself. The ineluctable blast of her voice is good enough to make the single, "Invisible" (written for her by Motown legend Lamont Dozier), a definite keeper. She plumbs the depths of her register during the middle of "All Cried Out," and the effect is just as thrilling when she wails with carnal delight ("Now you have no choice but to let go/And dive into my ocean") in "Honey for the Bees." That frankly sensual, defiantly uncoy attitude helps elevate Moyet above others with equally good voices. Even when she verges on melodrama – and on "For You Only" she reaches it – Moyet shows no shame. She rocks back on her heels and lets fly.
Diamond Life understands its singer's limitations perfectly, and wisely remains within them; "Alf" doesn't grasp or accommodate its vocalist's strengths. Sade is probably en route to becoming the Next Big Thing, but after that, who knows? At this stage, the truer talent is Alison Moyet's. Despite the occasional miasma of "Alf," Moyet's is a voice that shares in a grand, gripping tradition; one that demands – and will reward – your attention” – Rolling Stone
Choice Cut: Love Resurrection
Raindancing
Release Date: 6th April, 1987
Labels: CBS/Columbia (re-released on C.D. in 1990 by Sony Music Entertainment and in 2000 by Sony-BMG)
Producers: Jimmy Iovine (tracks 1–6, 8–10)/Jess Bailey & Alison Moyet (track 7)/Joseph Hughes & David Freeman (track 5)/Jean Guiot (track 6)
Standout Tracks: Weak in the Presence of Beauty/Sleep Like Breathing/Is This Love?
Buy: https://www.discogs.com/sell/list?master_id=57565&ev=mb
Stream: https://open.spotify.com/album/3Nd7hLMDdgniuc4o8XRXwU?si=6LohvVQrRnC88lnNzFReqg&dl_branch=1
Review:
“In 1987 Moyet’s second album, Raindancing (7.5/10) followed on where Alf had left off but with a slightly less poppy feel despite spawning four hit singles, two of which reached the top 10 – album opener Weak In The Presence Of Beauty (written and originally recorded by Floy Joy) and Is This Love? penned with Jean Guiot who would later be revealed as none other than Dave Stewart of Eurythmics. Further singles Ordinary Girl and Sleep Like Breathing failed to reach the Top 40, the latter of which was almost criminally ignored as it saw her duet with Dave Freeman of The Lover Speaks who were also responsible for the Annie Lenox track No More I Love You’s.
The album contained the stunning Blow Wind Blow, another haunting track which was stunning in its simplicity and begged to be used as a movie soundtrack, was largely produced by Jimmy Iovine who had recently worked with U2 and Simple Minds and showed the esteem that Alison was now being regarded. Again with the bonus disc come cd firsts including a stunning version of Jacques Brel’s Ne Me Quitte Pas recorded at Wembley Arena, and The Coventry Carol which was recorded for the Olympics benefit album A Very Special Christmas” – Louder Than War
Choice Cut: Ordinary Girl
Hoodoo
Release Date: 22nd April, 1991 (U.K.)/27nd August, 1991 (U.S.)
Label: Columbia
Producers: Pete Glenister (tracks 1–2, 4–7, 9–11)/Dave Dix (track 3)/Andy Cox & David Steele (track 8)
Standout Tracks: It Won’t Be Long/This House/Hoodoo
Buy: https://www.discogs.com/sell/list?master_id=57595&ev=mb
Stream: https://open.spotify.com/album/6yiTPKwPqf1a3G4fxY0BgV?si=sCx_ExIlTUqx9RhOozVnhQ&dl_branch=1
Review:
“On her third post-Yaz release, songstress Alison Moyet puts her bluesy vocal abilities to good use on possibly her most soulful collection yet. She hasn't lost her knack for breezy, adult pop, evident on the lilting, melodic "Wishing You Were Here" (with Kirsty MacColl lending some assistance on backing vocals) and "It Won't Be Long," but tracks like the horn-driven "Footsteps" and high-energy title song form the core of Hoodoo. With the lyrics squarely focused on relationships, Moyet is often brassy and assertive as on "Back Where I Belong," which features a catchy electro-reggae beat and contributions from ex-Fine Young Cannibals Andy Cox and David Steele. She's still more than capable of expressing heart-aching vulnerability, though, especially on the gorgeous "This House," where a split-second pause gives way to her passionately imploring, "Who will take your place?" Other highlights include a pair of gospel-flavored numbers, the jumpy "Rise" (on which she adds harmonica) and the anthemic closer, "Find Me." It all makes Hoodoo another strong offering from the distinctive Moyet”- AllMusic
Choice Cut: This House
The Minutes
Release Date: 3rd May, 2013
Label: Cooking Vinyl
Producer: Guy Sigsworth
Standout Tracks: Changeling/Remind Yourself/Love Reign Supreme
Buy: https://www.discogs.com/sell/list?master_id=566066&ev=mb
Stream: https://open.spotify.com/album/0xhSV8N220FdDVKjQZjhb3?si=QfD7TmKEQHy-wicxacufWg&dl_branch=1
Review:
“After a reunion tour with Yaz and an appearance as Mama Morton in the West End production of the musical Chicago, Alison Moyet released The Minutes, her first recording in six years. Produced and co-conceived with producer Guy Sigsworth (Madonna, Björk, Britney Spears, Alanis Morissette), this set marks the first time Moyet has embraced an entirely electronic palette since the 1980s. And while her electro roots are on full display here, this is not an exercise in nostalgia. The only cuts that remotely suggest Yaz are the jaunty, pulsing "Love Reign Supreme," a song about resilience in the most difficult of times, and "Filigree," with its delicate, barely there ticking rhythm, bubbling, bleepy synthesizers, and only enough structure to carry Moyet's melody home in this lovely, poignant ballad. In spite of her collaboration with a producer whose metier is more often than not dancefloor pop, Moyet proves she is no mere slave to the rhythm (never has been), and as has been her wont, the lyrics are meaty throughout. The record's first single, "When I Was Your Girl," doesn't stray very far from her torch song dramatics, even with its electronic palette -- no, those aren't guitars. But check "Changeling" and you'll hear dubstep breakdowns and drops, while "Right as Rain" uses 1990s post-disco and techno to carry its message of unlimited and unconditional devotion to her beloved. "Apple Kisses," with its squelchy basslines and skeletal beats, underscores the erotic bravado in the lyric. "A Place to Stay" commences with a gothic organ and its hint at harder edges, which arrive in the form of an industrial instrumental break, all of it underscoring Moyet the scorched-earth torch singer. Realistically, despite this being an electronic album, she only glances back occasionally. The Minutes is rooted firmly in the present. Lyrically, Moyet has seldom been better, and her voice is simply ageless. Her partnership with Sigsworth is a fine, even seamless fit, making this consistent, and satisfying, top to bottom” – AllMusic
Choice Cut: When I Was Your Girl
The Underrated Gem
Essex
Release Date: 21st March, 1994
Label: Columbia
Producers: Ian Broudie (tracks 1–5, 8, 10, 13)/Pete Glenister (tracks 6–7, 9, 11–12)
Standout Tracks: Falling/Whispering Your Name/Getting into Something
Buy: https://www.discogs.com/sell/list?master_id=82809&ev=mb
Stream: https://open.spotify.com/album/7y12awIP0Uu06chXMfN9JZ?si=T1fIXHWVTUS4C3nIxYSRcA&dl_branch=1
Review:
“This British belter slows it down on her fourth solo release Essex with plenty of guitar strumming, soothing harmonies, and bare- handed percussion. While she displays impressive range-one minute she’s grinding it out; the next, letting words breathlessly tumble from her lips- it’s not particularly distinctive. Essex may be elegant, but it lacks emotional weight. C+” – Entertainment Weekly
Choice Cut: Ode to Boy
The Latest Album
Other
Release Date: 16th June, 2017
Label: Cooking Vinyl
Producer: Guy Sigsworth
Standout Tracks: I Germinate/Reassuring Pinches/Other
Buy: https://www.discogs.com/sell/list?master_id=1196686&ev=mb
Stream: https://open.spotify.com/album/6LMBiPQioW6u5u91z9dyZU?si=v0Upd9cjSMeQiW7RAgDJzQ&dl_branch=1
Review:
“Suddenly the landscape has changed,” sang Alison Moyet as 2013’s The Minutes got underway, and it was true. In producer Guy Sigsworth, she’d finally found someone who understood how to best exploit the dark power of her voice, cloaking it in rich electronic arrangements and matching its passion with drama. Four years later, on Other’s opening track I Germinate, this remains true.
Moyet seems reborn, overflowing with confidence, her melodies as strong as any she’s sculpted, her lyrics ingeniously weighty. She is also accompanied by some of the most pristine, formidable music of her career, but – with all due respect to Sigsworth – it’s Moyet’s words that demand most attention.
Eloquent and expressive, they reveal a woman revelling in both her environment and her articulacy. Though she belittles her strengths on the gorgeous The English U – ironically with pithy wit like: “I want to know the comma/ Though I neglect to honour/ Every breath implied/ Uncertain of its need” – it’ll be a while before we stumble on anything so poetic.
So compelling are her words, she recites to us rather than sings on April 10th, conjuring up arresting images of “Fog, like boiled wool, felt-tight”.
Elsewhere, her luxurious vocals are perfectly suited to descriptions of “a crocus offering saffron token” on the grandiose I Germinate, or loaded observations such as the delicate title track’s “Don’t want another rock to hang about my neck/ You see bejewelled/ I see bedecked in dead stars”.
On the energetic Happy Giddy, a big budget throwback to Yazoo, her mood is lighter as she mocks social media culture: “Find your life online/ Emoji man”. However, on Beautiful Gun she converts this flippancy to grotesque sarcasm (“You’ve got a gun-toting gait/ That’s a walk that I rate”), while guitars wail behind her.
Those holding onto the Alf of All Cried Out and That Ole Devil Called Love might be surprised by elements of Other, but the majority will feel invigorated. Moyet still addresses romance on Lover, Go, where rich synths are matched, unexpectedly, by a baroque harpsichord line, and she is sweet as syrup on Alive.
Throughout it is her individuality that radiates strongest. As she puts it so exquisitely on Other: “I cut out whichever shape I need… I’m as free as I have ever been” – Classic Pop Magazine
Choice Cut: The Rarest Birds