Pet Shop Boys Community

Undertaker does have a point about the budget for this video. How can any Erasure fan justify this....?

http://www.youtube.com/results?search_t ... +girl&aq=f

The kind of fan who will accept any old "crap" from them, arf, arf.

Undertaker wrote:

pulse wrote: And you know, old friend, we aren't going to progress any further if you keep throwing gasoline and sparks onto my extended olive branches.

LOL! I'd love to see these olive branches. All i've ever seen from you is little personal insults about grammar when it's clear you are losing an argument. A classic response from someone who's backed into a corner. So cut out the bullshit. Although i'm all for a truce in these rather tiresome discussions. I'll look forward to your reply

If you go back and re-read, the only time I've made comments about your grammar is after you've insulted me personally. Strangely, from comments on my age to looks to career, you've touched on everything personal, which is rather odd. I could easily have insulted your age, looks, and career but haven't even gone there. And most importantly, I've never been backed into a corner or lost an argument with you - most of the times you get the floor wiped with yourself, and the other times, you resort to personal cut-downs. It is actually rather humourous watching you fall on your face systematically.

Here's the thing - I don't think a truce would work, simply because you will continue to cut down Erasure, and I will continue to dismantle your cut downs (and in the process, continue making you a laughing stock amongst fans of both bands). Go ahead and clench your midweek charts stats with your shaking hand - it's the only glory you revel in, and the quicksand foundation you've built your thesis on.

DJ_Couture wrote:The kind of fan who will accept any old "crap" from them, arf, arf.

From what I gather they didn't even plan to make a video for this song but made one because the fans wanting it, fine its nothing great but better than nothing.
Sorry if not everybody has the same taste as you, arf, arf.
Maybe you should decide what everybody should like?
So you don't like Erasure, good for you!

Undertaker wrote:
You are the one comparing sales here. PSB get a good budget because they sell healthy amounts. Of course other acts sell a lot more. who said they dont? I can see it now ''Now then Neil and Chris, I'm Mr Dourves and unfortunatly, Girls Aloud sell a lot more than you, so therefore your next producer is ten bob bit and you are filming your video sat on the toilet''.

Budgets are nothing to do with what others sell. Budgets are based on what that particular artist sells. Surely thats obvious? A record company isn't going to throw money at dead wood. It will just be wasted because they wont get a return.

Working in the film and music industry, and dealing with labels on a daily basis, I can assure you that you are *wrong*.

Labels do *not* distribute money equally based on sales. The reason that a label exists is because it decides how to distribute and redistribute funds. Depending upon how much faith the label has, a large portion of funds can go into promoting new artists and artists with a potentially rewarding return propensity. Of course, a band the size of U2 will have a lot of say in how much money goes to them, and much of that is political (the label wants to make sure they stick around).

It's not, however, the way you put it. It's not like bands have "bank accounts" in these labels, and what they put in they can only get out. It all depends on the project. I can guarantee you that PSB don't have "direct board approval." If PSB were to try and market a, say, ballet pop album, you can rest assured that the promotional well would run dry.

Please don't make sweeping statements about the industry unless you actually know.

Oh, nobody here is arguing that Erasure aren't plagued by horrible visual representation... believe you me.

Oi, Patrick Bateman!

I love that I've made it onto your signature. Nice to see you filter through the Erasure forum like a true fan would.

Here's a proper, non-selective transcription of my post:

---

I received mine two days ago - and I'm still in shock from it. What a spectacular package! It's a full on book with such a great historical write-up on the band.

I'm discovering new things about many of the songs. I went on a very long drive, and by "Am I Right?" my face was wet with tears. There are no other pop songs like these, nowhere, and there never will be. Songs that I once felt were the weakest of the Erasure singles catalogue, like "The Circus" and "Love To Hate You" have been reignited with a remarkable fire they've never had. Andy's voice on "Am I Right?" moves beyond the description possible by words - it's full emotion and full art. I hear this voice then look around at Erasure's "competition" - all those other bands that came from the same era, and for the love of God, just how much they pale in comparison. When fully immersed in these extraordinary songs, it becomes plain as day that there never was competition in the first place.

'Lightweights' like "Blue Savannah," "Run To The Sun," "Breathe Of Life," and "Rain" seem to have been electrified, and most importantly, relevant again to the point of inspiring a new generation of pop musicians.

The seminal 'heavy-hitters' like "A Little Respect" and "Fingers & Thumbs (Cold Summer's Day)" seem to have added
muscle to their frame and aged into beings more attractive than when they were younger.

Of course, it's not all sparkle and gleam. Although certain background Vince-isms are brought up in the mix, various explosive elements seem to have been quieted to a lesser effectiveness. Point in case: "Drama!" That planet detonating monster middle-eight synthline seems to have a tranquiliser dart shot into its rump. Oppositely, other middle-eights, like the oceanic whistling of "In My Arms" have been brought up to levels that seem like an oversight. Furthermore, the inclusion of JC's ever-so-non-Erasure blasphemy "Moon & The Sky" is a mistaken aberration.

These are paltry complaints, however, in the face of this superior collection - pop music's greatest triumph. Simply unattainable heights by any other band.

This is the Mount Olympus of pop music - not the highest mountain in the world, as an acknowledgement of the erratic chart performance, but by far the only miraculous mountain in existence. All other mountains are just rocks when ours is spellbinding magic.

This is a proud day for all of us.

s t e p h a n o wrote:I received mine two days ago - and I'm still in shock from it. What a spectacular package! It's a full on book with such a great historical write-up on the band.

I'm discovering new things about many of the songs. I went on a very long drive, and by "Am I Right?" my face was wet with tears. There are no other pop songs like these, nowhere, and there never will be. Songs that I once felt were the weakest of the Erasure singles catalogue, like "The Circus" and "Love To Hate You" have been reignited with a remarkable fire they've never had. Andy's voice on "Am I Right?" moves beyond the description possible by words - it's full emotion and full art. I hear this voice then look around at Erasure's "competition" - all those other bands that came from the same era, and for the love of God, just how much they pale in comparison. When fully immersed in these extraordinary songs, it becomes plain as day that there never was competition in the first place.

'Lightweights' like "Blue Savannah," "Run To The Sun," "Breathe Of Life," and "Rain" seem to have been electrified, and most importantly, relevant again to the point of inspiring a new generation of pop musicians.

The seminal 'heavy-hitters' like "A Little Respect" and "Fingers & Thumbs (Cold Summer's Day)" seem to have added
muscle to their frame and aged into beings more attractive than when they were younger.

Of course, it's not all sparkle and gleam. Although certain background Vince-isms are brought up in the mix, various explosive elements seem to have been quieted to a lesser effectiveness. Point in case: "Drama!" That planet detonating monster middle-eight synthline seems to have a tranquiliser dart shot into its rump. Oppositely, other middle-eights, like the oceanic whistling of "In My Arms" have been brought up to levels that seem like an oversight. Furthermore, the inclusion of JC's ever-so-non-Erasure blasphemy "Moon & The Sky" is a mistaken aberration.

These are paltry complaints, however, in the face of this superior collection - pop music's greatest triumph. Simply unattainable heights by any other band.

This is the Mount Olympus of pop music - not the highest mountain in the world, as an acknowledgement of the erratic chart performance, but by far the only miraculous mountain in existence. All other mountains are just rocks when ours is spellbinding magic.

This is a proud day for all of us.

But did you like it?

Patrick Bateman wrote:
But did you like it?

Here's another review just for you, PB!:

<pretends Patrick Bateman hasn't seen this>

---

I love the minimalist electropop that most of these remixes are embracing, rather than the garish messes that Erasure remixes tend to be. I have to say, this is a huge improvement in quality.

Faves:

1. "Chorus" - Electronic Periodic Remix

This one sounds simply amazing, especially loud in a car. Crisp sounds floating in a sea of deep, rich bass. Artful but respectful of the original.

2. "Drama" - Andy Bell and JC Remix

Wondrous resounding triplets and a relentless energy. Once again - even more great loud.

3. "Stop!" - Vince Clarke Sync 82 Remix

A surprising take on the original. I was shocked at Vince removing his trademark synthlines and adding an interesting new angle.

"Victim Of Love" and ""Ship Of Fools" are both great versions (although I *definitely wouldn't go as far as saying these mixers should produce the next album). The Manhattan Clique Remix is acceptable - especially what's going on under "...when it's cold, outside..." I prefer the single edit of Soundfactory's "Fingers & Thumbs."

Then there's "Always" - 2009 Mix. This song still transcends all charts and comparisons. Yes, this latest version is not too different from the original (but there are some big changes, if you're really attached to the song). This is the greatest pop song ever written. If taken as a benchmark at the highpoint of a creative career of any band, it shows the highest pop peak possible - nobody can erase how spectacular this song is and no other band could even dream of coming within miles of it. "Always" is the song that's playing in Heaven, and it happens to be the soundtrack of my very soul. It almost feels like red carpets roll out of my ears every time this comes on and the song marches in like the most stateliest of kings. A pure gold document - the perfect example of the heights that *no other band* will ever have been capable of. Simply put, this is proof of why Erasure are the greatest pop group that will ever be, and a gift that was given to us that no one can ever take away.

JSDOUVRES wrote: From what I gather they didn't even plan to make a video for this song !

Which says it all. No video because Mute wouldn't fund it because it would be money down the drain.

This is nothing to do with picking on an easy target like Erasure but it's clear as day that Erasure's budget is very low. I cannot see how anyone can argue that. I will add that i hope they can somehow produce sop top notch work again but i just cannot see it with the backing Mute give them money wise. Loads of people moan about this too on the EIS forum. However, you cannot blame Mute because as i keep saying, they are a business and they want a return.

pulse wrote:
Working in the film and music industry, and dealing with labels on a daily basis, I can assure you that you are *wrong*.

O.k, let me get this straight. You say ''i'm wrong'' about Mute not wanting to throw money at Erasure because they won't get a return. You then go on to say ;-

pulse wrote: Depending upon how much faith the label has, a large portion of funds can go into promoting new artists and artists with a potentially rewarding return

So we all know Mute don't throw a lot of money at Erasure. Thats because they wont get ''a potentially rewarding return''.



Like i said, it's a vicious circle for Erasure.

No, you have been slowly fusing your video argument with your album production argument and a diverging producer argument.

If you think albums like Fundamental, Release, and Nightlife are good albums that have warranted further investment in the band in *any* promotional/production arena, then you and I may as well be speaking two different tongues.

JSDOUVRES wrote:

DJ_Couture wrote:The kind of fan who will accept any old "crap" from them, arf, arf.

From what I gather they didn't even plan to make a video for this song but made one because the fans wanting it, fine its nothing great but better than nothing.
Sorry if not everybody has the same taste as you, arf, arf.
Maybe you should decide what everybody should like?
So you don't like Erasure, good for you!

Erm, I actually really like Erasure which should be obvious from the other posts I've made in this very thread. I just decided to make a joke, admittedly a deliberately feeble one, about the Sunday Girl video which features Andy sitting on the toilet. There is a link between toilets and crap. In hindsight perhaps I should have explained that.

Please lighten up. Though I like this idea you have of me dictating public opinion.

Undertaker wrote:

JSDOUVRES wrote: Smaller budget, so what mute are going to take some of Vince's synth's away?

So he has got more than one synth then? My ears must have decieved me over the last decade.

He does have many, many synthesisers.

But that's the brilliance of Vince Clarke! Through the endeavour of hundreds of hours in the studio, and the application of a little producer magic, Vince has managed to take this wide array of keyboards - and make them all play the same sounds. Now every synth he owns sounds exactly the same as a Christmas cracker novelty electronic keyboard.

No other word for it: GENIUS.

pulse wrote:No, you have been slowly fusing your video argument with your album production argument and a diverging producer argument.

If you think albums like Fundamental, Release, and Nightlife are good albums that have warranted further investment in the band in *any* promotional/production arena, then you and I may as well be speaking two different tongues.

Release was mostly produced by PSB themselves. Obviously not a lot of funds available on the back of the average Nightlife. As for Fundamental ;- It was a fantastic album that was brilliantly produced. Obviously sold well enough for them to get the backing to work with Xenomania (PopArt had already sold 1 million worldwide as well, prior to Fundamental)