erasure the tiny tour

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• 2021  ( 13 )
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• An Evening With Erasure  ( 1 )
• BPM Tour  ( 37 )
• Kiss Party 97  ( 1 )
• Light At The End Of The World Tour  ( 43 )
• North American Tour 1997  ( 9 )
• Phantasmagorical Entertainment Tour  ( 84 )
• The Acoustic Tour  ( 23 )
• The Circus Tour  ( 55 )
• The Cowboy Concerts  ( 80 )
• The EIS Christmas Concert  ( 1 )
• The Erasure Show Tour  ( 51 )
• The Heavy Entertainment Show Tour  ( 34 )
• The Innocents Tour  ( 66 )
• The Neon Tour  ( 12 )
• The Other Tour  ( 48 )
• The Violet Flame Tour  ( 60 )
• Tiny Tour  ( 26 )
• Tomorrow's World  ( 42 )
• Total Pop! Forest Tour  ( 11 )
• Total Pop! Tour  ( 19 )
• True Colors 2007  ( 14 )
• Wild! Tour  ( 122 )
• Wonderland Tour  ( 22 )
• World Be Gone  ( 82 )
• Avg Setlist
• Concert Map

Average setlist for tour: Tiny Tour

Note: only considered 7 of 26 setlists (ignored empty and strikingly short setlists)

• Stop! Play Video
• Sometimes Play Video
• Take a Chance on Me ( ABBA  cover) Play Video
• Victim of Love Play Video
• A Little Respect Play Video
• In My Arms Play Video
• Always Play Video
• Fingers & Thumbs (Cold Summer's Day) Play Video
• Star Play Video
• Stay With Me Play Video
• Spiralling Play Video
• Heart of Glass ( Blondie  cover) Play Video
• Sono Luminus Play Video
• Who Needs Love Like That Play Video
• Oh l'amour Play Video
• Chains of Love Play Video
• Chorus Play Video
• Rock Me Gently Play Video
• Love to Hate You Play Video

Show Openers

Main set closers, show closers, encores played.

This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you.

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From Moscow To Mars

Onge's review.

When a band hits a milestone like 30 years in the industry, it is not unusual for the record label to sift through their back-catelogue and see what content can be re-released in order to celebrate the achievement (or cash in on it, depending on your outlook). In 2015, the Always – The Very Best Of Erasure compilation very much looked to capitalise on Andy and Vince's three decades together, and 2016 also saw all the band's albums being released on vinyl (some for the very first time). But of all the releases curated to mark their anniversary, the anthology box set From Moscow To Mars was the one that whetted the appetite of the fans more than any other; a 12 CD bonanza crammed full of singles, b-sides, live tracks and unreleased goodies as well as 48-page hardback book, live DVD and prints. Whilst this all sounds appealing on paper, overall the box set feels like a missed opportunity to truly celebrate the vast history of this incredible band.

“ The box set feels like a missed opportunity to truly celebrate the vast history of this incredible band. ”

Take the first 3 CDs for instance. These contain all the band's 50 singles from 1985-2015. Except they don't contain them all as some are missing, such as remix singles Sometimes 2015 , A Little Respect – HMI Redux , Always 2009 , Oh L'amour – August Mix and Who Needs Love (Like That) – Hamburg Mix . Some might feel this makes sense, but the exclusion of Phantom Bride (released as an EP in 2009) is an oversight. Of the 50 singles that are included not all are the single mixes, and the first couple of seconds of Elevation is cut off for some inexplicable reason. Pedantry of the tracklisting aside, what is the point of including these in the box set at all? We already have numerous other singles collections (none better than Total Pop! – The First 40 Hits ) – give us something we don't have.

Whilst knowing which album tracks are the personal favourites of both Andy and Vince is interesting in itself, having these make up two of CDs in the box set isn't all that appealing, especially as most fans will already own every track anyway. It's also strange how we get Boy – Acoustic again on Andy's CD, given we already have it as part of the singles collection elsewhere in the box set. For many a year, fans have wished for a b-sides album and From Moscow To Mars finally delivers this wish, albeit is a compromised form. Fans were asked to vote for their favourite b-sides with the most popular 36 making the grade across two CDs. But why not offer them all? It is an anthology after all and these are far harder to come by than all the singles. Two CDs of remixes is a bit meagre as well, and after cherry picking the best ones to use on Always – The Very Best Of Erasure a year earlier, those found in From Moscow To Mars aren't especially strong (although there are at least some new mixes thrown in for good measure, including the excellent Waiting For The Day – Vince Clarke Remix ). Why not offer the best ones (I know, "best" is subjective but the point remains)? And why not offer a whole lot more than 22 remixes in total?

“ I have no criticism of what you get in the box set – it's what you don't get that is the source of my general dissatisfaction. ”

The live CD covers performances from 1987 up to 2011 but has some noticeable absences – there's nothing from The Tiny Tour , The Cowboy Concerts , The Other Tour , the Total Pop! Tour or the Violet Flame Tour . The contents is still good, but overall it is not done as well as the live CD found in Total Pop! which blended each track together to make it feel like you're listening to one, career-spanning concert. The rarities CD is genuinely appealing including some previously unreleased content and other tracks that are extremely hard to come by, but as with every other aspect of the box set it isn't comprehensive. The final CD is an audio documentary which doesn't merit multiple listens. Lastly, we have the The Wild! Tour , which is released on DVD for the first time. Whilst this is a welcome addition, why have only one concert? And why not at least push the boat out and make it available on Blu-ray? The physical contents of the box set, such as the hardback book and postcards are nice enough. But that's ultimately the problem with the composition of From Moscow To Mars – no aspect of it is really top drawer.

I didn't intend for this review to come across as critical as it has (the box set is home to some truly incredible songs after all) and something is always better than nothing, but there is little to enthuse about in From Moscow To Mars . I have no criticism of what you get in the box set – it's what you don't get that is the source of my general dissatisfaction. No aspect is completely comprehensive, there's little in the way of previously unreleased content and the tracks haven't been remastered. I have box sets from other artists that include every single album on a USB stick (in MP3 and FLAC) or sets that come in wooden or metal boxes rather than cardboard. They have a premium feel and you feel like you're getting a huge part of that artist's entire back-catelogue rather than just a fraction of it – that's what I hoped for when the notion of an Erasure anthology was first announced. Ultimately, From Moscow To Mars is just a good release – but for a band of Erasure's immense talent and incredible body of work, just good simply isn't good enough.

Fan Reviews

Below are some fan reviews written by visitors to this very site. Once you've read these, please feel free to use the form at the end of the page to write your own review.

I mirror your thoughts 100%,a missed opportunity

It took thirty years of Erasure to compile this in what looks like 30 days. A collosal disaster and travesty to fans to call this the box we have been waiting for for the hardcore fans. I true wasted opportunity to give us the ultimate present. Now we had to scramble to order and pray you could get tickets to the show. I move on now, no need to shed a tear.

It’s a difficult one because, obviously, we Erasure fans adore the work of V&A but I, also like many other fans, feel that this long mooted anthology would have ended up so much more special than it has turned out to be. I hate to give such a low album rating of 6 when I love the brilliant music that’s on it but it’s pretty much everything that we’ve collected over these last 30+ years. There’s just not enough exclusive or unreleased content to make it worthy of a higher score for me. Very frustrating because if someone like Mark Pugh with the input of hardcore, passionate Erasure fans had been the ones planning & putting together this release, I imagine it would have been vastly improved on what we’ve all ended up with. Sorry to sound negative when we are all so very fortunate to be celebrating this magnificent , continuing journey of the greatest band in the World!!!!

After so many compilations over the past twenty years. Paying over €120 for a collection where two of the Cd’s are best of’s seems a little pointless given that another two of the Cd’s contain Vince and Andy favorites-all tracks the dedicated Erasure fan will already have. So straight off almost half the Cd’s are redundant for serious fans. However despite the non inclusion of all the b-sides, it is nice to have a collection of them on CD. the decision to add the DVD Wilde is welcome but really some of the concerts that never had a commercial release, like Cowboy, would have been more welcome. The extra’s on the DVD at least give you a tiny flavor of what life is like behind the stage. The remix Cd’s are worth a listen but definitely are nowhere near as good as the remixes on the Always compilation. Nice artwork, presentation and feel to the items but ultimately a collection that could have been so much better. It’s nice to have it, but apart from the odd CD in the collection I am unlikely to be playing most of the Cd’s in ten years time as the content is already available elsewhere.

Everything a fan just want.

Other Compilations

Read reviews of other Erasure compilations:

• Pop! – The First 20 Hits
• Hits! – The Very Best Of Erasure
• Total Pop! – The First 40 Hits
• Pop2! – The Second 20 Hits
• Always – The Very Best Of Erasure

Tiny Tour (Q3523027)

Identifiers, wikipedia (2 entries).

• eswiki The Tiny Tour (Oxford Apollo)
• frwiki The Tiny Tour

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• E4M Index Erasure Tours, Concerts, & Festivals The Tiny Tour (1996-1997)
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The Tiny Tour Dates

Post by Pughie » Wed Oct 19, 2022 6:56 pm

Return to “The Tiny Tour (1996-1997)”

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Erasure’s ‘From Moscow To Mars’ anthology box available in the USA

By Paul Sinclair

Box set news + Vince Clarke interview!

Last year’s Erasure  career-spanning box set, From Moscow to Mars was exclusive to PledgeMusic and the band’s Lexer Music store. It sold out on both and hasn’t resurfaced at a sensible price, until now… The 13-disc anthology is ‘released’ today in America and can be ordered from Amazon USA for £116 or around £92. That’s only a tiny amount more than the original selling price, so if you are interested, then now’s the time to pick one up, since who knows how much stock is available.

Last year SDE spoke to  Vince Clarke – you can read the interview below

Compare prices and pre-order

From Moscow to Mars: An Erasure Anthology

On the phone from new york, this is what vince clarke had to say:.

SuperDeluxeEdition: What do you put your Erasure’s longevity down to?

Vince Clarke: Andy and I get on so well. There’s not a lot of egos floating around in the band. It’s just been a right delight and pleasure to have been working with him for this amount of time.

SDE: Have things changed much over the years? You had that incredible run of success with number one albums but inevitably things dip a bit and you no longer have that mainstream appeal you once had. Does that make any difference to how you go about your day job?

VC: It makes no difference to our work or our output. We both still love what we’re doing. We don’t sell as many records, obviously, but we’re still writing songs, and that’s the biggest joy.

SDE: What’s your view on the industry these days? There’s no singles or Top Of The Pops any more. In some ways quite a lot of fun has gone out of it, although I realise that with social media, connecting with your fans is quite a lot easier than it used to be…

VC: Andy and I have been very fortunate, because we’ve been through the times when the music industry was making loads and loads of money, and we benefitted from that. But overall I think the changes are good, really, because it’s made the business of making music more democratic. People can afford the kind of equipment, or do stuff on their computer at home that you wouldn’t have dreamed of, 20 years ago. There’s a lot more people making music, which I think is great.

SDE: But do you miss the concept of a hit single and something going in the top ten and the instant gratification of that?

VC: I don’t know really, because it wasn’t like it happened overnight… the most shocking thing for me actually, was when Top Of The Pops stopped, or people stopped watching it, because I’d been watching that since I was nine – it was just part of your life. And to suddenly see that people weren’t interested in that was quite shocking really, so I was sad to see that go.

SDE: Tell us about the new box set then. How involved have you been and whose idea was it?

VC: Initially it was the idea of our manager, or our ex-manager actually, because BMG own the Mute catalogue now, so Shawn at Mute worked with BMG in coming up with this idea, not to capitalise but because it was 30 years they thought they should do something, you know? And they had all this stuff and they thought the band would be interested in it, so we were involved in making decisions about what went on the different CDs. Also, they found stuff that I can’t even remember, so that was kind of interesting.

SDE: But were you charged with digging around for some demos and some of the unreleased material. Presumably you had that in your possession, did you?

VC: No, no, no. It was all kept by the record company. It was in their vaults. No, I don’t tend to keep anything [laughs]. Except old synths, I’ve got loads of those! [laughs].

SDE: You mentioned how BMG owned the Mute catalogue. Back in 2009 there was a really good reissue of The Innocents and then there was a couple of more reissues The Wonderland and The Circus , a couple of years later. Why didn’t the concept of issuing deluxe editions of the album, continue? Was it down to record company shenanigans?

VC: You know what, I really don’t know. They have sort of done things in dribs and drabs really. There was a time when I think they released two records in surround sound and there was an idea then was that there would be a series of them, but that stopped. I think it’s because Mute’s been through quite a few changes in the last few years and projects get abandoned and restarted.

SDE: But does that frustrate you when there is such chopping and changing and basically your work is passed around and bought and sold?

VC: [pause] Well… I don’t know. I think actually BMG have done a really good job. I mean, I’ve been on an independent label all my life, so was never a fan of huge, big record companies, but I think they’ve done a really great job, in this instance. And the fact that they were working with Mute together on it has made it a lot more credible.

SDE: Who do you think the box is aimed at? It has a bit of everything on it, hit singles, B-sides, remixes etc.

VC: It’s aimed fairly and squarely at our fanbase.

SDE: The rarities disc is obviously very interesting and it has the audition version of Who Needs Love Like That on it. Tell me what you remember of that audition and what you saw in Andy when you were going through that process.

VC: Well, it was a long weekend basically and we had lots of people apply for it – I’d advertised for a singer. So people applied, came to the audition and towards the end of that period, that weekend, Andy came along and he was asked basically to learn two songs in about 10 minutes and then sing them as best he could. That was the idea. He just came up with the best, most soulful interpretations of those two songs. The amazing thing about that story is they found that audition tape! I mean we didn’t keep it [laughs]. Where did that come from?

SDE: Was everyone taped then? Do all the other auditions exist?

VC: I guess so. I knew nothing of this. Maybe it was some tape op at the studio making copies of it, for whatever reason, but I was amazed when that came up.

SDE: So the vocal we hear on that particular track is Andy singing live to the backing music?

VC: Yes, it was. Like I say, he had 10 minutes to learn the track and he had one go at it, and that was it.

SDE: There’s two CDs of remixes in the From Moscow to Mars box set. There are so many Erasure remixes, as I’m sure you are well aware, so how did they get whittled down, because it’s probably a bit of an arduous process listening to lots of remixes…

VC: I think the record company were looking for remixes that weren’t so common, so they weren’t going for the obvious ones, and the decision making for those, was really down to Andy because he’s more into dance music than I am.

SDE: You do some remixing yourself, don’t you? So what makes a good remix?

VC: I don’t know. It’s different for different tracks really. Remixing used to be about making a dance track, but it doesn’t necessarily mean that now. I lot of the remixing I do is for much slower songs that no one is going to dance to, but people like to listen to at home, so…. it’s changed really. It’s just about coming up with something different. A different interpretation of the track.

SDE: Obviously this box set is a big, physical item. Do you think it’s quite important that music still gets released physically?

VC: Well I like physical, and I think the fans do as well. I like sitting on the toilet and reading the credits, you know what I mean.

SDE: And what about the cost. This set is £80. Did you have a view on this being affordable and the label not going to over the top, because there’s only so much money people can afford to spend on music.

VC: Yeah, we weren’t really involved in that decision. It is a lot of money, I agree. But I guess you get bang for your buck.

SDE: Do the record company need your permission to put stuff out? How does that work?

VC: I think if we didn’t want it released, then they wouldn’t release it.

SDE: How are you at looking back? A lot of artists are passionate about what they are doing now, but not necessarily that keen on digging up the past. What are your views on that?

VC: I’m definitely more forward looking. I don’t listen to old records of mine.

SDE: Is there anything you’d like to have included on this set, but couldn’t for whatever reason?

VC: No, I think everything is on there, mate. That’s it!

SDE: Does the end of this year [2016], close the door on the archival releases, at least for a while?

VC: In 2017 we’re moving on to the next Erasure record. There’ll be another box in 20 more years [laughs].

CD 1 1. Who Needs Love Like That? 2. Heavenly Action 3. Oh L’Amour 4. Sometimes 5. It Doesn’t Have to Be 6. Victim of Love 7. The Circus 8. Ship of Fools 9. Chains of Love 10. A Little Respect 11. Stop! 12. Drama! 13. You Surround Me 14. Blue Savannah 15. Star 16. Chorus

CD 2 1. Love to Hate You 2. Am I Right? 3. Breath of Life 4. Take a Chance on Me 5. Always 6. Run to the Sun 7. I Love Saturday 8. Stay with Me 9. Fingers and Thumbs (Cold Summer’s Day) 10. Rock Me Gently 11. In My Arms 12. Don’t Say Your Love Is Killing Me 13. Rain 14. Freedom 15. Moon and the Sky 16. Solsbury Hill 17. Make Me Smile (Come Up and See Me)

CD 3 1. Breathe 2. Don’t Say You Love Me 3. Here I Go Impossible Again 4. All This Time Still Falling Out of Love 5. Boy 6. I Could Fall in Love with You 7. Sunday Girl 8. Storm in a Teacup 9. Sucker for Love 10. When I Start To (Break It All Down) 11. Be with You 12. Fill Us With Fire 13. Gaudete 14. Make It Wonderful 15. Elevation 16. Reason 17. Sacred

CD 4 1. Fill Us With Fire 2. Save Me Darling 3. Fly Away 4. Here I Go Impossible Again 5. Witch in the Ditch 6. Miracle 7. Siren Song 8. Mad As We Are 9. Boy 10. Joan 11. I Bet You’re Mad At Me 12. Golden Heart 13. A Long Goodbye 14. What Will I Say When You’re Gone? 15. Brother and Sister 16. Whole Lotta Love Run Riot

CD 5 1. Sono Luminus 2. Because You’re So Sweet 3. Love Affair 4. Home 5. Alien 6. Precious 7. Don’t Dance 8. How My Eyes Adore You 9. Boy 10. Blues Away 11. Spiralling 12. Piano Song 13. Tenderest Moments 14. Everybody’s Got to Learn Sometime 15. Cry so Easy 16. You’ve Got to Save Me Right Now 17. Weight of the World

CD 6 1. Supernature 2. The Hardest Part 3. When I Needed You 4. She Won’t Be Home 5. Knocking On Your Door 6. Don’t Suppose 7. Gimme! Gimme! Gimme! 8. Over the Rainbow 9. Waiting for Sex (Full Length) 10. Tenderest Moments 11. March On Down the Line 12. Dreamlike State 13. The Soldier’s Return 14. Heart of Glass 15. Let It Flow 16. Runaround On the Underground 17. Rapture 18. Paradise

CD 7 1. La La La 2. Truly, Madly, Deeply 3. Like Zsa Zsa Zsa Gabor 4. Sweet Sweet Baby 5. True Love Wars 6. Ghost 7. Hi NRG 8. The Good, the Bad and the Ugly 9. In the Name of the Heart 10. Die 4 Love 11. Tragic 12. First Contact 13. Love Is Colder Than Death 14. Don’t Say No 15. In the Hall of the Mountain King 16. No G.D.M 17. Take Me On a Highway 18. Tomorrow’s World

CD 8 1. A Little Respect 2. Waiting for the Day 3. Supernature 4. Blue Savannah 5. S.O.S. 6. Love to Hate You 7. Snappy 8. Ship of Fools 9. The Circus 10. Elevation 11. Stay With Me

CD 9 1. Stop! 2. I Could Fall in Love With You 3. Always 4. Blue Savannah 5. Oh L’Amour 6. Chorus 7. Heavenly Action 8. Breath of Life 9. You Surround Me 10. If I Could 11. Rock Me Gently

CD 10 1. Victim of Love – The Circus Tour 1987 2. Knocking On Your Door – The Erasure Show 2005 3. A Whole Lotta Love Run Riot – Tomorrow?s World Tour 2011 4. Joan – The Phantasmagorical Entertainment Tour 1992 5. Witch in the Ditch – The Innocents Tour 1988 6. I Bet You?re Mad At Me – The Erasure Show 2005 7. Home – The Phantasmagorical Entertainment Tour 1992 8. Spiralling – The Innocents Tour 1988 9. Sunday Girl – Light at the End of the World Tour 2007 10. Don?t Say Your Love Is Killing Me – An Evening With Erasure 1997 11. Breathe – The Erasure Show 2005 12. Sometimes – The Innocents Tour 1988 13. Tenderest Moments – The Acoustic Tour 2006 14. Ave Maria – The Erasure Show 2005 15. Soldiers Return – The Phantasmagorical Entertainment Tour 1992 16. I Could Fall in Love With You – Light at the End of the World Tour 2007 17. A Little Respect – The Innocents 1988

CD 11 1. Who Needs Love Like That? 2. Blue 3. Piano 4. Waiting for the Day 5. Siempre 6. 2000 Miles 7. Chanson 8. Am I Right? 9. Worlds On Fire 10. Run to the Sun 11. Breath of Life 12. Alien 13. Whole Lotta Love Run Riot 14. Moon and the Sky 15. Untitled 16. Amo Odiarti 17. UK Vibe 3 18. Symphony 19. Reason

CD 12 1. A Little Respect 30 Years of Erasure

Disc: 13 1. DVD – The Wild! Concert

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• Hip-Hop 50 @ The Tiny Desk
• Tiny Desk Home Concerts
• Tiny Desk Contest

Mdou Moctar: Tiny Desk Concert

Lars Gotrich

Credit: Photo: Zayrha Rodriguez/NPR

As soon as Mdou Moctar plugs in at the Tiny Desk, the Saharan shred begins. The music feels midstream, as if the licks never cease in his fingers — guitar strings bend with the utmost gentility, but, in an instant, set fire to the fretboard.

Born and based in Niger, Moctar comes from the Tuareg tradition: hypnotic desert blues that swim in rock distortion. (Think Tinariwen , Bombino and Al Bilali Soudan , all of whom have played Tiny Desk in their own distinct styles.) For more than a decade, Moctar has built an extensive repertoire that not only mesmerizes musically but also speaks to the joy of his homeland and resistance to those who exploit its people.

Unlike his acoustic-driven Tiny Desk (home) concert , Moctar and his berobed band here play up the chunky riffs and body-rattling volume of 2024’s Funeral for Justice : Orange amps, Fender Strats and, for this occasion, a kick-and-djembe combo that absolutely whips. Moctar’s aim is true: a plea, in Tamasheq, to preserve Niger’s native tongue (“Imouhar”); a protest against politicians who sell out Africa’s land and resources (“Funeral for Justice”); a battle versus inner demons (“Takoba”). In these songs, there’s a righteous fury, to be sure, but also a reminder that the good fight is always worth fighting.

• “Funeral for Justice”
• Mdou Moctar: guitar, vocals
• Ahmoudou Madassane: guitar, vocals
• Souleymane Ibrahim: drums, vocals 
• Mikey Coltun: bass, vocals

TINY DESK TEAM

• Producer: Lars Gotrich
• Director/Editor: Kara Frame
• Audio Technical Director: Neil Tevault
• Host/Series Producer: Bobby Carter
• Videographers: Kara Frame, Maia Stern, Joshua Bryant, Alanté Serene
• Audio Engineer: Josephine Nyounai
• Production Assistant: Ashley Pointer
• Photographer: Zayrha Rodriguez
• Tiny Desk Copy Editor: Hazel Cills
• Executive Producer: Suraya Mohamed
• Series Creators: Bob Boilen, Stephen Thompson
• VP, Visuals and Music: Keith Jenkins
• Mdou Moctar