Erasure - It Doesn't Have To Be (Mute)

"Sometimes" finally put Vince Clarke back on the map he fell off when Yazoo split, mainly because it sounded like Yazoo! So long as Andy Bell sings, and sounds uncannily like Alison Moyet, as in "It Doesn't Have To Be", the problem will remain. On the other hand, this song is a grand Erasure offering, and as long at it's this good, Erasure aren't going to be rubbed out in a hurry! (John Aizlewood, No 1, February 28, 1987)

Andy Bell may look like one of those cuddly teddy bears that go 'eek' when you press them in the stomach, but this is a little too complex - and dreary - to be the perfect vehicle for him. Very similar to "Sometimes", but maybe more immediate, let's just hope he doesn't dance in this video too. (Eleanor Levy, Record Mirror, February 21, 1987)

Erasure - Oh L'Amour (Mute)

Borrowing a selection of Dead Or Alive and OMD backing tapes, Vince Clarke's little baby attempts a third stab in the direction of the charts. This blow however, is only a breeze. And although the hypnotizing angelic vocals trigger something in your brain on first sampling, the effect soon wears thin after a third of fourth listen. Pity really, as I rather liked the Thomas The Tank Engine sleeve. 2/5 (Anna Martin, No 1, May 10, 1986)

Vince Clarke is a lot like Mr Kipling. His pop comes nicely packaged, with lots of sweet bits to whet your appetite and just enough feeling and home-made simplicity to make it just that bit tastier than other similar convenience music. But there again, Mr Clarke does make exceedingly good records. This is no different. (Mike Gardner, Record Mirror, May 17, 1986)

Cease And Desist: The jolly sleeve was in fact quickly withdrawn due to legal issues.

Erasure - Victim Of Love (Mute)

As ever, the play off between synthi textures and Andy Bell's unimpeachable voice is a wonder to behold, and Vince's sneakily simple melody is well up to standard. But the instant replay stomp can't go on forever and at some point V and A will have to e-raise their aims above the giddy and glib. (Roger Morton, Record Mirror, May 23, 1987