Chris Rea Era 1

UK compilation album that brings together a collection of Chris Rea's early work between 1978 to 1984. The set provides a comprehensive look at Rea's progression as a solo artist, which started following spells in bands Magdalene and The Beautiful Losers. With a career spanning over 40 years and over 30 million album sales, Chris Rea's distinctive husky-gravel vocal and incredible body of work has seen him become one of the most loved solo artists the UK have ever produced. A formidable songwriter, and still playing live to this day, he has released an incredible 24 studio albums, the most recent being 'Road Songs for Lovers' in 2017 which was met with huge critical and commercial acclaim.

ERA 1 (As, Bs and Rarities 1978-1984) is a new Chris Rea rarities compilation that brings together his early work in a triple-CD package.

Chris Rea remained one of the best-kept secrets in the music industry, releasing five albums between 1979 and 1983, none of them reaching even the Top 50 in the charts. All were very well received by both the critics and the public who knew the secret. His secret was a brand of late-night rock that had an element of class, not dissimilar at this stage of his career to the early-'80s Dire Straits albums, but totally out of step, and proudly so, with the music of the time – new romantic, power and synth pop. He opened the album Water Sign with the song "Nothing's Happening by the Sea," which was so far laid back it was almost horizontal, with a harmonica instrumental break, and the album closed with a nod to synth pop on the track "Out of the Darkness." "Love's Strange Ways" was a similarly slow-moving Dire Straits-style number with an acoustic guitar picking out some notes throughout the song. "Let It Loose" had a driving rock beat, as did "I Can Hear Your Heartbeat," the only single taken from Water Sign.

Success continued to elude Chris Rea on his third album, Tennis, on which he began to experiment with slightly longer songs and more free-form jamming, the songs "Every Time I See You Smile," "Stick It," and the title track all being over five minutes long. For Tennis, he enlisted the assistance of Raphael Ravenscroft on saxophone fresh from his crowning moment on the Gerry Rafferty "Baker Street" single and Pete Wingfield on keyboards, among many other musicians to contribute to this album, but Chris Rea himself stamped his personal mark on the album, writing all the songs, providing vocals, guitar, and keyboards, and he even dispensed with the need for an outside producer.

Chris Rea remained one of the best-kept secrets in the music industry, releasing five albums between 1979 and 1983, none of them reaching even the Top 50 in the charts. All were very well received by both the critics and the public who knew the secret. His secret was a brand of late-night rock that had an element of class, not dissimilar at this stage of his career to the early-'80s Dire Straits albums, but totally out of step, and proudly so, with the music of the time – new romantic, power and synth pop. He opened the album Water Sign with the song "Nothing's Happening by the Sea," which was so far laid back it was almost horizontal, with a harmonica instrumental break, and the album closed with a nod to synth pop on the track "Out of the Darkness."

Success continued to elude Chris Rea on his third album, Tennis, on which he began to experiment with slightly longer songs and more free-form jamming, the songs "Every Time I See You Smile," "Stick It," and the title track all being over five minutes long. For Tennis, he enlisted the assistance of Raphael Ravenscroft on saxophone fresh from his crowning moment on the Gerry Rafferty "Baker Street" single and Pete Wingfield on keyboards, among many other musicians to contribute to this album, but Chris Rea himself stamped his personal mark on the album, writing all the songs, providing vocals, guitar, and keyboards, and he even dispensed with the need for an outside producer. Hence the Elton John feel of his Gus Dudgeon-produced previous album, Deltics was gone, aside from on the ballad "Every Time I See You Smile," and it was replaced by a variety of styles including the horn-driven "Forever and Ever," the gospel song "Stick It" that closed the album, and the reggae-tinged, guitar-led instrumental "Friends Across the Water".