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Author Topic: 1985: The Singles 81>85  (Read 56660 times)

Offline Angelinda

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1985: The Singles 81>85
« on: 20 June 2012 - 00:34:16 »
This thread contains all news items regarding the release of The Singles 81>85.

I just have one problem that I don't know how to solve when it comes to this thread:
When DM released Shake the Disease in spring 1985 and started promoting The Singles 81>85, they also continued their Some Great Reward Tour by doing some gigs in the U.S. and Asia. But I don't know how to separate some news items from early 1985, because they involve both the continuation of the Some Great Reward Tour, while also performing Shake the Disease. So I'm just going to post all news items starting from spring 1985 till the end of 1985 here. But if you really want to know everything about Some Great Reward and the subsequent tour, I suggest you check out this thread as well as the thread about SGR.
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #1 on: 20 June 2012 - 00:49:29 »
1985-02-09 - Okej #6 (Sweden) - Intervju med Andy Fletcher

[Thanks to Rome for sending a photo of this article!]

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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #2 on: 20 June 2012 - 00:51:30 »
1985-02-14 - Bravo (Germany) - Für Drei Wochen in Berlin

Depeche Mode
Für drei Wochen in Berlin

"Germany war der Hammer", lautet das einstimmige Urteil der vier Depêche-Mode-Boys nach ihrer riesigen Europa-Tour. Völlig geschlaut haben Alan, Andy, Dave und Martin jetzt auch dringen ein paar Tage Ferien nötig, bevor sie sich an ihr neues Single-Projekt wagen.
Inzwischen mußte sich Dave von seiner schweren Grippe erholen, die er aus Deutschland mitgebracht hatte und konnt ich nicht sein neues Haus in Basildon genießen. Alan hat seinen selbstgedrehten Tour-Film mittlerweile fertiggestellt, den er jedoch nur privat vorführt.
Martin blieb nach der Tour gleich bei seiner Freundin Christina in Berlin. Dort hat er auch drei neue Songs geschrieben. Danach legte er erst einmal drei Wochen Urlaub auf Gran Canaria und Fuerteventura ein.
Am 25. Februar beginnt für die vier wieder die Arbeit: Bis zum 16. März (also drei Wochen lang) bleiben die Depêches in Berlin, um dort im Studio ihre neue Single aufzunehmen. Anschließend gehen sie bis 4. April auf USA-Tournee und danach sind Japan und Neuseeland angesagt. Ihre neue Single soll dann am 1. Mai fix und fertig in den plattenläden stehen...

[Translation by me:]

Depeche Mode
In Berlin for three weeks

"Germany was awesome," was the unanimous verdict of the four Depeche Mode Boys after their huge European tour. Completely understandably, Alan, Andy, Dave and Martin now first urgently need a few days of holiday before they venture onto their new single project.
Meanwhile, Dave had to recover from his severe influenza, which he had brought from Germany and could not yet enjoy his new house in Basildon. Alan has now completed his self-made tour film which he only shows privately.
Martin stayed after the tour in Berlin with his girlfriend Christina. He has also written three new songs. After that he goes on a three-week holiday to Gran Canaria and Fuerteventura.
On the 25th of February, the four start working again: Until March 16th (that's three weeks), the Depeches will stay in Berlin to record their new single there in the studio. Then they go on a U.S. tour until the 4th of April and then it's off to Japan and New Zealand. Their new single should be out on May 1st and in the record stores already...
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #3 on: 20 June 2012 - 00:52:04 »
1985-03-01 - BBC (UK) - Oxford Road Show

Only a part of it is hosted online, not the entire thing:

[I made a transcript:]

Timmy Mallett: Well it broke down twice on its way here tonight, but welcome please, tonight's guest presenter, Dave Gahan!
[audience cheers]
Dave Gahan: Thank you. Tonight I'm gonna be interviewing Vince Clarke, ex-Depeche Mode. Rusty Eagan. Also on the show we've got the Village People.
Timmy: Guitar heroes, tonight.
Dave: Yeah, yeah. Stephen Duffy.
Timmy: He's a guitar hero, isn't he?
Dave: And the band that are going to open tonight: Dark City. And they're gonna be singing-
[audience cheers]
Dave: -False Alarm.
Dave: Hi, back again. I'd like to introduce a very special friend of mine. Vince Clarke. Right, Vince, what have you been up to then, tell us a bit about it?
Vince Clarke: I am currently in the studio recording a single, with a great singer called Paul Quinn, who was formerly in a band called Bourgie Bourgie.
Dave: Oh, yeah, yeah.
Vince: And it's starting to sound really good.
Dave: And is that going to be out in the near future, or?
Vince: Yeah, hopefully in a month's time. We're gonna be mixing next week.
Dave: Right, right. I wonder what you thought of Alison, who has been very successful lately, and I just wondered, since she left Yazoo and stuff, and gone onto other things, I wonder what you thought about what she was doing, you know?
Vince: Well I think that what she's doing is great, you know. I mean, she is finally doing what she always wanted to do. You know, kind of, write her own material, take part in the production and everything-
Timmy: -Sorry Vince, didn't know you were here. Here is your tea.
Dave: Thanks a lot.
Timmy: Okay. Want some sugar? [throws in a lot of sugar]
Dave: Yeah. Also, I wanted to ask you about your new label, well, it's not that new, I mean you sort of... I wonder if there's going to be more into that in the near future rather than just recording yourself, or are you gonna carry on recording?
Vince: Well, I'm sort of dividing my time half-half, you know. We've got, like, several acts on the label now. Eric is doing some stuff on the label-
Dave: -Yeah.-
Vince: -From the Assembly.-
Dave: -But he's not actually working with you?
Vince: No, he's doing some stuff on his own, doing an album on his own. and we've got a new signing. A new, young band called Absolute.
Dave: That's right, I've heard that they're in fact quite young. They're young and they're hot.
Dave: Eh, hold on a minute. Eh, can you take this away, please, Timmy?
Timmy: Don't you want it anymore?
Dave: For God sakes, just take it away.
Timmy: It's really nice.
Dave: No, thanks.
Timmy: Especially with this in it, you're really lucky. Vince, would you like some?
Vince: No, I think I'm gonna skip it this time.
Timmy: Anyone wants it?
Audience: Yeahhhh!
Timmy: Well, then. There you go, you can have the tea. Carry on.
Dave: Yeah, where was I? Yeah so, when are we gonna be hearing a new sample of this new band that you've signed?
Vince: Well, we've mixed a single and we've cut it and it will be coming out in a month's time.
Dave: Oh, really?
Vince: From a band called Absolute.
Dave: Right.
Vince: So buy it.
Dave: Buy it.
Timmy: It's been two years since you two met for the last time, isn't it? I mean, what's it's like meeting up again after two years?
Dave: Not right about that-
Vince: -No, it was only two hours ago, wasn't it?
Dave: Well yeah, we did actually meet earlier on, when we was going through rehearsals, but-
Timmy: -Oh well, you know, but it is still two years since...?
Dave: Well, yeah, before today, yeah, two years.
Timmy: And?
Vince: Yeah!
Dave: It's great to see you!
Timmy: Listen, you might not think it's wildly ecstatic here in the ORS Studios, but music business in its heyday of the Who was really spectacular. Have a look at a clip we just found up in the library today.
Dave: Okay.
Timmy: This is quite spectacular. This is the Who.
Timmy: ...That's the dissapointing thing about synthesisers, really, it's that you can't just sort of hit yourself over the head... Oh, I'm sorry.
Dave: Oh, my quiff, it took me about 5 hours to do this.
Timmy: Awww, awww, this don't, really, I'm sorry. Right. Village People. Now, they thrive on being outrageous in hitting the headlines with controversy. In 1978 they had YMCA and in 1985 they're back with Sex Over The Phone.
Dave: Hi. If you're the type of person that follows the charts every week, then you'd know that the highest entry was from a guy called Stephen "Tin Tin" Duffy, and it's a number called Kiss Me, and we're gonna see a clip from the video now.
Dave: Thanks very much. I'd like to welcome to the Oxford Road Show, Stephen Duffy. Stephen, I understand that the single has been released a few times, is that true?
Stephen: Well, twice over here. Well first in 1982, and once in America.
Dave: Oh really? I see. Also what I wanted to ask you, there's a lot of rumours going around with you as "once a member of Duran Duran" or "once in-
Stephen: -Oh no, it's total myth, really. I was once a member of the Monkees.
Dave: Oh, really? Good answer! Also, where did you find the name Stephen "Tin Tin" Duffy, was it from a book, or somewhere?
Stephen: It was just a silly joke that went wrong, I'm dropping it actually, but I'm gonna drop the "n"'s first, it's gonna be "Ti Ti" Duffy.
Dave: Really?
Timmy: Is your mic off? Still not working, right? Try this one. Try it.
Dave: Pathetic!
Timmy: I don't know what I'm doing with this [mic].
Dave: Shall I start again, or what?
Timmy: No carry on, carry on.
Dave: Alright. The record seems to be the sort of record that's being played in clubs a lot. I would have thought that that's probably how it has become so successful, through the clubs, rather than airplay.
Stephen: Yeah. It was a very big club record, especially in the Black Country, where I come from.
Dave: Alright, fair enough. Rusty, you're  club man. You can tell us a bit about clubs. What do you think about the record, do you think it's a good record?
Rusty: Kiss Me? Yeah, it's been around a while, and I said to Stephen I was quite amazed that it got there finally, you know.
Dave: Got where it has. Yeah, you know, it's a very high entry, you know, I was quite surprised to see it so high, I must admit.
Stephen: Well, it was like, the Pig Bag record was deleted, and demand built up to it, and when it was released again it just kind of flew out the shops.
Dave: Oh, yeah, right. You and Steve have had a lot of clubs in your time, and you recently just moved from the Palace to the playground, why was that? Did you just get fed up with the Palace, or?
Rusty: Well, Camden Palace reall had really two really great years, you know, even Tin Tin here performed there amongst many, many others.
Dave: Yeah.
Timmy: Was it Kiss Me that you did?
Stephen: Yeah, it was.
Rusty: Yeah, and he had a great stage set as well, you know, it was a good show. Yeah, I mean, at the Camden Palace we had Madonna, we had Wham!, we had Spear of Destiny, Sisters Of Mercy, all sorts of groups, you know. And from meeting with him and everything, it was like, two years ago, and it's now in the charts. That's great, you know?
Dave: That's good, yeah. Also, like, the general scene at the moment in the clubs, to me it seems like there's not much going on at the moment. I mean, there's a lot of clubs around, but there doesn't seem as much excitement as there was, like, 5 years ago or something. I don't know. What do you think about it?
Rusty: Well, it's the direction to me. I mean, it goes to New York, and New York to London, and between the two. And now it's coming from Washington.
Timmy: Will it ever come from Manchester?
Rusty: It has always come from Manchester, I'm a great fan of many-
[audience cheers]
Timmy: You said the right thing, there, didn't you?
Dave: That went down well.
Timmy: What's the stuff you're doing just recently now?
Rusty: So it's really nice to be in Newcastle today. [laughs]
Timmy: You're doing some producing now, aren't you, with Spear Of Destiny, what's all that?
Rusty: Well, Kirk Brandon and I have been friends for quite a few years. Kirk has said to me "You've got that beat, you know, and I'd really like to get that beat involved in", and I said, "And I really loved this record you made called The Original Sin", and we redid it together under the title of The Sinner. And it worked out very well, musically and personally and artisticly and everything.
Timmy: You did it in Berlin as wel, didn't you?
Rusty: Well, they went to Berlin, and-
Timmy: -Hey, Janice!
Dave: Well done, Rusty!
Janice: Hi, I've just been thinking that you've been up for two nights, and you look wonderful.
Rusty: Oh, thank you.
Janice: You got no bags or anything, you make me sick. Don't you think he [Dave] looks handsome as well at the moment?
Dave: Stop grobbling, Janice.
Janice: It's brilliant to be in here, because usually I'm stuck outside filming in the snow, or on riverbanks or something.
Timmy: We brought you along today for your woman's point of view for our Best Dressed Man from ORS.
Janice: This is a surprise, what do you mean?
Timmy: Nick Rowan! We reckon he is the most fashionable fellow on ORS, what do you think?
Rusty: Oh, no!
Dave: Woooooooo!
Timmy: Come on, Janice! Give us your point of view! Turn around!
Janice: Well... I think if you want me to be perfectly honest, he looks as if he just stepped out one of those awful shop windows!
Timmy: Janice, would you ever go out with him?
Janice: Actually, I would prefer him to strip to this music I'm hearing, come on!
Timmy: Yeahhhh!!!
Janice: Ehm, not my sort, not my sort of dress, sorry.
Timmy: You see, what we did was, we sent Nick out to a fashion show...
Timmy: Woah, what a performer. Gotta see that again. Please welcome this year's model, Nicholas Rowan!
[audience cheers]
Timmy: And here he comes now to be judged by a group of international top fashion celebrities. Look at the poise, the technical merits, what points do you give him, please?
Janice: Nul points. [throws cards in the air]
Timmy: Haha. And give us the preferred way of sitting, please.
Nick: Ah, teriffic. You do follow right behind if you're not careful.
Timmy: Listen, would you feel any better if you were wearing a swimsuit?
Nick: I don't have got the groin for it, Timmy!
Timmy: Care to introduce them?
Dave: Yeah, alright then, if you like. They tell me they're the greatest rock 'n' roll experience in the world-
Timmy: -with an iron-
Dave: -Live tonight on the Oxford Road Show we've got the Farmers Boys singing I Built The World!
Dave: ...This The Colourfield with Castles In The Air.
Dave: Great. We'll be seeing more of The Colourfield in a minute. I'd just like to say goodbye to all the guest on the show, everyone else who was on the show: Janice, Rusty, Vince, Steve, Village People, Farmers Boys and Dark City, and everone else who was on the show. And...
Timmy: Next week we've got Billy Bragg who is taking over and The Alarm, they're real guitar heroes, they are?
Dave: Yep.
Timmy: And that's all we've got, actually, for next week, so to any bands watching and you'd like to on next week and you can play really well, phone us on Monday. Oh, I've set the phones wild now, haven't I? Oh, well.
Dave: And to play us out we've got the Colourfield again with Thinking Of You. Taaa.
Timmy: Here's a razorblade for you now, so you can have a shave.
Dave: Also, plus Spanner. A happy birthday at Toby for tomorrow.
Timmy: Happy birthday, Toby!
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #4 on: 20 June 2012 - 00:52:49 »
1985-03-14 - Smash Hits (UK) - Shopping Lists: Andy Fletcher

1. Green Giant sweetcorn.
2. Fresh mushrooms.
3. Marks & Spencer's chunky chicken.
4. Mr Kipling cup cakes.
5. Bourbon biscuits.
6. Mother's Pride muffins.
7. Lynne's Irish whiskey-flavoured marmalade.
8. Four bottles of Grolsch beer.
9. Colgate Blue Minty Gel (pump dispenser).
10. Vidal Sassoon hairspray (extra hold).

1985-03-15 - WLIR FM (??) - Fletch and Album Playback

[We don't have this audio interview.]
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #5 on: 20 June 2012 - 00:53:17 »
1985-03-20 - The Globe And The Mail (Canada) - Dated but girls sure love it

[Taken from an Intranet archive.]

Depeche Mode's electro-pop bubblegum music
Dated but girls sure love it

Martin Gore of Depeche Mode must feel like a vindicated man these days. Back, five albums ago, when the young band from Basildon, Essex, first emerged, everyone agreed that songwriter Vince Clark was the only spark of talent in the group. Clark went on to form the critically acclaimed Yaz, and kept his reputation high. Depeche Mode chugged along, too, and to everyone's surprise put out better songs and had more hits under Gore's leadership.
The blond songwriter stood near the back of the stage at Massey Hall last night and, like the other musicians on stage, played his keyboard with just his right hand most of the time, occasionally taking a desultory poke at the bass notes with his left.
The bass and drum parts in Depeche Mode are pre-programmed, so it seems that nobody in this group wasted his childhood on piano lessons. Chops the band doesn't have and, in the current age of heroic guitar stylists and finger- popping funk musicians, Depeche Mode's minimalist electro-pop, with the robotic influences of Kraftwerk and Human League, is decidedly dated.
Yet, judging by the reaction of last night's audience, the band has a good shot at becoming the next big thing in the teen idol world. It may even be the successor to Duran Duran, whose members may be too old and too adult-minded these days.
Depeche Mode earned a steady wall of screams throughout the show. The audience, perhaps 70 per cent female, had draped the balconies with homemade banners dedicated to the band's four boyish and style-conscious members.
Dave Gahan, when he wasn't singing in his mellow Bowie-croon, turned his back on the crowd and shook his leather-bound rear end to incite even more vocal reactions from the girls.
Try to forget the band's painful attempts at significance ("People are people, so why should it be - you and I should get along so awfully?") and one of the most vacuous art-band reputations in history, and give it full credit for what it does well. That's because, musically, the band certainly has a knack (remember The Knack?) for what amounts to modern-day bubblegum music - catchy, simple tunes that are sweet and addictive and, over time, can lead to cavities in the brain.
These basic, box-like melodies are built mostly around a basic boom- slap four-four rhythm, with the three keyboards creating spare, emphatic lines, all to a constant, pounding bass pulse similar to the trademark throb of ELO.
It sounds like classic AM fodder, though curiously enough, no AM station in the country will touch the band yet. Judging by the type of audience and its enthusiasm, that should change soon.
The major limitation to Depeche Mode's success in the future is that the group still looks like pretty much of a stiff in live performance. The girls, however, feel differently, and ultimately they're the ones who shape the music's future. So, you'll know who to blame when you see those guys, playing their keyboards one-handed, filling the hockey arenas in a year or two from now.
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #6 on: 20 June 2012 - 00:54:17 »
1985-03-21 - Bravo (Germany) -  mit neuen Haaren

[Many thanks to Sabu for sending in this scan!]

[Transcribed using OCR:]

Plattenaufnahmen in Berlin: DEPECHE MODE
mit „neuen“ Haaren
Der Typ, der sich plötzlich neben mir aufbaut, kommt mir irgendwie bekannt vor. Locker 1,90 m groß, schwarzes Seidenhemd, die Hände in riesig wehen grauen Hosen vergraben, dicke Hornbrille auf der Nase und eine grellblonde Bürstenmähne: Kein Zweifel, das muß er sein: Andy Fletcher von Depeche Mode.
Als ich ihn das letztemal während der Deutschland-Tournee des britischen Synthi-Quartetts sah, hatte er zwar noch rote Haare und war weniger gestylt, aber er ist es tatsächlich.
„Wenn meine Kumpels mit ihrem Outfit immer so auf den Putz hauen, kann ich mich eben auch nicht lumpen lassen“, grinst der sympathische 22jährige, der übrigens seit neuem als Pressesprecher der Gruppe gilt.
Als nächstes erscheint ein ebenso total umgestylter Dave Gahan in den Berliner Hansa-Studios, wo die vier zur Zeit ihre neue Single aufnehmen: Dave hat sich seinen Schopf von derselben Friseuse in Basildon einfärben lassen wie Andy, und trägt zudem jetzt noch einen dunklen Zweiwochenbart.
Mit Martin, Alan und Chieftechniker und Manager Daniel Miller, die jetzt langsam eintrudeln, ist die Truppe endlich komplett.
Aber bevor sich die fünf wieder in ihren Berg aus Synthesizern, Mischpulten und Instrumenten wühlen, lassen sie sich erst einmal ihr Schinken-und-Ei-Frühstück kommen, das sie hastig inmitten des Kabelgewirrs reinschlingen.
„Unser neuer Song mit dem Arbeittitel ‚Shake the Disease‘ (Schütte die Krankheit ab) wird wieder viel ruhiger und melodischer werden als beispielsweise ‚Master and Servant'“ erklärt Autor Martin.
In seinem Text, den er mir auf einem Computer-Bogen in die Hand drückt geht es um eine sehr einseitige Beziehung zwischen einem Typen und seiner Freundin, die kurz vor den Ende steht.
„Denk nicht etwa, das würde sich jetzt auf Christina und mich beziehen“, mahnt Martin, „wir sind immer noch sehr glücklich hier in Berlin. “Mit ein Grund für den eher gemäßigten Text von Depeche Mode war auch, daß die vier mit ihren letzten zwei Singles „Master and Servant“ und „Blasphemous Rumours“ im konservativen Amerika gewaltigen Arger bekamen, weil der inhalt über Sex und Gotteslästerung als zu anstößig mißverstanden worden war: Sie wurden von sämtlichen Radio- und Fernsehstationen boykottiert.
Trotzdem gehen sie jetzt auf große Tour nach USA und Japan, und die Vorverkäufe beweisen, daß sie - wie zum Beispiel in Kalifornien - sogar Hallen mit 15000 Zuschauern füllen können.
Gleichzeitig mit dem Start ihrer neuen Single in Deutschland am 1. Mai kommt übrigens auch ein 75-Minuten-Live-Video auf den Markt, das beim letzten Konzert von Depeche Mode in Hamburg aufgezeichnet wurde. Sobald Andy, Dave, Martin und Alan dann nach einem Monat wieder in England sind, wollen sie sich sofort an ihr neues Single-Video machen. Für den Rest des Jahres stehen dann noch einige Festivals in Deutschland und eine Mini-Tour durch die DDR an…

Zusammen mit Cheftechniker Daniel Miller ist Alan den Depêches der beste Soundtüftler.
Dave mit neuer Haarfarbe und Zweiwochenbart zieht sich im Studio noch schnell sein Frühstück rein.
Andy immer mit einen Ohr am Weltgeschehen. Er ist jetzt der neue Sprecher bei Depeche Mode.
In seinen neuen Song hat Songschreiber Martin auch ein Banjo-Riff eingebaut. "Es wird ein richtiger Softie-Titel", sagt er.

[Translation by me:]

Recordings in Berlin: DEPECHE MODE
with "new" hair
The guy who suddenly walks up next to me, strikes me as vaguely familiar. Easily 1,90m tall, black silk shirt, his hands buried in wide grey pants, thick-rimmed glasses on his nose and bright blonde hair: No doubt, it must be him: Andy Fletcher of Depeche Mode.
When I saw him for the last time during the British synth quartet's tour in Germany, he still had red hair and was not as styled, but it actually is him.
"If my buddies always keep showing off new outfits, I simply cannot fall behind", grins the sympathetic 22-year old, who is since recently also the spokesman for the group.
Then, a just as totally restyled Dave Gahan appears in Berlin's Hansa Studios, where the four are currently recording their new single: Dave has his dyed his locks by the same hairdresser in Basildon as Andy's, and is now also sporting a dark two-week beard.
With Martin, Alan and chief engineer and manager Daniel Miller, who now slowly enter the room, the troop is finally complete.
But before the five delve into their mountain of synthesisers, mixers and tools, they first order their ham-and-egg breakfast, which they swallow hastily amidst the tangled wires.
"Our new song with the working title 'Shake The Disease' will again be much more quiet and melodic than, for example, "Master and Servant" explains writer Martin.
In his text, of which he has typed it up on a computer and pushes me a copy of it in my hand, it is a very one-sided relationship between a guy and his girlfriend, which is nearing the end.
"But do not think that it might refer to Christina and me", Martin warned, "we are still very happy, here in Berlin." One reason for the more temperate text is that Depeche Mode's last two singles, "Master and Servant" and "Blasphemous Rumours", caused massive trouble in conservative America because of their content about sex and blasphemy which had been misunderstood as offensive: they were boycotted by all radio and television stations.
Nevertheless, they now go on tour in the USA and Japan, and prove with the pre-sales that they - like in California - can even fill venues having 15.000 spectators.
Simultaneously with the launch of their new single in Germany on May 1st comes also a 75-minute live video on the market, which was recorded during the last concert of Depeche Mode in Hamburg. Once Andy, Dave, Martin and Alan are then back in England after a month, they want to immediately make a video for the new single. Then some festivals in Germany and a mini-tour in the East are planned for the rest of the year...

Along with chief engineer Daniel Miller, Alan is the best sound wizard of Depeche Mode.
Dave with a new hair colour and two-week beard gobbles his breakfast quickly in the studio.
Andy always keeps an eye out for current events. He is now the new spokesperson for Depeche Mode.
In his new song, songwriter Martin has also incorporated a banjo riff. "This will become a real softie track", he says.
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #7 on: 20 June 2012 - 00:55:02 »
1985-03-28 - Smash Hits (UK) - Dave Gahan's Mum

A special Smash Hits survey was set up to ask the kind of questions only a mother could answer. Like did their famous sons ever have really long hair and wear flares? And have they ever asked for make-up tips? And were they ever in the - eeek! - Boy Scouts? As the say, Mum's the word...

Dave Gahan's mum

Sylvia Gahan has lived for 19 years at the same small, quiet hidden house where her 4 children have grown up. She greets you nervously, asks you to come in and sit down in a cosy living-room full of gardening books, DM records and a lot of small knick-knacks she has got from her children through the years. Then she disappears into the kitchen and comes back with a refreshing jug of tea.

"Dave was never really interested on music – I would have never ever thought he would evolve this way. At school he was specially interested on Geography and Archaeology before he studied Design at the School of Arts. And he was also delighted with the Boy Scouts' activities. He hated to get dirty, play football and all those things, but he loved to go down the rapids with his canoe.

I've married three times. Dave's father left us when he was still a baby, then I married again when Dave was 4 years old, but my second husband died soon. Then Dave helped me somehow. I was really amazed by his attitude - he never asked for anything, because he knew I couldn't give it to him. He worked hard: he delivered newspapers in the morning and in the evening and worked even during the holidays and at his free time – doing the washing up in hotels, as a teaboy in building sites, EVERYTHING... And when the school planned some trips he didn't go, because he knew I couldn't afford it.

When he was between 16 and 18 years old I didn't know what happened to him – he was some kind of monster. All the boys began to wear make-up and to go to the clubs in London. I think he tried to look like Gary Numan and David Bowie.

Dave gives me a lot of presents. Not too long ago he came with a skirt and a blouse for me, and he has also given me the TV set and the stereo as presents. And when my hairstyle looks too messed up he says: "Look Mom, go to the hairdresser's", and he sends me there – I hate going to the hairdresser's!

I would like to be honest: I don't like all Depeche Mode songs, for example Blasphemous Rumours, but I liked People are People. I've never seen them live until last year because Dave didn't want me to. So I didn't tell him anything before he left, and as he saw me at the backstage he was shocked. He said: "How awful it is to think you've seen me singing and dancing!" What did I think of it? I couldn't run away fast enough, it's terrible how loud it is!"


[Thanks to Gregory Cartwright for the scans.]


"Blasphemous Rumors," a song by the avant-garde English band Depeche Mode, makes many people furious. It bulldozes through sacred ground, boldly questioning the existence of God.
This provocative pop epic boasts a haunting refrain (see accompanying lyrics).
Utter blasphemy, charge the outraged critics of Depeche, which will be playing its pithy synthesizer pop Saturday at the Hollywood Palladium and Sunday at the Irvine Meadows Amphitheatre. But the band has a cult following of young music fans who find tawdry appeal in the abrasive cynicism of songs like "Blasphemous Rumors," which is on the band's "Some Great Reward" album on Sire/Warner Bros. Records.
Commenting on the controversy generated by "Blasphemous Rumors," Depeche's Alan Wilder observed: "Religion is a more sensitive subject than sex. You've got to be careful with it. In that song it's handled tastefully."
Then he added curtly: "Talking about something dealing with religion that's offensive, I've watched American religious TV programs. If anything is sick, they're sick. Anything we sing about is tame compared to those shows. Americans who complain about us should be complaining about those shows."
Depeche Mode also stirred controversy with another song from the "Some Great Reward" album, "Master and Servant," a sinister exploration of relationships in sadomasochistic terms.
Defending the lyrics by Depeche's songwriter, Martin Gore, Wilder insisted: "Strong lyrics are necessary. It doesn't matter if they bother people. Who wants to hear bland, meaningless lyrics? This band doesn't do songs like that."
Depeche isn't always rabble-rousing, however. "People to People," which raps racism, is incisive but subdued social commentary. "Somebody" and "It Doesn't Matter"--also from the latest album--are simple romantic songs. But the band really is at its best when it is cynically probing delicate subjects.
This isn't some obnoxious new-wave band that's so hell-bent on irreverence that it forgets to make its music listenable. The songs are hummable and often danceable. Frequently, they merge seemingly incompatible elements. Like such bands as Einsturzende Neubauten and Test Dept., Depeche integrates clanging, banging industrial noise into its synthesizer music, making some of its songs sound as if they were recorded in a steel mill.
As good as its five Sire albums are, Depeche Mode still doesn't sell many records in America. According to Wilder, the last album, "People to People," sold about 80,000, and the current one, "Some Great Reward," barely reached the 100,000 mark. But the band is surviving quite well because it's big in other countries, particularly England and Germany.
Unlike other European bands that often gear their music to America, Depeche refuses to compromise. "We're not going to alter our music to fit American tastes," he said. "Then it becomes American music. We're not desperate to have a hit in America. We consider our music very European, and we intend to keep it that way. We don't want lose our identity.
"We don't do music to fit any market. We do music for ourselves and hope that people like it."
But, unless it changes its music, Depeche Mode isn't likely to make it big throughout America. Its music--all synthesizer and no drums or guitar--seems just too offbeat for pop radio. Building an audience without extensive pop-radio air play is very difficult.
Still, through minimal air play and word of mouth, Depeche has managed to build a sizable American concert audience, particularly in California, its biggest U.S. market. The band is very popular locally. The Palladium show, part of a short U.S. tour, mainly in small halls, sold out instantly.
Wilder couldn't really explain how Depeche has accumulated a large concert audience with such meager record sales: "People ask about that all the time. I don't know the reasons. Sometimes you hear of artists selling records and not doing well in concerts. We're doing it the other way around. Nobody does it that way."
Sex appeal is at least part of the answer. Keyboard players Wilder, Gore and Andy Fletcher and singer Dave Gahan are all in their early 20s and attractive. "We realize the sex appeal is there, but we don't play on it," Wilder insisted. But he did admit that "in the concerts, we do get quite a lot of girls down in front."
Depeche Mode, which in French means up-to-the-minute in fashion, has had its ups and downs in England, where it originated in Basildon, Essex, in 1980. Daniel Miller discovered the band and signed it to his small independent label. After a promising first album in 1981, founder Vince Clarke, then the principal songwriter, decided to leave the band. The general consensus was that the remaining members--Gore, Fletcher and Gahan--didn't have to talent to keep Depeche afloat.
"He was thought to be the only one with talent, the creative force," said Wilder, Clarke's eventual replacement. "The other guys wanted to prove they could carry on without Vince."
Gore, Fletcher and Gahan worked on the second album, "A Broken Frame," excluding Wilder, who was angered at being left out.
"They wanted to do it on their own," Wilder said. "I did TV and live shows, but I wasn't on the records; I was just a part-time member. I was disappointed I wasn't included in making the album."
The way "A Broken Frame" turned out, Wilder may have been glad he wasn't involved. "The press ripped it apart," Wilder recalled. "The band went through a rough period for a year after that."
Though too diplomatic to blatantly rap the album, Wilder said he agreed with the negative critical reaction: "Maybe the album wasn't so great. It's not my favorite of the band's albums."
Depeche rallied with its next album, "Construction Time Again," which includes one of its finest songs, "Everything Counts," and has been on the rise ever since.
"I'm not sure where this band is going," Wilder concluded. "I hope we'll get more popular. I know that we'll continue to do songs that are different and interesting. And I'm sure there'll be some more controversial songs, too."
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #8 on: 20 June 2012 - 00:56:01 »
1985-03-xx - Poppis (Sweden) - skall de äntligen lyckas i USA

[Thanks to Rome for sending a photo of this article!]

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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #9 on: 20 June 2012 - 01:01:10 »
1985-03-xx - Unknown (US) - Video Beat (band interview)

Dentez has this but is looking for it in better quality. Not hosted online.

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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #10 on: 20 June 2012 - 01:01:37 »
1985-03-xx - Mute Records - Shake The Disease Press release

29TH APRIL 1985

DEPECHE MODE release their new single - 'SHAKE THE DISEASE' on 29th April 1985 on Mute Records - CAT. NO. BONG 8 - available on both 7" and 12".
           c/w FLEXIBLE
12  BONG8  SHAKE THE DISEASE (extended version)
           c/w FLEXIBLE (extended version)

The single was recorded at Hansa Studios in Berlin and produced by Depeche Mode, Daniel Miller and Gareth Jones. The 7" and 12" A'sides were mixed by the same team, while the B'sides were remixed in London by Daniel Miller and FLOOD.

Following their extremely successful tours of Europe, USA and the Far East, Depeche Mode will be promoting this single with various TV appearances in this country and live performances at summer festivals throughout Europe.

DEPECHE MODE will be returning to the studio in Autumn to record their fifth album.

For further information please contact Pauline Magovan on 221 4840 or Chris Carr on 01-625 4501.
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #11 on: 20 June 2012 - 01:04:58 »
1985-04-01 - LA Times (US) - Concert Review

[Thanks to Gregory Cartwright for the scan. Transcribed using OCR.]

In bands, just as in romance, split-ups can sometimes be the best thing for everyone concerned — though it seldom seems that way at first. Just ask Depeche Mode.
When chief writer Vince Clarke left the band three years ago to form Yaz, few pop pundits would have dreamed that the group still had this much future. But the “new” Depeche Mode survived — and more.
This English synthesizer-oriented group quickly sold out three Southland shows: the Hollywood Palladium on Saturday, Irvine Meadows Amphitheatre on Sunday and the San Diego Sports Arena tonight.
With Martin Gore ably stepping into Clarke’s songwriting shoes, the band has become the quiet survivor of rock’s post-New Romantic movement. The purely synth-and-percussion sound of the quartet sustains a subversiveness that Duran Duran and Spandau Ballet lost long ago.
Not only had the Palladium date sold out in “fast fashion” (the rough -translation of the group’s name), but the place was packed with the sort of fans you’d expect to find at a U2 show. That means we’re talking enthusiasm.
When lean singer Dave Gahan raised his arm, the fans raised theirs — by the thousands. When he pointed the mike their way, they lustily sang. And when Gore (who wears pearls and a skirt — in this case a black leather one — as well as any man) stepped forward to take a rare lead vocal, female screams shook the chandeliers.
A lot of this appreciation was deserved. Each of Depeche Mode’s albums has improved — thanks largely to a healthy dose of clanging, Test Dept.-like percussive rhythms. The group’s live sound is big, full and vibrant, which made even the more mediocre material seem interesting. And when the songs were good (like the brave, cutting attack on religious illusions, “Blasphemous Rumours”) they were very good.
While a techno-disco sheen dulls some of the band’s sound, Gahan’s voice is just passable and his stage presence mainly consisted of Boy George-like wiggles, Depeche Mode displayed engaging energy and established exciting crowd contact There’s more here than just another pop band from Britain. Up with the underdog.
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #12 on: 20 June 2012 - 01:07:35 »
1985-04-20 - Melody Maker (UK) - Live In Hamburg review

[Thanks to meldepeche from for this article. N.B. The VHS was released on April 18th.]

Virgin Video, 75 minutes, £19.95

Recorded on Mode's last tour and featuring their entire live set, "The World..." is an unadventurous concept, particularly from a band who have strived to break down every convention with each new record release. It's exaclty what it says, a no frills account of a Depeche Mode concert.
In a lot of ways, it's reminiscent of Neil Young's "Rust Never Sleeps" flick, expecting the audience to sit through an entire show with none of the external (crowd) stimulus. It's also honest - this is Depeche Mode, warts and all.
The sound, like the camerawork, is exemplary, and with 12 hit singles scattered through the 17 songs, few people could fault the musical content. Visually it does get a little wearing, but that complaint could be levelled at almost any live film, and Depeche have come up with a better offering than most.
Dave Thomas

1985-04-25 - Bravo (Germany) - Dave trieb fans in raserei

[Taken from the now-defunct site Transcribed using OCR:]

Depeche Mode in New York: Dave trieb die Fans zur Raserei

Zu hören waren die vier von Depeche Mode auch noch draußen auf dem Broadway vor dem Beacon Theatre in New York. Aber wenn man sie sehen wollte, mußte man nicht nur auf die Stühle, sogar auf die Armlehnen der Stuhle steigen - so groß war die Begeisterung ihrer amerikanischen Fans über den "Wall of Sound" diese klangrauschende Woge aus den Keyboards und Synthesizern der britischen Band.
Im geisterhaften, zwischen gletscherblau und grottengrün wechselnden Licht tauchten die vier gebleichten Blondschöpfe wie lrrlichter auf. Sänger Dave Gahan, der immer Bewegung in die Bühnenshow bringt, wagt sich gleich zu Anfang allzu nah an die Rampe. Dutzende von gierigen Mädchenhänden grapschen nach seinen lederbehosten Beinen.
Bei den Songs "Told you so", "Just can‘t get enough" und "People are People" wird das Gedräng im engen Saal vor der Bühne lebensgefährlich, weil die Jungs ihre Mädchen an Schenkeln und Fußgelenken noch weiter emporheben, damit sie auch nichts verpassen hinter dem Dampf und Rauch und flirrenden Lichteffekten.
Ein paar Fotografen retten sich vor der Horde nur noch durch gewagte Sprünge auf die Bühnenbretter. "Das hätten wir vom New Yorker Publikum gar nicht erwartet - bei unserer Art von Musik“, sagte Dave Gahan, der zur Freude der Fans immer neue Frotteetücher in die Menge feuert. "Aber wir sind selig, daß wir bei dieser USA-Tour so gut ankommen - es ist wie ein Durchbruch hier."
Als Alan Wilder gegen Schluß mit nacktern Oberkörper hinter seinem Keyboard hervorkommt, um eine Ballade zu singen, droht plötzlich ein ganz anderer „Durchbruch“ - die Girls aus Manhattan rennen wie Blockadebrecher gegen die Bühne an, um einmal nur Alans Brust anfassen zu können. Erst die beherzten Saalwächter wenden in letzter Sekunde eine Panik ab.
Ralf Brunkow

[Translation by me:]

Depeche Mode in New York: Dave drove the fans into a frenzy

The four of Depeche Mode could still be heard out on the front of the Beacon Theatre on Broadway in New York. But if you wanted to see them, you had to go stand not just on the chairs, but on the armrests of the chair - that is how big the enthusiasm of their U.S. fans was about the British band's "wall of sound" of rushing sound waves deriving from the keyboards and synthesizers.
Emerging from the ghostly, between glacierblue and cavegreen changing light, the four bleached blondes appear as ghosts. Singer Dave Gahan, who always brings movement to the stage show, ventures immediately at the beginning very close to the ramp. Dozens of hungry girls' hands try to grab his leather-clad legs.
In the songs "Told you so", "Just can't get enough" and "People are People", the pushing becomes life-threatening at the front of the stage in the small venue, while the guys lift up the girls' legs and ankles, so they do not miss anything of what's going on behind the steam and smoke and shimmering light effects.
A few photographers save themselves from the herd by daring to jump onto the stage deck. "We did not expect this from the New York audience - to our kind of music", Gahan said, who always fires new terry towels into the crowd, to the delight of fans.  "But we are happy that we go down so well during this U.S. tour - it's like a breakthrough over here."
When Alan Wilder [sic] appears behind his keyboard with a naked torso to sing a ballad towards the end, suddenly a very different "breakthrough" arrives - the girls from Manhattan run like a blockade against the stage to just try to touch Alan's chest. The courageous security guards manage to avert a panic just at the last moment.
Ralf Brunkow
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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #13 on: 20 June 2012 - 01:09:30 »
1985-04-27 - Frida n.17 (Sweden) - Dave i Depeche Mode Avslöjar

[Photo found on]

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Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #14 on: 20 June 2012 - 01:10:39 »
1985-04-27 - Hitkrant (Netherlands) - Dit Hadden we Nooit Verwacht

[Photos found on An identical version of this article also appeared in the Flemish magazine called Joepie.]

[I typed out the text:]

Het ongelooflijke succes van Depeche Mode
'Dit hadden we nooit verwacht'

Depeche Mode is eigenlijk een vreemde groep. Aan beroemd zijn dachten de jongens niet. Maar toen ze ineens wereldberoemd werden, schrokken ze zich halfdood. Lees maar waarom...

'Dit is de leukste baan die ik ooit heb gehad,' zegt Dave Gahan van Depeche Mode. 'En dat vond ik ook toen we nog nauwelijks succes hadden. We zijn ook helemaal geen groep die bij het begin dacht: wij willen wereldberoemd worden.'

Kom nou, dat wil iedere band, toch?
'Nee eerlijk waar! Ik zweer je dat de grote platenmaatschappijen bij ons in de rij stonden met vette contracten. Die lui vertelden ons dat we superhits zouden gaan scoren en idolen zouden worden. We lachten ons rot, joh! Achteraf hadden ze nog gelijk ook, maar wij hebben altijd gedaan wat we zelf wilden. We doen ons eigen management, we zijn aangesloten bij een klein onafhankelijk label en het is juist te gek om te zien dat je langs die veel moeilijkere weg de top ook kunt bereiken.'

Hoe is dat dan in z'n werk gegaan?
'We hadden alles mee. Toen we ons eerste singletje uitbrachten, kregen we fantastische kritieken, kwamen veel in de muziekbladen te staan en scoorden meteen een hit. We waren dolblij natuurlijk, maar kregen vlak daarop ook een grote klap.'

Je bedoelt het plotselinge vertrek van Vince Clarke?
'Precies. Hij schreef het merendeel van de songs en als zo iemand dan ineens zegt dat 'ie liever opstapt dan kun je je wel voorstellen wat een schok er door de groep heenging. Maar ja, Vince wilde alleen muziek maken en de zakelijke kanten zoals promotie, optredens, interviews, zag hij gewoon niet zitten. Het gevolg was dat wij het ook bijna niet meer zagen zitten.'

Toch zijn jullie nu wereldberoemd.
'Wacht nou even, want ik heb mijn verhaal nog niet afgemaakt. Vince verliet de groep wel, maar we bleven achter de schermen toch niet lang stilzitten. Daardoor leerden we een heleboel, en de eerste single die we zonder hem opnamen werd mooi een hit. Kijk, en toen kregen we zo veel zelfvertrouwen dat we de toekomst weer zonnig tegemoet zagen.'

Ook al wilden jullie niet per se beroemd worden, julle zijn wel populair!
'Ja zo zien we dat zelf niet. Zo zien veel fans ons, en we genieten ervan, hoor. De brieven die we krijgen zijn echt te gek. Vergeet niet dat we kwa leeftijd maar weinig verschillen van ons publiek! Als ik bijvoorbeeld al veertig was, zou ik heel anders tegen die aandacht aankijken. Verder zijn we veel gewoner en misschien daarom ook dichter bij het publiek dan bijvoorbeeld Duran Duran.'

Laatste vraag, Dave. Hadden julle verwacht dat je met het eenvoudige 'I Just Can't Get Enough' zo'n grote hit zouden scoren?
'Van te voren weet je nooit of iets een hit wordt of niet. Maar het is wel een reuze verrassend nummer. Echt een meezinger, en omdat we er bij de optredens zoveel succes mee hadden, leek het ons leuk om de live-opname op de plaat te zetten. Ik geloof dat nog steeds veel mensen denken dat Depeche Mode een groep is waar je alleen naar luistert. We zijn echter ook een dans band, waar iedereen lekker bij uit z'n bol kan gaan en wat dat betreft spreekt dit nummer voor zich, want niemand kan er genoeg van krijgen!'

Translation (by me):

The incredible success of Depeche Mode
"We never expected this"

Depeche Mode is actually a strange group. The boys never thought about becoming famous. But when they suddenly became famous across the globe, they scared themselves to death. Go read why...

"This is the best job I've ever had," says Dave Gahan of Depeche Mode. "And I even felt that way when we barely had success. We are not a group who thought from the start: we want to be famous."

Come on, that's what every band wants, right?
"No, honest! I swear, the major record companies were standing in line for us with their big contracts. These people told us that we would score really big hits and would become idols. We had to laughed like crazy! Afterwards they were right just as well, but we have always done what we wanted. We do our own management, we are members of a small independent label and it's just great to see that you can get to the top by taking that much more difficult road also."

How did that go?
"Everything came our way. When we released our first single, we got great critical acclaim, ended up in many music magazines and withteen scored a hit right away. We were delighted of course, but then we were immediately struck by a big blow. "

You mean the sudden departure of Vince Clarke?
"Exactly. He wrote most of the songs and so if such a person suddenly says he would rather leave the group, you can imagine what a shock went through the group. But yes, Vince just wanted to make music, and the business aspects such as promotion, performances, interviews, he just did not like. The result was that we almost did not feel like doing it anymore."

Nevertheless, you're world famous now.
" Wait a minute, because I haven't finished my story yet. Vince left the group, but privately, we were not standing still. Subsequently we learned a lot, and the first single which recorded without him was a pretty big hit. Naturally, we got so much confidence out of that that we became optimistic about the future again."

Even though you did not necessarily want to become famous, you guys are popular!
"Yeah well, we don't see ourselves like that. But many fans do, and we enjoy it, though. The letters we receive are really nice. Keep in mind that we are only a few years apart from our audience's age! For example, if I was forty, I'd judge that attention from a very different light. Furthermore, we are much more normal and maybe therefore even closer to the public than for example Duran Duran."

Last question, Dave. Did you guys expect you would score such a big hit with the simple 'I Just Can not Get Enough'?
"Beforehand, you never know whether something is going to be a hit or not. But it is a very surprising song. Truly a sing-along, and because we had so much success with it during the performances, it seemed a good idea to put the live recordingon the record. I believe that many people still think that Depeche Mode is a group which you only listen to. However, we are also a dance band, to whom everyone can rock out on and in that respect this song speaks for itself, because no one can get enough of it!"

1985-04-29 - Depeche Mode - Shake The Disease

Shake The Disease
Video Released: 1985
Video Director: Peter Care

Appears on the album:
Catching Up With Depeche Mode (U.S.)
The Singles 81>85 (U.K.)
Appears on the home video(s):
Some Great Videos home video
Some Great Videos 81>85 home video (U.K.)
The Best Of Depeche Mode, Volume 1 (CD + DVD) home video
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