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Author Topic: 1987-1989: Music and Tour for the Masses & 101 release  (Read 68510 times)

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #15 on: 07 June 2012 - 01:46:59 »
1987-04-xx - Rai1 (Italy) - Discoring (Strangelove)

https://www.youtube.com/watch?v=PwGxq2si6WE



1987-04-xx - Biggi nr. 225 (Germany) - Backstage Depeche Mode: Seltsame Jungs

http://www.ebay.com/itm/Biggi-Nr-225-Depeche-Mode-Poster-Europe-Status-Quo-Joe-Cocker-Paul-Rein-/321845860761



Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #16 on: 07 June 2012 - 01:49:54 »
1987-05-01 - Superchannel - Countdown (Fletch and Dave interview)

Dentez has this in good quality.

http://www.youtube.com/watch?v=MxmZ6Qp_t8w

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #17 on: 07 June 2012 - 01:53:15 »
1987-05-06 - Smash Hits (UK) - fzss

[Taken from the now-defunct website www.sacreddm.net.]






FZSS!...ZWIING! .AARGH!..HAHAHAH!!
[Smash Hits, 6th-19th May 1987. Words: Sylvia Patterson. Pictures: Paul Rider]
" Andy (who's returned from underneath the table and is looking absolutely delirious with happiness and is now pretending to be Lieutenant Sulu from Star Trek): "I cint hold it ciptin! It was the lythium crystils ciptin! Ha hahah!" "
 Summary: In 1987 Depeche Mode decided to counter their "serious" image by throwing a party for the Smash Hits journalists. The result was carnage, and this is the record of a night turning increasingly fuzzy at the edges for Dave, Andy and Martin. Streamers get eaten, trousers come off, ears and teeth get measured, and barely a word of sense all night. Oh, and Alan was there too. [2375 words]


     
    Hark! Depeche Mode are having a party – i.e. they’re having ‘a’ drink, scoffing streamers, pretending to be space-men, cavorting under tables, stealing ‘a’ drink and hauling people’s ‘breeks’ off. Er… except for Alan “Wild”er, that is…
    Sylvia Patterson (words) and Paul Rider (pictures) join them for a beaker of Tizer (or something).
    Geerks! Who’d have believed it? Depeche Mode – once the meanest, moodiest, most miserable bunch of synthified doomsters in the entire snooziverse – have decided to “throw” a party for Britain’s Brightest Pop Magazine. That’s us! Hurrah!! And the reason, pop whiffs, is this: they’re fed up with being “boring” in interviews. They’re swizzed by the prospect of grimbling their way through a “formal conversation” with some Smash Hits “journalist” – thus being labelled “boring” once again when they’re actually not very boring pop persons in the least. (Apart from Alan “Wild”er.) And, after all, they’ve just spend nine months in the pop wilderness (or something) and now they’re… back! With a tune called “Strangelove”! Which sounds just like one zwillion other Depeche Mode tunes but never mind because it’s quite good anyway! Celebration ahoy! And so it was…
 
7.00PM
    Gulp. The Smash Hits “staff” finds itself hovering inside the doorway of the super-snoot “Edwardian Suite” of the mightily swankesque Kenilworth Hotel in central London – a “suite” that looks not in the least bit “Edwardian” but contains one very large Banqueting Table (hem hem) festooned with the paraphernalia of swankiness (i.e. 487 different kinds of fork etc), one wall-to-wall buffet table with all manner of suspicious-looking grub on (yum!?) and one corner table glistening with every bottle of alcoholic beverage known to mankind (burp! / speeyoo…). Depeche Mode, it seems, are a very generous group (i.e. not short of a few “bob”). And lo! Here they come! (blush). Our “hosts” for the evening!
    “A’right!” bellows a beaming Dave Gahan, scrunching the hand of everyone in the process. “Have a drink! Ha haaa!”
    Jings!? The “lads” flee straight for the super-super-snoot waiter who’s poised and somewhat bemused behind the drinks table before proceeding to jape, mingle and blether with whoever happens to be standing nearest. Ooer. Depeche Mode are the friendliest, happiest pop stars that ever existed. Er… except for Alan “Wild”er, who decides to seat himself entirely alone at the dining table with a glass of best “bitter” and a face like a melted wellie (i.e. completely smirk-free). Oh dear.
    “Hellooooooo!” shrills a foxtress, bounding into the “suite” wielding a ghetto-blaster, followed by numerous other foxtresses and a completely mad “press” officer called Chris who “organised” this entire event. It’s the entourage from Mute Records, Depeche Mode’s record company, who are also our “hosts” for the evening. Within one second zurbillions of streamers are billowing from plastic bags – to be draped not-very-artistically all over the tables, floors, plants, coat-stands and various members of Ver “Mode”. The group then proceed to explode “streamer bomb” thingies all over the place and spray the walls and the not-very-cheap, wall-length velvet curtains with wiggly ‘n’ horrendous “liquid streamer” for that “stuck” effect – causing much nervous twitching from the super-super-snoot waiter’s direction. Martin commandeers the ghetto-blaster and begins “treating” the assembled “throng” to a selection of gaspingly varied and thoroughly obscure “tunes” from his very large record collection. Dave, meanwhile, has uncovered a gigantic, fluorescent orange megaphone with the word “BONG” printed on the inside and placed it right in the middle of the dining-table as a not-very-floral centrepiece.
    “It’s what’s on the cover of the single!” he “explains”. “Bong is its name. Er… well, it’s kind of a joke really ha haah! (?) I think it’s just a normal megaphone specially painted that colour. Three times!”
    “I’m starving!” pipes Andy “Fletch” Fletcher, the man with the biggest, most perpetual grin in pop. “Can we start yet? Please?” Chris, being “boss”, says “yes”. Yaroo!!
 
8.00PM
    Round the table slinks super-super-snoot waiter number two, bringing us the delights of melon (which Martin and Alan have, being vegetarians) and unidentified pate ‘n’ salad (which is scoffed in a billi-second by Dave and Andy). Also disappearing in a “trice” are the mesmerisingly plentiful supplies of beer and wine thanks to all four of them, because, as Dave puts it, “we like a drink” (aherm). This fact has probably just a smidge of an effect on the general “tone” of their mid-dinner conversations and Smash Hits, the magazine with the biggest, most flapaway ears in the cosmos (or something) was listening in heh heh…
    “What’s this then?” mumbles Dave through a stray lettuce leaf, enquiring after the spindly tune a-husking from the ghetto-blaster.
    “It’s David!” (i.e. Dame David Bowie) retorts a most miffed Martin.
    “Oh Daaaavid,” sneers Dave obviously filled with mirth at the thought, “ah boobeboobeboo! Ha haah! And this is one of his best! He’s terrible though. I heard an interview with him on the radio and he was really trying to do his cockney accent ha ha haaah! And I was going ‘shuuuuuurup!’ and he was going ‘yeah, roight, yeah’ – a really bad cockney accent. He went through his posh phase at one point, didn’t he? And then his camp phase and now he’s back to his cockney street-cred phase.”
    Alan: “A’roight mate ha haaah! Pathetic.”
    Andy? “‘Allo dohlin’! Ha haaah! He thinks he’s Tommy Steele (i.e. chirpy cockney “actor”)!”
    Dave (who’s much amused by this suggestion): “Aaaaah HA! What a berk! What a berk! What a berk…”
    Er… and swiftly on to Curiosity Killed The Cat…
    “No, no – The Curies as we call them ha haaah!” corrects Dave. “They really do say ‘maaaan’ all the time, don’t they? That’s the in thing to do in interviews now, by the way, Andy – like The Curies, just say ‘maaaan! Grooooove! You know, like, with this single we really thought we’d get back to the groove feeling, like, maaaan. Ha haah! So people can really get daaaan! You know what I’m saying?”
    Andy: “Er… I don’t understand!”
    Dave: “You’re not supposed to!”
    Martin: “Hah! Hah! Hah!”
    Martin’s “laugh” is actually the loudest most infectious bellow ever boomed and he booms it all the time – especially when the topic steers its way to a debate as to whether Prince Edward is gay or not. (!?) This remains unresolved, however, and instead they pretend to be “patriotic” cockney persons having a debate about it, as in: “Cor blimey guvvner, he goes out wiv geezers! Not like his bruvver ‘im, not like ‘is bruvver – fought in the war ’e did, fought in the war!” and so on for a very long time.
    Well! By this time Ver “Mode” are chomping their way through a main course of either vegetable curry or turkey curry (?) or prawns or a beef thing – all with one billion buffet salad-type concoctions. Now they decide they’ll tell us just where they’ve been for the past nine months. They’ve all “had a break – though none of us can remember having it” (?), they’ve been on various holidays and they’ve been in France inventing their next LP.
    “The French fans are unbelievable,” rumbles Dave. “They sit outside the recording studio and if any of us come out they all barge up going ‘Was that eet? Was that the seengle ve just heard? Was eet the seengle?’ And there was one bloke, a complete weirdo who used to sit outside our hotel for literally days and nights and he never said anything, just took photos of us all the time. And he had on this combat jacket all the time and we thought he was going to blow us up or something, you know, and we’d be going, ‘Well, I’m not going out the door first!’ ‘Neither am I!’ ‘Well I’m not!’ and all that – he was well weird.”
    “And we stayed in this place in Paris,” trundles Andy, “that was christened Turd City. Ha ha ha! ’Cos everyone there had a dog and there were turds all the way round it. (Blee…) Turd City was an understatement I’m telling you…”
    “And,” interrupts Dave, “it was really bad if you had Doc Martens on ’cos it used to get in all the grooves on the soles… eeeuuurrr…”
    And on and on they cavort and blether… about how useless Martin’s taste in music is (to which his reply is “Hah! Hah! Hah!”), about Taureans being the most boring people in the world except they’re not really because Dave’s a Taurean, about Martin being a bimbo because he’s just spend the last five minutes carefully cutting up what he thought was some delicious salad but it was, in fact, a lump of streamers on his plate – and all to the sound of champagne corks poppin’ ‘n’ fizzlin’ every three seconds, sparklers being lit and “Ooooooh!”d and “Aaaaah”d over, uncontrollable piercing shrieks from the record company foxtresses, the odd burst of “Happy Birthday To Yooo!” (?), more of Martin’s “laughter” as he reveals he’s been wearing the same coat of black nail-varnish for two whole months and the general giggling, tweetering, guffawing and rambling of a million different ridiculous conversations…
 
10.30PM
    After a plateful of profiteroles (round mini chocolate éclair type thingies) and chocolate sauce, everyone throws up in the loo. Er… no they don’t – instead, everything goes a bit squibbly. Andy Fletcher is having a spook-conversation with a Smash Hits “journalist”, saying things like “It’s not all like this you know – sometimes doing this job is really boring. Because it is a job, you know – it’s a job and when we’re in the studio it’s a job and when we’re in that studio it’s the most boring thing in the world. Quite honestly I only do this for the money. For the money and the memories, the money and the memories…” before going all wistful for a minute and then disappearing under the table to chew people’s knee-caps (or something) where he’s eventually joined by some record company foxtresses and no one seems to know what’s going on anymore.
    Alan “Wild”er, who has spent the entire evening staring bleakly into his glass of beer, has nipped to the loo and Dave and Martin are trying to convince the Smash Hits “photographer” that Alan is, in fact, enjoying himself.
    Dave: “He is enjoying himself! He is actually…”
    Martin: “He is! He’s going crazy!”
    Dave: “I can tell – he’s gone to the loo! Ha haah! He got up! No, you can tell, you see, because it’s his eyebrows. When he’s really excited his left eyebrow goes like this (tweaks his left eyebrow). Have you noticed that? And when he’s depressed his right one goes like that (tweaks his right eyebrow) ha ha haaah! Is he just quiet? No, no, he’s the old man of the band isn’t he? I mean he’s 27, 28 – he’s probably gone for a kip actually! Does he know that we speak about him like that? Um… no! Haaah hah haaah!”
    Meanwhile cries of “Gerremoff!” have begun a-swirling round the room as the record company foxtresses look more and more intent on having someone breekless before the evening’s end.
    Oh dear. Dave, at least, doesn’t look too perplexed by this – he’s too busy answering the all-“important” question: why is it that in your photographs you look like you’ve got great big huge pointy ears and yet they’re not like that in real life (from the side, anyway)? (This is actually true.)
    Alan (who’s returned from the loo and is looking almost contented): “That is illogical ha haah!”
    Andy (who’s returned from underneath the table and is looking absolutely delirious with happiness and is now pretending to be Lieutenant Sulu from Star Trek): “I cint hold it ciptin! It was the lythium crystils ciptin! Ha hahaha!”
    “More champagne!” screeches Dave – suddenly appearing armed with numerous bottles after a lightning raid on the drinks table in the absence of the super-super-snoot waiter. Triple oh dear…
 
11.30PM
    The record company foxtresses have turned the bottom end of this “Edwardian Suite” into a bopaway disco, the super-super-snoot waiters have disappeared completely, Dave Gahan is comparing the size of his teeth to those of a Smash Hits “journalist” and Alan “Wild”er is explaining to the universe just what he feels about tonight’s “activities”.
    “I think this is a complete farce,” he snorts above the melodic piplings of Baccara’s “Yes Sir I Can Boogie”. “A set up like this is nothing but a fiasco. I suppose you think that we all get on really well together and it’s like this all the time – well, it isn’t!” We argue constantly and that’s the real us, not… this. Yeah, I know I’m cynical but I’m also realistic.”
    Yeeks. Still, he need not fret for much longer – all around him “things” are beginning to crumble. All manner of deadly “cocktails” are being quaffed and Martin and a number of foxtresses have pinned a Smash Hits “journalist” to the dining table and are trying not-very-successfully to tear the breeks from him. Forced to give in, Martin returns to his seat and tries to deny that he’s a perv-bloke.
    “Perv-boke?” Hah! Hah! Hah! Haaaah! No no no no! The clothes? Aaaaw, that’s just because I like them. It’s true! I don’t think I’ve ever done anything pervy – that’s the honest truth. In fact the only thing I can think of is when we were at school we had these French books, and one of the characters was sort of illustrating the French way of life or whatever. He was called L’Oncle Martin and he was an explorer and I thought he was brilliant – I thought the sound of that name (exaggerated French accent) ‘Looooncle Martaaaan!’ was amazing. So I was going to call myself that for a while – on the credits on the records – ’cos I really fancied people wondering who this weird bloke was. Er… but even that’s not that pervy!”
    Fair enough. Except it’s not really because 10 minutes later Martin Gore willingly removes his own breeks and the sight is not a pleasant one. What a bonkers bloke he is…
    And so the first ever party that some pop persons had “thrown” for a Britain’s Brightest Pop Magazine ended. We sniffled, we blubbed, we bade our farewells – we sauntered our way, they stumbled theirs… Depeche Mode, eh? Pop toffs of the highest “order”.

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #18 on: 07 June 2012 - 01:53:50 »

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #19 on: 07 June 2012 - 01:54:24 »
1987-05-12 - Radio One Montreux (Switzerland) - Dave & Fletch

[We don't have this audio interview.]

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #20 on: 07 June 2012 - 01:55:04 »
1987-05-16 - A2 (France) - A La Folie Pas Du Tout (Strangelove)

https://www.youtube.com/watch?v=z8AICpqqg7c

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #21 on: 07 June 2012 - 01:55:41 »
1987-05-23 - No.1 (UK) - strange lives

[Taken from the now-defunct website www.sacreddm.net.]




STRANGE LIVES
[No. 1, 23rd May 1987. Words: Uncredited. Pictures: Uncredited.]
" "We've been lucky to avoid major scandals in the tabloids because no one knows who we are really. We don't have pictures on records because four blokes in suits standing against a wall dates." "
 Summary: Whistlestop b(l)and biography from the beginnings to 1987. Rather than concentrate on the more important developments the band had made in this time, the author has tried to cram as many historical details as possible into this short article, with the result that everything is mentioned, but virtually nothing discussed. If you are new to Depeche Mode this is OK for getting a basic idea of the band's history, but veterans will gain only a few bits of trivia. [1776 words]

THE EARLY DAYS
    Martin Gore, raised in Dagenham (new town famous for its Ford factory) discovers his life-long love for Germany on a school exchange visit to Schleswig Holstein where he stays on a farm. "I liked to milk the cows," he recalls.
    Martin stars for his school cricket team and passes French and German 'A' levels. He collects Disco 45s and sticks posters of Bryan Ferry on the bedroom wall.
    Martin buys his first synth for £200 and forms various bands like Norman And The Worms, Composition Of Sound and French Look with Vince Clarke and Andy Fletcher. The trio are pals from school and the Boys Brigade.
    After a residency at Crocs in Rayleigh, Essex the early Mode meet Daniel Miller, boss of Mute records, at the Venue and the Bridge House, Canning Town, where they are supporting Fad Gadget (early electronic pop group).
    Depeche Mode are now Martin Gore, Andy Fletcher, Vince Clarke and singer Dave Gahan. Dave joins after auditioning singing Bowie's "Heroes". He is studying fashion design at Southend Art College and brings along the French magazine Depeche Mode which gives the group their name. It means Fast Fashion.
BASILDON, BANKS AND BIZARRE BEER-BOYS
    Dave Gahan is an ex-beer boy and punk with a list of juvenile felonies including "nicking cars, setting fire to them and spraying walls. I was a regular juvenile delinquent."
    Dave works for Sainsbury's, North Thames Gas and a Basildon builder before mending his ways as a pop star. He is an acquaintance of John Lydon and Boy George.
    Andy Fletcher, known as Fletch, is another Basildon boy. He describes the new town that forms Mode's sound as "a horrible place with 200,000 people and one cinema". He is in the same class as Alison Moyet and Martin at school and takes politics 'A' level. His first group is No Romance In China with Vince. They play Cure songs. After school Fletch works for Sun Life Assurance as a clerk while Martin works for the Natwest bank.
    Depeche Mode make their recording debut with Some Bizzare records - a version of "Photographic" - even though Gahan later says "there was nothing bizarre about us. We were post Blitz kids in frilly shirts for a while but I never believed in all that new romantic futurist stuff myself."
    Martin Gore says of Mode's early image, "We were very sickly and wimpy, it even makes me feel ill to look at old pictures of us then."
VINCE QUITS SHOCK!
    Influenced by OMD and Human League, Mode sign to Mute, the independent label. To this day they have no written contract with Daniel Miller and split all profits 50/50.
    Their debut single is "Dreaming Of Me" which Vince calls "a pop song. I think pop is a really nice word. It's light and happy." The boys support Ultravox and play at Rusty Egan's Flicks club in Dartford. New Romance is in the air in 1981.
    Just before their first British tour Vince Clarke announces "I've just had enough." As songwriter for Modey everyone expects this to herald the end for Depeche but he says "Martin is a better writer than me, they'll be alright". The split isn't all amicable. "It took over a year for the bad feeling to die down and there was a rivalry between them and Yazoo. I'd offered them "Only You" and when Yazoo had a hit with it, that didn't help much."
    Daniel Miller looks on the bright side. "Vince leaving is good news for Martin, he needs a push." Martin agrees. "It was exactly the kick up the arse I needed to start believing in my own songs. I was like a Before and After advert."
MODEY GET WILDER!
    "Name band require synthesiser player. Must be under 21" read an ad in Melody Maker. Alan Wilder, Acton boy, ex muso with the Dragons and the Hit Men replies and gets seat. He is 22 and isn't accepted into the group for 18 months but hired as a session player.
    "That hurt for a bit. They were a very tight knit bunch and it took me a while to become one of them. I'd always thought they were pretty weedy before but when we played together I sensed we were capable of a much harder sound. Between 1982 and 1983 I was never sure whether I was in or out until one day Fletch told me I was a full time member."
    Modey play their first American dates in 1982. While they turn away hundreds of fans across town Duran Duran fail to sell out their first US dates. On their return, Mode play a secret Bridgehouse date and give all proceeds to the club's restoration fund.
    "Get The Balance Right" is the first single of 1983 and shows Wilder's influence. "It was a lot tougher than anything we'd done," says Gore. "There was a lot more to us now than a little pop group."
FROM BASILDON TO BERLIN
    1983 world tours feature riots in Hong Kong and a new Mode sound for "Everything Counts". The band record in Hansa, Berlin for the first time. They describe Berlin as "like Brixton. People think it's a romantic place but it's good for working. No distractions like London, apart from the 24-hour night clubs." Wilder notes that in Germany "We get treated as this big hip band which makes a change from our British image."
    Dave Gahan comes out of the closet and admits "I've gone off punk. My favourite records now are by The Doors, Roxy Music, Lou Reed and The The," he tells No. 1. "I hate recording studios with red lights, most journalists and Japanese food."
SEX 'N' DRUGS 'N' ROCK 'N' ROLL   
    Depeche Mode, the archetypal triumph of ordinary boys in a glamorous business, start causing a bit of controversy with their music. "Master And Servant" uses "sexual angles in a specific way" according to Gore, but the BBC play it anyway. Gahan says, "a lot of people were shocked to discover we were no longer wimpy boys on synths. Our next record "Blasphemous Rumours" confirmed that.
    "Blasphemous Rumours", about a girl who attempted suicide by slashing her wrists, is released as the first pictures of the Ethiopian famine are broadcast on TV. Local vicars are up in arms at its lyrics and even Fletch admits "as a Christian I found the song a bit offensive at first. I can see how it offended people but the message was meant sincerely." Nevertheless, the UBA, the Sun and Mary Whitehouse condemn the record but with Frankie's "Relax" still around the fuss soon dies down. [1]
    Depeche Mode now have a completely new stage style and image. Martin Gore shaves off his beard and starts wearing a leather skirt over leather trousers, handcuffs and Los Angeles cop's cap set off with a frilly see through lace bodice. Modey all wear black and graduate from medium venues to Wembley Arena. Alan Wilder claims "we don't write simple dance music anymore."
PERVERSIONS
    Martin Gore goes to live on Heerstrasse, West Berlin with his German girlfriend and begins to enjoy a new lease of life. "I don't think I lead a decadent life style but I'm attracted by those who do. I'm a bit of a voyeur," he tells No. 1. He also starts doing impromptu strip teases for the lucky few. "After a few nice pop singles you're allowed a bit of perversion."
    Depeche Mode's biggest LP to date is "Some Great Reward". "We were originally going to call it 'Perversions'," says Martin, "but I changed that because I thought mums wouldn't buy it for their teenage daughters. As they're the biggest part of our audience..."
    Depeche Mode's now-regular world tour becomes a routine, according to Gahan. "I lose 1 1/2 stone on every tour. I travel with a full medicine bag, vitamins, blood cell restorers, glycerine and antibiotics. I tend to get quite ill on tour. When I'm home I speed round the house for months trying to adapt to normality, things like paying bills and going to the launderette become very hard."
QUITE BORING!
    Martin Gore explains why despite their universal success, Depeche Mode remain a faceless band. "It's a deliberate choice not to over expose ourselves. We're quite boring people in interviews and we don't bask in the limelight. We don't socialise on a big pop star level."
    Gahan adds: "It's better this way. We've been lucky to avoid major scandals in the tabloids because no one knows who we are really. We don't have pictures on records because four blokes in suits standing against a wall dates."
    In 1985 Dave Gahan marries longtime girlfriend Jo and joins Fletch and his girl Grania in wedded bliss. [2] Fletch, Martin and Alan Wilder all now live in west London leaving Gahan to carry the Basildon flag. For Fletch "moving house was the first time I'd ever lived with anyone except for in-laws and in hotels."
    Modey released no LP in 1985 but left fans to mull over their videos The World We Live In And Live In Hamburg and a Greatest Hits singles package. [3]
    In 1986 Martin Gore leaves West Berlin. He still can't get into East Berlin because "the border guards think I'm a football hooligan".
    Modey make their raunchiest single "Stripped" which Fletch admits "is quite rude. It's about stripping down to your barest emotional essentials. The video shows us demolishing a car."
    Dave Gahan seems to enjoy this a lot. "It's a bit symbolic." The papers accuse them of glorifying violence but the Beeb play the record.
    1986 culminates for Depeche Mode with their "Black Celebration" LP, their most obscure music yet. "Parts of it are morbid," says Martin, "but that's how I felt. At the end of the day we all enjoy a celebration, no matter how bleak the working life is."
LOVE DOLLS
    Alan Wilder accepts, "We've now alienated some of the teen market but a lot of fans have grown up with us and respect our music."
    Martin Gore waxes philosophically about the importance of numbers. "Four is the right number of people for a group. Five is too many and three is plain stupid. Four people is powerful."
    In 1987 Depeche Mode record in Paris for a new LP to be called "Music For The Masses". A new single "Strangelove" appears to be about plastic inflatable love dolls. A new world tour is announced for October during which time Modey will notch up their thousandth live date. They head for the Guinness Book Of Records as the hardest working band in show biz. And they still haven't got a drummer!
[1] - This is in direct contradiction to what Dave Thomas states about the matter in his biography, despite it being obviously the source from which the author has cribbed a lot of the material for this article.
[2] - It's Grainne.
[3] - The 'Greatest Hits' was actually called "Singles 81-85"; the album contained all their singles, while the accompanying video missed a few.

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #22 on: 07 June 2012 - 01:56:01 »
1987-05-26 - Montreux Rock Festival - ''Master and Servant''  and ''Strangelove'' performance

Dentez still needs the Master and Servant performs in good quality.

The Strangelove performance is hosted online: http://www.youtube.com/watch?v=0OWT0nzaq48

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #23 on: 07 June 2012 - 01:56:31 »
1987-05-27 - Bravo (Germany) - dm keine trennung

[Taken from the now-defunct website dave-gahan.net.]



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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #24 on: 07 June 2012 - 01:58:18 »
1987-05-xx - 3SAT (Germany) - DRS

Dentez has this in good quality. Not hosted online.

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #25 on: 07 June 2012 - 02:04:11 »
1987-05-xx - Best (France) - n° 232 Strangelove Video

http://www.frenchviolation.com/forum/viewtopic.php?f=11&t=5632



Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #26 on: 07 June 2012 - 02:04:45 »
1987-05-xx - Popcorn (Germany) - eiszeit bei dm

[Thanks to Milik for offering to send in this scan!]



Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #27 on: 07 June 2012 - 02:05:10 »
1987-05-xx - RAI (Italy) - Domenica In (Strangelove)

Dentez has this in good quality. Not hosted online.



1987-05-xx - Intercord (Germany) - Strangelove press release

[Thanks to Dennis Burmeister for uploading this.]


Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #28 on: 07 June 2012 - 02:07:05 »
1987-05-xx - Strumenti Musicali (Italy) - Interview

http://depechemodeitalia.com/strumentimusicalimag87.htm

Londra 1980. Verso la fine di quell’anno, al Bridge Huse Pub, al Canning town con un po’ di fortuna si poteva assitere all’esibizione di un gruppo di giovani ragazzi con tre sintetizzatori e un vocalist; il nome: Depeche Mode
DEPECHE MODE LONDRA, BERLINO, PARIGI
In uno dei loro spettacoli, come supporto a Fad Gadget, sono piacevolmente notati da Daniel Miller, boss della neonata Mute Records, che vede in loro il giusto mezzo per arrivare al grande pubblico, operazione non riuscita con i suoi Daf, Silicon Teens e Body Rice.
Con i primi 45 giri, per Andy Fletcher, Vince Clarke, Dave Gahan e Martin Gore, la scalata alle charts è relativamente semplice. Il primo album entra nella Top Ten britannica. Mentre tutto sembra procdere bene, Vince Clarke. compositore di quasi tutti i brani, stressato dal ruolo di pop star, lascia il gruppo. Siamo alla fine del 1981. Poco più tardi, sempre con la Mute, formerà il duo Yazoo con la cantante blues Alison Moyet.
Il ruolo di compositore viene preso da Gore. Tornano in studio e pubblicano il nuovo singolo, "See you" e un nuovo LP. "A broken frame". L'album presenta un po' di incoerenza di idee e a fianco di brani di grande efficacia, come "My secret garden" e "Leave in silence", trovano posto insipidi ritornelli. Si intravede che il gruppo sta maturando, ma non ha voluto osare più di tanto.
Per tutto il 1982. per i concerti e la promozione TV, Clarke è sostituito dal tastierista Alan Wilder. che entra come membro fisso della band nel gennaio '83, ed è subito co-autore di alcune canzoni.
Berlino 1983
Il gruppo necessita di nuovi stimoli e nuove idee. Le trova durante il tour primaverile del 1983, quando tocca con mano il problema del capitalismo senza limiti e della povertà totale in luoghi come Hong Kong e Bangkok. La coscienza di Martin è scossa al punto di motivare le liriche dell'intero terzo album: "Construction time again".
Carico di polemica sociale, ma non politica, come spesso il gruppo ha precisato , l' LP assume anche dal lato sonoro una caratteristica più dura. È una svolta nel cammino del quartetto di Basildon.
"Construction time again'. viene mixato negli studi Hansa di Berlino, ex regno di Bowie e attuale culla degli Einsturzende Neubauten di Gareth Jones, maestro nel campionamento rumoristico industriale. Debuttando come tecnico del suono nel singolo "Everything counts", Gareth Jones entra subito in co-produzione a fianco di Miller e dei Depeehe Mode. I primi frutti della collaborazione sono i già citati Album e singolo, seguito da; altri 45 giri come "People are people" e"Master & Servant", e il quarto LP "Some great reward", nel 1984.
Anche il 1985, come il precedente, è un anno ricco di collaborazioni con numerosi tecnici come A. Sherwood, John Fryer, Bert Evans, per i nuovi mix del gruppo. E anche però un anno di pausa e riflessione per raccogliere ed esaminare nuove idee per 1'86 e il nuovo 33 giri.
Nel febbraio, infatti, i Depeche Mode presentano "Stripped", delizioso singolo, anticipazione dell'Lp 'Black celebration", sicuramente il loro capolavoro. L'omogeneita e la classe delle composizioni sono le qualita più acclamate del prodotto. Un tour mondiale di quasi cinque mesi segue la suddetta pubblicazione, suggellando un grandioso successo dal vivo, in particolare in Germa nia, Francia. Svezia e USA. L'ultimo estratto, "A Question of time", tiene alto i marchio DM sino a novembre, quando Andy, Martin, Alan e Dave si congedano promettendo per il 1987 un nuovo lavoro e ..
Parigi 1987
Eccoci ai giorni nostri; il gruppo è da circa due sett imane nella capitale francese dove sta lavorando su alcuni brani che saranno l'ossatura del nuovo album. previsto entro l'anno. Negli studi "Guillaume Tell" , situati in Suresnes, una cittadina distante quattro chilometri da Parigi. Incontriamo il gruppo e ci intratteniamo con Andy Fletcher e Martin Gore e, quale onore (!). con la supervisione e i commenti di Mr. Daniel Miller.
 
Quando potremo ascoltare i frutti di questo lavoro?
A.F A fine aprile uscirà sul mercato il nostro nuovo singolo, sul quale stiamo lavorando proprio in questi giorni. L'album sarà pronto verso la fine del'estate.
Come mai tanto tempo per la produzione di questo disco?
M G Abbiamo deciso di dividere l'intero lavoro in due parti. Alla fine dello scorso anno avevo scritto un certo numero di brani nuovi. Cosi dopo un periodo di programmazione trascorso a Londra. ora siamo qui in Francia a registrarli Ma sono solo una parte del futuro album: dopo l'uscita del 45 giri ci ritroveremo nuovamente con altre composizioni su cui operare e questa seconda fase la registreremo in Danimarca ai Puk Studios. Quindi. verso settembre sarà pronto l'LP.
 
Le composizioni sono nuovamente tutte tue?
Per il momento si.ma visto che siamo solo all'inizio, nella seconda fase si potrebbe lavorare su alcuni abbozzi di Alan.
A chi avete affidato la produzione delle registrazioni in corso?
A.F Stiamo lavorando con un nuovo produttore: David Bascombe. "Bassy" ha gia collaborato con i Tears For Tears e Peter Gabriel. In alcune canzoni, anche Daniel Miller parte- cipera' alla production, ma non in tutti.
 
Questione di tempo o scelta studiata a tavolino? (A rispondere è lo stesso Miller)
D.M. Non è una decisione casuale. Per sei anni ho lavorato con i Depeche Mode. ma ora, in accordo con il gruppo. abbiamo deciso di ridurre momentaneamente il nostro rapporto artistico.
 
Per quattro anni avete lavorato quasi costantemente negli studi hansa di Berlino; ora registrate qui a Parigi. Qual è il motivo di questo cambiamento?
A.F. È da parecchio tempo che volevamo cambiare per assaporare nuove atmosfere e sensazioni. Tra l'altro Parigi è anche più vicina a Londra eci permette di conseguenza spostamenti piu' rapidi. E una metropoli diversa da Berlino ma ci troviamo tutti altrettanto bene
D. M. Anche questa mossa fa parte del processo di rinnovamento che i ragazzi si sono prefissatii per il 1987. Anche Gareth Jones è assente nell'attuale produzione per lo stesso motivo.
 
Come organizzate il lavoro per la costruzione di un nuovo L.P.?
A.F Il ciclo è composto da quattro fasi distinte tra loro inizialmente Martin compone sulla sua chitarra. durante i tour o in casa propria. In un secondo tempo, a casa di Alan, con un Emulator 11 e un microcomposer Roland MC 4, cerchiamo di dare un certo ordine al nuovo materiale. In questo stadio non riserviamo ancora molta attenzione ai suoni. La terza fase la trascorriamo, poco prima delle registrazioni vere e proprie, al Worldwide Studio di Londra, Un piccolo laboratorio sonoro di Daniel (Miller), dove campioniamo nuove sonorità e programmiamo la stesura dei brani. Successivamente andiamo in studio per il lavoro effettivo.
 
Una vostra giornata tipo, in questo periodo.
A.F Iniziamo a lavorare nel primo pomeriggio e andiamo avanti sino all'una o alle due del mattino, con una pausa totale verso le otto di sera per la cena. Anche qui, come a Berlino,quando smettiamo di registrare è notte, ma spesso andiamo ugualmente in qualche club in città
 
In passato, come "cervello" centrale avete usato il Synclavier; nell'album dello scorso anno siete passati al BBC UMI 2. Quale macchina state usando in questi giorni e perche?
M.G Anche quest'anno usiamo come principale apparecchio l'UMI BBC 2 perchè è più'elastico del Synclavier,che comunque usiamo tuttora, specie per i suoni della batteria. Qualche campionamento lo effettuiamo ancora sull'Emulator II. La versatilità dell'UMI ci permetle di programmare le canzoni e cambiarne la struttura interna molto più ve.locemente che in passato.
 
Nelle vostre ultime pubblicazioni vi è stato un ritorno all'analogico. Quali tastiere usate per produrre certi suoni?
A F Usiamo sistemi complessi ormai fuori produzione da ann icome il Roland 100 M, il Roland 101, l'RSF Kobol, oppure sintetizzatori che hanno ratto storia come l'ARP 2600 e il MiniMoog. Il 2600 Io sfruttiamo per ottenere suoni che non riflettono un particolare strumento; il MiniMoog lo usiamo per alcune strutture di basso
M.G. Se a queste aggiungi il PPG Wave 2 3 e i campionatori sopra elencati, hai la lista completa delle tastiere che stiamo usando, che è la stessa line up di Black Celebration, come le piste,che sono 48.
In sei anni di attività avete avuto modo di lavorare con diversi tecnici del suono per i vostri album e mix. C'è qualcuno di essi che ricordate con maggior piacere?
A.F Nessuno! Essenzialmente non amiamo molto operare sui remix, e il lavorare con i tecnici di studio è sempre un tormento.
 
Per il singolo "It's called a heart" avete lavorato con Dave Allen: una collaborazione isolata. Come decidete con quale tecnico avviare un nuovo prodotto?
M.G. Non abbiamo moltissime conoscenze di ingegneri del suono che prediligano l'elettronica totale. Semplicemente, ascoltando dischi e produzioni sul mercato notiamo i prodotti di nostro gradimento e chiediamo ai rispettivi responsabili se vogliono lavorare con noi.
 
Descriveteci i singoli ruoli di ogni Depeche Mode durante le fatiche in studio.
A.F. Dave prepara il te, si agita in continuazione e ogni tanto canta, io aziono i computer e gioco molto a ping pong con Mart quando non si addormenta sul divano. Alan sostiene tutto il lavoro.
 
Userete, in fase di mixaggio, la stessa tecnica di "Black Celebration", con la ritmica in secondo piano e poco presente?
M.G. È presto per dirlo. non ne abbiamo ancora discusso.
 
Dei cinque vostri album pubblicati sinora, qual è quello che preferite?
A.F. "Some Great Reward"
M.G. "Black Celebration"! ln questi casi viene a galla il piccolo conflitto interno al gruppo, sul carattere da assegnare al nuovo 33 giri. Andy, che noi chiamiamo Mr. Dance vorrebbe i brani tutti veloci e ritmati, mentre io, in questo periodo amo particolarmente le melodie senza supporto ritmico. Alan si sfoga alla ricerca di suoni afonici.
Sono anche queste piccole contese che ravvivano l'entusiasmo nei Depeche Mode, uno dei pochi gruppi nati all'inizio degli anni 80 che ancora oggi nutre un gran seguito nel mondo.
Un quartetto sempre in bilico tra lo sperimentalismo e la musica da classifica, che infarcisce appunto di ricercatezze, spesso sottovalutate, le melodie e le liriche provenienti dalla testa e dal cuore di Martin Gore.
Ci allontaniamo mentre, al di là della parete, la voce di Dave Gahan invoca uno Strano Amore.
 
Giorgio Minale

Offline Angelinda

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Re: 1987-1989: Music and Tour for the Masses & 101 release
« Reply #29 on: 07 June 2012 - 02:08:55 »
1987-05-xx - Unknown (Unknown) - Music Box (Band interview)

Dentez has this in good quality. Not hosted online.



1987-05-xx - OK magazine (France) - Étrange video pour un étrange amour

[Thanks to stéphane for scanning this.]