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Author Topic: 1986: Black Celebration  (Read 55465 times)

Offline Angelinda

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Re: 1986: Black Celebration
« Reply #30 on: 17 June 2012 - 22:58:13 »
1986-03-13 - Bravo (Germany) - stripped nackte maedchen

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

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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #31 on: 17 June 2012 - 22:58:52 »
1986-03-15 - Record Mirror (UK) - Album Review

http://www.ebay.com/itm/Depeche-Mode-magazine-clippings-posters-etc-/381665181253



[Reprinted in a BONG magazine many years later.]

    Here are some things to admire about Depeche Mode: (1) their self-sufficiency, (2) their refusal to follow anything but their own fashion, (3) their refusal to be anything but themselves, (4) their unswerving ability to come up with great, fresh melodies. “Black Celebration” is a comfy progression for the Deps, but it contains no huge surprises. It keeps to the rules they set for themselves in terms of quality, value for money, tunefulness and experimentation. It kicks off with three killer tracks – “Black Celebration”, “Fly On The Windscreen” and “A Question Of Lust”, the latter being a prize crystal-clear, soaring Mart-on-vocals special. But it really is like putting all your cards on the table before the game’s finished. Of the raunchier numbers, “A Question Of Time” stands out, as does the single “Stripped” and the moody “Dressed In Black”. “New Dress”, although it pumps and throbs, has rather excruciating lyrics, ditto “Sometimes”, one of the rather too many sweet little ballads. [2] Although the melodies are gorgeous, Martin seems preoccupied with sounding like the gawky school choirboy. Mr. Gore is again lyrically concerned with tenderness, sweetness, closeness with another, and putting his heart on his sleeve. That’s fine, balanced against Depeche Mode’s more exciting, sinister side. Beware the girly swot notebook with the arrow through the heart, boys, and you’ll rool OK. Strength through wimpery!
Betty Page
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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #32 on: 17 June 2012 - 22:59:50 »
1986-03-15 - Sounds (UK) - Comic Strip

http://www.ebay.com/itm/DEPECHE-MODE-VINTAGE-ORIGINAL-PICTURE-ARTICLE-1986-/181619070362



[Converted into text using OCR:]

Comic Strip
DEPECHE MODE: no nudes is good nudes

DEPECHE MODE 'Black Celebration' (Mute STUMM 26) **1/2
THE TV'S burnt the toast the hoover's eaten the carpet and, in the background, pop's parasites are chewing at life and spitting out synthesised saccharine that dissolves in the air and not in the heart. They stride purposefully down paths of misguided desire...and get lost Depeche Mode play Depeche Mode with conviction, the mould is cast and the cast are convinced. As menacing rhythms beat beneath treacle-covered whims, they sing of sex with disposable belief. When naivety swamped their soul, youth was held up as the reason — now, though, no such excuses are valid and the real world still waves from afar. 'Black Celebration' is a vision of love as seen through the eyes of pop's 'subversives' (sic), mean, moody and marmalade. Life can be a bitch when you're cast as court jester and you've dreamed of being king. 'Fly On The Windscreen' is too perceptive for lunch. "Death is everywhere/There are flies on the windscreen/For a start/ Reminding us we could be torn apart"Thanks lads, but I've eaten — besides, I've swallowed too much shit already.
Depeche Mode are bored with last week's toys and, anyway, SPK wanted their angle grinders back. Sc now they're busy playing with John Carpenter's ideas, pulling the legs off gripping soundtracks and turning them into harmless scenes of banality, with no twists and many happy endings. I hate happy endings. When they start singing songs about Princess Di's clothing, 'New Dress', you know that you're in safe hands and that there's nothing lurking around darkened corners to surprise you. But Depeche still reign supreme in the world of programmed pap, their music still has a nagging simplicity that is ensnaring. When hinting of depth, they beg an inquisitive leap, but such a foolhardy act only gets your ankles wet as their nursery rhymes squidge between your toes. I treat the garden to my presence and reflect on their poetic observations: "Sometimes/Only sometimes/1 question everything/And I'm the first to admit/If you catch me in a mood like that/I can be tiring/Even embarrassing." Upon digesting this gloriously incisive self appraisal, I let out a euphoric cry before tearing up the sleeve and feeding it to the birds.
KEVIN MURPHY
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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #33 on: 17 June 2012 - 23:03:25 »
1986-03-15 - NME (UK) - Nipple Erectors

[Thanks to ericdm for scanning this article for this forum!]



http://tiptopwebsite.com/websites/index2.php?username=depechemodefile&page=13

Nipple Erectors
Somewhere, between Basildon and Berlin, is a place that Depeche Mode call home. It's an uncomfortable abode though it gleams and sparkles with pristine decor and designer-built functionalism, a matt-black (naturally) dream home whose geometrical symmetry hides a thousand sins. Although Depeche Mode - and their mainman/songwriter Martin Gore especially - long for that certain Euro-ambience, these four suburban boys are forever blighted by a peculiarly English sense of propriety, a pop protocol that drips with politeness.
This well-behaved music threatened to slip from its axis on '83's quite invigorating 'Construction Time Again' when the awakening promise of 'Everything Counts' and 'More Than A Party' approached the realm of cheeky subversion. Alongside Gore's political awareness grew an unhealthy fascination with the sturm und drang of German industrial culture, the viral music of Neubauten and our own Test Dept. Yet what tension Depeche Mode possessed of late - and there was little to be detected on last year's atrophied 'Some Great Reward' - came from the frisson of Gore's dark Teutonic pretensions with the continued tyranny of studied, harmonious order that his three accomplices seemed quite happy to perpetuate. As a virus, Depeche Mode's music is closer to sleeping sickness than to any nerve-wrenching disorder. Worse still, the psychology-by-numbers cant of a song like 'Masters And Servants' [sic] teetered ominously close to the chanting histrionics of a Tears For Fears' "Shout! Shout! Let it all out!" exegesis.
On 'Black Celebration', the contradictions continue and continue to remain unresolved. Martin Gore's presence is stamped all over this album, not least in the sex-death-lust angst which informs virtually every lyric whilst the accompanying music, although often hinting at impending disorder, is a paradigm of well mannered electro-pop. Opening with the title song, 'Black Celebration', which has nothing to do with the recently established Martin Luther King Day and a lot to do with being stoical in the face of life's sheer mundaniety, the album establishes a mood that is dark yet faintly ridiculous. Over those perfectly constructed jigsaw melodies, David Gahan's cloyingly winsome voice ennuciates Gore's adolescent fragments of despair. 'Fly On The Windscreen' includes the immortal line "death is everywhere" over a propulsive, multi-layered background complete with dismembered voices and cut-up sound patterns that are actually quite winning. Again, on 'A Question Of Lust', the overblown introspection of the lyrics defeats serious analysis whilst 'Sometimes' approaches the analyst's couch as Gore, via Gahan [Martin in fact takes the lead vocal on this track - BB] , informs us, without a hint of irony, " ... I'm the first to admit/If you catch me in a mood like this/I can be tiring/Even embarressing". Never.
It is left to the music to provide what relative highlights there are and, within their own parameters, Depeche Mode create a resonant, if undemonstrative techno-pop tapestry where the various percussive and melodic components often lend a rich textured sheen that is not without a certain depth. 'A Question Of Time', with its rising and falling structure, manages to perfectly complement an exceptionally curt and aggressive Gore lyric whilst 'New Dress' ruptures the prevailing introspective and fingers the media trivialisation of "real" news. Indeed, when the songs address topics other than the composer's state of mind - as on the evocative exploration of loneliness that is 'World Full Of Nothing' - Depeche Mode sound like a lot more than just a high tech, low-life melodrama. For the most part, however, they continue to provide a soundtrack for the up-to-date, matt black bedsit: dark, yet faintly ridiculous.
Sean O'Hagan
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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #34 on: 17 June 2012 - 23:08:03 »
1986-03-15 - Melody Maker (UK) - Black in the Night

[Thanks to Marblehead Johnson for scanning this.]

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



BLACK IN THE NIGHT
[Words: Steve Sutherland. Picture: John Stoddart.]
" It’s depressing, though, that in their own small struggle for personal and artistic dignity, Depeche have only managed to trade in one set of cliches for another – white for black, bright for bitter, tunes for twisted chants. "
 Summary: This review comes as a great antidote to those of us who adore Black Celebration now, but forget that we probably disliked it on the first hearing. It's also a reminder that a lot of "great" music only sounds "great" with hindsight. The writer finds much of the content laughable, but it's not hard to empathise, and to his credit he doesn't slip into abusing the whole album. Not a "good" review, but a quality one. [522 words]
Many thanks to Michael Rose for kindly supplying a scan of this article.

    The same old song. That Depeche Mode are willing to worm their way out of their lucrative niche as mega-cuddlies is encouraging even if they’ve been at it so long they’ve fashioned a career from sweet abrasion. Damn sure they know they’ll never swap their teddy bear image for chart terrorism but the effort has become the sole fuel to Martin Gore’s fixations.
    It’s depressing, though, that in their own small struggle for personal and artistic dignity, Depeche have only managed to trade in one set of cliches for another – white for black, bright for bitter, tunes for twisted chants.
    “Black Celebration” finds Depeche even more over-anxious than they were on the depressing “Some Great Reward” to shock for the sake of it, pussycats desperate to appear perverted as an escape from the superficiality of teen stardom. “Dressed In Black” is just “Master And Servant” revisited, an adolescent masturbatory fantasy. [1] Similarly, “Fly On The Windscreen” attempts to evoke the claustrophobic swamp intertia of Mute labelmate Nick Cave’s “Wings Off Flies”. These songs tell us, time and again, that they’re desensitised to love, that the only release open from spiritual malaise is a momentary tactile passion, a lunging, groping lust.
    More saddening still is “New Dress”, an unbridled attack on press hypocrisy which, in its humourless juxtaposition of headlines, (“Famine horror, millions die”) against its refrain (“Princess Di is wearing a new dress”) recalls nothing more than a secondary school poem.
    As always, it’s difficult to discern whether Martin Gore’s clumsy lyrical truisms are intent on promoting his over-apparent desire to assume a sinister dimension on whether he’s honestly concerned for his subject matter. Are the Depeche of “A Question Of Time” revelling in the scenario of under-age sexploitation as an exercise in biting the hand the feeds, or are they genuinely dismayed at the inevitable moral decay of this rotting nation?
    Then again, it’s precisely Gore’s naively logical lyrical equation, wedded to the established Depeche linear musical mode, that occasionally adds up to something successfully whole, something that incorporates optimism. The title track’s a throbbing metallic purging of the daily grind, “Stripped” is pleasingly minimal, if mannered, and there’s a wonderful hope in the appalling “New Dress”: “You can’t change the world / But you can change the facts / And when you change the facts / You change points of view / If you change points of view / You may change a vote / And when you change a vote / You may change the world”.
    But it’s when Depeche are being unconsciously throwaway, when they relax their straining against their reputation, that they attain the sublime. “A Question Of Lust” is gorgeous, an Almondesque torch vocal mounting a simple electronic code worthy of The Human league. Mostly, though, “Black Celebration” is Depeche fucking with their formula and the real shock is the insight it provides into the troubled psyche of Martin Gore, a lad struggling to grow in public and, for all his opportunities, finding only sleaze and filth to feed off. They’d have it sickening – Gore a willing victim desiring the symptoms he purports to despise.
    Silly boys.
[1] - Now this is the only remark in the whole piece that I have to raise exception to, as it doesn't sound all that well thought-out. Admittedly Martin never sounds quite convincing when he claims that Master And Servant is about workplace power-games and that the wall-to-wall S&M imagery is just that. But the energetic pace of the song means the tone is anything but sexual, whereas the much slower Dressed in Black is sultry bordering on hypnotic, and lyrically is a forerunner to Blue Dress.
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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #35 on: 17 June 2012 - 23:08:24 »
1986-03-16 - Radio Stockholm (Sweden) - Martin (14 min)

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

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Re: 1986: Black Celebration
« Reply #36 on: 17 June 2012 - 23:09:46 »
1986-03-17 - Rai 1 (Italy) - Festival Di Primavera

Stripped: http://www.youtube.com/watch?v=P00okNSIxrM

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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #37 on: 17 June 2012 - 23:11:59 »
1986-03-19 - just 17 (uk) - from lads to dads

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




FROM LADS TO DADS
[Just Seventeen, 19th March 1986. Words: Jenny Tucker. Pictures: John Stoddart.]
" Andy is riled. “That’s a ridiculous attitude. You’ve got to have certain values, Dave, and you need to draw a line somewhere. Personally, I think the huge amount Martin has just spent on his new sofa is completely stupid.” "
 Summary: A teen mag sits down with Dave and Andy for a nice chat, and the result is a squabble between the two on… anything and everything really. Read this for a snapshot of the two’s famed ability to draw sparks from each other. There’s virtually nothing here in the way of music-related details, but this is a pleasure to read and the kind of article this site was made for. [883 words]

    Basildon born and bred Jenny Tucker talks to Basildon born and bred Dave Gahan (singer) and Andy Fletcher (keyboards) from Depeche Mode about music, guitar riffs and… no, no, babies, marriage and sofas – actually.
    OK, OK, so I once put curry powder (extra hot) in my brother’s cup of tea, but generally I’m not the sort of person who causes trouble. Yet here I am in the Depeche Mode office, perched on a very uncomfortable wooden chair, and there’s an argument going on. It’s between Dave Gahan and Andy Fletcher, and all because I asked them about babies. Harmless enough, you may think, but they disagree strongly on the subject.
    Dave puts his opinions across. “Yes, I’ve got plans to have kids. I want to try everything. Plus I’m in a good position to look after them properly, but that doesn’t mean I’ll send them to private school. I want them to live and learn as I have.”
    So is that why he took the plunge last year and married Jo, his long-standing girlfriend?
    “I don’t know why we got married,” he shrugs, “it was just something we both fancied doing. Jo’s the only person I feel completely at ease with and when you feel you can do anything in front of someone and it’s totally natural, then that’s the person you should stay with.”
    Andy stretches his long body across the sofa and shakes his head. Even though he’s lived with his girlfriend for the past three years he doesn’t feel the need for “that piece of paper”. Sorry, but Dave doesn’t agree with that.
    “When I go away,” he says, “which is quite often, Jo needs to sort things out for me, and it helps if she can say ‘I’m Mrs Gahan’ rather than ‘I’m his girlfriend’.
    “Or I’m his live-in lover,” chips in Andy. We all giggle. Luckily.
    Feeling that it’s safe to go on, I ask Andy about the possibility of any future Fletchers.
    “I’m 24 now,” he tells me, “and I often get the urge – to have children that is – but my girlfriend’s just started her career and I wouldn’t want to interrupt it.”
    Dave shifts himself forward. He’s got something to say about this. “Some people are so dedicated to their job, nothing else matters but I think that’s very tunneled vision. For example, our engineer has just had a vasectomy and he’s only young. I find that really stupid.”
    Ah, but what about if you were a woman, Dave? It wouldn’t be so easy to opt for a family and still carry on working.
    “That’s true,” agrees Andy.
    “Yeah, yeah,” nods Dave as he fidgets on the other end of the sofa, “but why not take your baby into the office? What’s wrong with that?”
    Visions of ploppy nappies piling up on my desk flash through my mind and I suspect the rest of the staff wouldn’t be so keen on a wailing baby around the place.
    Andy looks heavenward, and tells Dave not to be so silly. He’s had enough of this conversation and I get the feeling we should be talking about music, the charts and other such interesting facts. But Dave still wants to talk babies, and goes on to state that if having a baby did mean giving up his career then he would, as he feels a child would add something to his life that would make many other things seem menial.
    But surely success isn’t menial. In five years since doing gigs to a 200-strong crowd at Crocs in Rayleigh, Essex, Depeche Mode are still churning out the hits. They’ve survived Vince Clarke’s departure and have produced more ‘socially aware’ ditties through their current main song-writer, Martin Gore. He’s written all the lyrics for their new album, Black Celebration, and it’s their best one yet – so they say.
    Andy and Dave both agree that Depeche Mode have changed a lot: their music’s improved, they’ve definitely become more business-like (they’ve got their own office) and they’ve grown up as people. And, dare I suggest it, they’ve made a fair bit of dosh.
    Safely, Andy agrees that they’re “financially stable”. Even so, compared to most folk from their home town, Basildon, they would seem very wealthy. But he reckons that they’re a long way from being classed as millionaires. Yet I’ve heard that Dave drives a white Porsche and spends a fortune on clothes.
    “Yeah, I do,” he admits, “but I think that if you’ve got money it’s wrong to feel guilty about spending it. I’ve always spent what money I’ve had whether it be a fiver or five hundred.”
    Andy is riled. “That’s a ridiculous attitude. You’ve got to have certain values, Dave, and you need to draw a line somewhere. Personally, I think the huge amount Martin has just spent on his new sofa is completely stupid.”
    “But Fletch,” retaliates Dave, “you’ve got to enjoy life.”
    “I do.”
    “I know, but you only live once and it’s silly to have money sitting in the bank.”
    “Yeah Dave, but for you everything’s got it’s price.”
    “I often don’t look at prices.”
    “Sure, but…”
    Oh dear, they both seem to have forgotten that I’m here. I suppose I should just let them get on with it. I’ll quietly slip away. Bye boys.
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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #38 on: 17 June 2012 - 23:14:17 »
1986-03-21 - Channel 4 (UK) - The Tube

A Question of Time: http://www.youtube.com/watch?v=aqfJ_8_C9H0
Black Celebration: http://www.youtube.com/watch?v=U2BSHNeQntY

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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #39 on: 17 June 2012 - 23:19:22 »
1986-03-22 - No.1 (UK) - Album Review

http://www.shanemarais.net/no-1-magazine/no-1-magazine-22-march-1986/



Depeche Mode
Black Celebration (Mute)
Reviewed by Pat Thomas

Depeche Mode are one of those bands whose music shouldn’t be given the “gut reaction” treatment. Following last year’s “Some Great Reward”, this LP sees Martin Gore following much the same lines. He will persist in asking the kind of questions that there really are no answers to. Musically there is a riot of atmosphere which should ensure many a Depeche fan will be dipping into this one over and over again. Best tracks, aside from the single “Stripped”, are “Here Is The House” and “World Full Of Nothing”.
4 stars


1986-03-22 - No.1 (UK) - Whispers

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Offline Angelinda

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Re: 1986: Black Celebration
« Reply #40 on: 17 June 2012 - 23:40:52 »
1986-03-23 - BBC (UK) - Wogan

Stripped: http://www.youtube.com/watch?v=wBqW8Sq7BEM

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Offline Angelinda

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Re: Re: 1986: Black Celebration
« Reply #41 on: 17 June 2012 - 23:47:47 »
1986-03-26 - Bravo (Germany) - Laden zur Schwarzen Messe

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


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Offline Angelinda

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Re: Re: 1986: Black Celebration
« Reply #42 on: 17 June 2012 - 23:50:39 »
1986-03-26 - smash hits (uk) - one of those days

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



ONE OF THOSE DAYS...
[Smash Hits, 26th March 1986. Words: Chris Heath. Pictures: Andy Catlin.]
" Coo! He is in a cheerful mood. Maybe there’s someone a bit chirpier in one of the other rooms. Let’s have a peek… "
 Summary: Smash Hits had the wheeze of sitting Depeche Mode's members in separate rooms and trying to force them to act jolly, with wholly predictable results. Nothing redeems this vacuous 'interview', and the degree to which the band members refuse to act the part (both in the article and the hammy photos) is pretty excruciating. Journalist found battered to death? I think it was Alan. In the sitting room. With the piece of lead piping. [1090 words]

    …you know, when the alarm doesn’t go off and you’ve got a cold and your radio’s conked out and the gerbil’s chewed the corner off the duvet and you’ve got a horrible “spot” on your nose and it’s raining and the only thing on TV is That’s Life and some Smash Hits journalist in a disgusting “sweater” called Chris Heath has come round to interview you…? That’s how Depeche Mode feel.
    “We’re pretty horrible today,” grunts Martin Gore, morosely. He’s sipping a cup of tea in Alan Wilder’s kitchen and he’s feeling rather grumpy. Depeche Mode have spent the last four months locked away in a Berlin studio, they’ve got just over two weeks to rehearse their “live set” before setting out on a five months tour and Martin has spent the last week in bed with flu. The last thing he feels like doing right now is having a nice jolly chat with Smash Hits. Yes, Martin Gore is feeling rather grumpy – but, he muses, “Are we ever that cheerful?” Well, it has to be admitted that Depeche Mode’s new LP “Black Celebration” is rather depressing and that Martin writes lots of songs about how relationships with girlfriends and so on are the only consolation for the general rottenness of the rest of life etc. But is the pop star life really all that terrible?
    “Well,” says Martin gloomily, “it’s a lot better than most jobs. But what I do when I write songs is often to draw upon past experiences like when I worked in a bank for a year and a half dealing with standing orders – that was total boredom.”
    Coo! He is in a cheerful mood. Maybe there’s someone a bit chirpier in one of the other rooms. Let’s have a peek…
    Alan’s in the sitting room putting on a copy of the new PiL album. “I’ve just bought a new record player,” he murmurs, “so I’ve been playing a lot of records recently.” And does he jump around the room waving his arms about to them?
    “No I don’t ‘jump around the room waving my arms about’,” he answers sternly. “Sometimes I just get on with whatever else I’m doing and sometimes I just sit down and listen.” Oh dear. It doesn’t seem as if he’s a bundle of joy either. Shouldn’t a successful pop star like him be a bit happier about life? Not necessarily. “Even in our business – ‘the glamorous pop world’,” he explains, “you still get into a boring routine.” And you also, he moans, get strangers wandering round the house. “I think private lives should stay private,” he grumbles.
    Oooh. He’s in a very prickly mood. Better talk to someone else…
    Andy Fletcher is over by the window fixing up a birthday party for a mate in the pub tonight. How might he be feeling today? “We’ve all been ill with flu,” says Andy. “Me and Dave weren’t too bad but Alan and Martin are vegetarians and they don’t do as well.”
    Fletch reckons that eating lots of “red blood” is the way to keep the doctor away – he confesses to eating no vegetables whatsoever and claims that most illness is “psychological anyway”.
    “Like,” he explains, “Since I’ve been self-employed in this band I’ve never been properly ill, but before whenever I was working I used to get colds and I’d hope they got worse so that I could have time off work…”
    Phew! At least he’s not saying lots of depressing things… “The new album,” he pipes, “it’s not sort of bouncy-bouncy Madonna, is it?”
    Uh-oh. I think he’s started…
    “We were really fed up that “Stripped” didn’t do better,” he sighs. “It gets a bit boring… it was a million times better than the last single… I’d rather it didn’t get in the charts at all…”
    Here he goes…
    “When Martin stops writing good songs,” he whispers sadly, “we’ll fade as well. We know he’s a good songwriter and at the moment with the quality of songs he’s writing we can’t really fail. But when he stops writing good songs…”
    Yes, Andy’s gone all grim now too, and the only place left to shelter is the garden where Dave Gahan’s wandering about. Let’s just hope he’s feeling a bit more chipper.
    “Black Celebration,” he whispers, “yeah, it’s a pretty heavy title. It’s got nothing to do with black magic like most people seem to think – it’s actually about how most people in life don’t have anything to celebrate. They go to work every day and then go down the pub and drown their sorrows. That’s what it’s about – celebrating the end of another black day. I think it’s tragic that you have to compensate by just getting drunk, though I don’t think there’s anything unnatural about it. After all we do it all the time.”
    He bounces over to a decrepit old rocking horse in the corner of the garden, inspects it and turns away unimpressed.
    “I never had a rocking horse,” he confesses. “I had Action Men, about six of them. And my sister had a Sindy doll. I’d set up my camp in her bedroom and she’d set up her camp in hers and I used to take her out. My Action Man would go round in his jeep and knock on her door and then Sindy would come out in my jeep. We’d play for hours. Sindy had a horse and I had a jeep and a tank – all the he-man stuff.
    “I learnt a lot about girls,” he laughs, “chat up lines like heeey, I’ll come pick you up later in my tank”. It was much better than Subbuteo (football “game” where all the players fall over all the time) – I should imagine Fletch plays that – that was a bit stupid. It took hours. I liked action – taking Sindy out. I learnt a lot more from Action Men than I learnt from all of school.”
    Not that they teach you anything at school to prepare you for the strange trials of being a pop star – being interrogated when you’re feeling a bit grumpy, being chased down the street by fans and getting some very strange things indeed chucked at you when you step on a stage…
    “Yeah,” laughs Dave. “In America we get everything thrown at us – bras, suspender belts, knickers and even shoes. After one concert we had about 40 shoes on stage and there were no pairs! Imagine all those people hopping home!”
    Hopping home? Sounds like a grand idea to me. Toodle-oo!

[This article also appeared in the U.S. offspring, Star Hits. Thanks to strange-pimpf for sending photos of this article for this forum!]


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Offline Angelinda

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Re: Re: 1986: Black Celebration
« Reply #43 on: 17 June 2012 - 23:52:59 »
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Offline Angelinda

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Re: Re: 1986: Black Celebration
« Reply #44 on: 17 June 2012 - 23:55:15 »
- to be filled later -
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