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Author Topic: 1985: The Singles 81>85  (Read 45268 times)

Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #165 on: 05 December 2013 - 05:27:16 »
1985-xx-xx - Unknown (??) - Dave on phone in spring (1:40 min)

[We don't have this audio interview.]

Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #166 on: 05 December 2013 - 05:27:29 »
1985-xx-xx - Record Mirror (UK) - The Quest for Fire

http://depechemodefile.wordpress.com/2011/01/05/the-quest-for-fire-record-mirror/



[Transcribed using OCR:]

THE QUEST FOR FIRE
in which Depeche Mode, such mild-mannered boys, become arsonists for a day, band a gong, run through the rushes-o and get sinister in their brand new video. Photography by Eugene Adebari.

There’s absolutely nothing synthetic about Depeche Mode’s new video. lilt’s dead organic, dead earthy, a touch ritualistic. And it’s got nothing to do with leather skirts either. The music for the visuals is the new Depeche single ‘It’s Called A Heart’, and Alan Wilder, the Modeman who has assumed the mantle for video conceptualising, is here to explain the ideas behind these intriguing pictures...
“There’s no grand storyline in it or any real acting. Martin’s song is very lovey dovey, and the words are quite straight, so we thought we’d take the magical connotations of the heart to offset the niceness of the song. So the video is eerie; we’ve played on the ritualistic aspects.
“We went out to two locations by lakes - one in High Wycombe, one near Reading - which both had a lot of bulrushes and reeds. The end result looks very tropical, like it could’ve been filmed in a jungle. We had loads of masks made, the voodoo, black magic type, but it’s not meant to be evil, it just gives it an edge.
“It’s a collage of us doing different things. We play ethnic instruments like African drums, gongs, Ethiopian marimbas on bamboo stands, intercut with us throwing cameras around, then showing the film that’s inside them.
“We film Dave singing and follow him around with lights while we’ being filmed ourselves. Some is on 35mm, some on 8mm, so you get the contrast in film quality too. It’s directed by Peter Care, who did our last video and also works with Cabaret Voltaire.
“People say it doesn’t have anything to do with the song, and I suppose they have a point, but we’re very pleased with it. We also made up a big fire with a mask on top, and there’s 1V monitors everywhere. It’s a weird contrast between the primitive and modern technology. It’s quite obscure, with some fast editing. Really action packed. I’d say it was one of our best videos - in the top three.”
Betty Page


Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #168 on: 16 January 2014 - 06:22:17 »
1986-01-xx - Pop and Rock (Greece) - TRIBUTE WITH MODE

[Thanks to ericdm for scanning this article for this forum! This is the "1985-08-xx - Zig-Zag (UK) - Aces high" article, using the layout and photos from the "1985-xx-xx - Record Mirror (UK) - The Quest for Fire" article.]





1986-02-01 - Frida #2 (Sweden) - Alan Wilder

http://www.ebay.com/itm/DEPECHE-MODE-Alan-Wilder-Swedish-80-s-magazine-clipping-/172204168293
http://www.ebay.com/itm/DEPECHE-MODE-Story-part-4-Alan-Wilder-Clipping-from-1980-s-Swedish-magazine-/182511525485


Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #169 on: 17 January 2014 - 07:55:51 »
1986-02-xx - S-Infos (Germany) - Starportait

[Thanks to spirit for submitting this scan to this forum. This is a shorter version of the article "1985-11-xx - Hifi Vision (Germany) - Mode-Journal." Transcribed using OCR, translated by me.]



STARPORTRAIT
ANDY VON DEPECHE MODE: »SO BEGANN UNSERE KARRIERE«

Depeche Mode zählt heute zu den erfolgreichsten britischen Pop-Bands. Wie es dazu kam, beschreibt - exklusiv für S INFOS - einer, der alles hautnah erlebte: Depeche Mode-Musiker Andy Fletcher.

Mein Name ist Andy Fletcher, ich lebe in London, bin 24 Jahre alt und bediene bei Depeche Mode den Synthesizer. Popmusiker zu sein macht Spaß: Du kommst viel rum und erlebst tolle Dinge.
Die Zeit vergeht rasend schnell. Wenn ich nur daran denke. Mehr als fünf Jahre ist das nun her, seit wir in Basildon die Band gründeten, aus der Depeche Mode entstand. Martin Gore und Vince Clarke spielten Gitarre, und ich zupfte Baß. Wir drei besuchten übrigens die gleiche Schule. Als Sänger Dave hinzukam, damals ein stadtbekannter Punk, beschlossen wir, unsere Gitarren einzumotten und Synthesizer zu kaufen. Natürlich die billigsten - für ca. 600,- Mark das Stück. Daß wir uns »Depeche Mode« nannten, ist Zufall. Dave hatte immer die neuesten Mode-Magazine zu Hause. Und eines davon hieß - eben »Depeche Mode«. Doch viel wichtiger als ein Gruppenname war uns zunächst ein Proberaum - und den bekamen wir prompt: im Basildoner Woodlands-Youth-Club.
Unser erster Auftritt ging im Oktober 1980 über die Bühne. Schon bald spielten wir jeden Tag vor Publikum. Wo? An Ort und Stelle dort, wo wir probten. Das gab uns ungeheure Sicherheit. Nach drei, vier Monaten war der Laden so brechend voll, daß wir fanden, die Zeit wäre nun auch reif, in London zu spielen. Da Martin zu der Zeit noch zur Schule ging, ich - mit 19 - als Versicherungs-Kaufmann einen Job hatte, klapperten Vince und Dave die Clubs und Veranstalter ab. Und auch schon die ersten Plattenfirmen. Mit den Clubs ging alles klar. Nur bei den Plattenfirmen hagelte es zunächst Absagen. »Viel zu ungewohnt«, hieß es, »das verkauft sich nie.« Erst sehr spät fand sich eine kleine Company: »Mute«-Records. Die Aufnahmen für unsere erste Single »Dreaming Of Me« liefen - im Februar 1981 - abenteuerlich über die Bühne: Wir trafen uns wie verabredet vor dem Studio - aber Vince fehlte. Wir machten uns Sorgen und suchten ihn - bis wir ihn in seiner Wohnung aufstöberten. Da lag er: mit 40 Fieber vor sich hinschwitzend - und das am Beginn unserer Karriere. Schließlich hat es dann doch geklappt: Im März 1981 kam die Single auf den Markt - und die erreichte eine Top-50-Position. Das hat uns alle vom Stuhl gehauen. Doch es kam toller: »New Life«, im Juni 1981 erschienen, schaffte eine Top-Ten-Plazierung. Jetzt ging es live erst richtig los: Die Presse feierte uns als Tanz-Band Nr. Eins, und die Discos überboten sich mit Gagenangeboten.
Es war eine wilde Zeit: enge Bühnen, Hitze und Schweiß - aber eine Mordsstimmung im Publikum. Einen Manager hatten wir damals wie heute nicht - und brauchten ihn auch nicht. Ende September 1981, »Just Can't Get Enough« war gerade zwei Wochen auf dem Markt, ging es zum ersten Mal nach Deutschland - nach Hamburg in die »Markthalle«. Was mich am meisten erstaunte, waren die vielen Punks, die sich unter das Publikum gemischt hatten. Die Hamburger Fans waren begeistert - aber eine hämische Kritik im Musikexpress, einem führenden Magazin, ließ uns erneut zweifeln: »Kraftwerk meets Bay City Rollers«, so war diese überschrieben. Vince ärgerte sich grün und blau: »Bay City Rollers, was soll der Schwachsinn. Der deutschen Presse werden wir's zeigen...« Dazu sollte es allerdings nicht mehr kommen: Vince verließ uns Ende 1981 - nachdem das Album »Speak & Spell« sogar in die deutschen Charts gekommen war, und grüddete Yazoo.
Im Januar 1983 gab dann Alan Wilder seinen Studio-Einstand. Zunächst hatte er nur »live« den Part von Vince übernommen. Inzwischen ist Alan unser bester Studio-Mann: Martin nennt ihn »Mr. Emulator«, weil er einfach tierische Sounds rausholt. Im Frühjahr 1983 tourten wir erstmals im größeren Stile durch die USA, Kanada und den Fernen Osten.
Obwohl wir auch in den USA Hits landeten, ist Deutschland unser größter Markt. Und das bringt natürlich auch die meiste Arbeit mit sich. Vor allem die Teenie-Presse bombardiert uns ständig mit Interview-Anfragen. Und wenn sie uns nicht kriegen, dann dichten sie eben. Auf diese Weise erfuhr ich immerhin aus BRAVO, daß ich »faul«, doch trotzdem Boß der Band bin.
Im April kommen wir in die BRD
Nächstes Jahr kommen wir wieder: Ab April geht's auf große Welt-Tournee. Bis dahin soll auch das neue Album auf den Markt. Martin tüftelt vehement an neuen Songs.
LP-Discographie:
»SPEAK AND SPELL« (1981)
»A BROKEN FRAME« (1982)
»CONSTRUCTION TIME AGAIN!« (1983)
»SOME GREAT REWARD« (1984)
»THE SINGLES 1981-1985« (Sammel-LP 1985)
Neue LP: Titel stand zum Redaktionsschluß noch nicht fest (Frühjahr '86)

Tour-Daten
2. 5. Stuttgart - Martin-Schleyer-Halle
5. 5. München - Basketballhalle
10. 5. Hannover - Eilenriedhalle
11. 5. Düsseldorf- Philioshalle
13. 5. Ludwigshafen - Friedrich-Ebert-Halle
14. 5. Saarbrücken - Saarlandhalle
16. 5. Hamburg- Sporthalle
17. 5. Hamburg- Sporthalle
18. 5. Berlin - Waldbühne
20. 5. Münster - Halle Münsterland
21. 5. Bremen - Stadthalle Bremen
22. 5. Dortmund - Westfalenhalle
24. 5. Aachen - Eissporthalle
25. 5. Rüsselsheim - Walter-Köbel-Halle

Depeche Mode 1986. 13 Hitsingles, 5 LPs und Millionen Fans in aller Welt. In nur 5 Jahren haben sich Andy Fletcher, Martin Gore, Dave Gahan und Alan Wilder zu einer internationalen Supergruppe entwickelt.


Translation:

STARPORTRAIT
ANDY FROM DEPECHE MODE: "This is how our career started"

Depeche Mode is nowadays one of the most successful british pop bands. How it came to be will be -exclusively for S INFOS - described by someone who saw it all from closeby: Depeche Mode musician Andy Fletcher.

My name is Andy Fletcher, I live in London, I am 24 years old, and I work the synthesizer in Depeche Mode. the life of a musician is fun: you travel around a lot and experience great things.
Time goes by really fast. When I think about how it all began... More than five years now, we started our band in Basildon, from which erupted Depeche Mode. Martin Gore and Vince Clarke played guitar, and I played bass. The three of us attended the same school, by the way. When our singer Dave Gahan joined, then still a notorious hardcore punk, by the way, we decided to throw away our guitars and to buy synthesizers. Of course we bought the cheapest, for 150 pounds (600 dollars) a piece. The fact that we called ourselves "Depeche Mode", is pure coincidence. Dave was always reading the latest fashion magazines. One of them was called just that - Depeche Mode. But more important was our rehearsal room - and we found one soon: in the Woodlands Youth club in Basildon.
Our first appearance on stage was in October 1980. Soon enough we were playing in front of an audience every day. Where? Eveywhere - and at the Youth Club of Basildon, where we rehearsed. This gave us a lot of confidence. After three or four months, our concerts were always so completely packed that we found that it was time to go to London. Since Martin still went to school, and I - at 19 - worked as an insurance businessman, Vince and Dave heaped up the clubs and event organisers. And already the first record companies.
Everything went fine with the appearances in clubs. But with the record companies it constantly rained cancellations. "Far too unusual", was being said, "it will never sell itself". Only very late did we find a small record company: "Mute" records. The recording of our first single "Dreaming Of Me", in February 1981, had a very strange course on stage: we met as agreed in front of the studio - but Vince was missing. We were worried and searched him - until we finally found him in his apartment. There he lay: with a 40 degree fever, sweating - and that at the beginning of our career. But then it finally succeeded: the single came onto the market in March 1981 - and it reached a top 50 position. It made us all cheer. But then it became even more cheerful: "New Life", released in June 1981, made its top 10 rank. Now things really started happening: the press celebrated us as the number 1 band, and the discotheques flooded us with gig requests.
It was a crazy time: small stages, hits, and sweat - but a killer mood amongs the crowd. We did not have a manager, like we don't have one now - and we do not need one. At the end of September 1981, the single "Just Can't Get Enough" had just been on the market for 2 weeks, we went to Hamburg to the "market hall". I was most amazed there by the many punks who were in our audience. The Hamburg fans seemed excited - but a malicious critique in "Musikexpress", a prominent German magazine, made us doubt again: "Kraftwerk meets the Bay City Rollers" - the title of the article. Vince was heavily annoyed: "Bay City Rollers - what the hell? We will show the German press." But it would never lead to that: Vince left the group in late 1981 - after the album "Speak & Spell" had even entered the German charts, and founded Yazoo.
In January 1983, Alan wilder gave his studio debut. First, he took over Vince's part only during the concerts. He is now our best studio guy. Martin calls him "Mr. Emulator" because he can easily tickle brutish sounds out of his synthesizers. In spring 1983 we toured in big style through the USA, Canada and the Far East.
Even though we also make hits in the USA, Germany is our biggest market. And that means that here lies the most work. Especially the teen-press constantly bombards us with interview requests. And if they can't get a hold of us, they will write that we act "cold". I've come to understand from "Bravo" on several occasions that I'm "lazy", but I'm nevertheless the boss of the band.
In April we will come to Germany
In the next year we come back: As of April we're going on a worldwide tour. At that time, our new album will have come on the market as well. Martin is already busily working on new songs.

LP-Discograhy:
"SPEAK AND SPELL" (1981)
"A BROKEN FRAME" (1982)
"CONSTRUCTION TIME AGAIN!" (1983)
"SOME GREAT REWARD" (1984)
"THE SINGLES 1981-1985" (compilation-LP 1985)
New LP: Title is as of publication date still undisclosed (spring'86)

Depeche Mode, 1986. 13 hit singles, 5 LPs und millions of Fans in all parts of the world. In just 5 years, Andy Fletcher, Martin Gore, Dave Gahan und Alan Wilder have developed into an international supergroup.

Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #170 on: 17 January 2014 - 07:56:01 »
1986-03-22 - No.1 (UK) - Some Great Videos

[Thanks to meldepeche for this article.]
http://depecheuk.co.uk
http://www.shanemarais.net/no-1-magazine/no-1-magazine-22-march-1986/



Depeche Mode
Some Great videos

'Great'? 'Pretty Average' would have been a more appropiate description for this promo compilation.
From 'Just Can't Get Enough' in 1981 to last year's 'It's Called A Heart', this collection shows that while Depeche can write some Groovy Tunes, there's something lacking in the visual department.
It's not that they're particularly bad... it's just that they're... um, confused. Like, why does 'Everything Counts' start off all mean and moody, and end up with the Modies larking around on a beach while a portly lady tries to blow up a li-lo? Why are we treated to loads of unaccountable shots of molten metal during 'Love In Itself'? And why does Dave Gahan insist on doing the same gimpy dance in every video?
It's only when the boys switch directors, from Clive Richardson to the excellent Peter Care, that the mood starts to pick up. Apart from that, this is worth seeing for Gahan's ever changing hairstyle and Martin Gore's 'offbeat' dress sense.
3 stars
Stuart Husband



1986-03-xx - Star Hits (US) - Dave Gahan: Favorites

https://www.facebook.com/starhitsmag/photos/a.584065865009979.1073741842.515955968487636/973484439401451/?type=3&theater



NAME: Dave Gahan
SONG: Running Up That Hill
LP: The Cure
GROUP: Cure
MALE SINGLER: Jim Morrison
FEMALE SINGER: Kate Bush
MOST PROMISING: -
MARS: Wham!
MOST DESIRABLE: Kate Bush
BEST DRESSED: -
HAIRDO: -
BEST VIDEO: -
SILLIEST VIDEO: most of them
EVENT: Band Aid ?
HERO: Al Pacino
VILLAIN: -

Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #171 on: 03 February 2014 - 16:45:09 »
1986-10-xx - Nonstop (Poland) - Singles 81-85 review

[Thanks to personalwhale for the scan and transcript!]



Operatywność firmy Tonpress zaczyna mnie przerażać. Portfele fanów znajdują się w ciągłym niebezpieczeństwie, a słysząc o kolejnych zakupach licencyjnych lepiej od razu znaleźć sobie dobrze płatną pracę. Najnowsza propozycja Tonpressu przeznaczona jest dla tych, którzy po zeszłorocznym koncercie Depeche Mode nadal "Just Can't Get Enough". W przeciwieństwie do historycznej, już w momencie reedycji, składanki grupy Madness, wybór niezależnej firmy Mute Records zachowuje swoją świeżość i aktualność.

Wydany w ekskluzywny, jak na nasze warunki, sposób katalog 13 jest reprezentatywny nie tyle może dla twórczości, co dla zapisu kariery kwartetu Depeche Mode i pod tym kątem obserwacji brakuje mi tylko jednego starszego przeboju "Meaning Of Love". Przyznam się, że poza jednym wyjątkiem którym jest "It's Called A Heart" słucham reszty z równą przyjemnością .Chronologicznie ułożone piosenki okraszone danymi dyskograficznymi, których nie skąpi nam specjalna pozwalająca nam kolejne etapy kariery kwartetu z prowincjonalnego miasteczka Basildon .Otwierający płytę "Dreaming Of Me" i pierwszy przebój "New Life" pochodzą jeszcze z czasów gdy jego muzykę określano mianem "futurystycznej", co zresztą nigdy chłopcom nie odpowiadało. Odrzucili wówczas propozycję odbycia trasy koncertowej u boku Toyah, bo Andy i Martin nie byli jeszcze przekonani czy powinni rzucić swoje biurowe posady. Zaryzykowali i pomimo ciosu jakim było odejście lidera Vince'a Clarke przetrwali do dzisiaj, a stabilność i popularność grupy, w porównaniu z burzliwymi losami gwiazdek lat 80-tych godna jest uwagi. Sam Vince, kiedyś połowa szalenie modnego i obdarzonego błogosławieństwem krytyki duetu Yazoo wylądował obecnie w mało oryginalnym duecie Erasure. Czas pokazuje, że jego starzy koledzy z Depeche Mode mieli znacznie więcej niż on do zaproponowania publiczności .Obok bezpretensjonalnych piosenek typu "See You" są na tej składance także "Everything Counts" czy "Master And Servant", gdzie Depeche Mode wypracował swoisty consensus między interesującym przekazem a atrakcyjnością formy zapewniającą masowość odbioru. Tych którzy wzgardliwie traktują Depeche Mode jako jedną z wielu, tanecznych kapel odsyłam do jej ostatniej płyty "Black Celebration" mającej ponoć niedługo pojawić się na naszym rynku. Boję się tylko, że utrzymując ten ambitniejszy kurs grupa Martina Gore'a może pójść w ślady wspomnianego już Madness, który od momentu tworzenia bardziej wyrafinowanej muzyki zmuszony został do poważniejszego zainteresowania się swoimi sprawami finansowymi.

Na razie kwartet DM nadal zachowuje status "niezależnego", co skutecznie chroni go od problemów jakich dostarczyło grupie Spandau Ballet "czułe" pożegnanie z firmą Chrysllis. Godne podkreślenia jest to, że ani absolutny lider Martin Gore, pochłonięty zresztą bardziej przez wir muzycznego światka Berlina Zachodniego niż Londynu, ani reszta kapeli, nie trafia na czołowe strony gazet typu The Sun czy Daily Mirror, pozostając na marginesie bujnego życia towarzyskiego tuzów muzyki pop. Depeche Mode mieszczą się wprawdzie w klasycznym schemacie "boys from next door" osadzonych oczywiście w realiach lat 80-tych, lecz w przeciwieństwie do innych gwiazd z "Top of the Pops" mają do zaoferowania coś więcej niż strój na weekend.
Witold Rogowiecki

Offline Angelinda

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Re: 1985: The Singles 81>85
« Reply #172 on: 10 February 2014 - 06:38:27 »
2008-12-16 - Canvas (Belgium) - Belpop Front 242 Documentary: 1985-07-07 - Werchter Festival

[Some archive footage of DM at Rock Torhout/Werchter in 1985 appeared in a Belgian documentary about Front 242, starts at 5:09 minutes.]

http://www.youtube.com/watch?v=2zEQXos2N98



(...)
Inspreker: Na het success in de Verenigde Staten biedt de Britse ZTT Records Front 242 een platendeal aan. Op het hippe label ZTT zit dan onder meer de hitgroep Frankie Goes To Hollywood. Front wijst de deal af en tekent tegelijkertijd bij het Belgische label Play It Again Sam. In '87 gaat de groep op Europese tournee met Depeche Mode.
Front 242 toer manager: Front was aan het bloemen, en ze konden in Europa op de toer van Depeche Mode. En het was niet zo dat ze zich moesten inkopen: ze werden gevraagd door Depeche Mode. Dus dat was eigenlijk ook een vorm van respect van Depeche Mode naar Front 242 als groep toe.
(...)

Translation (by me):

(...)
Narrator: After the success in the United States, the British record label ZTT offers Front 242 a record deal. The hip label ZTT has at that point the hit group Frankie Goes To Hollywood under its wing, among others. Front rejects the deal and simultaneously signs a deal with the Belgian label Play It Again Sam. In '87, the group goes on European tour with Depeche Mode.
Front 242 tour manager: Front was blooming, and they could go on tour with Depeche Mode in Europe. And it wasn't like they had to buy themselves in: they were asked by Depeche Mode. So that was actually also a form of respect from Depeche Mode towards Front 242 as a group.
(...)