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Author Topic: 1984: Some Great Reward  (Read 58988 times)

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #15 on: 24 June 2012 - 03:20:52 »
1984-03-xx - NME (UK) - PAP Review

Another plea to the world along the lines of Timmy Thomas' 'Why Can't We Live Together?', which compensates with sincerity what it lacks in verbal grace. With the now customary electro-physical jerks ensuring you're never lulled into ear-candy complacency by its deft tunesmithery and vocal harmonies, 'People Are People' marks time before Depeche Mode's next Great Leap Forward.

1984-03-xx - Intercord - People Are People press release

[Thanks to godflesh230773 from the Depmod forum for this scan.]

Depeche mode
Titel:"People Are People"/"In Your Memory"
Art.-Nr: INT 111.818
Nach ihrer erfolgreichen Tournee, die Ende des Jahres 1983 über deutsche Bühnen lief, setzten sich die vier jungen Musiker von DEPECHE MODE sofort wieder an die Synthesizer, um neue Songs zu komponieren. Einer davon wurde im Februar in den Berliner Hansa-Studios als neuer Single-Titel eingespielt: "People Are People" verbindet eingängige Gesangslinien mit einem originellen Playback aus überlagerten Synthesizer-Strukturen. Produziert hat wie immer "Mute"-Boss Daniel Miller. Die Uraufführung des Titels fand im deutschen Fernsehen statt - am 14. März in der ZDF-Show "flashlights".
Mit "People Are People" lieferten die englischen Synthesizer-Spezialisten die zehnte Hit-Single in Folge. Für Komposition und den sozialkritischen Text zeichnet Martin Gore verantwortlich.
Line Up: Dave Gahan - leading vocals, Martin Gore - backing vocals, synthesizer, Andrew Fletscher - synthesizer, Alan Wilder - synthesizer, backing vocals.


Depeche Mode'
Titel: "People Are People"/"In Your Memory"
Art.-No: INT 111.818
After their successful tour, which entered the German stages late 1983, the four young musicians from Depeche Mode are back on the synthesizer, in order to compose new tracks. One of those was created in the Berlin Hansa Studios and will be released in February as a single: "People Are People" connects catchy vocal lines with an original playback from layered synthesizer structures. It was once again produced by Mute boss Daniel Miller. The premiere performance of the track took place on German TV - on the 14th of March on the ZDF show Flashlights.
With People Are People', the British synthesizer specialists deliver their ten hit single in a row. Martin Gore is responsible for its composition and social-critical lyrics.
Line Up: Dave Gahan - leading vocals, Martin Gore - backing vocals, synthesizer, Andrew Fletscher - synthesizer, Alan Wilder - synthesizer, backing vocals.

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #16 on: 24 June 2012 - 03:26:25 »
1984-03-xx - Depeche Mode - Information Sheet 3

INFORMATION SHEET NO. 3/83 (<---that's an original misprint)

I have enclosed the requested items/information which I hope are satisfactory. Please do not hesitate to write back to me if there is anything else about Depeche mode that you would like to know and I will do my best to answer your questions. Please send a stamped, self addressed envelope to the address below quoting the number 4/83 at the end of July for Information Sheet No. 4/83.

RECORD NEWS: The new single entitled 'People are People' c/w 'Place it in Your Memory' is released on March 12th. The A side was written by Martin and recorded in Berlin at Hansa, the flip side is an Alan Wilder composition which was recorded in London. As I've stated before, there will NOT be a Ltd. Edition 12" but an extended 12" will be available.

A follow-up album to 'Construction Time Again' is currently being planned and it is hoped it will be released later on in the year.

TELEVISION: Unfortunately, 'Razzamataz' decided not to screen the promised tv special on Depeche Mode.

There are no programmes currently lined up but with the release of the new single some shows may come in at short notice.

I've had hundreds of questions sent in following the highly successful 'ORS 84' concert, and due to popular demand here is the set list: 'Everything Counts' 'Two Minute Warning' 'Landscape' 'See You' 'Shame' 'Told You So' 'More Than A Party' 'Just Can't Get Enough'

INTERVIEWS: At present interviews have been confirmed with Smash Hits and No 1. or Record Mirror.

TOURING: There is no indication at all of any more concerts in Europe, USA or United Kingdom at least until late 1984 when the album is released.

For information on 'Sense', the popular English band who were the support on the recent European Tour (not Great Britain)  the address to write is: 'Sense', Ricochet, 2 Brydges Place, Covent Garden, London WC2N 4HP

                These are the only planned shows;
                5th  March      Venice, The Sports Centre
                6th  March      Bologna, Teatro Tenda
                8th  March      Valencia, Pacha Club
                9th  March      Barcelona, Studio 54
                10th March      Madrid, University

                                                Happy Easter!

                P.S. Thanks for all the smashing Valentines sent in!

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #17 on: 24 June 2012 - 03:27:23 »
1984-04-16 - WDR (Germany) - Musik Convoy

People Are People:

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #18 on: 24 June 2012 - 03:27:42 »
1984-04-18 - Unknown (France) - Jour J

People Are People (used to be uploaded by someone named Jean Marc and then a Russian fan copied it on but then Jean Marc's YouTube account was blocked):

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #19 on: 24 June 2012 - 03:28:43 »
1984-04-21 - Radio 1 (UK) - No.1 Music Quiz: Dave & Alan (23 min)

[We don't have this audio interview.]

1984-04-21 - No.1 (UK) - Whispers

Caught! In Amsterdam! OMD and Depeche Mode have been doing the sights together. So taken are they with the city that the two bands may be investing in a canal barge studio...

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #20 on: 24 June 2012 - 03:29:06 »
1984-04-25 - ARD (Germany) - Formel Eins

Host: Das waren die Top 10 aus Deutschland im Video Herblick mit dem neuen Nummer Eins "People Are People", und hier sind sie. Hello. [That was the top 10 from Germany in video recap, with the number 1 song "People Are People". And here they are. Hello.]
Dave and Andy: Hello.
Host: Dave and Andy, right?
Dave: That's right, yeah.
Host: It's your first number 1 in Germany, yeah?
Dave: That's right.
Host: Congratulations.
Dave: Thanks very much.
Host: Where did you shoot the video?
Dave: It was mainly shot on, in a ship, in the engine room-
Host: -What ship?
Dave: -called the Belfast, the H.M.S. Belfast.
Host: In the video we saw soldiers and war... What's the meaning of the lyrics?
Dave: Eh, well they do show that in the video, but they don't only deal with the "There's war" and this. but it's also just the fact that there's an innate hate between men, it's not not only between soldiers, but between men.
Host. Yes. Here's your award.
Dave: Thanks very much,
Host: A wing. "Wing" heißt Flügel, habe ich mich sagen müssen in Englisch jedenfalsch. [A wing. By the way, I should explain that "Wing" means "wing" in English.]
Dave: Do we get the rest of the car as well?
Host: No, no, no, no. Well, make a number 1 and you will get it. Thanks for coming, and bye. Und hier ist die Nummer 24 aus England, Dead or Alive heißt die Gruppe, und die Titel kennt ihr warscheinlich schon, "That's The Way I Like It". [And here's number 24 from England, Dead or Alive is the name of the group, and you probably already know the titel, "That's The Way I Like It".]

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #21 on: 24 June 2012 - 03:30:04 »
1984-04-26 - Smash Hits (UK) - Dave Gahan reviews the singles

[Converted into text using OCR:]

Dave Gahan
reviews the singles

THE COCTEAU TWINS: Pearly Dewdrop’s Drops (4AD)
The Cocteau Twins are a band I’ve never really Listened to and I feel that maybe I’ve. missed out on something. Elizabeth Fraser’s voice appeals to me in a way that I like very much. Thu is a great record and is definitely Single Of The Fortnight.
ECHO & THE BUNNYMEN: Silver (Korova)
Ian McCulloch’s voice always sends my mind into far-off places. This has a lighter feel than usual and moves away from the mood on “Porcupine”. I’m a great fan anyway so my opinion is a little biased. Look forward to the album.
NEW ORDER2 Thieves Like Us (Factory)
This one’s a grower for sure! I’ve played it a few times and it gets better every spin. Produced by New Order but co-written with Arthur Baker. I personally prefer the band’s production. Great melody which sticks in your brain.
THE HUMAN LEAGUE: Th. Lebanon (Virgin)
Long time no hear. and it’s a pretty heavy subject. A rousing chorus and a snappy guitar riff (that reminds me somewhat of the Banshees) go together to make a big hit.
FAD GADGET: One Man’s Meat (Mute)
Its about time Fad Gadget had a huge hit. “Collapsing New People” paved the way and I’m sure if Meat, produced by Frank Tovey (that’s Fad) and Gareth Jones, receives enough airplay we’ll see it in the Top 40. I’m keeping my fingers crossed anyway.
PALAIS SCHAUMBURG: Beat of the Two (Mercury)
Very interesting production. This one grows on you after a few plays but I find the subject matter a little repetitive.
SANDIE SHAW: Hand In Glove (Rough Trade)
I prefer this to the original version by The Smiths. Her voice adds a new appeal to the song! I bought the first two Smiths singles but was later rather put off by Morrissey’s obnoxious and narrow-minded attitude towards other songwriters. But anyway I like the song and it will be a hit.
KING: Love & Pride (CBS)
I don’t know much about this band but I find the tune very instant. Alter a few plays I flip over to find that the B-side has a rough edge the A-side doesn’t. I’m afraid “Don’t Stop” turns me on and “Love & Pride” doesn’t.
KAJAGOOGOO: Turn Your Back On Me (EMI)
I was quite surprised that their last single didn’t go higher than it did. I was also surprised to see this single in front of me so soon after The Lion’s Mouth. This is a lot funkier and Nick Beggs is singing about someone turning their back on him. I wonder who?
THE BLUE NILE: Stay (Virgin)
The Blue Nile are a band I know absolutely nothing about but I’ll be listening out for them in the future. I think this is probably their debut single and it sounds as it its been influenced by Talking Heads. An hypnotic bassline drives the verse into a catchy chorus. Good single.
GENE LOVES JEZEBEL: Influenza (Relapse) (Situation Two)
The rhythm is my favourite thing here. It glides along with the greatest of ease, helped by a haunting voice effect probably supplied by the Emulator. The acoustic guitar and marimbas work well with a rather depressing sounding vocal. Interesting stuff.
This one comes in a special poster bag. I find it a bit odd listening to a new Bob Morley record. Probably a hit.
HOLGER CZUKAY: The Photo Song (Virgin)
This man used to be a member of Can, a group who were very influential in the 70s. This old song, produced by Holger and Conny Plank, doesn’t inspire me I’m afraid.
MATT FRETTON: It’s All Over (chrysalis)
This is Matt’s third single and what’s the saying? ‘Third Time Lucky’? A perky brass sound drives the melody with the help of some marimbas. Lets hope the old saying’s right.
NENA: Just A Dream (Epic)
This is very empty indeed and you’ve heard it all before. It sounds like late 70s New Wave and I always did hate The Jags.
WHITESNAKE: Standing In The Shadow (EMI)
I’m sure that Whitesnake fans will like this. Its not what I would call heavy metal but maybe it’s not supposed to be.
MARILYN: You Don’t Love Me (Phonogram)
A clever production with lots of catchy melodies. The chorus will have everybody singing along. It has an instant appeal that “Cry And Be Free” didn’t.
MATT BIANCO: Sneaking Out The Back Door (WEA)
This has already been out a couple of weeks and will probably be in the charts when you read this. There’s something about their image that I find hard to accept. Nevertheless, this is in the same lightweight form as their last single and will probably follow the same direction.
KING KURT: Mack The Knife (Stiff)
A rather jazzed-up version of an old song but it isn’t very exciting. They should have tried it at twice the speed. By the way, you get a free flexi disc.
MODERN NOMANCE: Just My Imagination (RCA)
I heard that Modern Romance were having a lot of trouble with WEA Records. This is their first release for RCA but I would have thought they would have been better writing one of their own songs instead of doing this unadventurous cover. Sorry.
WANG CHUNG: Don’t Let Go (Geffen)
This sounds very American indeed. I think they’ve spent too much time in the USA but I doubt if they’re worried by that. Big chords and guitar solos go together to make a very ordinary sounding single.
BRUCE FOXTON: It Makes Me Wonder (Arista)
Yes, Bruce. It makes me wonder as well. I remember reading that the demos of Bruce Foxton’s songs sound similar to a band I know very well but myself I cant see the resemblance. P.S. You get a free poster.
THE FLYING PICKETS: When You’re Young And In Love (10 Records)
Their version of “Only You” was terrible and for me this is just as bad. I’ve had enough of ‘Only You’ to last me a lifetime. They remind me of Darts.
HELEN TERRY: Love Lies Lost (Virgin)
This has all the ingredients of a hit — the ‘Stax’ beat, the sing-along melody and the voice of Helen Terry. Its all very nice but it doesn’t do much for me.
FASHION: Dreaming (De Stijl)
I find this song struggling to get off the ground and not quite making it. Very clever production in its own way but slightly dated mixing rock guitars with general-sounding electronics. I quite like the singer but I’m not sure about the whole thing.
ROLAND RAT: Love Me Tender (Rodent Records)
You’ve got to get into Roland Rat to like this. You’ve also got to have a sense of humour. If you haven’t, don’t bother.
ALVIN STARDUST: I Feel Like Buddy Holly (Chrysalis)
Produced and co-written by Mike Butt (who was responsible for bringing us The Wombles). this is well on a par with them!

"Hope you like them!
Dave Gahan"

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #22 on: 24 June 2012 - 03:31:24 »
1984-04-xx - Superchannel (Netherlands) - Countdown (People Are People)

1984-04-xx - El Gran Musical nº242 (Spain) - "Queremos cambiarnos las ideas"

[Thanks to Pacodemode for scanning this for this forum!]

1984-04-xx - Electronic Soundmaker & Computer Music (UK) - The Basildon Bond

[Scanned by someone called Mike Gorman for]

The Basildon Bond
Photo by Les Drennan
Will Mowat donned his boiler suit only to find that the 'Controlled Dirt' of Depeche Mode smells of success.

No, no a thousand times no! My screams rang through the night, heralding yet another bloodbath twixt muggins here and the cruel, tone-deaf editorship of these hallowed pages. Depeche Mode? Why not defenestration instead?
Actually, I had to be seen to put up a fight. You see, it doesn't do in certain circles to be known as an approver or condoner of certain bands. And any band such as Depeche whose business sense could be termed 'suspect', whose musicality could be called 'questionable' and whose levelheadedness just has to be unhealthy, must be a candidate for the big 'E' from street-credible hacks.
Well, you're all techno-fans, and old enough for a home truth or two: Depeche Mode are moving in directions where, if we had a grain of honesty in us, we would love to go too: the perfect marriage of pure and applied synthesis... with money.
The band is moving on, weary of our close identification of them with a teenybopper image. Maturity comes easy to a close-knit group whose no-fewer-than three years in the charts have seen them tour the world, issue ten singles and three albums, all of which have gone gold.
I caught them at Aosis Studios, recording the 'B'-side of their present single People Are People. In between stints in the Control Room and interviews with television companies, Martin Gore, Andrew Fletcher, David Gahan and Alan Wilder spilled the conceptual beans of Depeche's raison d'être. Was there, I wondered, a reason why Depeche Mode was a band, when within the band there is no defined role playing? Why does the sun shine, countered Martin. "The band aspect is Four People With Ideas". "We had defined roles when we started," explained Andy, "in that I mainly played bass guitar and bass synth, Martin lead rhythm guitar and Vince Clarke rhythm keyboards. David handled vocals in a shy way, hugging the mike for comfort in the glare of the Bridge House lights". Was that Vince Clarke's name I heard? He of Yazoo and now the Assembly? Vince was in the band until after the first album Speak and Spell, whereupon his own ideas took him along a divergent path with Depeche, sharing the same roots (Basildon) and the same nourishing soil (Mute Records) as his former colleagues, but displaying a different kind of foliage. "Both he and we are incredibly busy," explained Martin, "but we meet now and again and beat each other up... only joking!"
I did not sense a feeling of regret that Vince had decided to remove himself from the band aspect; of course, time and experience consolidates all things with hindsight, but it did seem clear to me that when Depeche and Vince observe each other, they are in a way looking into a mirrored reflection of themselves, Depeche prefering the fertile cross-pollination of belonging to a band to the more ascetic style of composition of Vince Clarke. Alan Wilder stepped into the space left by Vince, chosen by the band for his facility with keyboard-playing; and the fact that he wasn't a fan helped his chances, but it wasn't until the second album, Broken Frame, that he joined full time; until then he was on continuous assessment: "I mean, he wasn't even from Basildon. You don't know what he might have picked up!", submitted David. Of the whole episode, it is enough to know that the departure of Depeche's famous son did not in any tangible way alter the direction of the by now momentously famous group. And what was this direction? "Our first album," remarked Andy, "was a high spirited, low technology affair. It was a case of recording a drum machine and then taking it in turn to go in and laying down our respective synthesizers, all in real-time with one or two sequencers. The changeover from a gigging band in East London to the Studio was very quick, as a result of which things got thrown together. Studio technique was new to us and it was Daniel Miller (the Man who is Mute) who in a way fathered Depeche, and nurtured the sound to what it is today."
This was all getting very involved, what with Vince Clarke leaving, Danny Miller fathering, and Alan arriving, all against a background of soaring popularity and confusion. So I decided to go for a little chronology with David Gahan. Did I manage to get a word in edgeways? In truth, he doesn't talk as much as people make out; it's just that in comparison to the well-chosen words of the others, his chat is a positive flow of easy confidence.
"We started," (with Vince, without Alan, remember) "in a church in Basildon some three and a half years ago. We were doing various gigs in the area and in London, notably the Bridge House, whose landlord, Terry, turned out to be the only one who would give us a gig in the end. None of us moved on stage — not so much the Gary Numan syndrome as pure stage fright. We built up a really good following and one night during the Winter of 80/81 we supported Fad 'Gag' Gadget. Fad was already with Daniel, who would act as his soundman in the pubs, and after the gig, Daniel came in and said that he really liked our act, blah blah blah, and he wanted to see us again."
Hold it there, David. Let me explain what the background was to this offer they couldn't refuse. Firstly, Daniel, already then, was always on the edge of exploding. A shy man, not used to the ways of machiavellian business, a reformed Monk from Zermatt, he was and still is a great fan of music of all types; Mute is his professional hobby. But this retiring schoolmasterly figure can become a seething cauldron of passion and ferment when crossed. And the story gives that Vince and David had already been to a room when Daniel burst in, a seething cauldron etc (see above) crying blue murder about Fad Gadget records not getting into the shops. And then he burst out without according to our two heroes so much as a second glance. So when Daniel met them again at the gig, the band gave him the cold shoulder; besides, hadn't they been attracting a lot of big label interests?
"There we were, a band who within six months had attracted a large popular following. Big labels started following us around offering money for clothes and equipment and things. They found out our home addresses and started wooing us there. We were being offered five year deals, ten year deals, big advances. They were playing with points so we got wise and played them off against each other; but it was all a laugh on our side: we just didn't know what they were all on about."
And then came Daniel Miller: he had nothing to offer in the way of money points and contracts, but he did have commitment, enthusiasm and a willingness to get stuck into the nuts and bolts of the recording business.
"He was most upfront, he was nervous like us, and we didn't feel he wanted to tie us up in a long-term deal. So we did our first single in February 1981 called Dreaming of Me, at Blackwing". And what happened?
What happened! This single; on an independent label, distributed by Rough Trade, also independent, by an as yet nationally unknown band, got to 52 in the charts. This roused the majors into a frenzy of passionate courtship; if this band could do that on an independent, what could it not do on a major! The climax came at a Japanese meal; Depeche and Daniel were guests of Ph... you know who. "Towards the end of the meal the boss said: 'Well, how about it?' And we turned round and said: 'Sorry, but we're sticking with Daniel and our second single is about to come out: I shall never forget the picture and sound of beanshoots falling from gaping mouths and chopsticks clattering to the table in wide-eyed bewilderment."
So the fortunes of Mute and Depeche were set on a course helping to make Mute one of the two most successful independent labels in show biz, and Depeche one of the leading lights in commercial music. But don't you think it rather weird that they didn't sign to a major?
What is so wrong about signing a five-year deal? By now the band could in all probability have taken the States by storm, be driven around in limousines with business managers and make-up girls dancing attendance, and have possibly greater world-wide sales. This seeming eccentricity, this bizarre 'modus operandi' is the trademark of the band. Once you perceive the collective behaviour of Depeche Mode, you begin to glimpse a repeating pattern of similar reactions through out the life of the band. You could call it the Mode Sidestep: When placed in a situation whose outcome should be blindingly obvious they take one step sideways and avoid the obvious.
"It means more to us to be top of the independent charts than the Gallup. Doing what we enjoy, in front of people who enjoy us, is for us what it's all about. Mute is the ideal vehicle for this concept." And in a way, I believe them, especially after learning that they aren't even signed to Mute! There is not the slightest contractual reason for staying together. They like each other's company.
So much for interpersonal relationships (file under 'ongoing'); what about the equally intriguing affinity between man and machine? "We are spoiled," observed Alan. "In the early days it was Yamaha CS5's, Moog Rogues and Kawai unmentionables" (ie he didn't mention the model). "We moved through Roland Jupiter 8's, PPG Wave 2's, Yamaha DX7's, Emulators, and now we have a machine that inspires awe both in us and in those who appreciate the sounds we are producing: the Synclavier". I asked why he used the word 'spoiled'. "For us, the Synclavier is the first synthesizer/sampler you can honestly called 'limitless'. Without exaggeration, you are limited, quite literally, only by your imagination; we have the 100-second sampling facility at full bandwidth, and we have the funds now to update this computer so it never lags behind in technology. We are spoiled in that we remember what it was like being limited to using a Roland Jupiter; a good instrument for the money, and versatile and all that, but, as we are a band which is committed to opening new vistas of sound, analogues have become rather pale next to the digitals, and especially, of course, the Synclavier. It was logical to use the Synclavier as soon as we could, and by so doing, we freed ourselves of the fascism of hardware."
Steady on! My wife (those of you with keen memories will recall that she it is who prefers being hit repeatedly round the neck with a wet fish to hearing synthesizers) made the comment after seeing Depeche Mode at Hammersmith on their British Tour that machinery had taken over, what with indescribable sounds and a backing tape. Where was the humanity in the process? The sweat?
"There are lots of ways of countering those points," said Dave. "Firstly, there's a vast area of validity encompassing, say, the Smiths (whom we really like) on one side, and us on the other; all we've done is to change the conventions. It's not rock'n'roll in the purists's sense of the term but the songs still stand up on their own, whatever the treatment. The main thing we retain is the melody: it's what lasts. Second, despite all our 'machinery', the gig still comes down to the conventional winning over of the audience; I enjoy the stagework — such a feeling of power for those few minutes that you're up there! We were really spoiled on our last tour: places like Belfast were so excited that an English band had gone over, that we didn't have to win them over. Even Fletch was upfront, singing away. And he's so shy!"
And it was Fletch who came up with the third point. "If we had to play guitars, we don't think we could be as good as, say, the Big Country, honestly. We're at our best doing what we're doing." Yes, but is synthesis and pulse time as 'valid' as rock'n'roll? Martin came up with a fitting riposte. "Whatever instrument you use, you still need the ideas. What makes a band is the corporate ideas that come up, not the hardware that you use to put them over. You're just as badly off with a synthesizer as you are with a guitar if you haven't got the ideas." Shot down in flames.
The wife, that is, not me!
Daniel Miller is really quite an extraordinary figure. A workaholic, he likes nothing better than programming his Synclavier by the light of the silvery moon. I asked no one in particular where he stood in the outfit. In several places, came the reply. For a start, he sets the tone for Mute; Mute has taken on his unconventional approach to the commercial music business. "This is what at the outset attracted us. He also introduced us to purer synthesis than we were using, and it was through him that we discovered sound and its generation as a valid, commercial alternative to guitars. The use of sequencers suited us fine since we all except Alan have this one strong weakness (sic!): we are none of us as strong musicians, and an ordinary band may well have turned us down, including Vince." That was another reason for coming together as a band in the first place. Andy also suggested that there was no virtue in musicianship in a commercial world where it's probably anything but musicianship that gets you in: "Musical rivalry doesn't exist with us."
Daniel leaves all aspects of songwriting entirely to the band. He's got lots of ideas but he's no musician, and he becomes involved for two main tasks; one, to program the Synclavier and associated hardware; two, to provide the detached co-production of a finished song. But the nature of programming being what it is, he is able to introduce sounds to the band they didn't know existed: the Synclavier is on one side a super-powerful synthesizer, in that it uses algorithms of sine waves to conjure up complex waveforms (remember that the Yamaha DX range's FM system is under licence from New England Digital, the inventors of the Synclavier), and on the other side it can sample sounds with absolute clarity. It is such a complicated task to program it that even Alan prefers at the moment leaving it to Daniel since "the details can bog you down. We write, or hope we write, catchy melodies, and intriguing lyrics underpinned by the use of sound and rhythm. But eventually Martin and I will master the machine and make ourselves perhaps more self-sufficient." Martin took over from Vince as the main songwriter in the band. It was only after Vince had left (in the period following Just Can't Get Enough) that they realised just how important Martin's role had been: so far as publishing was concerned, Vince had composed the songs on Speak and Spell and that was that. But the reality was something else. Depeche Modes songwriting, before they get to touch a synthesizer, is perhaps their most lasting quality, and they aim for songs which could stand up on their own, without the clothing of sampled sound. Vince and Martin have songs coming out of their ears: Vince's approach was through the tune and song construction, and Martin's tends to be through lyrics. Vince wasn't fussed about the sound — he's quite happy to use the same keyboard throughout a song.
David: "I have a feeling that the importance of the lyrics has grown partly through what Martin has experienced in the band, and partly through our huge successes in Germany, where lyric content is the most important part of a song. I become involved in a new song at an early stage, to understand the lyrics and suggest improvements from my point of view as lead singer."
"Vocally, we're all strong," explained Andy. "Harmonies have been a feature of Depeche songs since after the first album. So when Martin takes over the lead in Pipeline on the last album Construction Time Again, it's no surprise." On this album, Alan also had a couple of tracks of his, and he took me through the writing process of the 'B'-side they were currently recording, his Place it in Your Memory. "I wrote this song using a Jupiter 8 and Drumulator recorded onto the Teac Portastudio. The bass riff was hand-played because sequencers waste so much time on demos. Then came the melody line and other little bits. By the time I've finished all the instrumentation I've usually got the lyrics and then the song is put to the band." Where this writing differs from perhaps more conventional writing is that chord changes are far less important than you would have thought: the use of sound changes takes their place to produce atmosphere, and the attention is on lyrics, melody and sound. This particular song was accepted as the 'B'-side to People are People, and so the next stage was the recording. Alan reprogrammed the Drumulator with the exact pattern he wanted, although they no longer use the Drumulator's sounds; the Roland MC4 microcomposer, which was the composition tool of Danny's before the Synclavier came along, was then linked to the drum computer, and the MC4's sync tone was then recorded onto the 24-track at exactly the right speed. After that, all operations were synched off tape via the MC4: first the drumulator's individual sounds triggered specific sampled drums in the Synclavier: the snare was recorded at Hansa in Berlin, their favourite recording spot; the bassdrum is a sampled composite of a metal pipe being struck followed by the natural decay of an acoustic bassdrum, and so on. Then Alan played the bass riff on the Jupiter by hand(!) into the Synclavier, in time with the drums; the computer quantised Alan's playing to pulse time, and the notes were then used to trigger that mainstay of Depeche's sound down the years, the ARP 2600. After that came triggered sequences on the ARP via the ARP analogue sequencer, hand-played Emulator choirs, random synthesised 'bells' in the Synclavier. Oh yes, and David Gahan's vocals, of course!
"When we do a single like this last one," remarked Alan, "we mix for radio rather than for hi-fi. Danny bought a little gadget which we're evaluating called the Ear Opener — it's supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave; one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That's how we did People Are People: I suppose you could call it Controlled Dirt." Using that technique, it's possible to play down the pulse time technique of Depeche, to make it sound less calculated than those famous Yazoo songs. And there is also the trick of very slightly vari-speeding each individual track to give that slight push to the song.
Hardware, Software. And Adultwear: "We have never 'sold out' commercially. We're not just a numbered catalogue number, a product pushed by a multi-national label: we are probably the most successful independently-distributed independent act. Our enthusiasm on stage is still genuine, and though we don't splash ourselves around the teeny market anymore, we haven't become rock stars. We and the audience, we're all in it together."
That was David.
And if you look at the facts, there seems to be more than a fair measure of historicity in what he says. They are unconventional in their use of instruments and the use they put them to; their line-up (if you can call it that) is unorthodox; their continuing relationship with Mute records could be seen by the hardnosed to be somewhat commercially eccentric; and their involvement with Daniel Miller as mentor and co-producer is exotic. I just find the whole thing exhilarating. Hope you do, too.

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #23 on: 24 June 2012 - 03:31:48 »
1984-04-xx - Unknown (Italy) - Videomusic

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

1984-04-xx - Musikexpress (Germay) - Die erfolgsleiter führt weiter steil nach oben...

Depeche Mode
Die erfolgsleiter führt weiter steil nach oben: Mit "People Are People" erstmals eine Nr. 1 in Deutschland, am 2. Juni Headliner beim Open Air in Ludwigshafen - und endlich auch den Fuß in der Tur zum bisher verschlossenen US-Musikmarkt. Dennoch bleibt Deutschland das Head quarter ihrer Operationen. Zumal sich Blondschopf Martin Gore unsterblich in ein Berliner Mädel verknallt hat und dort seine Zelte aufschlagen will. An der Mauer wird im Juni auch das neue Album abgemischt, das im September erscheinen soll. Nur in einem Punkt gab's eine Panne: Seinen langgehegten Wunsch, eine Song in deutsch zu schreiben, hat Martin schweren Herzens aufgegeben. Er kriegt's einfach nicht hin.

Foto: Rainer Drechsler

Depeche Mode
The ladder of success continues to go straight up: For the first time a no. 1 hit in Germany with "People Are People", headlining at the Open Air in Ludwigshafen on June 2 - and finally a foot in the door to previously closed US music markets. Nevertheless, Germany remains the head quarter of their operations. Especially since blond Martin Gore very much has a crush on a girl in Berlin and wants to station himself there. The new album will be mixed near the Wall in June, which will be released in September. There was only one problem: Martin reluctantly gave up his long-held desire to write a song in German. He just can't do it.

Photo: Rainer Drechsler

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #24 on: 24 June 2012 - 03:32:05 »
1984-04-xx - Depeche Mode - Information Sheet 4

Depeche Mode Official Information Service

                                                INFORMATION SHEET NO. 4/84

I have enclosed the requested items/information which I hope are satisfactory. Please do not hesitate to write back to me if there is anything else about Depeche mode that you would like to know and I will do my best to answer your questions. Please send a stambed, self addressed envelope to the address below quoting the number 5/84 at the end of July for Information Sheet No. 5/84.

RECORD NEWS: Although I printed last month that there will not be a Ltd. Edition 12" with Live tracks as with the last three singles, to acconpany the current release 'People Are People', there will be another 12" on sale this month as well as the "Different Mix' already in the shops. It's a 'Special Club Mix' by Adrian Sherwood recorded purely for the clubs. As with all previous Ltd. Editions please do not write to me for details as I am unable to obtain copies etc I'm sorry to say.

TELEVISION: Depeche Mode hope to appear at least two television shows this month: 'The Kenny Everrett Show' which they've recorded but due to strikes transmission is delayed, and 'Pop Quiz'.

ALBUM/TOUR: During April the group plan to decide on the studio they'll use, to record a new album from mid May onwards, probably mixing it at Hansa in Berlin again. All or at least most of the songs have been written and indications are that in August the LP will be released with touring to begin September, no dates, venues nor towns are settled yet.

Please would the following people write to me so I can return un-claimed autographs: Adele Beach - 'Everything Counts' 7". Paul Pegg-Live concert photo. Hayley Smith - Autograph book. Andrew Derbyshire - Concert ticket. Blake Butler - Picture. S.Kelly - Book card. Clare Davis - Smash Hists poster. Thorben Nielsen - 'Balance' 7" + Poster. Joan Heartfield - Poster. Alison Gray - SWl + Poster.

No! Martin isn't living in Berlin, but he may rent an apartment over there for time off.

                Yes, Dave's fully recovered!

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #25 on: 24 June 2012 - 03:32:58 »
1984-04-xx - Unknown (UK) - People Are People

[Thanks to meldepeche for this article.]

[I typed out the text:]

People Are People

'People are people, so why should it be, that you and I should get along so awfully'- good question, and one that seems to be affecting a lot of people at the moment. Almost everyone, from the very top people to you and I, seem to have to have all sorts of problems which may have been the 'inspiration' (if that's the right word - it probably isn't - for the Basildon quartet, and especially songwriter Martin Gore, to write the song in the first place). Depeche Mode seem to have never been so popular as they are right now, which is all the more amazing since the group's original leader, Vince Clarke, left the band to form Yazoo, after which oblivion was predicted for the Clarke-less group. But the rose to the occasion, and, if anything, they're bigger now than they ever were, and at least as big as Vince's latest group, The Assembly. Yet as a group, Depeche Mode don't have the ability to improve when they're playing on stage, because they're so heavily reliant on backing tapes which are the same for every gig they play, which must make it far easier for them to get bored with that they're doing than most other bands, and until quite recently, they seemingly weren't part of the great British rock music invasion of America or anywhere else in the world, and were strictly a big band in this country and nowhere else. But things have started to change, and the new single marks the start of a somewhat different Dep. Mode sound, with some real instruments being used as well as the omnibus synthesizers which have been the rule up to now, and the forthcoming LP, which is due for release in May, will apparently have somewhat less sickly songs than early hits like 'See you' and 'The Meaning Of Love' - 'People Are People' is one example, of course and if the group can pursue that direction, we're certain that they'll not only establish themselves even more firmly as one of this country's most popular and consistent bands, but also start flying the Basildon flag around the world. It's rather interesting that this quartet should now be starting to think again about using guitars on their records - after a few years when all we've heard has been been synthesizers (which really do get a bit samey and boring after a while), the group who perhaps more than any other were associated with electronic sounds are considering reverying to guitars, drums and conventional keyboards. Of course, it'll be the definite confirmation that they can really play their instruments - so much of the time, people accuse synth-based bands of not being able to play real instruments, and it's certainly crossed our minds that some of the peculiar noises that are made on synthesizer records aren't much to do with music, but are more likely the result of fertile brains working with home computers which make odd sounds. We're not sure who'll play what if they revert to old fashioned instruments - Dave Gahan will remain as singer, of course, but maybe he'll have a guitar of a bass, while Martin Gore has already appeared on TV in Germany with a guitar. Andy Fletcher will probably stay at the keyboards, and newest recruit Alan Wilder (although he's been with the band for two years now) may very well play drums. It's a bit like Ultravox in reverse - they all changed to using synths, but then Chris Cross probably still picks up his bass, Billy Currie saws at his violin, Warren Cann beats his drums and Mige Ure won't have forgotten how to play guitar, so probably Depeche Mode won't find it too difficult to play both conventional and electronic instruments, which will also give them the ability to be a bit more spontaneous when they're playing live.

1984-04-xx - Rock Espezial nº32 (Spain) - Electronica Roja

[Thanks to Pacodemode for scanning this for this forum!]

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #26 on: 24 June 2012 - 03:34:21 »
1984-05-03 - Bravo (Germany) - Rock mit dem Eisenstange

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

Depêche Mode lesen mit ihrem neuen Hit "People are People" den Leuten die Leviten:

Rock Mit Dem Eisenstange
"Verschiedene Leute haben verschiedene Bedürfnisse. Es ist offensichtlich, daß du mich haßt, obwohl ich nichts Falsch getan habe... soweit ist es noch nicht an die Oberfläche gedrungen, aber ich bin sicher, es existiert. Es braucht nur eine Weile für die Reise von deinem Kopf in die Fäuste..."
Echt "aufmunternde" Zeilen, die Depêche Mode auf ihrem neuen Chart-Knüller "People are People" (Leute sind Leute) zu stampfendern Rhythmus, rohem Eisengeklirr und gurgelnden Synthilauten zum besten geben.
Noch härter geht es auf dem zugehörigen Video zu. Da bringen Martin Gore und seine Jungs ihren Hit, unterlegt mit alten Dokumentaraufnahmen von Fallschirm-Truppen im Einsatz und sich gegenseitig aus sämtlichen Rohren beschießenden Schiffen aus dem Zwei Weltkrieg. Eindeutige Anspielung...
Martin, Kopf und Text-Schreiber der Band, kommentiert: "Agression und Gewalt nehmen auf der ganzen Welt täglich zu, Vernunft und Mitgefühl werden immer weniger.
Aus den zahllosen alltäglichen Wutausbrüchen und dem rücksichtlosen Verhalten einzelner entsteht die explosive Stimmung in einer Gesellschaft, die geradewegs in einen richtigen großen Krieg führen kann. Alles, was man tun kann, ist den Leuten den Spiegel vorbehalten."
Das betreiben Depêche Mode in letzter Zeit verstärkt.
Von ihrem schnieke-niedlichen Romantic-Image, mit dem die vier 1982 antraten, ist ebensowenig übrig-geblieben wie von ihren flotten, aber harmlosen Elektronik-Tanzmelodien.
In der Öffentlichkeit läßt sich das Quartett nur noch im kohlschwarzen, abgeschabten Heizer-Look blicken.
Musikalisch greifen sie neuerdings neben ihren Synthi-Maschinen und gelegentlichen Zwischenspielen auf der Wandergitarre auf nicht alltägliche Geräuschkulissen zurück - klirrenden Glas und Hammerschläge auf Eisenstangen oder gegen Betonwände.
Gegenwärtig basteln Martin, Dave, Andy und Alan an einem neuen Album. Wenn man ihren Prophezeiungen glauben darf, ist "People are People" nur ein sanfter Vorgeschmack auf ihre Avantgarde-Sound-LP, die im September erscheinen woll.

Martin Gore - er ist Gründer, Chef und Song-schreiber von Depêche Mode.
In "Flashlights" präsentierten Depêche Mode ihren Superhit "People are People" zum ersten-mal bei uns im Fernsehen.

[Translation by me:]

Depeche Mode call with their new hit "People are People" people to order:

Rock With The Iron Bar
"Different people have different needs. It is obvious you hate me, though I've done nothing wrong... So far it hasn't surfaced, but I'm sure it exists. It just takes a while to travel from your head to your fist..."
Really "encouraging" lines, which Depeche Mode give in their new chart-hit "People are People" best along to stomping rhythm, raw iron clashes and gurgling synth-noises.
It's even tougher in the corresponding video. As Martin Gore and his boys bring their hit, they are backed with old documentary footage of parachute forces being deployed while being bombarded from by World War Two ships. Obvious message...
Martin, head and songwriter of the band, says: "Aggression and violence are all over the world every day, reason and compassion are always becoming less.
The explosive atmosphere in a society comes from the countless everyday arguments and the reckless behaviour of individuals which can lead straight into a real big war. The only thing you can do is restricted to holding up a mirror to those people."
Depeche Mode have reinforced that notion lately.
Their cute nifty Romantic image, which the four carried in 1982, is gone as much as their upbeat but harmless electronic dance tunes.
In public the quartet are only seen sporting a coal-black, scruffy, hot look.
Musically, they recently resort to unusual soundscapes in addition to their synth machines and occasional interludes on the wandering guitar - clashing glass and a hammer on iron bars or against concrete walls.
Currently, Martin, Dave, Andy and Alan are working on a new album. If we are to believe their prophecies, "People are People" is just a soft taste of their avant-garde sound-LP, which should appear in September.

Martin Gore - he is the founder, chief and song-writer of Depeche Mode.
In "Flashlights" Depeche Mode presented their superhit "People are People" for the first time on national television.

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #27 on: 24 June 2012 - 03:35:40 »
1984-05-10 - Bravo (Germany) - Depeche sind plötzlich in Mode

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

Sie spielen am liebsten für Fans über 20

Depeche sind plötzlich in Mode
Von Teenies hat die neue Nr.-1-Band jetzt die Nase voll...
"Es gab eine Zeit, da war alles, was ich im Kopf hatte, Liebe. Jetzt finde ich, daß Liebe allein meist nicht genug ist..." Mit seinen Zeilen aus "Love in Itself" hat Martin Gore den Nagel auf den Kopf getroffen.
Die Zeiten vor zwei Jahren, als Depêche Mode noch als niedliche, geschniegelte Synthie-Popper in Anzug und Krawatte ungeschwere Liebesliedchen wie "Just can't get enough" trällerten sind vorbei und kommen nicht wieder.
Auf Depêche-Fans beim "Musik-Convoi", wo sie im April ihren neuen Hitparaden-Hammer "People are People" vorstellten, machten Martin, Andy, Dave und Alan einen ziemlich düsteren Endruck.
Das Kleeblatt, einst berühmt für besonders herzlichen Kontakt zu seinen Fans, gab sich dort sehr verschlossen.
In einem VW-Bus mit abgedunkelten Scheiben verbunkerten sich die Jungs buchstäblich. Nach jedem einzelnen Probedurchlauf von "People are People" verließen sie blitzartig die Bühne und verschwanden im Auto. Und das hat seinen Grund: Sie trauen keinem unter 20 mehr. Ihre Musik, so ließen sie BRAVO wissen, sei nicht für Teenies gedacht, sondern für junge Erwachsene ihres Alters mit Grips im Kopf.
Autogrammjäger hatten kaum eine Chance. Denn der Depêche-Bus stand nie länger als eine Minute auf demselben Fleck.
In einem beinahe schon kindischen Katz-und-Maus-Spiel wechselte der rollende Depêche-Mode-Bunker auf der Flucht vor den Fans jedesmal den Standplatz, sobald sich mehr als eine Handvoll Personen in seiner Nähe versammelt hatten.
Die wenigen Glücklichen, die Martin vor der Bühne abfangen konnten, fertigte er mit derselben verbissenen Miene ab, mit der ei beim Auftritt auf eine Trommel und seine neue "Stalin-Orgel" aus in verschiedenen Tonlagen dröhnenden Eisenstangen eindrosch.
Der neue harte Kurs bei Depêche Mode zeigt sich auch im Outfit der Jungs. Ihr ehemaliger Musterschüler-Look ist ausgebeulten Seemannshosen und schweren Leder-Kutten aus dem Second-Hand-Shop gewichen.
Als Martin Gore (22) und Andy Fletcher (22) die Band Ende 1981 gründeten, büffelten beide noch an der Gesamtschule von Basildon fürs Abitur. Ihre Idee, Gitarre, Baß, Schlagzeug, alle üblichen Rock-Instrumente auf den Müll zu werfen und ganz auf Vollsynthetik-Sound aus Computern und Synthesizern zu setzen, erwies sich als Volltreffer. Mit Songs wie "New Life" oder "See You" prägten Depêche Mode eine völlig neue Stilrichtung.
Für tierische Bühnenaction sorgte der Ex-Punk und Mode-Designer Dave Gahan (21). Obwohl er nie echten Ballet-Unterricht hatte, ist der Depêche-Mode-Frontmann und -Sänger einer der schärfsten Tänzer der Szene.
Alan Wilder (24) stieß erst Ende 1982 zur Band, nachdem Gründungsmitglied Vince Clarke ausgestiegen war. Alan war früher Toningenieur. Er ist mitlerweile der Technik- und Programmier-Experte für den Soundmaschinenpark von Depeche Mode. Alan wohnt als einziger im eigenen Appartement in London. Die übrigen Depeches leben immer noch brav bei ihren Eltern in Basildon...

Martin beim Autogramm-schreiben: Junge Fans sind ihm eher lästig.
Neben Synthies und der elektronischen Trick-Kiste sind bei Depêche Mode'84 Brachial-Show und Schlaginstrumente aller Art angesagt.

[Translation by me:]

They prefer to play for fans over 20

Depeche are suddenly in fashion
The new no. 1 band has grown tired of teenagers...
"There was a time, when all on my mind was love. Now I find that most of the time, love's not enough in itself..." With his lines from" Love in Itself " Martin Gore has hit the nail on the head.
The days of when, like two years ago, Depeche Mode were still a blatantly cute, slick synth pop band wearing suits with ties making lovesongs like "Just can't get enough" are gone and not coming back.
Martin, Andy, Dave and Alan made a very gloomy impression on the Depeche fans at the "Music Convoy" where they introduced their new charts hit "People are People" in April.
The trio, once famous for being very kind towards their fans, were now very closed.
In a Volkswagen bus with tinted windows, the guys were literally bunkered. After each soundcheck of "People are People" they left the stage and disappeared like lightning into the van. And for a reason: they do not like anyone under 20 more. Their music, as they tell Bravo, is not intended for teens, but for young adults who are their age, with brains in their heads.
Autograph hunters didn't have much of a chance. For the Depeche-bus was never more than a minute on the same spot.
In an almost childish cat-and-mouse game, the moving Depeche Mode bunker drove off to escape from fans at the spot, every time as soon as more than a dozen of people had gathered around them.
The lucky few who were able to catch Martin before the stage were met with the same grim expression that he showed during the performance while banging a drum and his new "Stalin Organ" with iron bars at different pitches.
The new tough course at Depeche Mode is also evident in the boys' outfit. Their former model pupil look is replaced by baggy sailor pants and heavy leather battle jackets from second-hand shops.
When Martin Gore (22) and Andy Fletcher (22) started the band in late 1981, both still devoted their time to studying for Basildon high school. Their idea, throwing all the usual rock instruments, guitar, bass, drums, in the trash and relying on fully synthetic sound from computers and synthesizers, turned out to be hit. With songs like "New Life" and "See You", Depeche Mode influenced a whole new style.
Ex-punk and fashion designer Dave Gahan (21) took care of the animalistic action on stage. Although he never had real ballet lessons, the Depeche Mode frontman and singer is one of the hottest dancers in the scene.
Alan Wilder (24) only joined the band in late 1982 after founding member Vince Clarke stepped out. Alan was formerly an engineer. He has in the meantime become the technical and programming expert for the sound machinery of Depeche Mode. Alan is the only one living in his own apartment in London. The other Depeches are still living nicely with their parents in Basildon...

Martin writing autographs: He finds young fans rather annoying.
Besides synths and electronic tricks are all kinds of brutal show-effects and percussion instruments popular with Depeche Mode in '84.

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #28 on: 24 June 2012 - 03:36:33 »
1984-05-19 - Melody Maker (UK) - Mode On The Road

[Taken from the now-defunct website A relative of the casualty has tweeted in February 2017 that the car accident happened on 1984-05-05, and that the casualty still has to walk with crutches.]

[Melody Maker, 19th May 1984. Words: Uncredited. Pictures: Uncredited.]

Summary: A brief news article detailing Depeche Mode's tour plans for the coming year. Also contains the only mention I have found so far of Dave crashing his car this year, although as it sounds fairly minor I'm not certain it's the same incident you may know of from the biographies. [313 words]

Apologies for the poor picture quality - this is due to it being taken from a public library microfilm.

Depeche Mode have lined up a 26-date autumn tour of Britain and Eire. And the band, who’ve just finished an extensive European tour, are in the studio working on material for their fourth album.

    The tour opens at St Austell Coliseum on September 27, moving through Hanley Victoria Hall (28), Liverpool Empire (29), Oxford Apollo (October 1), Nottingham Royal Concert Hall (2), Dublin SFX (4 and 5), Belfast Ulster Hall (6), Manchester Apollo (8), Gloucester Leisure Centre (9), Cardiff St David’s Hall (10), Birmingham Odeon (12), Blackburn King George’s Hall (14), Glasgow Barrowlands (16), Aberdeen Capitol Theatre (17), Edinburgh Playhouse (18), Sheffield City Hall (19), Newcastle City Hall (20), Bristol Colston Hall (22), Brighton Dome (23), Portsmouth Guildhall (24), Ipswich Gaumont (27), Leicester De Montfort Hall (29), Southampton Gaumont (30) and London Hammersmith Odeon (November 1 and 2).

    Tickets are on sale from May 19 at the usual agencies and box offices. Postal applications are accepted.

    Prices are £4.50 and £4 for Hanley, Liverpool, Oxford, Nottingham, Manchester, Birmingham, Sheffield, Newcastle, Bristol, Brighton, Portsmouth, Ipswich, Leicester and Southampton. They’re £4.50 at St. Austell, Cardiff, Glasgow, Aberdeen and Edinburgh. Prices are £4 at Blackburn and Gloucester, £6 in Belfast and 6.50 Irish punts in Dublin. For Hammersmith, they’re set at £5, £4.50 and £4.

•        Meanwhile, Depeche Mode vocalist Dave Gahan is furious at reports in a national Sunday paper that a car crash in which he was involved resulted in a man having his leg amputated.

    The accident happened when Gahan was driving into London from his home in Essex. He came off the road and drove into a lay-by where three more cars were parked. A passenger in one of the stationary cars had his leg injured.

    “Reports in a Sunday paper that the man had to have a leg amputated were completely untrue,” said a spokesman. “Dave was very upset about it.”

Afterword - I am still trying to locate this Sunday newspaper article. Doubtless it won't elude me for long, but if anyone can give me any clues, however vague, I would be very grateful.

Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #29 on: 24 June 2012 - 03:36:47 »
1984-05-24 - Bravo (Germany) - Ihre Hits kommen aus Berlin

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

[I typed out the text]

Depeche Mode
Ihre Hits kommen aus Berlin

Dave Gahan, der Action-Mann von Depêche Mode, hat jetzt eindlich den Führerschein. Beim vierten Anlauf hat's nun geklappt.
Martin Gore und Andy Fletcher - die beiden Schulkumpels gründeten zusammen mit Vince Clark die Band. Sie sind auch heute noch privat unzertrennlich.
Alan Wilder ist der Sound- und Programmier-Experte in der Band. Auf dem letzten Depêche Mode Album betätigte er sich auch erfolgreich als Texter.

Bravo: Eure neue Single "People Are People" ist das Härteste, was bisher von Depêche Mode zu hören war. Seid ihr gerade bei einem großeren musikalischen Kurswechsel?
Martin: Wir versuchen keinen radikalen Bruch mit der Musik, die wir vor zwei Jahren spielten, aber natürlich müssen wir uns entwickeln und verändern. übrigens bin ich fast sprachlos vor überraschung über die Tatsache, daß "People Are People" so ein Erfolg wurde. Ich rechnete schon damit, daß der Song eventuell durchfallen würde, weil sich die Fans nicht so schnell an den etwas rauheren Sound gewöhnen. Gott sei Dank, ich täuschte mich.
Bravo: Kann man in Zukunft mit jeder neuen Platte von euch eine Überraschung erwarten?
Martin: Weiß ich nicht. Wir möchten uns gern die Freiheit bewahren, mit unserer Musik zu überraschen, also neue Wege zu gehen.
Bravo: Ihr habt euch nicht nur musikalisch verändert. Schlips und Kragen hast du gegen schwarze Hafenarbeiter-Kluft getauscht, und in euren Texten ist neuerdings statt von Herz und Liebe immer mehr von unerfreulichen Dingen die Rede, wie Gewalt oder zerstörter Umwelt. Wieso?
Martin: Als wir 1982 anfingen, war ich eigentlich noch ein kleiner Junge, der nichts kannte als die Schulbank und ein paar Filme, die im Kino von Basildon liefen. Wenn du dir Bilder von 1982 ansiehst, wirst du dich wundern, wie sonnig und unbedarft wir damals dreinschauten. Ich wundere mich manchmal, wenn ich sehe, wie sehr wir uns in Zwei Jahren verändert haben.
DUrch die ständige Action und das viele Reisen habe ich seither die Welt und die Menschen ein wenig kennengelernt. Und ich glaube, ich habe dabei mehr schlimme Sachen als angenehme entdeckt.
Einen echten Schock bekam ich letztes Jahr auf unserer Asien-Tournee mit. Ich hatte da zum erstenmal hautnahen Kontakt mit dem Elend, in dem der größere Teil der Weltbevölkerung lebt, und das uns hier auch noch erwartet, weil die Menschen keine Vernunft annehmen. Dabei verging mir echt das Lachen. Logisch, daß sich solche Erlebnisse auch in den Songs niederschlagen, die ich schreibe.
Bravo: Stimmt es, daß ihr mit den ganz jungen Fans, die einfach bloß guten Sound und Spaß haben wollen, nichts am Hut habt und bloß für Leute über zwanzig spiellen wollt, die sich ähnliche Gedanken machen wie ihr?
Martin: Natürlich macht es mehr Spaß für Leute zu spielen, die auch mal drüber nachdenken, was wir singen. Das ist weniger eine Frage des Alters als der Bereitschaft, sich Gedanken zu machen. Gar nichts übrig habe ich für hysterische Verehrung. Fans, die uns durch ganz Europa nachreisen oder einen ganzen Tag lang in Schnee oder Regen stehen, um ein Autogramm oder einen Händedruck zu ergattern, machen mir richtig Angst. Ihre Erwartungen uns gegenüber sind unrealistisch und übergeschnappt. Sie sehen die Wirklichkeit nicht mehr. Ich kann nichts mit ihnen anfangen.
Bravo: Warum nehmt ihr eure Platten immer in Berlin auf?
Martin: Die brodelnde Atmosphäre in dieser eingeschlossenen Stadt bringt mich immer auf tolle Ideen. Außerdem bin ich ein echter Deutschland-Fan. Ich spreche eure Sprache einigermaßen. Das habe ich sechs Jahre lang in der Schule gelernt. Ein ganz enger Freund von mit wohnt auf einen Bauernhof bei Flensburg. Dort mache ich ab und zu Urlaub.
Bravo: Wer ist dein bester Kumpel in der Band?
Martin: Bekanntermaßen Fletch. Viele Leute denken, er ist ein etwas verschlafener, langweiliger Bücherwurm oder so etwas Ähnliches. Das ist falsch, er ist ein faszinierender Type voller Ideen. Er ist die stärkste Persönlichkeit in der Band. Ohne ihn hätten wir uns längst alle heillos zerstritten.
In den Anfangszeiten schuftete er neben der Schule noch wie ein Roß als LKw-Fahrer, damit wir uns die Instrumente kaufen konnten. Mit Andy kannst du wirklich über alles reden.

[Translation by me:]

Depeche Mode
Their hits come out of Berlin

Dave Gahan, the Action Man of Depeche Mode, now finally has his license. After his fourth attempt he now succeeded.
Martin Gore and Andy Fletcher - the two school pals with whom Vince Clark founded the band. They are even now in their private lives inseparable.
Alan Wilder is the sound and programming expert in the band. On the last Depeche Mode album, he also worked successfully as a songwriter.

Bravo: Your new single "People Are People" is the toughest thing yet that can be heard from Depeche Mode. Are you currently in a large musical change?
Martin: We try not to radically break away from the music that we played two years ago, but of course we need to develop and change ourselves. Incidentally, I am almost speechless with surprise at the fact that "People Are People" was such a success. I assumed that eventually the song would drop down because the fans cannot get accustomed to the rougher sound so quickly. Thankfully, I was wrong.
Bravo: Can we expect with every one of your new records also a surprise in the future?
Martin: I do not know. We would like to retain the freedom to surprise you with our music, and thus to break new ground.
Bravo: You have not only changed musically. You changed the collar and tie for black harbourmen's clothes, and your lyrics now, instead of hearts and love, more and more talk of unpleasant things, such as violence or destroyed environments. Why?
Martin: When we started in 1982, I was actually a little boy who knew about nothing else but school and a few movies that were showing in the cinema in Basildon. If you look at pictures from 1982, you would be surprised at how sunny and we carefree the three of us looked at the time. I am astounded sometimes when I think of how much we have changed in two years.
By the constant action and the many trips we've done, I have since seen the world and got to know people a little. And I think I've discovered that there are more bad things than pleasant things.
I had a real shock last year on our Asia-tour. For the first time then, I had very close contact with the poverty in which the majority of the world population lives, and which is also to be expected over here, since humankind is not reasonable. It really made me stop laughing. It is logical that such experiences are reflected in the songs that I write.
Bravo: Is it true that you do not care about the very young fans who just want to have good sounds, easy and fun, and only want to play for people over the age of 20 who have similar thoughts to yours?
Martin: Of course it's more fun to play for people who also think about what we sing. This is less a question of age as the willingness to think. I don't care for hysterical worship. Fans who travel with us all over Europe or stand a whole day in snow or rain in order to get an autograph or a handshake make me really scared. Their expectations about us are unrealistic and crazy. They no longer see reality. I don't want anything to do with them.
Bravo: Why do you record all your records in Berlin?
Martin: The sizzling atmosphere trapped in this city always gives me great ideas. Also, I'm a real fan of Germany. I speak your language to some extent. I learned it at school for six years. A very close friend of mine lives on a farm near Flensburg. I go on vacation there from time to time.
Bravo: Who is your best buddy in the band?
Martin: As is known, Fletch. Many people think he's a bit of a sleepy, boring bookworm or something like that. This is wrong, he is a fascinating guy filles with ideas. He has the strongest personality in the band. Without him, we would all have quarreled hopelessly by now.
In the early days he worked besides school also as a truck driver, so we could buy instruments. With Andy you can really talk about anything.