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Author Topic: 1982: A Broken Frame  (Read 48792 times)

Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #15 on: 26 June 2012 - 01:57:33 »
1982-03-01 - BFBS (UK) - band interview

https://www.depechemode-live.com/wiki/1982-03-01_BFBS_Radio_1,_Cologne,_Germany

[Typed out by me.]

Host: [...] nine and a half hours, and let out again. I'm talking about Depeche Mode. They came over to do a radio show in the morning, and then they did a TV spectacular for WDR telly, 'WDR'. Well, I managed to catch up with them. Lucky me, lucky you! Because we now have an exclusive with the band Depeche Mode, for you, on BFBS.
['Just Can't Get Enough' plays]
Host: Everyone messes the name up. Everyone said it differently. I've heard it say in all different ways. What is it?
Dave: We don't really mind now. It's been Depeche Mode, Depech-ay Mode, DepECHay Mode, it's... Whatever people wanna call it, they can call it.
Andy: A Patchy Mode.
Host: A Patchy Mode. [laughs] But you really don't mind?
Dave: No, not really.
Host: It's gonna be a bit of a rush today, isn't it, one TV show and off?
Martin: Yeah, straight away. We're off to Spain on Wednesday.
Andy: We've just done a radio show as well, so it's quite a tough day.
Host: You did that this morning?
Andy: Yeah.
Host: Oh, goodness.
Andy: We don't know if we can do it again.
Host: Right, we will get you something to eat in just a moment. I wanna go back to Dave, because you're the singer with the band.
Dave: Yeah, that's right.
Host: I mean, you found success pretty quickly, as bands go, really quickly. How did it come about so quickly?
Dave: I don't know, I think we were just in the right place at the right time. It was... the music was changing and we was there. We was picked up very quickly, and the singles were the right thing for the charts, so it went from there.
Host: I wanna talk to you about the sound, because the sound is very fresh. Everyone was saying, it's fresh, it's clean, it's new. But you all, I think most of you, played conventional instruments at the beginning.
Dave: Yeah, well, Andy played bass guitar, Martin played guitar, Vince played guitar, and there was a drum machine. But then Martin got a synthesiser, and gradually they followed and got synthesisers as well.
Host: And now you're all into synthesisers?
Dave: Yeah.
Host: Any chance of getting back to the old instruments, Andrew?
Andy: You never know. We started to experiment with some sounds, new sounds that sound a bit like guitars. You never know. If we get bored, we might get back to them.
['New Life' plays]
Martin: Things will get more technical now, I think. Like, there's new developments all the time, and so-
Andy: -Might [???] and everything, you know. [laughs]
Host: It must have taken you quite a while, if you're all playing original, sort of ordinary - I call them ordinary - instruments, you know what I mean, guitars and bass and drums, to get used to having a whole batch of synthesisers.
Dave: Well, it's just, like, a gradual thing, it just happened in about three months. Within three months, say, we all had synthesisers. And we just found it easier to play with synthesisers. It worked better than when it was working with guitars.
Host: Daniel Miller-
Andy: -The legend.
Host: The legend, Daniel Miller, helped you to produce the album, but it's co-credited, isn't it?
All: Hmm-mm, yeah.
Host: So how much did he influence you?
Martin: He sort of more suggests things, and we have the final say, really, I think. He will say, "Don't you think it's a good idea to do such and such", and we [say], "Oh yeah, sounds like a good idea, we might as well try it and see what it comes out like." He's usually right.
Andy: He's much more technical than us, see. He's older.
Host: A PhD and a bit of a boffy?
Andy: No, no. He just more interested in, sort of, computers and the way they work and that, and that's all a bit over our head. We know a bit, we know the basics and that, but certain things we find difficult. It's difficult to grasp.
Dave: We might buy a book on fishing or something, or swimming, and he will buy a book on computers.
Host: I got Alan Wilder with me, who is the most recent member of the band, because Vince Clarke left some time ago. What happened to Vince, Alan?
Alan: Well, as far as I know, he was unhappy, generally, with the way things were going with the band, i.e. that it was becoming public property, and I don't think he really enjoyed that too much. But I don't actually know the guy, I never... Well, I've briefly met him, so I wouldn't like to speak too much for Vince. But anyway, he went, so they advertised for a new keyboard player, and I answered the audition, and went along for an audition, and got the job.
Host: Now, how long ago was this, because you don't often see a band in the calibre of Depeche Mode with a success rate advertising in the back of the Evening Standard?
Alan: No, well, it was the Melody Maker, actually, but I was quite surprised when I actually found out who it was. They didn't actually tell me at first. But, how long ago? When was that? Beginning of the year, January, beginning of January.
Host: And what's your keyboard training?
Alan: Well, I've been playing for... since I was about eight. I had piano lessons and played in a few other bands and things, so...
Host: Right. Germany for one night. Well, just one day. You've established here just for one day. What's happening - I know you have sort of mammoth success in Britain, it's been phenomenal, the last year has been great - what about elsewhere, Martin?
Martin: We haven't really taken off anything like England anywhere else. So we just started taking over places like France, sort of on a small level. And we got deals in most countries around the world, but haven't really done that well yet. Things are just starting to happen around now, I think.
Host: So I suppose the TV show and the radio shows and everything in Germany are hopefully gonna open up things here?
Alan: Yeah. And also, we're planning to come back in a couple of weeks time, to do a few shows. Not that many, but we're going to Hamburg, Berlin, Munich, Hanover...
Host: This will be live shows?
Alan: Yeah, yeah. It's not too many, but... And we also got two or three TV shows to do, so all that will hopefully help. And we like to break this market, because it's a good market, obviously.
Host: The third in the world, isn't it? America, Japan, Germany. For records.
Alan: That's what they tell us, yeah. [laughs]
Host: So it's gotta be a good market to have a crack at. What about the new single? Because that's doing very well in the charts already. It's a little bit more complicated than it suggests, than the other... three? Yeah, other three. Is the new album gonna be like that, or is there one in the pipeline?
Martin: We'll probably have one released around September, sometime around September. Can't say if any of them is gonna be more complicated yet, we'll probably have a few different tracks on it, or varied tracks on it. But we only recorded about two tracks total, at the moment. We'll be recording, say, June or something, the main bulk of it.
Host: Will you be using the same producer?
Alan: Yeah, Daniel Miller, yeah.
['Any Second Now (Voices)' plays]
Host: What about taking the show on the road? Because, I know, with a lot of synthesisers, it's quite difficult, they can be temperamental, and in the studio, when you got plenty of time, you can get it set up bang on. Is it difficult live?
Alan: It's only difficult in respect of Martin's synthesiser, which has been giving us trouble, recently. But in fact, when things are working, when the keyboards are working as they should be going, the live shows are very easy to set up, because it's all directly injected, i.e., there's, like, taped drums, and there's no backline stuff on stage, so it means you can get a very good sound out of the PA.
Host: Almost a studio sound live?
Andy: That's right.
Alan: That's right, yeah.
Martin: It only takes us, like, fifteen minutes to soundcheck, whereas it would take a normal band, say, an hour or two-
Host: -That is quick, that's very quick. What's wrong with your synthesiser? It's temperamental.
Martin: Yeah, it's just not a very good traveller. It gets sort of shoved around a bit in the van, and it just tends to break very easily.
Alan: Yeah, it's a great machine-
Host: -What is it?
Alan: It's a PPG Wave 3, I think it's German-made.
Martin: -Wave 2.
Alan: Oh, Wave 2. I think it's German-made. And you can get some incredible sounds out of it, but it's just not a very good traveller, it's not very road-worthy.
Host: Why do you think it took so long for, what I call "synthesise pop", to break? Because it has been around for a long time. You have seen re-releases from Kraftwerk in the charts, The Human League have been doing it for a long time, well they're slightly more avant-garde, maybe. Why did it take so long?
Alan: It's difficult to say, it really is. As you say, Kraftwerk have been doing that kind of thing for eight years, and it's only this recent electronic boom which has enabled them to suddenly have a number one hit there. I don't know. I think the English market is certainly - and Germany - is certainly much more open-minded towards that kind of music, say, compared to the States. I think they're very closed about anything relatively new, in the States.
Host: Well, last I heard, they were just going into punk. Really.
Alan: Yeah. I mean, I think, certainly synthesisers and generally electronic kind of sounds are here to stay, definitely.
Host: Now, you're enormous in Britain, everything is going right. Are you gonna sort of leave Britain and become tax exiles when you're all millionaires?
Alan: I'd like to leave Britain, but not for those reasons, because I'd just like to live in a different country, I think.
Host: What's wrong with Britain for you?
Alan: I don't really enjoy living in London, certainly. And I really wouldn't like to live in the country in England, either, because it's too quiet. I'd like a compromise between the two. I don't like London, it's too hectic, too dirty, too noisy, for my liking. But, as far as tax exiles [are concerned], it's far too early to talk about it, I think.
Host: Really? Martin, do you wanna leave Britain?
Martin: No, I'm quite happy with where I live. The other three of us live in Basildon, which is about thirty miles outside London, so it's sort of out of the way of the sort of hustle of London, but it's not too quiet. It's just about right, really. But we don't get to go home too much now these days, though. We haven't been home for a few weeks.
Host: Well, you're here for a day. Where are you going to next?
Alan: Well, we got a day off tomorrow, which is the first day off for about a month, and then we're going to Spain on Wednesday-
Host: -He smiled when he said that, he meant it, you can tell.
Alan: [laughs] No, I don't mind too much. But, we're going to Spain on Wednesday for about a week, or five days-
Host: -Is that a holiday?
Alan: No, that's to do a couple of shows and a couple of TV's [shows]. And then we have a few days in the studio, back in England. And then we go to France, back to Germany, and a few other places, Sweden, Brussels, Luxembourg.
Host: Martin, I'm gonna be a bit cheeky: you're all young to have achieved the fame you've got, and I think probably a lot of people have said that - are you coping?
Martin: In some ways [yes], and in other ways not really. Like, a lot of things have been taken out of our control now. We just can't control things like touring and things like that, we need tour managers, we need... A lot of it is really organised for us. When you get to a certain level, you just need to be sort of really organised.
Host: So the days of the old Transit and batting around have gone completely?
Martin: Yeah.
Host: But it must have an enormous good sight to it as well?
Alan: Of course, of course, obviously. I mean, this recent tour has been, personally speaking, it's been very nice, because it's been well-organised, we've travelled in relative comfort, and we're stayed in nice hotels, and we played to really good audiences, and we got a good crew, good PA crew, good lighting crew. And therefore, it's been relatively easy to do, it hasn't been too much of a struggle.
['See You' plays]



1982-03-04 - Smash Hits (UK) - Pictures Alan Wilder

http://likepunkneverhappened.blogspot.com



[I typed out the text:]

the PICTURES

Dpeche Mode are a four-piece on-stage and a three-piece in the studio. That's the odd piece above; Alan Wilder. The 22-year-old- synth-player first cut his teeth with The Hitmen before being plucked from Hampstead to brave the surging throng at 'Crocs,' Rayleigh, in the New Year. He may join up yet, say the threesome: it's just a "trial period".
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #16 on: 26 June 2012 - 01:59:27 »
1982-03-06 - Radio 3 (Spain) - Disco Grande

[Depeche Mode performed at Rockola, Madrid on March 5th. 5 songs were broadcast on Radio 3's Disco Grande the next day, along with this interview. It is floating on the web as a bootleg recording.]

Interview:
https://www.box.com/s/0i31afxiguxq7wb0310n

[I typed out the text (and someone named Elda helped me with the questions):]

Question 1 in Spanish: Quí en España hay un autentico auge de la música inglesa, eso pasa en otros países? Vosotros los notáis, vendéis más de los que vendía ahora precisamente por esta moda que hay ahora de la música inglesa que está a la cabeza de la música pop-rock?
Translation: Here, in Spain there’s an authentic peak of English music, does this happen in other countries? Do you realize that you sell more than what you used to because of this English music trend that is on the top of pop-rock music?
Dave: Yeah, I think so. Generally, at the moment there is a lot of traditional music in the charts, they've gone a bit backwards, but we think it's just [because of] Christmas and all the traditional German songs come out and go into in the charts. But definitely Europe reflects, looks to England very much. The record is a big hit in England: number one is 'Tainted Love' [from] Soft Cell and it almost goes top ten in all of Europe.

Question 2 in Spanish: Y cómo está Inglaterra para los propios músicos? eh, ellos en general los grupos de música, por ejemplo aquí es muy difícil que un grupo pueda vivir de la música, los grupos nuevos los grupos que surgen, cómo está esto en Inglaterra? Tienen facilidades para hacer música y solo música?
Translation: And how’s England for their own musicians? In general, for music bands, for example, in here it’s very difficult that a band can live from their music, new bands, bands that emerge, how is this situation in England? do they have any facilities for making music and just music?
Dave: There a lot of [?] but I wouldn't say it's easy, really. There's a lot of competition, a lot more competition I would say in England than in any other country, for new bands and new styles. New things come out all the time and the big record companies all jump onto the new band that's hip at the moment and give them thousands of pounds to release a record, but our tape is hard. We was lucky that we was there at the right time, and everything was right, the feeling was right, and so I think that's why we've been successful.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #17 on: 26 June 2012 - 02:00:54 »
1982-03-11 - BBC (UK) - Top of the Pops

See you: http://www.youtube.com/watch?v=CUPRSEn8Y5w





1982-03-18 - Bravo (Germany) - Synthi-Pop aus dem Hinterhof

https://www.facebook.com/depechemode.worldnews/photos/a.472692342837266.1073741834.468377293268771/510024912437342/?type=1

[Transcribed/translated by me.]



Synthi-Pop aus dem Hinterhof
DEPECHE MODE
Ihren Namen fanden Depeche Mode - was soviel wie schnelle Mode bedeutet - in einem Modemagazin. Sie wollen damit ausdrücken, daß sie musikalisch ebenso einfallsreich sind wie die Modemacher in puncto Klamotten. Geboren wurde die Grundidee zu Depeche Mode in den hintersten Bankreihen der Nicholas Comprehensive School in Basildon/Essex, wo Andy Fletcher und Martin Gore für ihr Abitur büffelten. Ihre Freizeit verbrachten sie bei einem gemeinsamen Freund, Vince Clark, wo wie in einem Hinterhofzimmer auf zwei Gitarren und einem Synthesizer ungestört Lärm machen konnten. Ursprünglich wollte Martin Ökonomie studieren und Andy Versicherungskaufmann werden. Doch als Dave Gahan bei den "schnellen" Jungs einstieg, vergaßen sie alle Berufspläne und ihre Gitarren. Sie stiegen total auf Synthesizer-Sound um und spielten, wo immer man sie hören wollte. Zum Profi-Start verhalf ihnen 1980 Soft-Cell-Manager Stevo. Schon mit ihrer dritten Single "Just can't get enough" rangierten Depeche Mode im Herbst 1981 auf den vorderen Plätzen der Charts. Kurz nach Erscheinen ihres ersten Albums "Speak and Spell" im November desselben Jahres stieg Depeche-"Kopf" und Songschreiber Vince Clark aus. Die neueste Single "See you" stammt bereits aus der Feder von Martin Gore. Und für ihre Deutschland-Auftritte (ab 26. März) haben sich Depeche Mode mit Ex-"Hitmen" Alan Wilder (22) verstärkt.

Translation:

Synth-pop out of the backyard
DEPECHE MODE
The name Depeche Mode - which means as much as fast fashion - they found in a fashion magazine. They want to express that they are as resourceful musically speaking as the fashion designers with regards to clothes. The idea of Depeche Mode was born in back seats of Nicholas Comprehensive School in Basildon/Essex, where Andy Fletcher and Martin Gore were studying for high school. Their spare time was spent at a mutual friend's house, that of Vince Clark, where they could make noise undisturbed on two guitars and a synthesizer in a backroom. Originally Martin wanted to study economics and Andy wanted to become an insurance salesman. But as soon as Dave Gahan joins the "fast" guys, they forget all their career plans and their guitars. They completely switched to the synthesizer sound and play wherever people want to hear them. A professional start was provided by 1980 Soft Cell manager Stevo. Already with their third single, "Just can't get enough", Depeche Mode ranked at the top of the charts in the fall of 1981. Shortly after the release of their first album "Speak and Spell" in November of that same year, Depeche "leader" and songwriter Vince Clark leaves. Their latest single "See You" emerges from the pen of Martin Gore. And for their performance in Germany (26th of March) Depeche Mode have acquired ex-"Hitmen" Alan Wilder (22).
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #18 on: 26 June 2012 - 02:02:16 »
1982-03-20 - Record Mirror (UK) - ON THE MODE

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




ON THE MODE
[Record Mirror, 20th March 1982. Words: "Sunie". Pictures: Andy Rosen.]
" “You watch films of the Beatles and it seems quite natural, but when people start screaming at you, it’s really funny.” "
Summary: Surprisingly readable interview that keeps the sweetness-and-light factor commendably low-key. All the band members (including, briefly, Alan) discuss the difficulties of adjusting to fame and especially the day-to-day strains of touring. It's a shame that the photo of Dave makes him look as if he has flu. The usual 1982 fare, just with reduced sugar. [1500 words]


   
    For some strange reason, fans and pundits always seem to want Ultimates when it comes to pop. Best Guitarist! Top live band! The LP of the decade! The world’s best / worst / last rock group! And, of course, the burning question of the day, who’s… The Perfect Pop Group?
    Current nominations for this last category include The Human league and Altered Images (on the grounds that what sells is true pop, ie popular, music); Haircut 100, for their exquisite, lightweight pop, their socks, and their braces; outsiders, the Associates for musical quality – and, of course, Depeche Mode.
    So sweet, good-looking and dinky doo these boys appear that they might have been run off by Gerry and Sylvia Anderson between creating Captain Scarlet and Lieutenant Blue, while their hard, bright electronic pop has been phenomenally well-received.
    Each single has been a bigger hit than the last, with “See You” promising to keep up that record [1], while the cruel and cynical scribes of the music press have afforded them just four bad reviews in two years. Remarkable!
    “The only things we have got to worry about,” confesses Martin Gore, who now fills the songwriting role vacated by Vince Clarke some months ago, “are really stupid things. Like, Andy came in one day and said, ‘I’ve heard that someone we know has just bought our single in a local shop for 50p. Maybe the shop knows it’s not going to chart, so they’ve stuck it straight in the 50p rack’.”
    Daft as it may sound, that little episode did cause some consternation among the ranks of Basildon’s finest. But more real pressures must be making themselves felt these days, surely? Dave Gahan agrees, commenting, “Mart’s under a lot of pressure nowadays.”
    You know Dave, the instantly recognisable singer, combining quirky good looks with the lovable charm of the Pilsbury Doughboy. I’m later told, perhaps in retaliation to Mode’s nice-boys-next-door image, that “Dave’s an ex-spanner – he’s got his juvenile record and all that.” No traces of a bovver boy past are evident now, rather, there’s a modest confidence.
    He tells one funny story during my two-day stay with the Depeches and that’s directed at himself: picture the embarrassment of a young Gahan released from college for some practical experience of work in a London department store, when a troupe of young girls spot him dressing a window. Isn’t he the boy who… Yes! ‘Ere, what are you doing in there?’ The budding pop star, recognised in the setting of his day job.
    All this started as just a bit of fun, of course. The DPs laid no plans, and it was only when “New Life” charted that Mute Records boss Daniel Miller “told us – ‘I think you should give up your jobs now.’ And we said ‘are you sure?’ because we weren’t certain at all.”
    An initial burst of success was immediately followed by the departure of Vince, who’d written all the songs and generally acted as leader from the word go. [2]
    “We always said, ‘Oh, let Vince take care of it’,” says Andy Fletcher, “because the rest of us are quite lazy; well, me and Martin, anyway.” But now Gore is the chap under pressure: can he measure up to Clarke’s prowess at penning those ultra-commercial songs that are Depeche Mode’s hallmark?
    Plans are afoot for diversification: “We’ve done a reggae song,” Fletcher tells me, “with horn sounds on it – sound like Acker Bilk, or UB40.” [3] “See You” itself is a change of mood for them, too, with its almost throwaway, gentle feel. Bit cheeky pinching the bit from “Then He Kissed Me”, though.
    “Well, it was going to have a Jess Yates organ bit on it,” Gore confides, “but Daniel but his foot down there.”
    One of the more bizarre aspects of life on the road with Depeche Mode (hated expression, that!) is the adoration they attract from hordes of very young girls – real David Cassidy stuff, for those of you who can remember that far back. “They’re too young, though,” Andy tells me, grumpily. “The other night I looked out at the audience and felt as if I was playing in assembly at school.”
    What’s it like having all those people want your face, your autograph, your time, your kisses?
    “It’s just funny,” David and Martin agree. “You watch films of the Beatles and it seems quite natural, but when people start screaming at you, it’s really funny.”
    “Especially on the coach,” says David. “You just have to grin at them all, as they’re banging on the windows. You might just wink at one of them, and they go ‘ooooh!’ and you think ‘Why?’”
    “The strangest thing,” says Andy, “Is when you get a person who’s older than you, or your own age, who looks, acts and probably thinks the same as you, coming up and asking for your autograph. You just feel like saying ‘I’m nothing special, we’re just the same. What d’you want my autograph for?’
    “I hate being recognised in the street, too. It’s so bad when you get that tap on the shoulder. Loads of times, when they ask ‘Are you Andy Fletcher from Depeche Mode?’ I say ‘No’…”
    All this may be becoming a nuisance, if not a distinct strain, on the original trio but it’s taken as part of the job by the newest arrival.
    Alan Wilder, formerly of the Hitmen and recruited through an ad in a music paper, can be seen diligently providing autographs and a cheek for the more daring to kiss after the show.
    He even troubles to ask “what’s your name?” of each and every supplicant, something the others have given up, though they dutifully put their name to each poster, ticket and fag packet that’s proffered. This behaviour, together with looks which stand out even within the ranks of Depeche Mode, reaps its own reward: most of the screaming that goes on is on his account.
    “I’m glad they’re screaming for Alan,” says Martin’s girlfriend, Anne, after one particular show. “It makes him feel more a part of it.”
    “If this keeps up,” observes her partner with mock-severity, “he won’t be part of it for much longer.”
    Having his intended on the tour with him helps Martin tolerate a part of his job he doesn’t much care for, and the same could doubtless be said for the presence of David’s girlfriend Jo.
    Alan is enjoying himself, taking it all in, and seems to take the business of being On The Road pretty lightly – after all, that’s what he’s been drafted in for. So how about you, Andy?
    “I get depressed, on tour especially, because I’ve got quite a lot of friends at home, and I miss keeping up on the gossip and all that. Martin and Dave have Anne and Jo and that’s their company, but I don’t see anyone.”
    And when Andy Fletcher gets depressed, believe you me, he does it thoroughly. Throughout our conversation, the diplomatic Wilder repeatedly though politely indicated “it’s not as bad as he makes out”, but the more the One Tall Depeche thought about it, the more his malaise came through in our increasingly downbeat conversation.
    “I’ve lost a lot of friends because I can’t talk to them; we’ve always told each other what we’re doing, but now it’s a case of well, we flew to Spain and did a TV thing, we’re going on tour… I feel really guilty, and I can’t talk about what I’m dojng ‘cos all I’m doing is the band.”
    What would cheer you up, then?
    “Putting on a few stone before we go to Hawaii, for when I have to wear shorts. No, not a No. 1: the biggest thrill I’ll ever feel was when we went into the charts at 55 for the first time. [4]
    “Everything gets boring; being on tour, Top Of The Pops – it just becomes routine. The only thing I enjoy is games: Risk’s my favourite, or the Business Game (a board game) – that’s what I enjoy.”
    Goodness, Andy, is that all? The rest don’t seem too cheesed.
    “But I think more than them, really. Well, I worry. I’m more depressing.” Laughter all round. Don’t you mean depressed? “Both, probably,” says Alan with a grin.
    Lest you begin to think you’re getting Hamlet when you wanted comedy, let’s lighten the subject matter a little: does it get on your nerves, boys, being regarded as Cute?
    “No,” say David and Martin. “It probably annoys Andy more, he’s more of a man,” though whether they’re speaking of his build or his chosen thinking-man persona, it’s hard to tell. What about accusations of musical cuteness, then?
    “We’ve tried to get away from that, but unsuccessfully,” says Martin with a rueful little smile. “We were going to do a mean B-side; it started out with a bass line and fast drums, like a DAF thing, but it didn’t work. We thought we’d have this one mean track. But in the end we put some bells on…”
 
[1] – See You kept up the record and peaked at 6.
[2] – Vince didn’t quite write all the songs. Two of the songs on Speak and Spell (Tora Tora Tora and Big Muff) were written by Martin. [continue]
[3] – The UB40 / Acker Bilk song sounds like Satellite.
[4] – The first single Dreaming Of Me in fact entered the British charts at 57.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #19 on: 26 June 2012 - 02:02:55 »
1982-03-20 - NME (UK) - SOUND OF THE SUBURBS

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




SOUND OF THE SUBURBS
[NME, 20th March 1982. Words: Lynn Hanna. Pictures: Peter Anderson.]
" This is the first day of Depeche Mode have had in months, sandwiched between a trip to Spain and a spell in the studio. And although they were looking forward to an uninterrupted reunion with old friends and family, they’ve amiably agreed to one more interview.

Depeche Mode are just too nice to say no. "
Summary: Sympathetic and intelligent interview of the band (minus Alan) at the time of the release of "See You". The innocence is plain to see without being harped on about, and looks at how the band intend to hang on to success without falling into routine or being dismissed as too lightweight. Very wise in hindsight, and the rose tinted description of Basildon will have you all misty-eyed. [1837 words]



                 
    Apart from his clothes, which are meticulously modish, Martin Gore’s baby blond curls, bashful expression and sweet smile make him look like the boy in Bubbles, Millais’ famous Victoria advert for Pears soap.
    His group mate Andrew Fletcher looks comparatively harsh by Depeche pop standards: sandy hair sticks up straight from his head and his manner, although chatty, tends towards dry. It’s dark Dave Gahan, the singer with the soft face and sunny smile, who opens the door of his parents’ semi-detached house in the satellite suburb of Basildon.
    There seems to be something in the air which encourages clear complexions, wholesome electro-pop, clean-cut teen culture and untroubled eyes.
    The taxi from the station bowls along wide, smooth roads between low, grey rows of modern estate housing, past broad sweeps of spring green. On the surface it’s a closed world of comforting order, easy affluence, unchallenged conformity and modest domesticity. Depeche Mode – a little flushed from the drowsy afternoon combination of sunshine, central heating and a flaring fire – sit in the small, square cosy living room of a house identical to the ones they all share with their respective parents.
    A bright, neat girl sits at one end of the settee, quietly flicking through a magazine. [1] Dave Gahan makes coffee, although he drinks hot chocolate himself. Audible through wafer thin walls, now nearer, now farther, come the thin tones of Dave’s younger brother, a squatter, pudgier version of Dave himself, as he wanders through the house with his small Casio keyboard.
    “He usually plays it in the loo,” says Dave, “because it’s got good reverb in there.”
    All over Basildon, Andrew tells me, young synthesizer bands are starting up, despite the lack of rehearsal rooms or places to play. For Depeche Mode who smile and reminisce their way through an afternoon at home, it doesn’t seem so long ago that they were playing house-gigs themselves to a small audience in pyjamas with additional soft toys and teddy-bears.
    Time has flown, they think, since they caught the commuter train to the bank, the insurance office and college every morning. Because Depeche Mode signed to an independent label for no advance, they were still doing day jobs when “New Life” was at Number 20 in the charts, and a week after they finished work they were on TOTP. Four months ago Andrew Fletcher had never flown, now he finds air travel no more or less exciting than catching the 7 o’clock train into town.
    This is the first day of Depeche Mode have had in months, sandwiched between a trip to Spain and a spell in the studio. And although they were looking forward to an uninterrupted reunion with old friends and family, they’ve amiably agreed to one more interview.
    Depeche Mode are just too nice to say no. [2]
    “Every day there seems to be something,” says Dave resignedly. “Up until a certain point you get used to it. But you do begin to wonder what good it actually does.”
    Does being nice come naturally?
    “Not any more it doesn’t,” says Andrew whose irony is in counterpoint to Dave’s ready chatter and Martin’s shy, attentive silence (“He’s got a lot to say, but he never says it,” explains Andrew. “He’s not very good at interviews.”)
    “You’re thrown into something and you act naturally and that’s what comes out. Then you’re known as being nice and cute all the time; and when you’ve been touring for three months, you just want to explode. But when you’re surrounded by nice people who are so friendly, you trust them. If they say something it’s hard to say, no. Dan (Daniel Miller of Mute) has done so much for us, you can’t get stroppy with him. All the people in the office really work hard for us, you can’t upset them. The main thing is, we’ve been so lucky, you feel, why should we be arguing? We’ve got somewhere and we should work.”
    Depeche Mode aren’t a rock and roll band, they tell me, and they don’t enjoy the traditional tour trappings. At their Hammersmith Odeon concerts, which they filled twice in a fortnight, their show was remarkable for its fetching simplicity and lack of spectacle, its narrowing of distance and rejection of elitism, its guileless involvement and unselfconscious innocence.
    Yet here they are between tour and LP, still bubbly but worrying a little about becoming blasé over continents and countries, jets and helicopters, video and TV. Dave Gahan’s got a swelling stye on one eye from infected water in a Spanish shower.
    “If I’m wearing sunglasses in the pictures, you’ll have to explain it wasn’t trying to be cool, I’m embarrassed about my eye.”
    Is there any way in which they can avoid stepping into the spiralling restrictive trap of success?
    “We don’t want anything,” says Andrew. “We just carry on from day to day. We haven’t got any ambitions. Our ambition is to buy a house or something like that.”
    “Obviously to be more successful would be a good thing,” adds Dave. “Or to just stay as we are now and keep releasing good material.”
    “Things don’t happen so fast that you don’t really know what’s going to happen,” says Martin softly.
    “To go back now would be really hard,” Andrew continues. “There’s so many people we have to pay. It’s the album-tour-album-tour trap that’s the worst thing. That’s why Vince (Clarke) left, he probably felt that he was getting trapped because that’s what he saw in front of him. He looked at it with a bigger scope than we did, I think. He looked ahead more.
    “The only point of bitterness really is the fact that we’re really working hard and promoting his material and he’s doing what we want to do but can’t.
    “Vince has got all the time in the world now,” adds Dave. “He’s done a few adverts, a few jingles. Peter Powell’s got a new programme out and he wrote the theme tune for that. We were offered a Tizer advert but we just couldn’t do it. It would be really good if we had the time to do things like that, just look at it in a bigger way, different ways of earning money.”
    Far from falling flat on their fresh faces, as some feared they would do when primary writer Clarke left, Depeche Mode have recruited new member Alan Wilder (not present today since he’s only temporary), and gathered new strength since “See You” has taken its proper place in the most exhilarating chart for months.
    Why do they think people relate to them so well?
    “I suppose it’s because they see us as the boy next door,” says Dave.
    “The blokes see us like lads, electronic versions of The Angelic Upstarts,” adds Andrew. “You get those sort of people outside the dressing room door going Oi Andy. You have to speak to them in your best Cockney accent. You go, Yer, alright, ’ang on. You get the little girls that you have to be really nice to because they’re like your little sister.”
    Andrew blushes just a bit.
    “It’s a funny sort of audience,” says Dave. “I think they just see us on the same level as them really. It’s good in a way, ’cos they’re not embarrassed. I remember going to gigs and being embarrassed to move ’cos it’s not cool to dance. I remember going to see Gary Numan at Hammersmith and just sitting through the whole gig.
    You’re really enjoying it but you can’t get up and go HUURRAAY! At our gigs they aren’t embarrassed about anything.”
    Depeche Mode may jokingly fantasise about running on stage and doing scissor jumps, detailing a roadie to pull them across the stage on a go-cart attached to a piece of string and feel gently aggrieved by Paul Weller whiningly calling them wimps; but in reality their artless lack of ego is often seen instead of anonymity.
    “There was a thing in the Sun reviewing our single and it said another record by a faceless group. I think people who read music papers might know about us, but the general public couldn’t put a face to the name,” says Andrew. “People say, what’s it like to be famous? But there’s no difference. When I walk along in Basildon they might recognise me, but if I go up to London and walk along the King’s Road, I wouldn’t be recognised.”
    “I think it’s better not to be hip, it’s definitely safer,” says Dave.
    “I remember when we first described ourselves as a pop band and Andy went wild!” adds Martin slyly. “He said we’ve had it now! How can you be a rock and roll star and walk into the house and see your mum…”
    “…have a fight with your brothers in the living room…” adds Andrew.
    “…and you’ve got all your sisters in the house,” continues Martin.
    “We don’t go clubbing it in London or anything,” adds Dave. “I don’t know how bands can do that. They’re touring the world and they’ve got records out every week. They must be so tired.”
    “We don’t get massive guest lists with stars on them,” says Andrew. “I think that’s why people relate to us. We don’t attract that sort of audience. We’re not a liggers band. Backstage there’s just a load of our friends.”
    Are Depeche Mode puppets of Mute maestro Daniel Miller, the pretty faces fronting an electro-pop masterplan? Somehow it doesn’t seem that simple.
    “Daniel’s boys,” smiles Dave. “Daniel’s like a friend really. It’s not like a business relationship. He comes everywhere with us. In the studio he doesn’t actually take part in the recording apart from the producing. I’d say a lot of other producers take more part than Daniel does.”
    They don’t feel they’re being manipulated?
    “It’s hard to say,” replies Andrew equably. “He advises us what to do, but we find it hard to say no, so in a way he does.”
    By those who don’t understand the place in pop for such a sweet and optimistic celebration of potential, Depeche Mode are often crudely dismissed as lightweight. Would they like to be taken more seriously?
    “I think what we do is very easy, that’s why it’s good,” says Andrew. “But we’re on an independent label. We’ve never been hyped, we never advertise. That’s one reason why we never get into the top five. They can’t afford to give us that final push to Number One. When you sell as many records as a group that gets to Number Three or Four, and you only get to Number Eight, you start to wonder why.
    “None of us are on an ego trip. We do things as they come along,” says Dave. “It’s a job, we moan about it, but I couldn’t see us doing anything else. In three years’ time, Martin might be a producer or a general writer. Andy might be making synthesizers. We’ve done something in a different way.”
    Depeche Mode are the fast way forward to the future.
[1] - This will probably be Dave's sister Sue, although I'm surprised she's described as a girl as she's a year or two his senior.
[2] - This is something Depeche Mode have always rued - the fact that they never said no to an interview in the early days. Later on they would say that at the time they believed more coverage was better coverage, and had no understanding of how choosing your interviews selectively can sculpt your image.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #20 on: 26 June 2012 - 02:05:01 »
1982-03-20 - TVE (Spain) - Aplauso

Quote
Agradecemos a IKER FLASH su aportación al programa con este texto de presentación del vídeo. 'Primera actuación de DEPECHE MODE en TVE dentro del programa APLAUSO en Marzo de 1982 donde presentaron "Just can't enough", el gran éxito de su opera prima "Speak and Spell" que se convertiría en todo un clásico del tecno-pop de los 80. En esa misma actuación, en la discoteca madrileña Joy Eslava, también presentaron 'New life', su otro gran éxito de la época. Grabado el día 4 de marzo de 1982 y emitido en TVE el 20 de marzo de 1982.

Just Can't Get Enough: http://www.rtve.es/alacarta/videos/cachitos-de-hierro-y-cromo/cachitos-hierro-cromo-moda-pop-tu-cachito-entero-depeche-mode/2159469/
or: https://www.youtube.com/watch?v=oSbpnH1qcMs



'New Life' is not hosted online.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #21 on: 26 June 2012 - 02:06:40 »
1982-03-22 - SVT1 (Sweden) - Måndagbörsen



New Life, interview, See You, Just Can't Get Enough: http://www.youtube.com/watch?v=nWvDCNki6YI
Entire episode: https://www.oppetarkiv.se/video/2274852/mandagsborsen / https://www.youtube.com/watch?v=YYyZ64_bNAg

[I transcribed the interview bit:]

Host: Very welcome here, David.
Dave: Pardon?
Host: This time, I said, "Very welcome here, David".
Dave: Eheh, David, yeah.
Host: You have an all-synth band, and it's not yet that common, I've only heard about three famous synthbands in England. Was this the way you formed the band?
Dave: No, when we began we had guitars, there was a bassguitar and a general guitar, and a drum machine, but then we gradually we changed over to all-synths.
Host: why did you quit the guitar and the bass?
Dave: It just seemed like a natural thing, like, Martin had a synthesiser, and Andy and Vince bought one, following. It just seemed like the right thing to do at the time.
Host: Do you think synthesisers can replace real instruments totally?
Dave: No, I don't think so. There'll always be guitars and drums, I think, but we're using them, in the same format as a normal band, like bass, rhythm, and lead guitar, and the drums on tape. But, it's okay.
Host: You're quite a new band, and most of the guys are pretty young. Where do you have your musical roots?
Dave: Well, we live in a suburb from London, which is called Basildon, and it's a new town, and we're a new band, so I think that says it all. (laughs)
Host: What do you want people to experience when they listen to your music?
Dave: Just to have good fun, and enjoy it with us, and they don't have to find anything from the music or the lyrics, as long as they enjoy it.
Host: Do you think that the band will look the same in another two years, with only synths?
Dave: If you come back in two years time, then you can see. I don't think we're gonna change. You never know though, we might change in a week's time, but, who knows?
Host: Alright, this first song, "New Life", what is that about?
Dave: I don't really know. Vince wrote the lyrics, and he's recently left the band, (audience laughs), and eh, we never eh, we've always asked him what the lyrics meant, but but don't know. You'd have to ask Vince.
Host: What will this next song be?
Dave: "See You".
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #22 on: 26 June 2012 - 02:09:59 »
1982-03-25 - Bravo (Germany) - Drei wie aus dem Ei gepellt

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



[I typed out the text:]

Depeche Mode
Drei wie aus dem Ei gepellt

Photo caption 1: Der harte Kern von Depeche Mode
Photo caption 2: Liebe im Heu (ganz links) und Depeche Mode spielen dazu: So werden sie am 27.4. in "Bananas" zu sehen sein. Links Alan Wilder, der für die Deutschland-Tour als zweiter Keyboard-Mann engagiert wurde.

Auf der Bühne nichts als gleißendes Licht, drei Synthesizer und ein Mikrofon. Dazwischen vier Typen, die auch ohne Schlagzeug und Gitarren mit wenig Bewegung und ihren hypnotisierenden futuristischen Synthi-Sound eine Super-Show schmeißen.
Wo immer sich Depeche Mode blicken lassen, bringen sie die Fans zum Ausflippen - mit ihrer Persönlichkeit, ihrem Sound und ihren Songs. Depeche Mode ("schnelle Mode") machen ihrem schnellen Namen wirklich all Ehre. Wenig mehr als ein Jahr nach ihrer Gründung galt die Band als eine derjenigen, die in England die größten Überlebenschancen haben.
Auch ohne ihren früheren musikalischen Kopf Vince Clarke, der Ende letzten Jahres ausstieg, erwarben sich Depeche Mode auf ihrer jüngsten England-Tour, die kürzlich zu Ende ging, den Ruf als "Band der Zukunft".
Besonders junge und ganz junge Fans sehen in dem Trio aus dem London-Vorort Basildon, bestehend aus Wuschelkopf Martin Gore (20), Sänger Dave Gahan (19) und dem zweiten Tastenmann Andy Fletcher (19) ihre neue Idole.
Mit ihrem kurz nach Weihnachten engagierten neuen vierten Mann Alan Wilder (früher Hitmen) haben die drei eine guten Griff getan. Die Fans haben ihn bereits voll akzeptiert.
Songs wie "Photographic", "Puppets", oder "What's Your Name" aus dem Debüt-Album "Speak and Spell" ernten in der 45-Minuten-Show von Depeche Mode ebenso wilde Begeisterung wie die Single-Hits "New Life" und "Just Can't Get Enough".
Für Martin Gore, der seit Vince Clarkes Ausschieden das musikalische Zepter in der Gruppe übernommen hat, ist es ein ganz persönlicher Erfolg, daß ein Song "See You" wochenlang unter den ersten Zehn der englischen Hitparade lag.
Der rothaarige Londonder Alan mußte seine Feuertaufe bei Depeche Mode im Blitztempo bestehen. Schon am Tag nach seinem Einstand spielte er mit der Gruppe in der Fernsehsendung "Top of the Pops" und stand dann anschließend auf der England-Tournee mit ihnen jeden Abend auf einer Bühne.
Noch steht nicht endgültig fest, ob er ständiges Bandmitglied bleibt, aber er scheint das Basildon-Trio ideal zu ergänzen. Sänger Dave Gahan bringt die von ihm gewohnte Bewegung in die Show und reißt die Fans am meisten von den Sitzen.
Mit der Erfolg von "See You" beginnt für Depeche Mode eine ganz neue Ära. Sie sind sicher, daß sie es auch ohne Vince Clarke schaffen können. Die deutschen Fans können sich auf der derzeitigen Depeche-Mode-Tournee davon überzeugen...
Margit Rietti

[Translation:]

Depeche Mode
three being all neat and tidy

Photo caption 1: The hard core of Depeche Mode
Photo caption 2: Love in the hay (far left) and Depeche Mode play along: They are at 27th of April to be seen in "Bananas". At the left Alan Wilder, who was hired for the tour of Germany as a second keyboarder.

On stage, nothing but bright light, three synthesizers and a microphone. In between four guys who, even without drums and guitars and with little movement and their mesmerizing futuristic synth sound, throw a fantastic show.
Wherever Depeche Mode appear, the fans are freaking out - because of their personality, their sound and their songs. Depeche Mode ("fast fashion") honour their name really fast. Little more than a year after its foundation, the band is considered as one of those who in England have the greatest chance of survival.
Even without their previous musical leader Vince Clarke, who stepped out late last year, Depeche Mode have earned on their recent UK tour, which came to an end recently, the reputation as a "band of the future".
Especially young and very young fans see in the trio from the London suburb of Basildon, consisting of curly-haired Martin Gore (20), singer Dave Gahan (19) and second keyboardist Andy Fletcher (19), their new idols.
With their shortly after Christmas designated new fourth man Alan Wilder (formerly Hitmen) the three did a good job. The fans have already accepted him fully.
Songs like "Photographic", "Puppets", or "What's Your Name" from the debut album "Speak and Spell" receive in the 45-minute show of Depeche Mode as much as wild enthusiasm as the hit singles "New Life" and "Just Can't Get Enough".
Martin Gore has, since Vince Clarke was eliminated in the group, taken over the musical scepter, it's quite a personal success that his song "See You" stood for weeks in the top ten of the British charts.
The red-headed London's Alan had to fulfil his newfound role with lightening speed. The day after his debut, he played with the group on the television show "Top of the Pops" and was then subsequently on the British tour with them every night on stage.
It is not yet definite whether he will remain a permanent member of the band, but he seems to complement the trio Basildon ideally. Singer Dave Gahan delivers his expected moves into the show and gets most fans of their seats.
With the success of "See You", Depeche Mode begins a new era. They are sure that they can make it even without Vince Clarke. The German fans can be convinced of this at the current Depeche Mode tour...
Margit Rietti



1982-03-29 - KUSF (US) - Dave and Fletch interview

We do not have this interview. It is mentioned here: https://www.facebook.com/modesite/photos/a.268359499932770.45652.267193166716070/362422550526464/?type=3
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #23 on: 26 June 2012 - 02:10:54 »
1982-03-xx - Depeche Mode - Information Sheet 3

https://twitter.com/sandra_leach/status/729924077964660736



http://www.tuug.utu.fi/~jaakko/dm/sheets/is823.txt

               INFORMATION SHEET NO. 3/82

      DEPECHE MODE INFORMATION
      10 HAWKSWAY  BASILDON  ESSEX SS16 5JQ

At your request I have enclosed the DEPECHE MODE information/items. If there is anything else you would like to know about the group please write to me.  For information Sheet No. 4/82 send me a stamped, selfaddressed envelope towards the end of March quoting the number 4/82.

DEPECHE MODE NEWS: Well the British tour is over and what a great success it was! I was lucky enough to go to all the concerts and must say that every gig was as good as the next.  DEPECHE MODE would like to say how great you all were and hope that everyone enjoyed themselves as much as they enjoyed playing.

RECORD NEWS: With 'See You' currently high in the charts DEPECHE MODE are recording tracks in the studio for their next album due for release in the   Autumn as well as the new single 'The Meaning of Love' which will hopefully be released in April.

AVAILABLE NOW: Look out for DEPECHE MODE on the cover of Record Mirror with an interview and review inside.

AVAILABLE SOON: The boys have interviews with the following:
              Photo Love, Heartbeat, 19, New Musical Express, Sounds, Kicks and Tops.

TELEVISION NEWS: On Saturday 17th April Peter Powell starts a new programme on BBC1, DEPECHE MODE will be his guests on that day.

               Dave will be appearing in the new series of Pop Quiz.

RADIO NEWS: The 'In Concert' that DEPECHE MODE recorded before the UK tour will be broadcast one saturday evening within the next month on Radio One.

TOUR DATES :      Mar.    5th   Madrid   SPAIN   Rock-Ola
             6th   Madrid      SPAIN   Rock-Ola
            20th   Stockholm   SWEDEN   The Ritz
            24th   Hamburg      GERMANY   Trinity
            25th   Hanover      GERMANY   Ballroom Blitz
            26th   Berlin      GERMANY   Jaarmarkt
            28th   Rotterdam   HOLLAND   
            30th   Luxembourg              The Rainbow Club
         Apr.    2nd   Paris              FRANCE   Le Palais
             3rd   Brussels      BELGIUM   Volksbelang
            10th   Jersey                 Fort Regent
            12th   Guernsey                      Beausejour Centre

Blancmange will be the support band for Jersey and Guernsey.

                  Thanks for you support
                     Keep in touch
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #24 on: 26 June 2012 - 02:11:47 »
1982-03-xx - New Sounds New Styles (UK) - NO TIME TO EVEN THINK

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





NO TIME TO EVEN THINK
[New Sounds New Styles, March 1982. Words: Mike Stand. Pictures: Iain McKell.]
" Of course, Alan will only experience the second phase of fame. For the others the helter-skelter force of change can’t be overlooked and mostly they don’t like what they see. There is the possibility that they will never be happier than they were last summer travelling to gigs on the train with their synthesisers tucked underneath their arms and making a decent living out of £250 a night including all their costs. "
Summary: Detailed and probing article, refreshingly free of the usual "aah! Aren't they sweet!" blather often found in this era, catching the band on the edge between novelty and fame. The band discuss intelligently how not only the loss of Vince but their success in general has forced them to rearrange their lives and the workings of the band - not without its downsides. Decidedly better than average. [2244 words]


    Mike Stand meets Britain’s brightest, youngest, most successful independent popsters to discuss Vince, fame, songwriting, money and flexible response under stress. Photography by Iain McKell.
    “Hello Martin,” I said to the spikey redhead peering round the door.
    “Andy,” said Andy, smiling nonetheless.
    I abandoned the cup of well-stewed tea I’d been contemplating while I waited for Depeche Mode’s return from some location snaps and we walked round the corner to Iain McKell’s studio to do some fast talking before they caught the 5.30 from Fenchurch Street home to Basildon to watch themselves at 6.30 on Southern TV (which you can’t pick up in London). Timetables and schedules are a big part of their lives these days.     
    Andy Fletcher muttered on a bit about how difficult it had been not to look Bleak and Industrial, the loathed antitheses of Depeche’s Mode, while posing around the scruffy old district of Shoreditch – and at the same time how difficult it was to smile naturally. [1]
    Then, in the Depeche East of London twang, he asked, “Are you going to talk to Vince too?” and the interview had begun. Very direct in their mild way, these Depeches. They let you know what’s on their minds.
    Vince was the blond one with the face that came out all white in pictures – no lines, no shadows, a spectral presence – to the camera’s eye, he all but disappeared. An appealing symbol. I suggested to the others that their former colleague might be shaping up as another Syd Barrett.
    “Who?” they said, and having exposed my generation gap I shan’t trouble you with a lengthy history of Pink Floyd either.
    Well then, to abstract it, wouldn’t they agree that young Vince is an intriguing enigma? “No, he ain’t that interesting,” said Andy and oddly enough he didn’t seem to mean it as a put-down. Martin Gore tried to enlarge, “He presents you with riddles, things you can’t explain.”
    Andy: “The impression he likes to give is that no-one knows him.”
    Dave Gahan: “We thought we knew him, but we discovered we didn’t.”
    So you see Vince isn’t an enigma, it’s just that nobody understands him. Take one of those blonded-out photos of him, paint it over in gray and the colourful truth will emerge (a riddle).
    The news stories said that Vince had quit because he didn’t like the single / album / tour business process, but that he would continue to write for the band. As you might imagine, that doesn’t tell it all from the other three’s point of view.
    Andy: “Vince always wanted to do a lot in the studio and the rest of us would feel restricted. If we had an idea we’d be frightened to say anything.”
    “No, not frightened,” Dave insisted. “We were uncomfortable.”
    Presumably Vince was uncomfortable too when the responsibility of achievement in writing the three escalating Depeche hits – and all of “Speak And Spell” apart from “Tora! Tora! Tora!” and “Big Muff” – bore down on him. He became a “recluse” within the group, they say. They anticipated his leaving and prepared for it some six weeks before he told them, so the effect wasn’t as devastating as outsiders might have thought.
    I said it was nice that he’d done the honourable thing by staying on until the end of their last national tour, but they were ready with another shade of grey: Vince had been promoting his own publishing royalties on the LP too. [2]
    Dave, Andy and Martin accept that they have “a lot to prove” in absence of Vince and they have set about providing the evidence. Exhibit A is four tracks written by Martin and leading off with Depeche’s new single, “See You”, which should be on the airwaves as you read nsnS.
    Martin – he of the face so gentle that snowbound farmers could employ him to melt the blizzard and save their flocks – thought the difference wouldn’t be noticed so much in the sound as in the lyrics. “Vince was more interested in the flow of the words and rhymes than in the meaning,” he said. “I care a lot about what I’m saying. If I had a good tune and I didn’t like the lyrics, I’d drop the song.”
    Quietly expressed, but an astonishing priority for a popster. Seeking a soupcon sample of what he was on about I asked for a quote or two: “The middle eight goes ‘Well I know that five years is a long tome and that times change / But I think you’ll find people are basically the same’.” I think I looked blank and the other two urged him to give me more. They could see it wouldn’t mean a light to me or anyone else as it stood, but Martin refused.
    “It’s good,” he said. “Serious. But funny. I like it because those words aren’t used much in songs. It’s just the things people say. I can’t tell the story behind it. It’s private. I wrote it when I was 18.”
    So we didn’t get anywhere on that one. However, it was clear that Martin had earned quite enough of their faith to shuffle Vince down the composers’ queue despite earlier announcements.
    Martin: “We don’t have any contact with him now except through other people. He may be writing for us, we don’t know. We have to treat him as “another songwriter” now.” [3]
    For his part Vince has amiably sent a message through that he thinks “See You” is the best single Depeche Mode have ever done. It’s assumed that he’s working on his own Mute debut featuring a lady R&B singer from Basildon called Alf. Very likely his association with the group is over.
    On stage only, for the present, their new man is Alan Wilder of Hampstead. They say he’s a good musician, though they’re not certain that’s what they needed. He played his first gig at the old Modish haunt Rayleigh Crocs in January and was somewhat shaken by the mayhem surrounding Depeche as crushed kids in the front row were plucked out of their very shoes to save them from sever damage.
    Of course, Alan will only experience the second phase of fame. For the others the helter-skelter force of change can’t be overlooked and mostly they don’t like what they see. There is the possibility that they will never be happier than they were last summer travelling to gigs on the train with their synthesisers tucked underneath their arms and making a decent living out of £250 a night including all their costs. Now they are big business.
    Having settled for Daniel Miller’s offer of a 50/50 profit-sharing deal rather than the massive advance / low royalty set-up the major labels stick to, they are taking home cheques for thousands of pounds earned by their hits. But expenses have multiplied so that cash doesn’t burden their pockets for long. For instance, they were guaranteed £22,000 for their 10-date February British tour (more, now that Hammersmith Odeon has sold out giving them £5,000 for one show) – and they’d spent every penny on equipment, lights, travel and hotels before they set one foot on “the road”. It’s a far cry, etc…
    And they regret:
    How their audience has ceased to listen. “Even when you make a lot of mistakes and think you’ve been terrible they don’t seem to care,” said Andy. “They don’t come up and say ‘Great gig’ any more either. The music aspect has gone. At Crocs they didn’t even clap for us to come back, just stood there and waited. All they want to do is watch you. We’ve become an event.”
    And these days their faithful “Basildon Patriots” whoop it up for them as if they were a soccer team. Not really the Depeche style, grateful as the band are for their support.
    That they’ve lost their “portability” which often saw them taking the same train home as their fans. No more bug-eyed recognition and “Cor blimey, it’s them!”
    That time is tight. Martin: “Last summer we could sort things out from week to week. It’s horrible now to look in your diary and see that every day for the next six months is planned.” Andy: “No time to even think! What’s happened is we’ve become more and more busy and less and less involved with all the small decisions which affect us. When you’ve got enough money you end up giving it to someone else and saying ‘Do this for us’.”
    That their independent-label idea has been compromised by their international deals – especially a five-album contract in America with Sire, a branch of Warners. It’s true that there isn’t a nationwide Indie distribution network over there, so their options were to take it or leave it. But every complication seems to weaken the band’s position as people, although it may strengthen Depeche Mode as a brand name. Sharp as they are, they’re beginning to get confused.
    Dave: “We still haven’t signed a formal contract with Mute.”
    Martin: “I think we did when we accepted the deal with Sire through Mute.”
    Dave: “No, we didn’t. Did we?”
    Andy: “This sort of thing is what we used to be really up on!”
    As former bank and insurance clerks respectively neither Martin nor Andy are daft about figures, but it’s all well outside their range now. They have to place their complete trust in Mute boss Daniel Miller and their publisher, Rod Buckle of Sonet. Only those two weathered backwoodmen stand between them and the wolf pack.
    With slightly forlorn humour they spoke about putting their money into something more permanent, namely houses. Andy: “It’s the sensible thing to do isn’t it?” Martin: “Everybody advises us to do it – publishers, accountants – and who are we to argue? We’re only 20.”
    They laughed heartily, just to remind all concerned that success isn’t a total downer. It’s no wonder the hard-bitten burghers (hold the relish) of the music press have been so smitten with them, regarding Depeche with the same simple enthusiasm as their most doting fans.
    “Hardly a bad write-up,” said Andy almost ruefully. “We’re always ‘cuddly’. They don’t take us as intelligent at all. They fix on our ‘naïve charm’. We’re not treated seriously,” Hang about though, are you sure you want to be?
    Pause.
    “Dunno really,” he said finally.
    The paradox is that by such open uncertainty they only increase their reputation for candour, charm, cuddliness and so on. For example, as a little journalistic provocation I told them that because they’re only 20 it’s automatically assumed they haven’t “lived” and Andy said: “We haven’t! We haven’t experienced much of life. We haven’t travelled much outside Basildon. It’s weird meeting these people in the business who are older than us and have all their stories to tell. I’m just starting to live now, through being in a band.”
    If there were momentous incidents in their youth they aren’t telling. The highlights seem to have been Andy and Vince’s annual pilgrimages to the Greenbelt Christian youth festival, usually with Cliff Richard topping the bill. Then they came of age to drink and the pub became the focus of their spiritual life. Meanwhile Martin was passing his A-levels, but turning down the chance to go to university because he didn’t feel ready to leave home.
    Considering their seven-league strides in recent months it’s barely credible that their steps should have been so halting and timorous only a couple of years ago while they apparently prepared themselves for careers of mundane boredom mildly alleviated by moderate intakes of alcohol. But now it’s that domestic stability they’re having to struggle for.
    No problem about staying on at their parents’ council houses, but Dave and Martin’s girlfriends, Jo and Anne, have borne the social brunt of Depeche’s violent change of status.
    Dave: “It’s pretty hard for them. They see girls coming up to us all the time after gigs. Jo used to feel very uncomfortable with the rest of the band too, as if she was in the way. We thought it might split us up and we decided we had to do something about it.”
    Jo gave up her job as a nurse to share running the fan club with Anne, who’d just left school. They go on tour too, very rare for band girlfriends, and help with the inevitable “merchandising”. For Depeche it’s a flexible response under stress, the sort of thing which hopefully will preserve them intact amid all the business machinations.
    Although we closed on this rather personal topic, my last impression is of the strange setting in which we finished the interview, rather than what was being said. We were on the train to Basildon, talking across the aisle between the briefcases and brollies of sardined commuters. Gradually silence fell, as it tends to among British travellers, and there we were, our conversation naked to every ear.
    Well, imagine hearing Parkinson doing a celebrity chat-up on your bus to work in the morning – the cogs of reality screeched!
    Even my old-pro brain seized up so that all I could hear was the other passengers listening. But Dave Gahan talked on, easy and unselfconscious, not even lowering his voice, perfectly composed. Perhaps that naturalness is the crucial quality Depeche Mode have going for them. Now I understand why features about them start or end by calling them “the band it’s impossible to dislike”. But I wouldn’t dream of concluding on such a cliché, so I added another sentence.
[1] - And funnily enough all the samples for their most "bleak and industrial" album, Construction Time again, were to be made in sessions in the very same Shoreditch a year later.
[2] - I don't think this is meant to come across as bitter as it does, no more than Andy's foot-in-mouth a few moments before. "Just Can't Get Enough" was written by Vince and has been a firm favourite at live performances right up to Dave's Paper Monsters solo tour in 2003, so I doubt they grudge Vince his royalties.
[3] - Vince did actually offer "Only You" to Depeche Mode, but they turned it down. He later released it when he formed Yazoo with Alison Moyet, and it became their biggest hit. While there was some bitterness between the two camps, undoubtedly exacerbated by press, by no means had it set in at this point.
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #25 on: 26 June 2012 - 02:12:15 »
1982-03-xx - Soundi (Finland) - Syntikat kainaloon

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






1982-03-xx - Vibraciones nº90 (Spain) - Vince Clarke Interview

[Thanks to Pacodemode for scanning this for this forum! This is an interview with Vince in which he talks about leaving Depeche Mode, and it seems to be a translation from an interview with Vince for the NME: if anyone knows more about the publication of the NME article, please let us know.]







1982-03-xx - Melody Maker (UK) - The Wilder Mode

[Thanks to Barclay for scanning this for this forum! Transcribed using OCR.]



CAUGHT IN THE ACT 
The Wilder Mode 
DEPECHE MODE
Paris Studios, London
WHAT a way to start. Alan Wilder dances in Vince Clarke's shoes and his first Depeche Day in the home country involves knocking out a "Top Of The Pops" performance then dashing down to Paris Studios for an "In Concert" with Talk Talk.

There he is... hair red (neat), suit well pressed and fingers tumbling over the favourites.
Not a startling 40 minutes from the Mode. They have been harder, tighter and better practised — still this is the first UK appearance for a while and there's plenty to worry about. Will the new boy make good? (He did). Will the new numbers stand up? (They do).
Let's talk talk about songs songs. Martin Gore is a romantic soul under his flossy barnet. All those twirling lines that spin through "See You" have mates in the rest of his efforts. Maybe they don't punch you out as fast as old Depeche, but they wrestle you to the ground and keep a foot on your brain.
Vince's departure must have brought a few moments of head scratching and Depeche Mode are still in a pensive mood. It's done them good as there are signs of extra variety and silkier twists winding round the familiar TEAC drum track. Even that's been shaken around by new sounds and rhythms which feint for the head then fall at your feet.
A handful of gigs will pull the fresh stuff as taut as favourites like "Puppets" and "What's Your Name"; they're not there yet. "In Concert" never saw the light of oldies such as "Photographic", "Dreaming Of Me" and "Ice Machine", but there was time to air "See You", "This is Real Fun" (even stronger than the record) and a newcomer which was the bullet of the show, "Meaning Of Love."
This is heavy metal, isn't it? Well, it's something. What a chorus, crashing around the ears as if the band had given the PA a push and sent it reeling into the audience.
I wish I could chat chat about Talk Talk, but there's not a lot to say. The coast of poppy emulsion isn't thick enough to hide the stubbly rock'n'roll wall behind it.
PAUL COLBERT
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #26 on: 26 June 2012 - 02:14:55 »
1982-04-01 - Smash Hits (UK) - BAT'S LIFE

[Taken from the now-defunct website www.sacreddm.net.]
http://likepunkneverhappened.blogspot.com/2012/04/april-1-14-1982.html




BAT'S LIFE
[Smash Hits, 1st-14th April 1982. Words: Uncredited. Pictures: Jill Furmanovsky.]
Summary: Horror of horrors. The three 1982 members of Depeche Mode wearing, for reasons now lost in the mists of time, full cricketing outfits, complete with gloves, knee pads, the lot. Time and again the band have referred to this picture as their most detested, and a classic example of how naive they were in their early years. Tellingly, the picture doesn't actually give the band name. [85 words]

    Dave Gahan and his dad? Wrong! The Depeche Mode troubadour hunkers down at the side of affable Alf Gover, who runs the cricket school at Wandsworth in London where the band were photographed for our truly sumptuous centre spread. Mr Gover is something of a legend in his own time. He not only runs the most famous cricket school in Britain but has also bowled for England and Surrey. He still enjoys regular overarm action with Surrey Cricket Club.
    Just thought you'd like to know...
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #27 on: 26 June 2012 - 02:15:36 »
1982-04-06 - Kicks (UK) - A LA MODE

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





A LA MODE
[Kicks, 6th April 1982. Words: Johnny Black. Pictures: Syd Shelton.]
" Ask them a question about the world in general, and they inevitably answer in terms of the band. My attempt to glean Dave’s attitude to fashion was met with, “We tend to dress casually in the daytime, but we like to look smart on stage. I think it is important for us to put across a strong visual feeling along with the music.” "
Summary: Interview with Dave and Martin backstage during the "See You" Tour, where the band are tired but steaming doggedly on through a gruelling schedule. They talk about their routine as well as where their musical style may go as the criticisms of being too poppy and lightweight were just beginning to set in. The personal profiles of each band member, including Alan, are amongst the most cringeable on record. [1994 words]
                 
    The boys from Baz (Basildon to us outsiders) are in a state of good humoured harassment, attempting to carry out a soundcheck for the Hammersmith Odeon gig that closes their British Tour, conduct an interview with your humble scribe, pose for our photographer, sort out last minute problems with their merchandising company and tactfully but firmly prevent a security-minded gorilla from harassing a friend of theirs who has come to see the soundcheck.
    Two years from now, they’ll take all this in their stride, but right now it only adds to the tensions within the group that came to the surface when their main songwriter, Vince Clarke, decided to quit the group recently. One calming influence is the benevolent presence of Daniel Miller, head of Mute Records, who crops up at everybody’s elbow, smiling in the face of all adversity and absurdity.
    Miller is the man who had faith in Depeche Mode when the major record companies didn’t want to know, and the group is well aware of how much gratitude they owe him. “He’s a really great bloke,” says Dave Gahan, “and, in a way, he acts as our manager, because we don’t actually have one. He’s also the head of our record company though, so he can’t do everything that a manager would. We have group meetings to discuss tours, money and things like merchandising of T-shirts and badges, which we’ve just started doing.”
    The price of a sudden injection of fame for Depeche Mode seems to be confusion about their future and a general lack of sleep, as if they have not yet caught up with themselves, although they live and breathe Depeche Mode twenty five hours a day. Ask them a question about the world in general, and they inevitably answer in terms of the band. My attempt to glean Dave’s attitude to fashion was met with, “We tend to dress casually in the daytime, but we like to look smart on stage. I think it is important for us to put across a strong visual feeling along with the music.”
    Another attempt to uncover what he considers important in the world today reveals, “Singles. We have to keep putting out singles, because that’s what sells albums. ‘See You’ is particularly important for us.”
    As we struggle to understand each other, the dressing room gradually fills up with road crew, girl friends, aides, a seemingly endless stream of characters with only two ambitions in life. One is to consume all the food that has been laid on for the band, and the other is to talk louder than Dave Gahan or Martin Gore. It seems a contradiction in terms when Martin announces, “This is the first day off we’ve had so far this year.”
    Day off?
    “Well, I know we’re rehearsing and playing, but we didn’t have to get up at the crack of dawn and drive off somewhere, or fly to Europe, or do some television show.”
    It was Martin who wrote the latest hit, ‘See You’, and he explains why they were doubtful about its chances for success. “It isn’t as instant as the earlier singles, so we thought a lot of our old fans wouldn’t buy it. It’s also full of musical references to people like the Ronettes and the Beach Boys. I know they’re not very fashionable at the moment, but everybody knows their earlier songs, and we used to do ‘And Then I Kissed Her’ as a live cover version.”
    “Two years ago,” adds Dave, “it probably wouldn’t have been a hit, but the radio has been getting more adventurous. The younger deejays are willing to play things like The Associates or Bow Wow Wow which you never would have heard before. I think punk made all that possible. After punk, you could do anything.”
    Martin suggests that Gary Numan also paved the way, Orchestral Manoeuvres followed along and suddenly the charts were ripe for Depeche Mode. Dave continues,
    “I  don’t even think the people who come to see us now think of us as a synthesiser band. We’re just a band playing music, and we use synthesisers exactly the same way a guitar band uses guitars, with bass, rhythm and lead parts. Of course, we also have drums on tape but basically the synthesiser is just another instrument.” (7,000 miles away, across the Atlantic, Robert Moog wakens, sweating, from a nightmare with the feeling that someone just walked over his grave.)
    To some cynical observers, Depeche Mode is little more than a second rate, teeny version of Orchestral Manoeuvres, an image compounded by a statement from OMD to the effect that “We can safely leave the synth-pop songs to Depeche Mode now,” with the implication that Paul and Andy have better things to do.
    “We were actually quite pleased when we first read that,” admits Dave, “but we can understand better now why they said it. You can only go on for so long writing happy pop songs. They probably became bored with what they had done and wanted to try something new. I doubt if our next album will be deep and mystical though.”
    Taking a moment to stuff his face with cheese, ham, lettuce and cucumber on brown bread, Martin points out, “If we do get bored with pop music, we won’t keep doing it just because the fans expect it. We’ll move on to something new. Maybe we’ll use acoustic guitars as well as synths. Anything is possible.”
    With barely half an hour until they’re due on stage, there’s still the photo session to get through. The wily lensman has chosen an alcove in the foyer of the theatre, and it takes all his skill to keep the foursome looking lively long enough to get the shots he needs.
    Hundreds of early-bird fans press their noses against the glass Panes of the entrance doors to catch a glimpse of Basildon’s finest during the session, and are rewarded with slightly self-conscious waves from some of the band. “It really is getting to be hard work,” grumbles Dave, looking weary, “and the better known you become, the more difficult it gets. A lot of the time you wish you could vanish, not for ever, but just to take a break for a week.”
    Martin laughs. “We’re off to Germany tomorrow, then we’ll be going to America shortly after. It’s hard trying to reach all these markets.”
    Operating on pure instinct, taking the knocks, learning by their mistakes, Depeche Mode are taking on the world and, at the moment, they’re winning hands down. All they have to do now is stop arguing, write more songs, avoid nervous breakdowns, and stay together long enough to enjoy what they’ve achieved.
 
MARTIN LEE GORE
    Generally agreed to be the laziest member of the group, he claims, “I used to love all kinds of sports but the group makes me lazy. I can’t even read all the way through a book now.”
    Born on 23rd July, 1961 he started causing trouble at an early age by pointing out the cigarette ash his mum had dropped on his grandad’s carpet. Nevertheless the other group members are adamant that “you can’t help liking him really”. He has two sisters, and was educated at Nicholas Comprehensive in Basildon, where he met Andy.
    Gary Glitter was his first musical love although he professes to enjoy good songs from the sixties, fifties, thirties and twenties. (What went wrong in the forties?) Hates touring and would prefer simply to record songs in the studio. His favourite human being is Jonathan Richman, of Modern Lovers fame, and would take Richman’s “Back In Your Life” LP to a desert island.
    Sometimes sports a straggly beard and in the early days of Depeche he had a curious habit of painting half his face white. When Vince left, he took over songwriting for the group and was naturally “very excited and relieved when ‘See You’ went into the top ten. Andy kept winding me up by saying people had been buying it for forty pence in the flop racks the week it was released.”
 
DAVID GAHAN
    Dave’s first brush with the world of music came at the tender age of five when he bought a multi-coloured nursery rhyme record about Pinocchio. Just like that original woodentop, Dave is impetuous, admits to “being short tempered, especially with Andy. On the other hand I don’t care about money, so I suppose I’m quite generous.” He’s sharp, a bit of a worrier, and the most active Mode, keen on swimming, skating, fishing and going out with friends.
    He was born on the same day the Beatles signed their contract with EMI, 2 May, 1962, and has two brothers, one sister. [1] His favourite human being is his mum and if stranded on a desert island, the only record he’d need for company would be “I Like It” by Gerry And The Pacemakers. Reckons the stupidest thing he ever did was not turning up for half his ‘O’ Levels at Barstable Comprehensive.
    Apart from Pinocchio, his first musical tastes were for Slade, Marc Bolan and Gary Glitter, but subsequently discovered Kraftwerk. Dave handles vocals for Depeche Mode, although he can twiddle synthesiser knobs too.
    If he hadn’t joined his old cronies Andy and Martin in Depeche, he’d probably now be a window dresser.
 
ANDREW JOHN FLETCHER
    Andy towers over the rest of the group by a head and shoulders, and is sometimes seen bending his knees “so he can look little and cuddly, like me,” according to Dave. Born on 8 July 1961, his first participation in music came when he sang “Chirpy Chirpy Cheep Cheep” in the bath and his first record purchase was “Back Home” by the 1970 England Cup Squad. Not a promising beginning, but things improved when he latched onto T-Rex’s “Bolan Boogie”, and the turning point came with “Heroes” by Bowie.
    He was educated, like Martin, at Nicholas Comprehensive and he takes care of the bass synthesiser parts for Depeche. He’s indisputably the most impatient, almost neurotic, of the three original members and has been variously described as “a bit tactless”, “clumsy at times” and “argumentative”. He’s reasonable enough to accept these criticisms graciously, and feels that his worst characteristic is biting his fingernails – the mark of a true neurotic. [2]
    He has two sisters, one brother, likes video games, dislikes packing and unpacking and his favourite human being is King Arthur, legendary leader of the Knights Of The Round Table.
    Stupidest thing he ever did was get run over by a moped. “In fact,” he admits, a little sheepishly. “I ran it over. I just walked straight into the side of it.”
 
ALAN CHARLES WILDER
    Seems to me you are either in a group or not in a group, but Alan is, at the moment, a sort of apprentice Mode. He was recruited to replace the departed Vince Clarke, but only for stage appearances, although recently he has been seen on television with the band, has ambitions to write and become involved in their studio work. [3]
    He arrived on Earth on 1 June 1959 and has been working in music since he left school, most recently with the Hitmen, although he insists, “Music is never really work in the ordinary sense and there’s nothing else I really want to do. I had the good sense not to worry about failing my exams at school.”
    If stranded on a desert island he’d settle for a boxed set of all the Beatles LPs, but would much prefer the company of his favourite person, “My girlfriend, Jeri.” (Sigh). Maybe she’s the reason why he has a bad habit of oversleeping?
    “I don’t blame the others for being cautious about me, after what happened with Vince, but it’s not as if I’m stepping into his shoes. The last tour has really made me feel more at home in the band, although playing to big audiences, like Hammersmith Odeon, made me quite nervous.”
[1] - This is a typo, both events happened on 9th May 1962. Another musical coincidence is that Kurt Cobain, on whom Dave would later style himself, received his first ever guitar on his 14th birthday, and the very same day - 20th February 1981 - Depeche Mode released their first single, "Dreaming Of Me".
[2] - This is ominous for the future - his father suffered from manic depression and by 1990 Fletch would himself be in need of medical attention for mental problems including a nervous breakdown.
[3] - Alan was soon to contribute several tracks in 1983 and 1984, as well as co-writing "The Great Outdoors", the B-side to "Get The Balance Right", with Martin in 1983.



1982-04-07 - OOR (Netherlands) - Dansorkest

[Scanned, transcribed and translated by me.]



DANSORKEST
DEPECHE MODE • DE LANTAREN • ROTTERDAM
Acht maanden geleden stond Depeche Mode in het Haagse Zuiderpark voor een handvol wel-willende Tuxedomoon-fanaten nog leuk maar onbekend te wezen, ditmaal verkocht het jeugdige synthesizer-kwartet de Rotterdamse Lantaren (600 zielen) in een middag uit. Niet gek, gezien het nog altijd uitblijven van een Hollandse Hit voor deze in hun thuisland inmiddels waanzinnig populaire Engelsen. En dat dat succes verre van onterecht is, wist ook dit optreden overtuigend te bewijzen. Met zanger Dave Gahan als ontwapenend swingende blikvanger en Alan Wilder als adequaat vervanger van de onlangs opgestapte Vince Clarke, presenteerde Depeche Mode zich als het dans-orkest van de jaren tachtig. Depeche Mode is pure pop, briljante songs en frisse onschuld hand in hand op een wervelende non-stop discobeat, drie synthesizers breed en met verve gebracht; een spontane prijscombinatie die de band juist uittilt boven net iets te gehaaid sturende concurrenten als The Human League en Soft Cell. In krap een uur toonde het viertal de sterkste stalen van zijn kunnen, waarbij de nieuwe, door krullebol Martin Gore geschreven nummers (zoals de meest recente hit See You) bepaald niet onder hoefden te doen voor de oude Clarke-composities en de overbekende Britse hit New Life en Just Can't Get Enough de vlam het felst in de pan deden slaan. Waarna het enthousiasme niet meer verstomde aleer een tweede toegift gegeven was. Een aardige tussenstand...
SWIE TIO


Translation:
DANCE ORCHESTRA
DEPECHE MODE • DE LANTAREN • ROTTERDAM
Eight months ago, Depeche Mode stood at Zuiderpark in The Hague in front of a handful of well-intended Tuxedomoon fans being cute but still unknown, but this time the youthful synth-quartet sold out the Rotterdam Lantaren (600 souls) in one afternoon. Not bad, considering there is still no Dutch hit for these already-wildly-popular-at-home Brits. And that success is far from unjustified, as proven convincingly by this show. Having singer Dave Gahan as a disarmingly swaying eyecatcher and Alan Wilder as am adequate replacement for the recently quitted Vince Clarke, Depeche Mode presented itself as the dance band of the eighties. Depeche Mode is pure pop, brilliant songs and fresh innocence go hand in hand on a sparkling non-stop disco beat, being three synthesizers big and delivered enthusiastically; a spontaneous price combo that lifts the band slightly above a bit too dodgy leading competitors like The Human League and Soft Cell. In under an hour, the foursome displayed the strongest alloys of their powers, with the new songs (such as the latest hit See You) written by curly Martin Gore definitely not being inferior to the old Clarke compositions, and the well-known British hits New Life and Just Can't Get Enough burst a spark the brightest. To which the enthusiasm refused to settle down until a second encore was given. A nice halftime position...
SWIE TIO
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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #28 on: 26 June 2012 - 02:16:32 »
1982-04-17 - BBC (UK) - Get Set For Summer

The show broadcasted live performances of See You, The Meaning of Love, Satellite, and an interview. Only the performance of The Meaning of Love is hosted online: http://www.youtube.com/watch?v=eTv_34DoW14

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Offline Angelinda

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Re: 1982: A Broken Frame
« Reply #29 on: 26 June 2012 - 02:17:13 »
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.