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Author Topic: 1984: Some Great Reward  (Read 71627 times)

Offline Angelinda

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1984: Some Great Reward
« on: 24 June 2012 - 02:39:10 »
This thread contains all news items regarding Some Great Reward and their tour. As was a custom at the time, Depeche Mode released their first single (People are People in March 1984) way before their had even released the album (in September)! So there is a little bit of a gap between that period...
It was a bit tricky for me to separate this era from the "Singles81>85" era, since they toured Asia and the USA when they were about to release Shake the Disease. So I didn't know whether to consider that as another leg of the Some Great Reward Tour (as is listed on the official site), or if it's a tour for both the Some Great Reward Tour and a promotional tour for the upcoming compilation album. So I put everything starting from March 1985 in the "Singles81>85" thread, so if you want to get an extensive view of the Some Great Reward era, I suggest you check out that thread too.

Let me know if you have news items that should be in here but aren't.

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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #1 on: 24 June 2012 - 03:03:56 »
1983-11-xx - Depeche Mode - Information Sheet 11

        Depeche Mode Official Information Service

                                                   INFORMATION SHEET NO. 11/83

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 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 12/83 at the end of November for Information Sheet No. 12/83.

DEPECHE MODE NEWS: As Dave sadly failed his driving test a while ago he's now taking another one on November 24th so it's all fingers crossed again!

Many of you atteded the recent concerts in Great Britain may have noticed or even bought the grey tour t-shirts and scarves on sale outside the venues, unfortunately these were bootleg items sold by pirate merchandisers and are of very poor quality; therefore I can accept no resposibility for, or exchange nor refund for them.

The BBC recorded one of the Hammersmith Odeon shows for the British Forces Radio bun unfortunately have no plans to broadcast it on Radio One.

After many request the order of songs played on the recent tour was: 'Everything Counts', 'Now This is Fun', '2 min. Warning', 'Shame', 'SeeYou',  'Get the Balance Right', 'Love In Itself', 'Pipeline', 'Landscape', 'And Then', 'Photographic', 'Told You So', 'New Life', 'More Than a Party', 'Meaning of Love', 'Just Can't Get Enough' 'Boys' or 'Work Hard'.

RECORD NEWS: DEPECHE MODE will be recording a completely new single in the New Year. There will not be a ltd. Edition 12" to accompany it.

TELEVISION: I'm sorry to Say that 'Showbusiness' will not now be showing the interview they recorded with DEPECHE MODE.

'Razzamataz' will be broadcasting a 'DEPECHE MODE Special' featuring four album tracks in January.

Peter Powell hopes to be recording an 'Oxford Rd Show Special' with the group in February. It will be filmed at a one off concert in a large but as yet unknown venue in England. I will have definite news next month.

TOUR DATES: The expected USA and Canada Tour has unfortunately been postponed but DEPECHE MODE hope to do some shows there in early 1984.

Some of the Europe dates printed in 10/83 have now been changed here is a list of the current confirmed shows.

                   December  1st  Stockholm Draken Theatre
                             2nd  Copenhaged Saga
                             3nd  Lund Akademiska Foreningen
                             5th  Antwerp Hof Ter Lo
                             6th  Amsterdam Paradiso
                             8th  Berlin Metropol
                            10th  Mannheim Musensaal
                            11th  Saarbruken
                            12th  Sindelfingen Ausstellungshalle
                            13th  Neu Isenburg Hugenottenhalle
                            14th  Weisbaden TV Tele Illustreirt
                            15th  Koln Sartort
                            16th  Dusseldorf Philipshalle
                            17th  Borken Stadhalle Vennehof
                            19th  Muster Halle Munserland
                            20th  Bremen Glockehalle
                  21st,22nd,23rd  Hamburg Musichalle
                  Please note that ticket sales will be reviewed mid
                  November and if possible certain shows may be upgraded.

           42 Hillway Billericay Essex CMII 2LS
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #2 on: 24 June 2012 - 03:04:37 »
1983-12-xx - Depeche Mode - Information Sheet 12

Depeche Mode Official Information Service

                                                   INFORMATION SHEET NO. 12/83

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 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 1/84 at the end of December for Information Sheet No. 1/84.

GENERAL NEWS: Due to a printing error, that I'm sure was noticed by many, the September UK Tour Set list was a little short; two songs were left out, so here is the correct list of songs: 'Everything Counts' 'Now This is Fun' 'Two Minute Warning' 'Shame' 'See You' 'Get the Balance Right' 'Love In Itself' 'Pipeline' 'The Landscape is Changing' 'And Then' 'Photographic' 'Told You So' 'New Life' 'More Than a Party' Encores: 'Meaning of Love' 'Just Can't Get Enough' 'Boys' or 'Work Hard'.

One of the policies of DEPECHE MODE INFORMATION is that ALL autographs are personally signed and anyone is welcome to send in anything to be autographed by the band. However, since the tour I've been literally swamped with requests and if the service is to be continued must ask that each person only sends in ONE item each. I'm sure you can all appreciate this, DEPECHE MODE are very busy and just aren't able to signs everyone's complete sets of record, posters etc.

RECORD NEWS: A completely NEW single will be recorded in the New Year which it is hoped, can be released by March. There will not be a Limited Edition 12" to accompany it.

TELEVISION: DEPECHE MODE will be recording an interview in Amsterdam on December 6th with 'The Other Side of the Tracks' so it should be televised sometime after.

'Razzamataz' will be broadcasting a 'DEPECHE MODE Special' featuring four album tracks in January.

On February 6th 1984 DEPECHE MODE are playing a one-off early evening concert at the Birmingham Odeon for simultaneus showing on BBC2. The show is for Peter Powell's Oxford Rd Show and he will also be recording interviews with the group for the live 40 min programme on TV. Details of ticket prices etc have not yet been finalised but they will only be available from the Odeon so please do not write to me for them; you should, however, contact the venue at: Odeon Theatre, New Street, Birmingham  (021 643 6101)

TOUR DATES: The proposed USA and Canada Tour will not be taking place in the New Year, there are no further plans either yet for it. Instead, DEPECHE MODE will be doing a series of concerts in Israel, Greece, Japan and Hong Kong, I hope to have definite dates next month.

                December  1st  Stockholm Draken Theatre
                          2nd  Copenhagen Saga
                          3nd  Lund Akademiska Foreningen
                          5th  Antwerp Hof Ter Lo
                          6th  Amsterdam Paradiso
                          8th  Berlin
                         10th  Mannheim Musensaal
                         11th  Saarbruken
                         12th  Sindelfingen Ausstellungshalle
                         13th  Neu Isenburg Hugenottenhalle
                         14th  Weisbaden TV Tele Illustreirt
                         15th  Koln Sartort
                         16th  Dusseldorf Philipshalle
                         17th  Borken Stadhalle Vennehof
                         19th  Muster Halle Munsterland
                         20th  Bremen Glockehalle
               21st,22nd,23rd  Hamburg Musichalle

           42 Hillway Billericay Essex CMII 2LS
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #3 on: 24 June 2012 - 03:06:02 »
1984-03-10 - Melody Maker (UK) - The Basildon Bond

[Taken from the now-defunct website]

[Melody Maker, 10th March 1984. Words: Micky Senate. Picture: Tom Sheehan.]

" “We’ve still got a long way to go,” says Andy, “before people will be proud to have Depeche Mode albums in their collection.” "


Summary: Despite having a title that every journalist thinks they're the first to discover, this is a very worthwhile article where the writer has taken care to look for the human beings behind Depeche Mode rather than just follow the usual avenues. It looks into the musical developments they were making, especially in lyrics, and makes a concerted effort to show the band as much more than the usual stereotypes. Includes a brief news item. [1129 words]

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

When Depeche Mode last visited Munich, they had to fight their way out of a hotel bar after a drunken Austrian businessman and his pals had taken exception to the group’s haircuts. Just like Basildon all over again!

    This time around, the worst they have to endure is a TV lip-synch show on which they are sandwiched between Bette Midler’s “Beast Of Burden” and the duelling guitars of Pink Floyd’s Dave Gilmour and ex-Bad Company personage Mick Ralphs (remember him?). By way of release, Depeche all troll off to the local hop to watch the more inspiring Violent Femmes strut their stuff.

    “This is really refreshing,” shouts Andy Fletcher, a beer in each fist, as Milwaukee’s second claim to fame set about wiping the floor with rock’s usual rules.

    “This lot are about as far away from Depeche as you could get. I think they’re fun. Martin’s really into ‘em… he loves anything that’s in that sort of off-the-wall Jonathan Richman tradition.” Sure enough, Martin Gore’s extremely individual tonsure – currently shaved up the sides and exploding in bright yellow curls on top – can be seen bobbing at the stage front.

    Depeche Mode are a tough bunch to figure. It doesn’t take much prompting to have them enthuse about the Femmes or Iggy Pop, say, or even the Birthday Party – they mixed “Construction Time Again” in the Berlin studios where the Aussie berzerkers cut the immortal “Bad Seed” – but, discussing their own music, they are painfully reticent and often downright dismissive.

    Even the press raves for “Construction Time” have not particularly pleased them. “We’ve still got a long way to go,” says Andy, “before people will be proud to have Depeche Mode albums in their collection.”

    They reject their current categorisation as Socialists as just a convenient journalists’ tag, a distortion. “X Moore claims the last album was virtually a rewrite of the Communist Manifesto. I mean, that’s just silly. The songs aren’t so much political as songs of common sense.” [1]

    And in case anyone thought a final line had been drawn with the single “Love In Itself” and its apparent rejection of the focus of so much pop, Martin Gore has been busy writing – you guessed it – love songs for the next Depeche Mode record.

    “One’s not just a love song,” grins Andy, “it’s a real moon-in-June, lovey-dovey…”, his voice trails off in mock disgust. “Martin’s in love again, see?”

    The composer blushes and giggles. “The point is,” he says, “to see something that’s important and to write about it honestly, even if it’s only important to yourself. A love song can be completely throwaway or it can ring true, y’know. Some people tend to think that love songs shouldn’t be treated seriously, that it’s only if you’re writing about social problems that a song becomes serious.”

    Although Depeche Mode purport to be a band without ambitions (“We never wanted to have a number one or anything, never wanted to break big in America…”), it’s clear that each move they make is carefully weighed and considered. Martin Gore loves spontaneity in other bands, but for Depeche Mode it’s out of the question. This is a group that couldn’t improvise on stage if it wanted to, because its backing tape is exactly the same every night. Small wonder, then, that by the end of a long tour, they often “hate the whole set”.

    When the cameras close in on Depeche Mode’s German TV slot, an illusion of spontaneity is created at last. Why, here’s Martin putting an electric guitar through some rockist moves. What price techno pop now? And never mind that there is no guitar on the track they’re miming!

    “Well, there is a ‘sample guitar’,” Martin says in justification, explaining that producer Daniel Miller had programmed the guitar part on the Synclavier in the studio.

    “I was sort of pressured into using the guitar for this show,” Martin continues, “but I’m not entirely happy with the idea. I can see the argument that people are maybe a bit bored watching Depeche Mode prancing around three synthesizers, but on the other hand I wouldn’t like us to wind up looking like every other rock band. That’s the trend at the moment, isn’t it? The Human League are playing guitars now. Most modern electronic bands seem to turn to guitars in the end.”

    Not that this electronic band’s career needs much cosmetic retouching in Germany where “Construction Time Again” has really been the album to establish them. It is still wedged firmly in the best seller lists.

    “It’s pleasing that we’ve finally had a hit somewhere apart from England,” says Andy. “But it’s hard to understand why. After the album had done really well here, we put out ‘Love In Itself’ as a single and it bombed. We can’t work that out. It may be that the success is just a freak thing; maybe it’ll never happen again.”

    Martin: “When Daniel first read the lyrics of the album, he said, ‘Oh yeah, this’ll go down all right with the Green Party.’ Can’t imagine it myself. If they’ve been buying the record, they certainly haven’t been at the concerts…”

    A suggestion that Depeche remove themselves to the European Continent on a permanent basis to capitalise on their new popularity is waves away…

    “No, it’s true that Basildon is not the centre of the world, but when you’ve lived there all your life, it’s hard to make the move. All our friends are there. Vince Clarke, right, he moved to Walton-on-Thames, and even that was too far away. He’s thinking of coming back to Basildon.”

    Tours, viewed as a mixed blessing – “a good time is had by all, apart from us” – do at least have the function of getting the band out of Essex. Depeche Mode are currently en route for Spain and Italy. They’ll be back in May to record the follow-up album to “Construction Time” which should, all things being equal, be out in September. In October, they’ll tour Britain and in November revisit Germany. After which they’ll probably have another stab at the States.

    “And no doubt,” says Martin, smiling, “we’ll repeat the entire schedule in 1985”.

    Andy grimaces. “It’s not always as boring as it sounds.”

[News item - author and photographer uncredited]

    Depeche Mode release their new single, “People Are People”, on Mute Records on March 12. Produced by Daniel Miller and Depeche Mode, it was recorded in Berlin, although the extended version on the 12-inch was mixed in England with the help of engineer John Fryer. Both seven- and 12-inch versions of the title track are backed with “In Your Memory”. Having recently returned from their European tour, the group are now resting before starting work on a new album.

[1] - Read this article which (for better or worse) was the lynchpin in Depeche Mode getting briefly typed as left-wing in 1983-84. [continue]
[NME, 17th September 1983. Words: X. Moore. Pictures: Adrian Boot.])
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #4 on: 24 June 2012 - 03:06:41 »
1984-03-10 - Record Mirror (UK) - Clunk Clunk Every Trip

[Taken from the now-defunct website]

[Record Mirror, 10th March 1984. Words: Jim Reid. Pictures: Paul Cox.]

" "It's where interest in music in the future lies," opines Martin. "As technology improves all the time that's gotta be where the most interesting form of music comes from. You can't stick with the same format all the time, if you wanna keep coming up with interesting material." "

Summary: Interview of Andy, Martin and Alan shortly after the release of People Are People, examining their continued move towards a harder, more metallic sounds. The article concentrates on why and how they decided to broaden their horizons, and goes into some detail on the processes involved in making the more recent singles. Surprisingly easy to read given the subject matter. [1299 words]

Depeche Mode's sugar 'n' spice image has taken a real knocking recently. First they lay the ghost of synthipop confection, with a mature, not to say serious LP, "Construction Time Again", then they razor up chart respectability with a crucial piece of metal pop, their new single "People Are People". And in the process of making said gem they nearly come to blows in the studio...

    "...Daniel (co-producer and Mute supremo Daniel Miller) and Andy nearly came to blows when we were doing the single," says Martin.

    "It weren't actually blows," corrects Andy. "It was more sorta argy bargy. A stupid thing late at night - I was near his flight case..."

    "Andy and I were mucking about," continues Mart. "Trying out self defence on each other, near Daniel's equipment. Daniel came out and he was furious. He wasn't very pleased at all..."

    Depeche Mode are no longer smooooth operators. The group have turned one of pop's familiar processes on its head. Starting from an extremely commercial standpoint, they've gradually added muscle and variety to their new town pop and lifted their vision away from traditional pop song formats to larger issues. They've opened their eyes, and opened their minds.

    Thus Mode make an accessible item of metal pop - "People Are People" - and make a strong anti-racist statement to boot.

    "Although it's a song about racism," says chief songwriter Martin Gore, "that's just one example of people not getting on. It's about all sorts of differences between people."

    "You could interpret it as being anti-war as well," says Alan.

    Racism, the iron grip of capitalism ("Everything Counts"), and conservation ("The Landscape is Changing") - it's a long way from silly love songs and the colour of Dave Gahan's socks. Are Dep Mode becoming serious young men?

    "I don't think so," says Martin. "When people say you're a serious band they think you don't have a good time anymore - you walk around all the time with your cheeks sucked in, things like that. But we don't. We're still exactly the same. It's just the things we're writing about and the way we want to come across in interviews that has changed."

    You're more thoughtful then?

    "I think so," says Mart. "When we first started we just did anything that came along, basically. If someone came along with a video script, the first one we saw, we'd jump at it."

    So you did things you regretted?

    "Most of the videos for a start," continues Martin. "I'm not happy with any of them apart from the last two. For instance, "See You" and "The Meaning Of Love" were really, really sickly. I know at the time our music was a little bit like that anyway, but I think we were doing it more tongue in cheek and that never came across in the videos." [1]

    Consequently, Dep Mode are a more considered bunch these days. I mean, after three years in the top 20 they're virtually the old men of pop.

    "It's unbelievable to think we've had 10 singles out," says Martin. "I think the time has gone so quickly that we don't think about it all that much. We've had three albums out but it seems that we've only been in the business for about a year."

    Yet, whilst others have fallen on pop's transient way, Dep Mode have gone from strength to strength. What's their secret?

    "A lot of time bands are not allowed to develop," says Andy. "Record companies take them on just on the strength of one single. Perhaps after they've had a coupla flops they are off the label. Our advantage is that we're on a small label. We're given time to think things out and take things at our own pace."

    Presumably this situation is further cemented by Mode's close working relationship with Mute boss Daniel Miller?

    "We work very closely with Daniel," says Alan. "He likes to be involved in everything we do in some way - he likes to have his say. Depeche Mode is a very personal thing to him. It's a great working relationship with Daniel. There's no ulterior motive with him, you know he just wants what's best for the group. In that way it's very easy for us to talk to Daniel about everything we want to do and see what his opinion is."

    And yet at the end of the day, it's Mode's ability to adapt, experiment and change, that has kept them at the top. Using M Gore's popwise melodies as a base, they've continued to explore the possibilities of the most modern studio techniques.

    "It's where interest in music in the future lies," opines Martin. "As technology improves all the time that's gotta be where the most interesting form of music comes from. You can't stick with the same format all the time, if you wanna keep coming up with interesting material."

    Fair enough, but isn't 'metal' a return to the past?

    "We made a conscious decision to become harder musically," informs Alan. "So we thought, 'what sounds really hard and nasty?' - and of course we decided on metal. It's no big theory or anything."

    So what instruments did you use on the single?

    "All kinds really," continues Mr Wilder. "It's mainly 'sample' stuff, y'know, real sounds being sampled, rather than being played on instruments."

    Martin takes the reins: "All kinds of metal sounds, I know that sounds bad, but it was more subtle than people might think. For instance the bass drum was a normal bass drum with the initial click of a piece of metal being hit to give it more attack. Then there were bell sounds and less hard metal sounds.

    "Yet we didn't use just metal sounds on the single, we used all kinds of sounds and noises, like an acoustic guitar 'sampled' and played on the keyboards."

    Sounds a bit complicated to me. Are you all techno boffins then?

    "Well we're good at computer games," says Alan. "But we're not really technologically minded at all. We don't even understand how the keyboards work.

    "Daniel's the one who's operating the Synclavier for us at the moment," says Martin. "Maybe in a year we'll be able to take over, the manual's very thick and it'd take us ages to work out how to use the thing. At the moment he just puts our ideas on it for us."

    And at the moment what are those ideas working towards?

    "We're just writing with the view of recording an LP in May," says Alan. "I suppose we'll spend about three months doing that, then we'll come full circle and go back to touring again. We're slightly in that rut - we're following the same pattern as we did last year."

    So why don't you write music for something other than pop records - film tracks perhaps?

    "We were offered a film, but they wanted songs as opposed to music," says Alan. "When you're at the level we are it's very difficult to find time for other projects, 'cos they're very time consuming.

    "All the time we're trying to establish ourselves, because we're not hugely successful. It's worrying that if we took a year off, we'd come back and nobody would remember us."

    And so until Dep Mode establish themselves with the performance and credibility they surely deserve, we can still expect to see them being jolly fellows on Saturday morning TV.

    "It'd be nice not to have to do that sort of thing," says Martin. "Most of the time it is very embarrassing."

    "We're in a bit of a dilemma," concludes Andy. "'Cos we do like to sell records - so we do have to go through with all of that. As long as we come across well, I don't think it matters."

[1] - The band dislike some of their early videos so much that four of them ('See You', 'The Meaning Of Love', 'Leave In Silence' and 'Get The Balance Right') were not included on the 1985 video compilation "Some Great Videos" or its 1998 re-issue.
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #5 on: 24 June 2012 - 03:07:24 »
1984-03-12 - El Pais (Spain) - Concert Review

Los adolescentes bailes de moda

na de las principales ventajas de la música adolescente es su obviedad. Se ve, se escucha y se entiende de inmediato todo lo que pasa. Sus claves son siempre manifiestas y casi siempre divertidas y bailables. Éste es el caso de Depeche Mode cuya traducción aproximada vendría a ser Moda Rápida: un cuarteto de jóvenes músicos de Essex que hacen ritmos de baile para pasar el rato con la ayuda de tres sintetizadores.Para evitar posibles complicaciones los de la moda rápida se trajeron parte de los deberes hechos en casa. Todas las bases rítmicas estaban pregrabadas. Una medida económica que asegura con garantías la eficacia de un buen sonido. Si añadimos una imagen cuidada a un puñado de temas pegadizos, con tres o cuatro canciones originales, el éxito puede cantarse a golpe de cadera. Y algunas de las composiciones de Depeche Mode, como Just can't get enough, Dreaming of me, o Seeyou, poseen el veneno suficiente como para arrebatar de Cioruchis danzantes las pistas de cualquier discoteca.

En directo, los chicos de Depeche Mode tenían una presencia admirable. Su cantante, Dave Graham, era realmente atractivo. Un buen físico, ropa bonita y una voz cascada en la más pura tradición del pop británico. Un toque de romanticismo pulcro y unas maneras de bailarín arrogante dotaban al joven Dave del encanto necesario para colmar las expectativas de toda una legión de engalanadas señoritas de buena familia.

El concierto se realizó, como en los buenos tiempos, aprovechando las instalaciones culturales del recinto universitario. Llegar hasta el salon de actos de la Escuela de Ingenieros de Caminos, en una noche de frio espantoso, fue un peregrinaje digno de los fans más abnegados.

La sala, diseñada para otras solemnidades, no era el espacio más apropiado para los esparcimientos corporales.

El local estaba lleno a rebosar. Gentes educadas, entre las que figuraban casos aislados de bebedores primerizos y colosales, que se divertieron con un espectáculo limpio y cercano. Y además, siempre es grato salir de un concierto con el tarareo de alguna canción ilusionada colgando de los labios. Dónde aparcar la cabeza es ya otra cosa que nada tiene que ver con el baile.
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #6 on: 24 June 2012 - 03:07:54 »
1984-03-14 - ZDF (Germany) - Flashlights

People Are People:

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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #7 on: 24 June 2012 - 03:09:59 »
1984-03-15 - Smash Hits (UK) - Are These Men Really Miserable?

[Taken from the now-defunct website Also on]

[Smash Hits, 15th-28th March 1984. Words: Johnny Black / Peter Martin. Picture: Paul Ashworth.]

" The latest variation on the spectacles theme involves Daniel Miller, their extremely slim producer and head of Mute Records, whose glasses look identical to Andy’s. “We swap them so when Fletcher puts them on he can’t see a thing. He gets angrier every time.” And I’d heard that this lot had matured. "

Summary: Short, easy going conversation with the band that ought to dispel easily any notions of the band being over-serious in the wake of Construction Time Again. The piece doesn't touch all that much on the music, but the chattiness and humour of all the band members makes you feel you know them more as people. Also includes a review of "People Are People" which was later quoted in the Singles 81-85 sleeve. [1321 words]

Believe it or not, they aren’t. Depeche Mode still haven’t quite made the Big League but they don’t seem to mind much. They’re huge in Germany, drive rather pricey cars and still have time to go fishing. Johnny Black likes the sound of it.

    “Stick that on your head,” says Dave Gahan, offering me his Walkman. “Do you like it loud?”

    I nod. With an evil grin he pushes the volume level to ten and blasts me with “People Are People”, the new Depeche Mode single. I’m impressed. Their best in a long time, with more hooks than Jack Charlton’s fishing programme. But wait! Isn’t there a track on the last Paul Simon album called “Cars Are Cars”? Let’s hope it isn’t the start of “Daffs Are Daffs” by The Smiths, “Hairdryers Are Hairdryers” by Duran Duran and similar statements of the obvious from all and sundry.

    While my ears are re-bored by Dave’s personal hi-fi, the band is busy demolishing a huge packet of sweets which have been sent to their Bayswater headquarters by adoring German fans. Dave sticks a Twix bar in my gob and wanders off chomping on something sweet and sickly.

    They’re all looking a bit more prosperous than when I last met them, over a year ago at Dave’s mum’s house in Basildon. The clothes are in the same casual style, but look more expensive. Dave tells me that the new motorbike he was so proud of last year now sits in the garage, while he zips round in his Escort XR3. Has fame finally got to them?

    “I don’t think so,” says Alan Wilder, the band’s newest member. “We just went back to a studio we haven’t used in two years and the engineer was groaning that we’re exactly the same, still telling the same dreadful jokes, Martin still stealing Fletcher’s glasses…”

    “But I find better places to hide them now,” laughs Martin. For almost five years, Depeche Mode’s standard studio amusement has come from picking on Andy Fletcher, whose short-sightedness means he can barely see the audience when playing live.

    “It’s not always a bad thing,” he explains. “Especially in Germany where we get some right nutters headbanging in front of the stage, but if friends come to see us and they’re waving like mad, I never see them so they think I’m ignoring them.”

    The latest variation on the spectacles theme involves Daniel Miller, their extremely slim producer and head of Mute Records, whose glasses look identical to Andy’s. “We swap them so when Fletcher puts them on he can’t see a thing. He gets angrier every time.” And I’d heard that this lot had matured.

    As lunchtime approaches, we take to the streets in search of a “legendary local pastry” shop to find a bite to eat. En route we pass two black girls, one of whom points and stage-whispers, “Are they Depeche Mode?”

    I nod vigorously. She swoons against her friend. “I’ve got to sit down,” she sighs. The group wanders on, oblivious to the fluttering hearts left in their wake.

    In the pastry shop on Moscow Road, the food isn’t as good as we remembered and Alan, a vegetarian, is horrified to discover bits of chicken in what he thought was a mushroom vol-au-vent. Still recovering from the shock, he says, “I suppose we have matured a bit, the songs are a bit more serious now.”

    Adjusting his now famous spectacles, Andy adds, “we virtually grew up in this business. Dave was seventeen and me and Martin was eighteen when we started. Now we’re in our twenties. We spend more time thinking about our music, our artwork and our shows whereas at first we were so excitable we just rushed into everything.”

    A fairly dramatic change in Martin Gore’s lyrics was obvious on their last album, “Construction Time Again”, where he moved from dance and romance to greed, warfare and shame. The change was summed up best by the lyric of their hit, “Love In Itself”, where Dave sang Martin’s words, “Now I find that most of the time, love’s not enough in itself”.

    “But I don’t agree that they are more serious topics,” Martin argues. “A love song, if it really means something to you, can be just as meaningful, just as serious.”

    “People Are People” finds them still in thoughtful mood, condemning mankind’s capacity for cruelty, but they have no plans to become embroiled in benefit gigs for peace. “Things like CND,” explains Andy, “we’re not totally agreed on as a group. The others are for it, but I think there’s an argument for nuclear weapons as a deterrent. If we did a benefit, I’d like it to be for something where you could see that your money was doing some good, like a local hospital, or anti-vivisection.”

    The maturity of their new lyrics is matched by an increasingly sophisticated approach to their sound. “We used to use a lot of pre-set sounds on the synths, but now we create our own by sampling natural sounds, such as running water or creaking doors, and electronically recreating them through a computer, so that you can play them on a keyboard.”

    When a new sound is created, the band have to give it a name, or mixing their records would become impossibly complicated. On the new single, for example, there are such delightful sounds as Bucket Of Sick (which we won’t go into detail about) and Hank (an acoustic guitar plucked by a coin, electronically distorted and played on a synthesiser in the style of Hank B. Marvin of The Shadows).

    Although the band is now virtually one of the old brigade and although their singles invariably enter the charts, Depeche Mode has never had a Top Five hit.

    “We really don’t mind,” says Dave. “It gives us something to look forward to. We actually sell more records in Germany now, where the last album has done a quarter of a million, double what it did in Britain, although we got a gold album here. And we’ve never even had a Top Twenty single in Germany.”

    For the moment, they’re more than content with their level of success. “We just had a meeting about America,” Dave continues “and we decided not to worry about it. If we really wanted to be incredibly wealthy, we’d be over there trying to cash in on the new British Invasion, but we don’t see the point. Our sound is too English for American radio, and we’re not prepared to change it just to have hits over there.” [1]

    With ten chart entries under their belts, it would be simple to cobble together a compilation, as Madness did, to help crack the American charts, but they’ve decided not to yet.

    “If we wait a little longer, we can still put together something better,” says Dave, and I begin to get the feeling that Depeche Mode will be happy to have international success when the time is right, but right now they’re reasonably well off and there’s still time to go fishing on the river Chelmer.

    “Stupid hobby, really,” says Dave. “You wait five hours to catch a fish, then you catch it, then you throw it back.” I really don’t know why I bother.”

    As we pay the bill, our waitress recognises Andy and asks for autographs.

    “At least she knew who we were,” he grins happily, as we wander back towards Mute Records. “They usually think I’m Howard Jones.”

[review by Peter Martin]

DEPECHE MODE: People Are People (Mute) This time they’ve gone all radical with a distinctly metallic sound. But instead of jarring the nerves it tends to induce movement in bodies that normally wouldn’t be seen dead on a dancefloor. The lyrics are good too – about “getting along awfully” and not understanding hate. Makes a change from all this unrequited love business. Easily their best yet and this harder direction is bound to spawn bags of imitators.

[1] - They took their time, but try this article for a (very detailed) examination of how they finally cracked America - and why it didn't matter in the slightest that they sounded "too English".
[The Face, February 1989. Words: John McCready. Pictures: Anton Corbijn / Bart Everly.]
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #8 on: 24 June 2012 - 03:10:43 »
1984-03-17 - No.1 (UK) - PAP Review

People Are People
Reviewed by Paul Simper
Depeche Mode singles are often their own worst enemies.
On first hearing, their simple synthesised tunes and Dave Gahan's stiff-necked vocals can seem plain and familiar. It's only after a few plays that the subtle melodies and rhythms begin to come through.
'People Are People' is not as cynical as 'Everything Counts', but it's just as worldly-wise - the killer being the sub-chorus: "I can't understand ..."
A good one for the next time we take to the terraces in Paris.
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #9 on: 24 June 2012 - 03:12:24 »
1984-03-22 - BBC (UK) - Top of the Pops

People Are People:

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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #10 on: 24 June 2012 - 03:14:27 »
1984-03-24 - Radio 1 (UK) - Janice longshow (15 min)

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

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Re: 1984: Some Great Reward
« Reply #11 on: 24 June 2012 - 03:15:39 »
1984-03-24 - BBC (UK) - Saturday Superstore

Part 1:
Part 2:

[I made a transcript:]

Mike Read: I just have to apologise to you for dragging you up. Do you normally get up early, or not?
Dave, Alan, Martin: No.
Andy: Oh, yeah.
Mike Read: What time do you normally get up in the morning?
Alan: 2 o'clock.
Dave: Well Al does, he's a bit of a lie-in man, stays up late. I'm usually up quite early, actually.
Mike Read: Really? What about when you're touring, because you've been over in Europe, haven't you? When you're touring, in terms of really moving, or recording, do you find you can't sleep then? Do you get up early?
Dave: Well, yeah, when you've got sort of that adrenaline going you find it hard to sleep anyway, so you're getting up everyday, it's more like a job really, so you get used to it. Actually, once you stop you find that you've become really lazy.
Mike Read: So you sleep for two days.
Dave: Yeah, that's right, yeah, but once you do get... but as long as you're doing it, you keep going.
Mike Read: What's it been like in Europe, have you enjoyed it?
Dave: Yeah, it's been very good actually. Surprisingly, the last album has done extremely well. It sort of took off in a lot of countries, a lost bigger than it has been in our homeland.
Mike Read: That's good then, that's good. And also on the live front, you did the Oxford Road Show a short while back with Peter. Well, what's that like, as you're playing live on television? That must be more nerve-wracking than playing live in front of a big audience.
Alan: Well we did prepare for it quite well, which is nice because we were very wary about doing it because, live TV, especially from a sound point of view, can be distastrous, as we've experienced in the past.
Dave: I was bricking it.
Alan: Yeah, you could say that. [laughter]
Mike Read: The sound was good on that.
Alan: Yeah, we were really pleased with the camera work and everything was really good.
Dave: But they showed another track last night, on the [tv], because of the response from it, and they showed another track, so that was really good.
Mike Read: Yes, Peter was trying to get out of some of the guys that I played with a few weeks ago last night as to how good a guitarist I was. He was really worried to sound I was bad. I won't be doing my Peter Powell impression now, but seriously, but then he went "Yes, they're really good".  Right, listen, phone calls are a bit later, and we're going to have some prizes right now, so if you could wheel them in... If you'd like to delve in here. Nicola Brian's question from Doctor Who "What was the name of the maltfunctioning circuit in the tardis that makes in remain a police box?"-
Dave [delving in answers basket]: -An easy one for you-
Mike Read: -the answer was "A chameleon circuit" and the prize... Are you Andrew?
Andrew: Yes.
Mike Read: Morning, Andrew.
Andrew: Morning.
Mike Read: Thanks for doing that. It's like shopping, isn't it? And the prize is the pencil case, the video, the computer game and the torch, and the Doctor Who frisbee, goes to this person
Dave: It's Mark Davidson, 3 Crossle Avenue...
Mike Read: A place in Scotland with a long name.
Alan: Chechuchu...
Dave: Alright, what's that? Scotland!
Mike Read: Scotland.
Dave: Ichuchuchoslochan. Sorry.
Mike Read: Kirkintilloch, I think it is. Right, and this is Helen. Morning, Helen.
Helen: Morning.
Mike Read: Doctor Who's question, Colin Baker's question was, "How many actors have played Doctor Who?" Think about it, he said. And everbody did, and that basket full of people obviously got it right, and the picture disc, the T-shirt, the book, and the frisbee and the Doctor Who thingy, the money box, whatever it is, goes to...
Martin: Tracy Russel from 27 Brunden Avenue, I think it's Hildgreen, Cheadile...
Andy: Cheshire.
Mike Read: Fantastic.
Dave: Chesire, yeah.
Mike Read: I think you get a job here if you're not careful. Right, you get all those thingies, well done to you, and Mandy's coming with the next one. "Raining Men by The Weather Girls, this was the Pop bargain, Raining Men by The Weather Girls was number 11 in the charts. What was the name of the first woman weather-forecaster to be broadcasted on BBC TV?", and the answer was "Barbara Edwards", maybe not an easy one, and the prize of the Howard Jones picture disc, the pseudo of the Howard Jones picture I should say, there it is, the Superstore album, the Madness album, and the Icicle Works album goes to...
Andy: Fleur Medal Galutz, Braintree road, Chelmsford, Essex. [laughter]
Mike Read: You can't say Braintree in a French accent, can you? Right, you got all those goodies, and finally, the Diane Simpson question, "Why is a penknife called a penknife?" Julian has those in there. "Why is a penknife called a penknife?", "It was used for sharpening quills" is the answer. And the prize of the book, the magnifying glass, so you can read it, and also, thanks Julian, also the china thimble goes to who?
Alan: Amanda Philips from 10 Andrews Way, Marlowbottom... Marlowbuttocks. [laughter]
Mike Read: Sounds good, eh?
Alan: That's a lovely name.
Mike Read: If you put that on the table, that's great. Calls with Depeche Mode a bit later, and if you come from Marlowbottom you'd be especially welcome on 01-811-8055, and they'll talk about almost anything. Just before the next bit of cartoon, we had a letter from Cathy who lives just near Wallingford, in Oxfordshire. She says, "I too, like the person who wrote in last week, hate Commander McBragg, but please don't remove him. He gives me time to get my breakfast and he gives me time to go next door and get my Tammy comic from the sweet shop. and all the other pictures are too good to miss. So could you let me know when Commander McBragg's on so I can go and get my breakfast, because I don't like him?" Right, by huge popular demand, here comes Commander McBragg. We all like him here, don't we?

Mike Read: ... This week UB40, good single from them, this is called "Cherry Oh Baby".
Mike Read: Well that's UB40. Roald, was that the sort of the thing you could groove to at home?
Roald Dahl: No.
Mike Read: Right, what's the Depeche Mode verdict on this, how do you...?
Alan: I quite liked it, there's a certain earthiness about their videos. They put themselves in a natural setting, like their last one was in a pub, I think, and that was also good. But I'm not mad about the record, although it's quite good, but I do like the video.
Mike Read: They manage to stay fairly anonymous, don't they, in a way that...?
Dave: Yeah, yeah. I like the whole album, the idea of putting the album together like that is a good idea, and I like this song. I agree, I don't know whether it's going to be as their number one, but it's a good song and the video goes well with the song.
Mike Read: Good. Okay, so, on the whole I think [makes positive sound], but Roan feels more [makes negative sound]. Right, the next one, which I'm sure he'll also feel [negative sound] for as well is a send-up of Michael Jackson's Beat It, this is Weird Al and Eat It.
Mike Read: Right, that was Weird Al with Eat It and that was a send-up of Jackson's Beat It with the same extras, the same set and everything. What do you feel about that one?
Dave: Well, I mean, it's quite funny and all that, but he totally destroys everything Michael Jackson has done with that record.
Some guy: Isn't that the idea?
Dave: I mean, I think Michael Jackson's record was great, but...
Alan: It's good for a laugh.
Dave: It's good for a laugh, but...
Alan: I think it might wear thin after two or three viewings.
Dave: When I first saw it, earlier on, I thought it was funny, but...
Mike Read: Most corny things waer after a while unless they're very, very funny. How about you, Cathy?
Cathy: Well I like the video, but only because I don't like Michael Jackson.
Mike Read: Succint one-liner.
Alan: Well alright, all I can say is [makes negative sound]
Mike Read: Dave.
Dave: Dreary and dreary video.
Mike Read: Dreary and dreary video.
Alan: So [makes negative sound]
Mike Read: Ooohh, wait till yours is on here [on the] next [episode], ohhhh. Alright, thanks to everyone for coing on the Pop-panel, We're about to say goodbye in a mo'. firstly the bargain down here, all the things you see on the table there: the signed star Council LP, the Store LP, the cassettes holder and cassettes. And the question this week is: "Sade is number 9 in the charts with Your Love Is Kiiiing." This is my big chance... "What was the date of King Edward the Eight's coronation?" Alright? No cheating. "What was the date of King Edward the Eight's coronation?", on a postcard, Saturday Superstore, BBC Television, London W12 8QT. The date of King Edward the Eight's coronation. Answers to that on a postcard to that adress and all the goodies at the front could be yours. Thanks again to the Pop-panel for coming on, we're about to give you a wave in a moment. In the meantime, it's time to get out in the rain and the umbrellas with Keith.

Mike Read: If you want to call Depeche Mode, or you already have, in fact, there should be someone on the line right now, I think. I don't know who it is, though. It's Janina Rich, hello, Janina.
Janina: Hello?
Mike Read: You're through to Depeche Mode.
Janina: Do you parents like your music and have they been to any of your concerts?
Dave: Sorry?
Janina: Do you parents like your music, been to your concerts?
Alan: Did your mum ever visit?
Dave: Oh? Yeah, my mum actually sneaked into one of our gigs at Hammersmith Odeon last. I never actually ever invited her to a concert, because I was to embarrassed. And she got a ticket from someone at the record company, came along, and then I was quite surprised to see her after the gig backstage.
Mike Read: In the front row, going "Dave, Dave!"
Dave: Yeah!. Yeah, they do, yeah.
Mike Read: Alright?
Janina: Thank you.
Mike Read: Thanks for the call, bye bye.
Janina: Bye.
Mike Read: Right, I think we have got someone on the line from York, out in the rain with Keith, on the outside broadcast. Marsha Witter, hello! She's up there, you can see her on there, there she is. Marsha, you're through to Depeche Mode.
Marsha: Pardon?
Mike Read: Can you hear me?
Marsha: Yes.
Mike Read: You are through to the lads, do you want to ask them a question?
Marsha: Okay. Ehm, which member of the band usually, ehm, which member of the band usually...
Mike Read: They try to put you off, out there.
Alan: Spit it out, Marsha.
The band: Come on, Marsha, come on!
Keith: She was gonna ask: Which member of the band usually gets all the girls? Is that was you wanna know?
Marsha: Yes.
Keith: I thought so, so come on fellas, be honest.
[Dave points at Alan]
Alan: No. Well, Fletch's actually, I think it's Fletch actually.
Dave: Oh, yeah, it's Fletch, yeah.
Andy: Well, you have got a point.
Alan: Because I mean, he's pretty sexy.
Dave: He does get a few boys as well.
Mike Read: Do you get lots of girls coming around to the stage after gigs, or, you know?
Dave: Not really-
Mike Read: -So mindful, boys.-
Dave: -not as much as, I don't know, not really, not that much really, obviously you do get some but they're not that way inclined, you know.
Martin: Honest.
Alan and Dave: Honest.
Mike Read: Correct, as I've heard. Is that answer alright for you?
Keith: Does that answer your question?
Marsha: Yes.
Keith: Do you fancy them as well.
Marsha: [giggles]
Keith: She's got the giggles now.
Alan: Alright, Marsha, me and you.
Keith: Alright, give them a wave, bye.
Marsha: Bye.
Mike Read: Actually, I still hear some people calling you Depech-ay Mode and I always call you Depeche Mode. I mean, you must get asked this a million times...
Dave: ...Depeche... Depeche...
Mike Read: I always call you Depeche Mode and I still hear people calling you Depeche-ay Mode.
Dave: Well, we sort of, we don't really mind that much. People have always quizzed around it, and we don't really care.
Mike Read: It's quite good because it means they mention the name at least several times.
Dave: Yeah.
Mike Read: Right, someone else should be on the line, and it is Richard Easter, that's a very topical name at the moment, hello Richard.
Richard: Hello.
Dave: Hello Rich.
Mike Read: Right around the corner.
Richard: Hello, I was wondering whether you use computers at all with your music, because, I saw you on Top Of The Pops and you were using an Emulator, I mean, what other things do you use? You haven't got a Fairlight, have you?
Dave: No, we haven't got a Fairlight, but we've used on the last album quite a lot and on the single a thing called the Synclavier which is very similar to the Fairlight.
Richard: Are you saving up for a Fairlight then, eh?
Dave: Pardon?
Richard: Still saving up for a Fairlight?
Dave: Yeah, they are quite expensive actually.
Andy: Not until two albums.
Dave: We don't actually own one, we don't actually own it, it's our co-producer that owns it, we wouldn't buy one, they're too much money.
Martin: It's the only reason we use you Daniel.
Mike Read: They have their eye on Steve Levine's over there so he better keep his hands on it.
Dave: Yeah, he might lose that.
Mike Read: Okay?
Richard: Okay.
Mike Read: Thanks for your call. Bye Bye.
Richard: See ya.
Mike Read: Right, someone else should be on there Delia Russel, hello Delia.
Delia: Hello.
Mike Read: Where are you calling from?
Delia: From Brighton.
Mike Read: Nearly in the sea. You are through to Depeche Mode.
Delia: Do you get stage fright before a concert, and if so, what do you do to you calm youselves down?
Mike Read: Do you get stage fright?
Alan: Yeah, Andy is the most nervous, I think.
Andy: The first concert of the tour is usually really bad..
Dave: Especially if you haven't been playing for a while.
Martin: It usually lasts for 10 seconds with Andy. He sists down, says "I'm gonna be sick", gets up immediately.
Dave: Right before we go on, Andy sits down, "I'm gonna be sick, I'm gonna be sick, no I'm not, right, we're going on."
Alan: And then he paces up and down, you know, for half and hour.
Andy: It's not true, it's not true. It is, it is true.
Mike Read: Does that answer your question?
Delia: Yes, thanks.
Mike Read: Are you a nervous person?
Delia: Uh yeah, so-so.
Mike Read: When do you get a bit nervous?
Delia: Ehm...
Alan: When you have to speak on the phone.
Delia: Yeah.
Alan: On TV programmes.
Mike Read: Talking on the phone to Depeche Mode. Right, thanks for your call.
Delia: Bye.
Alan: Bye.
Mike Read: Right, we'll take more calls in a second, but you brough a bargain, you want to get that done. Jumble-sale time, folks! Roll up, get your old clothes here.
Dave: These are all, actually, they've all got a thing about them. This suit was what I wore during the See You times, on Top Of The Pops and during the tour about that time.
Mike Read: Okay. The hat?
Dave: Martin's, this is Martin's hat, which is very famous, been a lot on Top Of The Pops and a lot of tours.
Mike Read: Smashing.
Andy: That's a smelly...
Dave: That's a smelly T-shirt.
Alan: Unwashed,
Dave: Didn't even wash, so you can throw that away or use it as a duster or whatever.
Mike Read: Right. And, a pair of trousers?
Dave: Trousers, yeah.
Alan: Martin's...
Dave: Again, worn on TV.'
Mike Read: They would go better with the Madness suit from last week, actually. Looks good, right? Pair of trousers. Jacket. Straight of out the liquorish all-sorts box. It's quite a nice one, isn't it?
Dave: Yeah, it's Fletch's, as well.
Andy: It's Just Can't Get Enough...
Dave: Just Can't Get Enough time...
Mike Read: Right, we put that with the smelly T-shirt. A Tie.
Alan: Shirts and ties.
Dave: A horrible tie.
Mike Read: So it's the Saturday afternoon Jumble sale. Quite a nice one
Dave: It's from Alan.
Fletch: Rio shirt. Sorry, Paul, sorry Paul.
Mike Read: Old shirt, and the rest of the things are on there.
Dave: I think they're mainly records, in generally. Photographs and things, programmes of the tour and things.
Mike Read: ...Pictures, T-shirts... Do you have a question for these stunning bargains?
Dave: Yes, we do, the question is: There were two songs on our last album Construction Time Again' that weren't written by Martin. Who wrote them and what were they called?
Mike Read: Two songs on the last album Construction Time Again' were not written by Martin. Who wrote them and what were they called? Answers to: Saturday Superstore, BBC Television, London W12 8QT, on a postcard, please, all the goodies and old clothes could be yours, you can sell them at your own Saturday afteroon Jumble sale. Right, I think some more calls, I think we should have the next person on the line already there. Richard, hello.
Richard: Hello.
Mike Read: Richard Harvey, hi, you are through to Depeche Mode.
Richard: I would like to ask you, which are the best synthesisers to start out with?
Alan: Well, Martin, you're the technical wizard.
Martin: No, I don't, I don't really know which...
Dave: You can get a number of cheap...
Martin: Yeah there's quite a few on the market that are quite good, you know, that you can buy for around 200 pounds or so...
Andy: Getting cheaper, I think...
Martin: ...or maybe even cheaper, especially like, even a little Casio, if you are just starting out.
Dave: They're probably the best things really, aren't they?
Martin: Yeah. But, we don't really know that much about it.
Dave: It depends, with a Casio you get, you can get a cheap one for about 100 pounds or something, and with that you get a little drum machine and everything, so they're probably the best things for writing songs.
Mike Read: So it's good really, first of all, if you have an aptitude for actually doing something musical, before you lash out on something really expensive.
Dave: I think so, yeah.
Mike Read: So a Casio is probably ideal, I know no-musical people that have got them, they just play tunes, and if you feel you are really getting into it, then you can go on to the next thing.
Dave: Yeah they're very good, I'd say that they're probably the best things to start out on.
Mike Read: Yes. Did you start out on something like that?
Dave: Martin still uses them to write songs.
Mike Read: Really? Ah... That's handy of you.
Dave: They still come in useful.
Mike Read: Okay? Alright, thanks for your call.
Richard: Yeah, and I've got to say, best of luck on the new single.
Dave: Thanks very much.
Mike Read: Do you like it?
Richard: What?
Mike Read: Do you like the new single?
Richard: Oh, yeah, it's brilliant.
Mike Read: Have you bought it?
Richard: Yeah.
Mike Read: Great.
Dave: Thanks very much.
Alan: Well done.
Mike Read: Okay, bye bye.
Richard: Bye.
Mike Read: Just the sort of person you like talking to. Right. We get to not only hear it now get to see it as well. It's called People Are People and we should have the video coming up and you can go and buy yours this afternoon.
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #12 on: 24 June 2012 - 03:16:28 »
1984-03-24 - NME (UK) - Review

Depeche Mode
People Are People

Another plea to the world along the lines of Timmy Thomas' 'Why Can't We Live Together?', which compensates with sincerity for what it lacks in verbal grace. 'People Are People' marks time before Depeche Mode's next Great Leap Forward.
Mat Snow
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #13 on: 24 June 2012 - 03:19:16 »
1984-03-30 - Channel 4 (UK) - The Tube

Told You So + People Are People:

1984-03-31 - No.1 (UK) - Whispers...

Banging all that metal has started up a wanderlust for Depeche Mode writer Martin Gore. He's going to live in Berlin, home of the original metal bashers Einsturzende Neubauten...
Meanwhile Dave Gahan is recovering from a bad bout of glandular fever which caused him to lose two stone. Dave's a shadow of his former self, but can see one advantage: "It saves me having to suck my cheekbones in"...
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Offline Angelinda

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Re: 1984: Some Great Reward
« Reply #14 on: 24 June 2012 - 03:20:26 »
1984-03-xx - BBC (UK) - Earsay

[I made a transcript:]

Gary Crowley: I'm prepared to put my neck on the line and say I think that could be a hit there. That's some of the chart-topping smasharooni from Depeche Mode, People Are People. And, helping me review the singles this week is Dave Gahan from Depeche Mode. What's all this metal beat and stuff you've been getting into, how did that all happen?
Dave: Well, we was just looking for different ideas with different sounds, and this just came about in the studio, so...
Gary Crowley: So, when you're in the studio now, do you actually get to listen to a lot of the current records of the time or not really?
Dave: Oh, yeah, I sort of listen to them on the radio and I knew what was going on, but as much as possible, you try not to, really, so then you keep your mind clean from it all.
Gary Crowley: Oh well, we're certainly gonna be interested to see what you think of them before, we have them on offer this evening. Let's begin now. And not many people who like to write bits in music magazines are instantly catapulted to national stardom. That happened, however, to Chelmsford girl about town Tracie. The responding young songstress hasn't looked back ever since Paul Weller discovered her. Her new single is called Souls On Fire, and is quite an exciting departture for her. Anyway, here's the video which finds Tracie and her soul-squad in a rather nautical mood. "Anchors away."
Gary Crowley: That set your soul on fire, Dave?
Dave: Yeah, not bad, yeah. She's a local girl, so... She lives in Chelmsford, didn't she, or she did live in Chelmsford, so... She's a nice girl.
Gary Crowley: She was recently voted Most Fanciable Human Being in Smash Hits. Do you fancy her?
Dave: Well, I'm not gonna say, am I? I'll get down for being sexist.
Gary Crowley: Alright, fair enough, diplomat. Right, now the next record. The Cure, for the last few years have had a very weird and wonderful place in the hearts of the nation's sixth-formers. Last week, you may have remembered me moaning about dinosaur acts Yes and Pink Floyd. I suppose in some ways The Cure have replaced them, which Robert Smith is probably well pleased about. The new single is called The Caterpillar, and it's a real far-out affair. I mean, look at what's going on down in the greenhouse.
Gary Crowley: What do you think of that?
Dave: Yeah, it's really good, it happens in my greenhouse all the time.
Gary Crowley: Does it?
Dave: Yeah.
Gary Crowley: I'll come and see you. Are you a Cure fan, then?
Dave: I am. Yeah, I think that record's great. I think it's going to be a big smasharooni.
Gary Crowley: Do you buy a lot of records?
Dave: I haven't actually bought that yet, but I intend to. Or I might wait for their album, but I don't think they have an album out at the moment, but... No, I don't buy that many records... [just] occasionally.
Gary Crowley: You get them for nothing?
Dave: No, I don't, no...
Gary Crowley: This is Small Town Creed. They have yet to save up money for a video, but have a look at these photos and listen to this.
Gary Crowley: That's the Kane Gang and their soulful excursion Small Town Creed. Did you like that one?
Dave: Yeah, I think they're better than Young Guns. Yeah, good one, yeah, I like that. They're on an indie, aren't they? so, up, indies.
Gary Crowley: You're all for that, because your stuff started on...
Dave: Yeah, we're still on indie, yeah Mute, yeah. Still an indie. Yeah, I like it, good record. I like their last records and this sounds like a goodie as well.
Gary Crowley: How important do you think, it is, nowadays, how a group looks? Because it certainly helped you a lot, don't you think? Or do you think it's the beat?
Dave: I don't know, it's always a touchy thing, innit, the way you look and everything. I think a lot of people do pay attention to the way you look. But a lot more people are more interested in the music, and that's what most important.
Gary Crowley: I mean, when you see somebody, does that excite you? Or don't you really care?
Dave: The way they look, you mean?
Gary Crowley: Yeah, or is it what's in the grooves, or what?
Dave: Well it does sometimes, but I think it's what's in the grooves on the vinyl, man.
Gary Crowley: Alright, fair enough. Finally something rather did special. Don't hit me. A real tasty treat if there was one. It's an old track rereleased as a single from legendary superstar Bob Marley. Entitled One Love, it is a cool groove, as expected. The video gives us an ideal opportunity for a game, actually. Dave and I will play it in the studio, you can play it at home. It's a real case of Spot The Superstar.
Gary Crowley: So, who did you spot there, Dave?
Dave: Quite a few, yeah. Belle Star, Madness...
Gary Crowley: Paul McCartney.
Dave: Aswad...
Gary Crowley: Why don't you get those people in your video?
Dave: I might think about it next time, yeah.
Gary Crowley: Did you like that, are you a big Bob Marley fan?
Dave: Well, not really, not that much. I like a bit of reggae, a little bit of reggae, but, I'm not too sure about that one.
Gary Crowley: What sort of stuff do you dance to when you go to clubs and all that?
Dave: I don't dance.
Gary Crowley: You don't? You're a wallflower?
Dave: Yeah.
Gary Crowley: Ah. Well alright, listen. Seeing as you've been such a good boy today, right, we'll let you take one of these four records back to Basildon with you. Which one do you want?
Dave: Oh, can I? Great! Ehm, can I have the Cure one?
Gary Crowley: Okay, just for you, yes. Well listen, joining me on the New Releases slot next week will be Ian Dury, but... Actually, just out of interest, with Depeche Mode you must get quite a lot of pocket money. I mean, do you ever get interested in buying videos or anything like that?
Dave: Are you taking the piss, or what?
Gary Crowley: No. Here's The Style Council, would you like that?
Dave: Eh, oh yeah, I wouldn't mind, yeah.
Gary Crowley: Well these are just some few things that-
Dave: Well actually, what's this then? White Snake? I'd rather have that actually, you can keep that one.
Gary Crowley: I'll let you have that one.
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