Depeche Mode Television Archives

Depeche Mode => Archives => Topic started by: Angelinda on 24 June 2012 - 02:39:10

Title: 1984: Some Great Reward
Post by: Angelinda 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.

Title: Re: 1984: Some Great Reward
Post by: Angelinda 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
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:06:02
1984-03-10 - Melody Maker (UK) - The Basildon Bond

[Taken from the now-defunct website]

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( ( (

[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.])
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:07:54
1984-03-14 - ZDF (Germany) - Flashlights

People Are People:

Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:12:24
1984-03-22 - BBC (UK) - Top of the Pops

People Are People:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:14:27
1984-03-24 - Radio 1 (UK) - Janice longshow (15 min)

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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"...
Title: Re: 1984: Some Great Reward
Post by: Angelinda 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.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:20:52
1984-03-xx - Intercord - People Are People press release

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

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


Depeche Mode'
Titel: "People Are People"/"In Your Memory"
Art.-No: INT 111.818
After their successful tour, which entered the German stages late 1983, the four young musicians from Depeche Mode are back on the synthesizer, in order to compose new tracks. One of those was created in the Berlin Hansa Studios and will be released in February as a single: "People Are People" connects catchy vocal lines with an original playback from layered synthesizer structures. It was once again produced by Mute boss Daniel Miller. The premiere performance of the track took place on German TV - on the 14th of March on the ZDF show Flashlights.
With People Are People', the British synthesizer specialists deliver their ten hit single in a row. Martin Gore is responsible for its composition and social-critical lyrics.
Line Up: Dave Gahan - leading vocals, Martin Gore - backing vocals, synthesizer, Andrew Fletscher - synthesizer, Alan Wilder - synthesizer, backing vocals.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:26:25
1984-03-xx - Depeche Mode - Information Sheet 3

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

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

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

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

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

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

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

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

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

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

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

                                                Happy Easter!

                P.S. Thanks for all the smashing Valentines sent in!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:27:23
1984-04-16 - WDR (Germany) - Musik Convoy

People Are People:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:27:42
1984-04-18 - Unknown (France) - Jour J

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

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:28:43
1984-04-21 - Radio 1 (UK) - No.1 Music Quiz: Dave & Alan (23 min)

[We don't have this audio interview.]

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

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Caught! In Amsterdam! OMD and Depeche Mode have been doing the sights together. So taken are they with the city that the two bands may be investing in a canal barge studio...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:29:06
1984-04-25 - ARD (Germany) - Formel Eins


Host: Das waren die Top 10 aus Deutschland im Video Herblick mit dem neuen Nummer Eins "People Are People", und hier sind sie. Hello. [That was the top 10 from Germany in video recap, with the number 1 song "People Are People". And here they are. Hello.]
Dave and Andy: Hello.
Host: Dave and Andy, right?
Dave: That's right, yeah.
Host: It's your first number 1 in Germany, yeah?
Dave: That's right.
Host: Congratulations.
Dave: Thanks very much.
Host: Where did you shoot the video?
Dave: It was mainly shot on, in a ship, in the engine room-
Host: -What ship?
Dave: -called the Belfast, the H.M.S. Belfast.
Host: In the video we saw soldiers and war... What's the meaning of the lyrics?
Dave: Eh, well they do show that in the video, but they don't only deal with the "There's war" and this. but it's also just the fact that there's an innate hate between men, it's not not only between soldiers, but between men.
Host. Yes. Here's your award.
Dave: Thanks very much,
Host: A wing. "Wing" heißt Flügel, habe ich mich sagen müssen in Englisch jedenfalsch. [A wing. "Wing" means wing in English, or so I was told.]
Dave: Do we get the rest of the car as well?
Host: No, no, no, no. Well, make a number 1 and you will get it. Thanks for coming, and bye. Und hier ist die Nummer 24 aus England, Dead or Alive heißt die Gruppe, und die Titel kennt ihr warscheinlich schon, "That's The Way I Like It". [And here's number 24 from England, Dead or Alive is the name of the group, and you probably already know the titel, "That's The Way I Like It".]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:30:04
1984-04-26 - Smash Hits (UK) - Dave Gahan reviews the singles

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[Converted into text using OCR:]

Dave Gahan
reviews the singles

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

"Hope you like them!
Dave Gahan"
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:31:24
1984-04-xx - Superchannel (Netherlands) - Countdown (People Are People)


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

[Thanks to Pacodemode (;u=945) for scanning this for this forum!]

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

[Scanned by someone called Mike Gorman for]

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

No, no a thousand times no! My screams rang through the night, heralding yet another bloodbath twixt muggins here and the cruel, tone-deaf editorship of these hallowed pages. Depeche Mode? Why not defenestration instead?
Actually, I had to be seen to put up a fight. You see, it doesn't do in certain circles to be known as an approver or condoner of certain bands. And any band such as Depeche whose business sense could be termed 'suspect', whose musicality could be called 'questionable' and whose levelheadedness just has to be unhealthy, must be a candidate for the big 'E' from street-credible hacks.
Well, you're all techno-fans, and old enough for a home truth or two: Depeche Mode are moving in directions where, if we had a grain of honesty in us, we would love to go too: the perfect marriage of pure and applied synthesis... with money.
The band is moving on, weary of our close identification of them with a teenybopper image. Maturity comes easy to a close-knit group whose no-fewer-than three years in the charts have seen them tour the world, issue ten singles and three albums, all of which have gone gold.
I caught them at Aosis Studios, recording the 'B'-side of their present single People Are People. In between stints in the Control Room and interviews with television companies, Martin Gore, Andrew Fletcher, David Gahan and Alan Wilder spilled the conceptual beans of Depeche's raison d'être. Was there, I wondered, a reason why Depeche Mode was a band, when within the band there is no defined role playing? Why does the sun shine, countered Martin. "The band aspect is Four People With Ideas". "We had defined roles when we started," explained Andy, "in that I mainly played bass guitar and bass synth, Martin lead rhythm guitar and Vince Clarke rhythm keyboards. David handled vocals in a shy way, hugging the mike for comfort in the glare of the Bridge House lights". Was that Vince Clarke's name I heard? He of Yazoo and now the Assembly? Vince was in the band until after the first album Speak and Spell, whereupon his own ideas took him along a divergent path with Depeche, sharing the same roots (Basildon) and the same nourishing soil (Mute Records) as his former colleagues, but displaying a different kind of foliage. "Both he and we are incredibly busy," explained Martin, "but we meet now and again and beat each other up... only joking!"
I did not sense a feeling of regret that Vince had decided to remove himself from the band aspect; of course, time and experience consolidates all things with hindsight, but it did seem clear to me that when Depeche and Vince observe each other, they are in a way looking into a mirrored reflection of themselves, Depeche prefering the fertile cross-pollination of belonging to a band to the more ascetic style of composition of Vince Clarke. Alan Wilder stepped into the space left by Vince, chosen by the band for his facility with keyboard-playing; and the fact that he wasn't a fan helped his chances, but it wasn't until the second album, Broken Frame, that he joined full time; until then he was on continuous assessment: "I mean, he wasn't even from Basildon. You don't know what he might have picked up!", submitted David. Of the whole episode, it is enough to know that the departure of Depeche's famous son did not in any tangible way alter the direction of the by now momentously famous group. And what was this direction? "Our first album," remarked Andy, "was a high spirited, low technology affair. It was a case of recording a drum machine and then taking it in turn to go in and laying down our respective synthesizers, all in real-time with one or two sequencers. The changeover from a gigging band in East London to the Studio was very quick, as a result of which things got thrown together. Studio technique was new to us and it was Daniel Miller (the Man who is Mute) who in a way fathered Depeche, and nurtured the sound to what it is today."
This was all getting very involved, what with Vince Clarke leaving, Danny Miller fathering, and Alan arriving, all against a background of soaring popularity and confusion. So I decided to go for a little chronology with David Gahan. Did I manage to get a word in edgeways? In truth, he doesn't talk as much as people make out; it's just that in comparison to the well-chosen words of the others, his chat is a positive flow of easy confidence.
"We started," (with Vince, without Alan, remember) "in a church in Basildon some three and a half years ago. We were doing various gigs in the area and in London, notably the Bridge House, whose landlord, Terry, turned out to be the only one who would give us a gig in the end. None of us moved on stage — not so much the Gary Numan syndrome as pure stage fright. We built up a really good following and one night during the Winter of 80/81 we supported Fad 'Gag' Gadget. Fad was already with Daniel, who would act as his soundman in the pubs, and after the gig, Daniel came in and said that he really liked our act, blah blah blah, and he wanted to see us again."
Hold it there, David. Let me explain what the background was to this offer they couldn't refuse. Firstly, Daniel, already then, was always on the edge of exploding. A shy man, not used to the ways of machiavellian business, a reformed Monk from Zermatt, he was and still is a great fan of music of all types; Mute is his professional hobby. But this retiring schoolmasterly figure can become a seething cauldron of passion and ferment when crossed. And the story gives that Vince and David had already been to a room when Daniel burst in, a seething cauldron etc (see above) crying blue murder about Fad Gadget records not getting into the shops. And then he burst out without according to our two heroes so much as a second glance. So when Daniel met them again at the gig, the band gave him the cold shoulder; besides, hadn't they been attracting a lot of big label interests?
"There we were, a band who within six months had attracted a large popular following. Big labels started following us around offering money for clothes and equipment and things. They found out our home addresses and started wooing us there. We were being offered five year deals, ten year deals, big advances. They were playing with points so we got wise and played them off against each other; but it was all a laugh on our side: we just didn't know what they were all on about."
And then came Daniel Miller: he had nothing to offer in the way of money points and contracts, but he did have commitment, enthusiasm and a willingness to get stuck into the nuts and bolts of the recording business.
"He was most upfront, he was nervous like us, and we didn't feel he wanted to tie us up in a long-term deal. So we did our first single in February 1981 called Dreaming of Me, at Blackwing". And what happened?
What happened! This single; on an independent label, distributed by Rough Trade, also independent, by an as yet nationally unknown band, got to 52 in the charts. This roused the majors into a frenzy of passionate courtship; if this band could do that on an independent, what could it not do on a major! The climax came at a Japanese meal; Depeche and Daniel were guests of Ph... you know who. "Towards the end of the meal the boss said: 'Well, how about it?' And we turned round and said: 'Sorry, but we're sticking with Daniel and our second single is about to come out: I shall never forget the picture and sound of beanshoots falling from gaping mouths and chopsticks clattering to the table in wide-eyed bewilderment."
So the fortunes of Mute and Depeche were set on a course helping to make Mute one of the two most successful independent labels in show biz, and Depeche one of the leading lights in commercial music. But don't you think it rather weird that they didn't sign to a major?
What is so wrong about signing a five-year deal? By now the band could in all probability have taken the States by storm, be driven around in limousines with business managers and make-up girls dancing attendance, and have possibly greater world-wide sales. This seeming eccentricity, this bizarre 'modus operandi' is the trademark of the band. Once you perceive the collective behaviour of Depeche Mode, you begin to glimpse a repeating pattern of similar reactions through out the life of the band. You could call it the Mode Sidestep: When placed in a situation whose outcome should be blindingly obvious they take one step sideways and avoid the obvious.
"It means more to us to be top of the independent charts than the Gallup. Doing what we enjoy, in front of people who enjoy us, is for us what it's all about. Mute is the ideal vehicle for this concept." And in a way, I believe them, especially after learning that they aren't even signed to Mute! There is not the slightest contractual reason for staying together. They like each other's company.
So much for interpersonal relationships (file under 'ongoing'); what about the equally intriguing affinity between man and machine? "We are spoiled," observed Alan. "In the early days it was Yamaha CS5's, Moog Rogues and Kawai unmentionables" (ie he didn't mention the model). "We moved through Roland Jupiter 8's, PPG Wave 2's, Yamaha DX7's, Emulators, and now we have a machine that inspires awe both in us and in those who appreciate the sounds we are producing: the Synclavier". I asked why he used the word 'spoiled'. "For us, the Synclavier is the first synthesizer/sampler you can honestly called 'limitless'. Without exaggeration, you are limited, quite literally, only by your imagination; we have the 100-second sampling facility at full bandwidth, and we have the funds now to update this computer so it never lags behind in technology. We are spoiled in that we remember what it was like being limited to using a Roland Jupiter; a good instrument for the money, and versatile and all that, but, as we are a band which is committed to opening new vistas of sound, analogues have become rather pale next to the digitals, and especially, of course, the Synclavier. It was logical to use the Synclavier as soon as we could, and by so doing, we freed ourselves of the fascism of hardware."
Steady on! My wife (those of you with keen memories will recall that she it is who prefers being hit repeatedly round the neck with a wet fish to hearing synthesizers) made the comment after seeing Depeche Mode at Hammersmith on their British Tour that machinery had taken over, what with indescribable sounds and a backing tape. Where was the humanity in the process? The sweat?
"There are lots of ways of countering those points," said Dave. "Firstly, there's a vast area of validity encompassing, say, the Smiths (whom we really like) on one side, and us on the other; all we've done is to change the conventions. It's not rock'n'roll in the purists's sense of the term but the songs still stand up on their own, whatever the treatment. The main thing we retain is the melody: it's what lasts. Second, despite all our 'machinery', the gig still comes down to the conventional winning over of the audience; I enjoy the stagework — such a feeling of power for those few minutes that you're up there! We were really spoiled on our last tour: places like Belfast were so excited that an English band had gone over, that we didn't have to win them over. Even Fletch was upfront, singing away. And he's so shy!"
And it was Fletch who came up with the third point. "If we had to play guitars, we don't think we could be as good as, say, the Big Country, honestly. We're at our best doing what we're doing." Yes, but is synthesis and pulse time as 'valid' as rock'n'roll? Martin came up with a fitting riposte. "Whatever instrument you use, you still need the ideas. What makes a band is the corporate ideas that come up, not the hardware that you use to put them over. You're just as badly off with a synthesizer as you are with a guitar if you haven't got the ideas." Shot down in flames.
The wife, that is, not me!
Daniel Miller is really quite an extraordinary figure. A workaholic, he likes nothing better than programming his Synclavier by the light of the silvery moon. I asked no one in particular where he stood in the outfit. In several places, came the reply. For a start, he sets the tone for Mute; Mute has taken on his unconventional approach to the commercial music business. "This is what at the outset attracted us. He also introduced us to purer synthesis than we were using, and it was through him that we discovered sound and its generation as a valid, commercial alternative to guitars. The use of sequencers suited us fine since we all except Alan have this one strong weakness (sic!): we are none of us as strong musicians, and an ordinary band may well have turned us down, including Vince." That was another reason for coming together as a band in the first place. Andy also suggested that there was no virtue in musicianship in a commercial world where it's probably anything but musicianship that gets you in: "Musical rivalry doesn't exist with us."
Daniel leaves all aspects of songwriting entirely to the band. He's got lots of ideas but he's no musician, and he becomes involved for two main tasks; one, to program the Synclavier and associated hardware; two, to provide the detached co-production of a finished song. But the nature of programming being what it is, he is able to introduce sounds to the band they didn't know existed: the Synclavier is on one side a super-powerful synthesizer, in that it uses algorithms of sine waves to conjure up complex waveforms (remember that the Yamaha DX range's FM system is under licence from New England Digital, the inventors of the Synclavier), and on the other side it can sample sounds with absolute clarity. It is such a complicated task to program it that even Alan prefers at the moment leaving it to Daniel since "the details can bog you down. We write, or hope we write, catchy melodies, and intriguing lyrics underpinned by the use of sound and rhythm. But eventually Martin and I will master the machine and make ourselves perhaps more self-sufficient." Martin took over from Vince as the main songwriter in the band. It was only after Vince had left (in the period following Just Can't Get Enough) that they realised just how important Martin's role had been: so far as publishing was concerned, Vince had composed the songs on Speak and Spell and that was that. But the reality was something else. Depeche Modes songwriting, before they get to touch a synthesizer, is perhaps their most lasting quality, and they aim for songs which could stand up on their own, without the clothing of sampled sound. Vince and Martin have songs coming out of their ears: Vince's approach was through the tune and song construction, and Martin's tends to be through lyrics. Vince wasn't fussed about the sound — he's quite happy to use the same keyboard throughout a song.
David: "I have a feeling that the importance of the lyrics has grown partly through what Martin has experienced in the band, and partly through our huge successes in Germany, where lyric content is the most important part of a song. I become involved in a new song at an early stage, to understand the lyrics and suggest improvements from my point of view as lead singer."
"Vocally, we're all strong," explained Andy. "Harmonies have been a feature of Depeche songs since after the first album. So when Martin takes over the lead in Pipeline on the last album Construction Time Again, it's no surprise." On this album, Alan also had a couple of tracks of his, and he took me through the writing process of the 'B'-side they were currently recording, his Place it in Your Memory. "I wrote this song using a Jupiter 8 and Drumulator recorded onto the Teac Portastudio. The bass riff was hand-played because sequencers waste so much time on demos. Then came the melody line and other little bits. By the time I've finished all the instrumentation I've usually got the lyrics and then the song is put to the band." Where this writing differs from perhaps more conventional writing is that chord changes are far less important than you would have thought: the use of sound changes takes their place to produce atmosphere, and the attention is on lyrics, melody and sound. This particular song was accepted as the 'B'-side to People are People, and so the next stage was the recording. Alan reprogrammed the Drumulator with the exact pattern he wanted, although they no longer use the Drumulator's sounds; the Roland MC4 microcomposer, which was the composition tool of Danny's before the Synclavier came along, was then linked to the drum computer, and the MC4's sync tone was then recorded onto the 24-track at exactly the right speed. After that, all operations were synched off tape via the MC4: first the drumulator's individual sounds triggered specific sampled drums in the Synclavier: the snare was recorded at Hansa in Berlin, their favourite recording spot; the bassdrum is a sampled composite of a metal pipe being struck followed by the natural decay of an acoustic bassdrum, and so on. Then Alan played the bass riff on the Jupiter by hand(!) into the Synclavier, in time with the drums; the computer quantised Alan's playing to pulse time, and the notes were then used to trigger that mainstay of Depeche's sound down the years, the ARP 2600. After that came triggered sequences on the ARP via the ARP analogue sequencer, hand-played Emulator choirs, random synthesised 'bells' in the Synclavier. Oh yes, and David Gahan's vocals, of course!
"When we do a single like this last one," remarked Alan, "we mix for radio rather than for hi-fi. Danny bought a little gadget which we're evaluating called the Ear Opener — it's supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave; one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That's how we did People Are People: I suppose you could call it Controlled Dirt." Using that technique, it's possible to play down the pulse time technique of Depeche, to make it sound less calculated than those famous Yazoo songs. And there is also the trick of very slightly vari-speeding each individual track to give that slight push to the song.
Hardware, Software. And Adultwear: "We have never 'sold out' commercially. We're not just a numbered catalogue number, a product pushed by a multi-national label: we are probably the most successful independently-distributed independent act. Our enthusiasm on stage is still genuine, and though we don't splash ourselves around the teeny market anymore, we haven't become rock stars. We and the audience, we're all in it together."
That was David.
And if you look at the facts, there seems to be more than a fair measure of historicity in what he says. They are unconventional in their use of instruments and the use they put them to; their line-up (if you can call it that) is unorthodox; their continuing relationship with Mute records could be seen by the hardnosed to be somewhat commercially eccentric; and their involvement with Daniel Miller as mentor and co-producer is exotic. I just find the whole thing exhilarating. Hope you do, too.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:31:48
1984-04-xx - Unknown (Italy) - Videomusic

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


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

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

Foto: Rainer Drechsler

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

Photo: Rainer Drechsler
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:32:05
1984-04-xx - Depeche Mode - Information Sheet 4

Depeche Mode Official Information Service

                                                INFORMATION SHEET NO. 4/84

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

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

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

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

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

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

                Yes, Dave's fully recovered!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:32:58
1984-04-xx - Unknown (UK) - People Are People

[Thanks to meldepeche (;u=799) for this article.]

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[I typed out the text:]

People Are People

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

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

[Thanks to Pacodemode (;u=945) for scanning this for this forum!]

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( ( (
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:34:21
1984-05-03 - Bravo (Germany) - Rock mit dem Eisenstange

[Thanks to Milik (;u=13) for offering to send in this scan!]

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

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

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

[Translation by me:]

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

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

Martin Gore - he is the founder, chief and song-writer of Depeche Mode.
In "Flashlights" Depeche Mode presented their superhit "People are People" for the first time on national television.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:35:40
1984-05-10 - Bravo (Germany) - Depeche sind plötzlich in Mode

[Thanks to Milik (;u=13) for offering to send in this scan!]

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Sie spielen am liebsten für Fans über 20

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

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

[Translation by me:]

They prefer to play for fans over 20

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

Martin writing autographs: He finds young fans rather annoying.
Besides synths and electronic tricks are all kinds of brutal show-effects and percussion instruments popular with Depeche Mode in '84.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:36:33
1984-05-19 - Melody Maker (UK) - Mode On The Road

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

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

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

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

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

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

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

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

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

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

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

Afterword - I am still trying to locate this Sunday newspaper article. Doubtless it won't elude me for long, but if anyone can give me any clues, however vague, I would be very grateful.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:36:47
1984-05-24 - Bravo (Germany) - Ihre Hits kommen aus Berlin

[Thanks to Milik (;u=13) for offering to send in this scan!]

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[I typed out the text]

Depeche Mode
Ihre Hits kommen aus Berlin

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

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

[Translation by me:]

Depeche Mode
Their hits come out of Berlin

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

Bravo: Your new single "People Are People" is the toughest thing yet that can be heard from Depeche Mode. Are you currently in a large musical change?
Martin: We try not to radically break away from the music that we played two years ago, but of course we need to develop and change ourselves. Incidentally, I am almost speechless with surprise at the fact that "People Are People" was such a success. I assumed that eventually the song would drop down because the fans cannot get accustomed to the rougher sound so quickly. Thankfully, I was wrong.
Bravo: Can we expect with every one of your new records also a surprise in the future?
Martin: I do not know. We would like to retain the freedom to surprise you with our music, and thus to break new ground.
Bravo: You have not only changed musically. You changed the collar and tie for black harbourmen's clothes, and your lyrics now, instead of hearts and love, more and more talk of unpleasant things, such as violence or destroyed environments. Why?
Martin: When we started in 1982, I was actually a little boy who knew about nothing else but school and a few movies that were showing in the cinema in Basildon. If you look at pictures from 1982, you would be surprised at how sunny and we carefree the three of us looked at the time. I am astounded sometimes when I think of how much we have changed in two years.
By the constant action and the many trips we've done, I have since seen the world and got to know people a little. And I think I've discovered that there are more bad things than pleasant things.
I had a real shock last year on our Asia-tour. For the first time then, I had very close contact with the poverty in which the majority of the world population lives, and which is also to be expected over here, since humankind is not reasonable. It really made me stop laughing. It is logical that such experiences are reflected in the songs that I write.
Bravo: Is it true that you do not care about the very young fans who just want to have good sounds, easy and fun, and only want to play for people over the age of 20 who have similar thoughts to yours?
Martin: Of course it's more fun to play for people who also think about what we sing. This is less a question of age as the willingness to think. I don't care for hysterical worship. Fans who travel with us all over Europe or stand a whole day in snow or rain in order to get an autograph or a handshake make me really scared. Their expectations about us are unrealistic and crazy. They no longer see reality. I don't want anything to do with them.
Bravo: Why do you record all your records in Berlin?
Martin: The sizzling atmosphere trapped in this city always gives me great ideas. Also, I'm a real fan of Germany. I speak your language to some extent. I learned it at school for six years. A very close friend of mine lives on a farm near Flensburg. I go on vacation there from time to time.
Bravo: Who is your best buddy in the band?
Martin: As is known, Fletch. Many people think he's a bit of a sleepy, boring bookworm or something like that. This is wrong, he is a fascinating guy filles with ideas. He has the strongest personality in the band. Without him, we would all have quarreled hopelessly by now.
In the early days he worked besides school also as a truck driver, so we could buy instruments. With Andy you can really talk about anything.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:37:01
1984-05-30 - Bravo (Germany) - Ihre Stärken ihre Schwachen

[Thanks to Milik (;u=13) for offering to send in this scan!]

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[I typed out the text:]

Ihre Stärken, ihre Schwächen - alles über Depêche Mode

So förmlich mit Krawatte traten Depêche Mode früher an.
Synthesizer beherrschen die Szene bei Depêche-Gigs.

Liebe Leser, an dieser Stell sollte die Autogrammkarte von Depêche Mode kleben. Der Druckerstreik hat dies verhindert. Wir versuchen, Euch bereits gedruckten Karten mit einer der nächsten Ausgaben zukommen zu lassen.
Achtung: An dieser Stelle ist normalerweise die Autogrammkarte festgeklebt. Aus technische Gründen kann Sie in Einzelhäften an andere Stelle dem Heft beliegen.

Andrew Fletcher
Am liebsten hätte Andy (21) Geschichte studiert, doch dann landete er bei eine Versicherung in seiner Heimatstadt Basildon und machte eine Kaufmannslehre. Zusammen mit Martin Gore verbrachte er seine Freizeit bei dem gemeinsamen Freund und Schulkameraden Vince Clark, wo wie in einem Hinterhofzimmer auf zwei alten Gitarren und einem Synthesizer höllisch Lärm machen konnten. 1980 gründenten die drei Depêche Mode, und Andy blieb überhaupt keine Zeit mehr für seine altere Leidenschaft: Lesen. Auf der Bühne spielt er zwar mit seinem Synthi immer den wilden Mann, doch private lebt er lieber still und zurückgezogen. Zu Hause in Basildon, wo er mit seiner Freundin Grainne Mullan wohnt, stapeln sich die Bücher, die er noch all durchschmökern will...

Dave Gahan
David (22) hat ein dreijähriges Studium am Designer College von Southend hinter sich, das er mit Auszeichnung bestand. Wäre da nicht die Sache mit Depêche Mode dazwischen gekommen - vielleicht würde er heute die irrsten Klamotten entwerfen. Der Sänger von Depêche wohnt immer noch bei seiner Mutter und seinen beiden Brüdern in Basildon. Wenn er - was reichlich sellten vorkommt - einmal ein paar Tage hintereinander in seine Heimatstadt kommt, dann schwingt er sich am liebsten auf seine Yamaha-Geländemaschine und fährt zum Angeln. Besonders stolz ist Dave auf seinen neuen schwarzen Escort-XR-3i-Flitzer, mit dem man ihn in die Londoner Clubs abrauschen sieht. Immer dabei: Freundin Joanne...

Alan Wilder
Seit er Ende 1981 für Vince Clark bei Depêche Mode einsprang, ist Alan (25) das Oberhaupt der vierköpfigen Crew. Er wird von den anderen als Gruppenältester akzeptiert und spielt oft den Berichtvater und Ratgeber. Alan ist der einzige, der mitten in London wohnt, während Andy, Dave und Martin ja alle in Basildon/Essex hausen. Mit 17, gleicht nach der Schule, arbeitete er als Toningenieur in einem Londoner Plattenstudio, bis er dann durch eine Zeitungsanzeige auf Depêche Mode aufmerksam wurde. Alans erklärtes Hobby ist die Fotografie. Seit knapp zwei Jahren schießt er Bilder von seiner Gruppe in allen Lebenslagen. Das Ganze wird sorgfältig eingeklebt und in dicken Alben verwahrt.

Martin Gore
Martin (22) ist eindeutig der Mädchenliebling von Depêche Mode. Mit seinen blonden Locken und den strahlend grünen Augen bringt er die weiblichen Fans ganz schön auf Touren. Schon mit 13 Jahren war er Sänger bei einheimischen Bands in Basildon. Trotzdem wollte er nach der Schule etwas "Antständiges" lernen und saß eineinhalb Jahre lang in einer Londoner Bank hinter dem Schalter. Als der Depêche-Mode-Zug schneller in Fahrt kam, ließ er das Büro stehen und stieg voll auf Musik ein. Video-Freak Martin schreibt jetzt fast alle Songs der Gruppe. Seine Mutter "trainiert" er zur Zeit auf vegetarische Essen. Mit auf dem Gesundheits-Trip sind Alan und Manager Danny Miller. David und Andy weigern sich noch, auf Fleisch zu verzichtern...

[Translation by me:]

Their strengths, their weaknesses - everything about Depeche Mode

This is how formal (with ties) Depeche Mode looked when they performed years ago.
Synthesizer dominate the stage at Depeche gigs.

Dear readers, to this page should stick to the autograph of Depeche Mode. The printer strike prevented this. We try to give these already printed cards with the next issue.
Note: On this page the autograph is usually being stuck to. For technical reasons, you can find it on another page in single magazine issues.

Andrew Fletcher
Andy (21) had preferred to study history, but then he ended up at an insurance company in his hometown of Basildon and did a business apprenticeship. Together with Martin Gore, he spent his free time at their mutual friend and schoolmate Vince Clark's, where they could make noise like hell on two old guitars and a synthesizer in a backyard room. In 1980 the three formed Depeche Mode, and Andy had absolutely no more time left for his other passion: reading. While on stage he is always playing the Action Man with his synth, he prefers to withdraw himself to live quietly and in private. At home in Basildon, where he lives with his girlfriend Grainne Mullan, the books which he still wants to browse through are all stacking up...

Dave Gahan
David (22) has completed a three-year study at the College of Southend designer, which he passed cum laude. If it hadn't been for Depeche Mode instead - maybe he would now be designing the craziest clothes. The singer of Depeche still lives with his mother and two brothers in Basildon. If he - what happens only rarely - has a few days off to spend his free time in his hometown, then he preferably hops on his Yamaha machine and travels to places to go fish. Dave is very proud of his new black Escort XR-3i racer, with which he drives to the London clubs. Always accompanying him: his girlfriend Joanne...

Alan Wilder
Since he stepped in late 1981 to replace Vince Clark in Depeche Mode, Alan (25) is the chief of the four-man crew. He is accepted by the others as a group elder and often acts as father-role and counselor. Alan is the only one who lives in central London, while Andy, Dave and Martin are all living in Basildon, Essex. At 17, right after school, he worked as a sound engineer at a recording studio in London, until he then became aware through a newspaper advertisement of Depeche Mode. Alan's declared hobby is photography. For almost two years, he takes pictures of his group in all situations. This is all carefully being glued together and kept in thick albums.

Martin Gore
Martin (22) is clearly the girls' favourite in Depeche Mode. With his blond hair and bright green eyes he drives the female fans quite mad. At 13 he was the singer in local bands in Basildon. Nevertheless, after school he wanted to learn something "decent" and sat for a year and a half behind the counter at a London bank. As the Depeche Mode train was gaining momentum quickly, he left his desk and focused fully on music. Video freak Martin now writes almost all of the songs of the group. His mother is currently "training" him on vegetarian food. Alan and manager Danny Miller are also participating together with Martin with this health-trend. David and Andy nevertheless refuse to give up meat...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:37:31
1984-05-xx - Depeche Mode - Information Sheet 5

Depeche Mode Official Information Service

                                                INFORMATION SHEET NO. 5/84

I have enclosed the requested items/information which I hope are satisfactory. Please do not hesitate to write back to me if there is anything else about Depeche mode that you would like to know and I will do my best to answer your questions. Please send a stambed, self addressed envelope to the address below quoting the number 6/84 at the end of July for Information Sheet No. 6/84.

RECORD NEWS: This month sees Depeche Mode enter the studio to begin work on a new album due for release in August, as it progresses I'll keep you up to date. 'People are People' is currently the band's biggest selling single; matching 'New Life', 'Just Can't Get Enough' and 'See You' by going silver, but reaching a higher chart position in England as well getting to Number 1 in Germany (a much bigger market).

TOUR DATES: There is one concert planned for June so far; it's an open air festival near Ludwigshafen in Germany with Elton John on the 2nd. A huge European Tour is currently being put together for the Autumn and ROUGH dates are as follows starting on September 27:  St. Austell - Hanley - Liverpool - Oxford - Nottingham Dublin - Belfast - Manchester - Gloucester - Cardiff Birmingham - Blackburn - Glasgow - Aberdeen - Edinburgh Sheffield - Newcastle - Bristol - Brighton - Portsmouth Ipswich - Norwich - Leicester - Southampton - London. Followed by, on October 16: Copenhagen - Lund - Stockholm - Essen - Siegen - Freiburg ITALY - Basel - Regensburg - Berlin - Hannover - Osnabruck Oldenburg - Kiel - Hamburg - Stuttgart - Frankfurt Dusseldorf - Amsterdam - BELGIUM - Paris. Please note that these have not been finalised and tickets ( only available from venue ) are not yet on sale. I suggest you contact the halls and watch local and music press for more details. Hopefully, next month I'll have them confirmed.

Were you outside Birmingham Odeon on the afternoon of February 3 for ORS '84, Depeche Mode style? Did you want to know a girl was at the Depeche gig, Brighton 1982? She wants to contact you.....Please write to Helen Morley, 2 Fitzalan Rd, Littlehampton, W.SUSSEX.

 Depeche Mode Crossword sent in by Janette Halfpenny of Glasgow.
<CROSSWORD should be here>
Next month I'll print the clues, followed by the solution in July.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:38:36
1984-05-xx - No.1 (UK) - Dave

[Thanks to mossy (;u=550) for scanning this for this forum! This seems like a reprint, because the photo is from October 1985.]

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Echo & The Bunnymen: Silver
"Ian McCulloch's voice always sends my mind into far off places."
Sandie Shaw: Hand in Glove
"I prefer this to the original version by The Smiths. I bought the first two Smith singles but was put off by Morrissey's obnoxious and narrow-minded attitude towards other songwriters."
Nena: Just A Dream
"It sounds like late '70s new wave and I always did hate The Jags."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:39:01
1984-06-07 - Bravo (Germany) - Depeche Mode

[Thanks to Milik (;u=13) for offering to send in this scan!]

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[Thanks to Strangefan (;u=684) for transcribing/translating this.]

Depêche Mode
Seit ,,People Are People" sind die vier überall top. Bravo verrät euch, wo und wie sie leben.
Eine nüchterne Industriestadt mit wenigen künstlich angelegten Grünflächen, rund eine Autostunde von London entfernt. Teilweise schirmen mannshohe Mauern die einstöckigen Wohnhäuser mit ihren handtuchgroßen Gärtchen zu den Straßen hin ab.
Eigentlich nichts Aufregendes dieses Städtchen Basildon. Und doch. Denn dort liegt das Hauptquartier von Depeche Mode. Dorthin kehren David Gahan, Andy Fletcher und Martin Gore in den Schoß ihrer Familien zurück, um sich vom Showrummel zu erholen. Nur der Gruppenälteste, Alan Wilder, bewohnt eine ,,sturmfreie" Bude in London.
Der 1,80 m große Sänger David teilt das Basildon-Häuschen mit Mutter Sylvia und seinen zwei ,,kleinen" Brüden Phil (15) und Peter (16). Dir große Schwester Suzan (24) ist bereits verheratet.
Schwimmen und Fischen gehören zu Davids Freizeitbeschäftigungen. Und obwohl er mit dem vierten Anlauf endlich den Führerschein in der Tasche hat, schwingt er sich am liebsten auf seine Yamaha XT 124, um Freundin Joanne Fox (21) im Nachbarskaff Billericay zu besuchen.
Gitarrist Andy - Andrew John Fletcher steht in seinem Pass - ist nur selten im Hause von John und Joy Fletcher anzutreffen, wo auch seine Geschwister Simon (8), Karen (18), Susan (21) noch leben. Seine Freizeit verbringt er in der stets top aufgeräumten Bude seiner Freundin Grainne (19).
Die Biologie- und Physiologie-Studentin teilt mit ,,Bücherwurm" Andy auch die geistigen Interessen. Denn sein Hobby ist die Geschichte nach dem 2. Weltkrieg ab 1945.
Wer Synthimann Martin Gore in seiner Basildoner Burg heimsuchen will, darf keine Angst vor großen Tieren zeigen. Denn bereits am Eingang wird er von einem riesigen weißen Labradorhund ohne Vorwarnung umgerannt. Denn Ben ist stets zu einem Ballspiel aufgelegt.
Der 1,73m große Martin mit dem blonden Wuschelkopf ist der einzige Sohn im Haus. Gegen Mutter Pamela, Schwester Jackie (16), Schwester Karen (15) und Katze Fella ziehen er und Vater David immer den kürzeren. Martin, er trägt am liebsten Schwarz, lebt vegetarisch, verbringt seine Freizeit am liebsten bei Videospielen.
Keyboarder Alan Wilder teilt seine Londoner Souterrain-Wohnung mit Freundin Jeri, deren Sohn Jason (12) und Katze Tamla. Die drei sind auch die begehrtesten Modelle des Hobby-Fotografen.
Alle vier Zimmer tragen Jeris Handschrift, sind mit nostalgischem Trödel eingerichtet. Nur im Wohnzimmer hat Alan seinen Willen durchgesetzt. Dort ist seine ,,technische Ecke".
Dies ist der Text von den Bildern:
Sobald Martin (23.7.61 in London geboren) zur Tür reinkommt, wird er von Labradorhund Ben (2) mit einem Ball begrüßt: Seine Aufforderung zum Spiel.
Mit seinem Datsun 1600 sind Andy (8.7.1962 in Nottingham geboren) und Freundin Grainne oft Nostalgie-Streifzug durch die Basildoner Pubs. In einer dieser Kneipen hat's vor Jahren zwischen ihnen beiden gefunkt.
David Gahan (am 9.5.1962 in Epping geboren) hatte schon manch dicken Fisch an seiner Angel. In stillen Stunden träumt der Absolvent des Southend-Designer-College von einem eigenen Laden für ausgeflippte Lederklamotten.
Alan Wilder, am 1.6.1959 in London geboren, zieht sich in seiner Freizeit in seine Londoner Kellerwohnung zurück. Deshalb träumen Alan, Freundin Jeri und Jason von einem Land mit viel Sonne und weißen Stränden.


Depêche Mode
Since "People Are People" the four are top everywhere. Bravo reveals where and how they live.
A sober industrial town with only a few artificial green spaces, about one hour away from London. Partly head-high walls guard the houses with their gardens, which are as big as a towel, from the streets.
Actually not an exciting place to be, this town of Basildon. Really? Because there is the headquarters of Depêche Mode. This is the place where David Gahan, Andy Fletcher and Martin Gore retreat from show business to their families. Only the oldest band member, Alan Wilder, occupies a "trouble-free" digs in London.
The 1.80 m tall singer David Gahan shares the small house in Basildon with his mother Sylvia and his two "little" brothers Phil (15) and Peter (16). The big sister Suzan (24) has already married.
In his leisure time David goes swimming and fishing. Although he finally got his driving license after the forth attempt, he rather jumps on his Yamaha T 124 to visit his girlfriend Joanne Fox (21) in a dump called Billericay.
Guitar player Andy - Andrew John Fletcher as it is written down in his passport - can only be rarely found in the home of John and Joy Fletcher where also his siblings Simon (8), Karen (18), Susan (21) still live. He spends his leisure time in the always tidied up place of his girlfriend Grainne (19). The biology and psychology student has the same intellectual interests as the "bookworm" Andy. His hobby is the history after the World War II.
If you want to visit synth-man Martin Gore in his Basildon castle you must not fear big animals. Because right at the entrance you will meet a white and big Labrador. Ben always wants to play ball.
The 1.73m tall Martin with his blond fuzzy hair is the only son in the house. He and his father David always lose out against Mother Pamela, Sister Jackie (16), Sister Karen (16) and the cat Fella. Martin, who likes to wear black clothes, is a vegetarian and in his free time he likes to play video games.
Keyboard player Alan Wilder shares his semi-basement-flat in London with his girlfriend Jeri, her son Jason (12) and the cat Tamla. Those three are also the most popular models of the amateur photographer.
All the four rooms carry Jeri's trademark, thee are furnished with nostalgic stuff. Only in the living room Alan has his way. There is his "technical" corner.
Here is the text from the pictures:
As soon as Martin (born in London on July 23rd, 1961) goes through the door, he meets Labrador Ben (2) with a ball in his mouth: He wants to play.
With his Datsun 1600 Andy (born in Nottingham on July 8th, 1962) and Girlfriend Grainne make a few nostalgic forays into the pubs of Basildon. In one of these pubs they have met each other years ago.
David Gahan (born in Epping on May, 9th 1962) already has his fair share of big fish. At some quiet moment the graduate of the Southend-Designer-College dreams of his own shop with freaky leather clothes.
Alan Wilder, born in London on June 6th, 1959, spends his leisure time in his basement flat in London. Because of that Alan, Girlfriend Jeri and Jason dream of a place with lots of sun and white beaches.

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Depêche Mode-Fans protestieren:
Unser Bericht im Bravo 20 über Depêche Mide hat bei Euch viel Staub aufgewirkt. Viele von Euch waren empört über den neuen Anti-Teenie-Trend der Band; andere nahmen die vier Engländer in Schutz. Hier Auszüge aus einigen Leserbriefen:
Manuela Z., Seggebruch: "Die Jungs sind wohl größenwahnsinnig geworden! Wir Jugendlichen unter 20 haben sie doch erst zu Stars gemacht. Ohne uns würden sie noch immer in kleinen Clubs spielen!"
Heike K., Herne 2: "Was Ihr über Depeche Mode geschrieben habt, stimmt nicht. Als "Musik-Convoy"-Gewinnerin hatte ich einen ganzen Tag Gelegenheit mit der Gruppe zusammenzusein. Martin Gore verteilte sogar während der Kuchenpause freundlich Autogramme!"
Andrea R., Dissen: "Was denken Martin Gore & Co. wohl, wer ihre Platten kauft, die Konzerte besucht und vor dem Radio hockt? Wir - die Teenager ohne Grips im Kopf!"
Andrea G., Aschaffenburg: "Von Eurem Bericht war ich geschockt. Das Bild von Martin beim Autogramm-Schreiben über dem Text sprach doch (Positive) Bände!"

Depeche Mode Fans protest:
Our article in Bravo 20 about Depeche Mode had stirred up quite a lot in you guys. Many of you were outraged by the band's new anti teen trend: others would protect the four British blokes. Here are excerpts of some readers' letters:
Manuela Z., Seggebruch: "The boys have become megalomaniacal! We, adolescents under 20, have truly made them stars first. Without us, they would still be playing in small clubs!"
Heike K., Herne 2: "That what you wrote about Depeche Mode is wrong. As a "Musik Convoy" winner, I had the opportunity to spend an entire day with the band. Martin Gore even happily handed out autographs during the lunch-break!"
Andrea R., Dissen: "Who do Martin Gore & co think that are buying their records, attending their concerts and sitting in front of the radio? Us - the teenagers without brains!"
Andrea G., Aschaffenburg: "I was shocked by your article. The image of Martin during an autograph session above the text spoke (positive) volumes!"

1984-06-09 - Veronica magazine (Netherlands) - "We zijn echte dorpelingen"

[Scanned/transcribed/translated by me.]

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Depeche Mode: "We zijn echte dorpelingen'
Tekst: Mirjam Bos

De jongens van Depeche Mode uit het Engelse plaatsje Basildon zijn echte geluksvogels. Hun laatste single "People are people" doet het net als bijna al hun vorige 45-toeren-plaatjes heel goed, dit keer zelfs in Nederland. Toch beweert het viertal nog niet naar succes gestreefd te hebben, het niet eens leuk te vinden. Wat willen deze jongens dan wel of is het gewoon een groepje "leugenaars"?
Even voorstellen? David Cahan [sic] (21), Andrew Fletcher (22), Martin Core [sic] (?) en Alan Wilder (24) oftewel Depeche Mode. De groep bestaat al 4 jaar, heeft inmiddels 3 succesvolle elpees op haar naam staan en sleutelt momenteel aan een volgende langspeelplaat. Ze trekken 3 maanden voor de opnamen uit en hebben als voorproefje alvast de single "People are people" wereldwijd uitgebracht. Het nummer dat over racisme handelt is inmiddels niet onopgemerkt gebleven. In Engeland en in Nederland bijvoorbeeld is het een vette hit. "Van ons hoeft dat hele gedoe niet zo nodig," zegt Alan, "We vinden het prima om lekkere muziek te maken, maar die interviews, foto-sessies, video-clips, tv-optredens en ga zo nog maar even door, dat kan van mij allemaal gestolen worden. Van de andere jongens ook trouwens, alhoewel we best begrijpen dat het er nu eenmaal bijhoort.
De mensen doen net alsof we het gemaakt hebben, omdat we nu al een paar jaar zeer succesvolle platen maken. Wij hebben echter het gevoel alsof we net begonnen zijn. Bepaalde types vragen ons ook steeds waarom we niet naar het vasteland van Europa verhuizen, of naar Amerika om zodoende steeds succesvoller te kunnen worden. Maar dat zien wij niet zitten. In principe zijn wij vier jongens zonder ambitie. We hebben nooit nummer 1 willen worden, we hebben ook nooit 'groot' willen worden in Amerika. We willen gewoon doen wat we doen en verder niets." Toch wordt iedere stap die de groep maakt gewikt en gewogen. Niets gebeurd zomaar onverwachts. Alles blijkt steeds tot in de finesses gepland te zijn. En spontaniteit is er al helemaal niet bij bij Depeche Mode (wat zoveel betekent als 'snelle mode'). Ze waarderen het wel in andere bands, maar bij Depeche Mode is er geen sprake van.
"Je kan het ook anders vertalen," begint Martin voorzichtig, "dat, wat Alan net zei. Kijk, het kan heel goed zijn dat we van nu af aan geen succes meer zullen hebben, daar zullen wij dan niet mee zitten. Toen we vrijwel meteen succes bleken te hebben, werden we meteen opgezadeld met interviews, foto-sessies. Er moesten video-clips komen. Later hebben we van veel van die dingen behoorlijke spijt gehad. We zijn geen acteurs of filmmakers, we hebben de wereld ook vrij weinig te vertellen.
We zullen Daniel Miller van het Mute Label, die ons ontdekt heeft, echter nooit vergeten. Dankzij hem maken we nu platen, die hij trouwens produceert. Maar we zijn eigenlijk nog lang niet zover als iedereen wel mag denken. We zijn bijvoorbeeld wel gek op video-spelletjes, maar technisch zijn we nu niet bepaald. We kunnen nog niet eens echt goed met bepaalde synthesizers overweg. We hebben de ideeën wel, maar we weten niet hoe we ze uit moeten werken. Dat doet Daniel als het ware, hij vertaalt onze ideeën in muziek. Dat hopen we over niet al te lange tijd zelf te kunnen doen, maar zoiets leer je niet een-twee-drie. Er gaat een hele tijd overheen voordat je zo'n apparaat helemaal onder de knie hebt."
Op het ogenblik is Depeche Mode in Berlijn met Daniel Miller druk bezig hun vierde elpee op te nemen. De heren zijn er echter van overtuigd dat ze nog lang niet aan hun beste langspeler toe zijn. "We beheersen al onze instrumenten nog niet eens, zoals Martin net al zei," zegt David, "daarom zal het ook nog wel even duren voordat we echt goed zijn. We mogen dan wel al succes hebben, maar gelukkig nog niet echt gigantisch. Als we dit jaar niet met een nieuwe elpee afkomen, is iedereen ons volgend jaar vergeten. Ik ben ervan overtuigd dat het echt nog een hele tijd zal duren voordat mensen er trots op zullen zijn dat ze een Depeche Mode-plaat in hun collectie hebben. Daar durf ik om te wedden. We beginnen nu ook pas zelf ideeën voor video-clips te krijgen en voor andere bijzaken, waar we eerst niets mee te maken wilden hebben. We worden gewoon steeds beter en allrounder, en zeg alsjeblieft niet dat we al binnen zijn. Dat ons kostje gekocht is, want het is nu eenmaal zo. En niet anders." Wat David er ook van mag zeggen, de band blijft het gedoe eromheen knap vervelend vinden. Ze zitten er niet op te wachten, hebben er spijt van dat ze "vroeger" tijdens interviews zo eerlijk waren en voelen zich nog steeds het beste thuis in Basildon, het hele kleine dorpje in het graafschap Essex, waar drie van de vier leden vandaan komen. "Moet je luisteren," dwingt Andrew even later, "Basildon is zeker niet het centrum van de wereld. Maar als je daar je hele leven gewoond hebt, is het heel moeilijk om er zomaar weg te gaan om in een grootse, wereldse stad te gaan wonen, waar altijd alles gebeurt. Al onze vrienden wonen er, we verblijven alle drie (behalve Alan, die met zijn vriendin in Londen woont) nog bij onze ouders en we zouden het dorp gewoon niet lang kunnen missen. Als we niet op toernee zijn, zijn we het liefst thuis. Om lekker relaxt nummers te schrijven, want dat gaan we echt niet op hotelkamers doen. Daar voelen we ons niet op ons gemak. En daarom toeren we wel, maar niet de hele tijd. Dat zouden we niet kunnen. We zijn nog steeds echte dorpelingen, die 's avonds het liefst in de kroeg hangen en veel lol trappen. Al zou je dat — aan onze muziek te horen — dan misschien niet zeggen."


Depeche Mode: "We are true villagers'
Text: Mirjam Bos

The guys from Depeche Mode from the English town of Basildon are real lucky bastards. Their latest single "People are people" is doing, as nearly all their previous 45 RPM records, very well, this time even in the Netherlands. Still, the foursome claims to not yet have been seeking for success, they don't even like it. So what do they want, or are they just a bunch of "liars"?
Let's introduce them? David Cahan [sic] (21), Andrew Fletcher (22), Martin Core [sic] (?) and Alan Wilder (24), also known as Depeche Mode. The group exists since 4 years, and now have three successful LPs to their roster, and are currently working on a next LP. They planned three months for this record session and already have released a worldwide preview with the single "People are people". The song that deals with racism has not gone unnoticed. In England and the Netherlands, for example, it was an instant hit. "For us, all this drama is not necessary," says Alan, "we are okay with making good music, but those interviews, photo sessions, video clips, television appearances and so on, I can do without all that. So do the other boys, by the way, although we do understand that it's part of the job.
People act as if we've made it to the top, because we have already been making highly successful records for a few years. However, we feel like we're just getting started. Certain people always ask us why we don't move to mainland Europe or to America to thus become more successful. But we do not like that idea. Basically, we are four guys without ambition. We never wanted to be number one, we never wanted to become "big" in America. We just want to do what we do and nothing else." Yet every step the group makes is being weighed up. Nothing happens unexpectedly. Everything seems to be planned to the last touch. And spontaneity is certainly not Depeche mode's (which basically means 'fast fashion') doing. They appreciate it in other bands, but it's not the case for Depeche Mode.
"You can translate it differently," Martin begins gently, "the thing that Alan just said. Look, it may very well be the case that we from now on we won't have success anymore, and that wouldn't bother us. When we got success almost instantly, we were immediately being tied up with interviews, photo sessions. Music videos had to be released. Later on, we quite regretted a lot of that. We aren't actors or filmmakers, and we also have little to say to the world.
We'll never forget Daniel Miller of the Mute label, who discovered us. We now make records thanks to him, which he has produced by the way. But we are actually not nearly as far as people may think. For example, we might love video games, but we are definitely not technical. We still cannot handle some synthesizers very well. We have ideas, but we do not know how to work them out. Daniel does this more or less, he translates our ideas into music. We hope to be able to do this ourselves eventually, but some things cannot be learned like, one-two-three. A long time passes before you've completely mastered such a device."
Currently, Depeche Mode are busy recording their fourth album in Berlin with Daniel Miller. The men are convinced, however, that they are far removed from their best album. "We don't even handle all our instruments properly, like Martin just said," says David, "So it will take some time before we are really good. We might have been successful, but fortunately we're not really huge yet. If we do not come up with a new album this year, everyone will have forgotten us next year. I am convinced that it will take a really long time before people will become proud to have a Depeche Mode album in their collection. I dare to bet on that. We have only just recently started to have our own ideas for video clips and other secondary matters, things which we wanted to have nothing to do with at first. We're just getting better and all-rounder, and please don't say that we've made it already. Or that we've earned our living, because it is what it is. And not anything different." Whatever David has to say, the band continues to find all the fuss around it pretty boring. They're not looking forward to it, and regret having been so honest during interviews "in the past" and still feel most at home in Basildon, the tiny village in the county of Essex, where three of the four members are from. "Listen," Andrew forces a bit later on, "Basildon is certainly not the centre of the world. But if you've lived there all your life, it is very difficult to just get away from there in order to live in a big, cosmopolitan city, where it's all happening. All of our friends live there, all three of us (except for Alan, who lives in London with his girlfriend) still live there with our parents and we simply cannot miss the village for long. When we're not on tour, we are preferably at home. Writing songs, comfortably relaxed, because we're definitely not doing that in hotel rooms. We don't feel at ease in there. And that's why we tour, but not constantly. We wouldn't be able to. We are still true villagers, who prefer to hang out in the pub in the evenings and have some fun. Even if you would not - by listening to our music - be able to imagine."


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[Photo found on eBay. An identical version of this article appeared in the Flemish Joepie magazine on 1984-07-15. I definitely bet that this "interview" with Martin has been completely made up - it's riddled with mistakes and exaggerations. Read this only if you want a laugh, not if you want any information on the boys.]

Martin Gore over nieuwe liefde thuis

"Ik had nooit gedacht dat er zoveel mooie meisjes op deze wereld zijn", lacht Martin Gore. "Toen we onlangs bekend maakten dat we voor de opnamen van onze nieuwe video vrouwelijke figuranten nodig hadden, stroomden de aanbiedingen binnen. Het kan dus nog wel een tijdje duren vooraleer we onze keuze gemaakt hebben. Gelukkig hebben we geen al te jaloerse vriendinnen!"

Mysterieuze stad
Vriendinnen! En wij die dachten dat Martin Gore nog steeds geen vast meisje had...
"Nou, daar is wel verandering in gekomen", lacht hij. "Ik heb wel iets langer gewacht dan de anderen, maar ik ben het dan ook verderop gaan zoeken. Mijn kersverse liefje is namelijk een meisje dat in Berlijn woont. Ze heet Christine en was een paar weken geleden op vakantie in Engeland. We hebben elkaar toen ontmoet. Ik heb haar sindsdien ook al enkele keren opgezocht in Berlijn, en ik denk er zelfs over om me één van de komende maanden definitief in die stad te vestigen. Het is een heel intrigerende en mysterieuze grote stad, heel anders dan Londen. Ik vind het helemaal niet verbazend dat iemand als Bowie er ook een tijdje gewoond heeft. Ik denk dat je er als artiest een hoop inspiratie opdoet."
Betekent dat dan niet dat die vriendschapsbanden tussen de jongens van Depeche Mode zullen losser worden? "Zeker niet, maar het is nu eenmaal zo dat je af en toe verandering van omgeving nodig hebt. Alan Wilder en Andy Fletcher voelen dat niet zo. Die hebben hun vaste liefjes in Londen, en ze zitten trouwens toch bijna altijd in de studio. Steeds maar nieuwe dingen aan het verzinnen met onze instrumenten en dikke boeken over computers aan het bestuderen. Dat is echt niets voor mij", besluit Martin lachend.

Nou, dan rest ons nog het vierde lid van de groep, David Gahan. Wat spookt die uit tegenwoordig? "Nou, die heeft wel andere zorgen", proest Martin het uit, "Je weet misschien nog dat hij al een paar keer gezakt was voor zijn rijbewijs? Wel, een paar weken geleden had hij de klus dan toch geklaard. Geslaagd met vlag en wimpel! Een paar dagen later rijdt hij echter van Londen naar Basildon, waar hij nog steeds bij zijn ouders woont. Komt er plotseling een bakbeest van een vrachtwagen op hem afsteven. David raakt in paniek en rijdt knal de gracht in! Zijn nieuwste wagentje was meteen goed voor de schroothoop. Ik begin me eigenlijk af te vragen of die kerel die hem zijn rijbewijs heeft afgeleverd, niet te goedhartig was. Onze Dave leert het immers blijkbaar nooit... Gelukkig heeft zijn vriendinnetje Joanne hem goed opgevangen en getroost."
Een laatste vraagje. Vinden Martin's liefje en de meisjes van de andere jongens het nou echt niet erg niet erg dat zoveel meisjes bijna vechten om een rolletje te mogen speken in één van hun promotiefilmpjes?
"Ach nee, dat hoort nu eenmaal bij de job, en dat weten onze meisjes ook wel. We vinden het natuurlijk wel vleiend dat we zo in de smaak vallen bij het andere geslacht, maar we zullen het zeker nooit in ons hoofd halen daar misbruik van te maken. Wij houden immers veel te veel van onze meisjes om ontrouw te zijn."

Photo captions:
De jongens van Depeche Mode tussen de stapels verzoeken en foto's van allerlei meisjes die een rolletje willen in hun nieuwe clip.
Tot voor kort woonde Martin Gore nog bij zijn ouders. Ruilt hij binnenkort zijn jongenskamertje voor een Berlijnse flat?
Dave Gahan, een groot talent op het podiun en in de studio, maar een ramp achter het stuur.

Translation by me:

Martin Gore about new lover at home

"I never would have thought that there would be this many pretty girls on this planet", laughs Martin Gore. "When we announced recently that we needed female extras for our new video, the offers started reeling in. So it can take a while before we've made our choice. Fortunately we don't have too jealous girlfriends!"

Mysterious city
Girlfriends! And we kept on thinking that Martin Gore still didn't have a steady girl...
"Well, there's been a big change in that aspect", he laughs. "I did wait slightly longer than the others, but then I went to search farther. My brandnew girlfriend is namely a girl who lives in Berlin. Her name is Christine and she was on a holiday in England for a few weeks. We met each other then. I even went to visit her a few times in Berlin, and I'm thinking about settling in that city within the next few months. It's a very intriguing and mysterious large city, very different from London. It doesn't surprise me at all that someone like Bowie had lived there for a few months. I think that that place gives you a lot of inspiration as an artist."
Doesn't that mean that the friendship ties between the boys of Depeche Mode will become looser? "Certainly not, but it just has to be that you need a change in environment every now and then. Alan Wilder and Andy Fletcher don't feel that way. They've got their steady girlfriends up in London, and they're almost always in the studio anyway. Always thinking of new things that can be done with our instruments and examining big books on computers. That's so not my thing", concludes Martin laughingly.

Well, that leaves us with the fourth member of the group, David Gahan. What has he been up to nowadays? "Well, he's got other things to worry about", Martin splutters, "You might remember that he has failed his driver's test a few times? Well, a few weeks ago he had finally done the deed. Passed with flying colors! A few days later, however, he is driving from London to Basildon, where he still lives with his parents. Suddenly a colossal truck is coming towards him. David starts panicking and drives straight into the canal! His brandnew car was immediately ready for the scrapheap. I'm starting to wonder if the guy who gave him his driver's license, wasn't too generous. Our Dave will apparently never learn... Fortunately his girlfriend Joanne has consoled and supported him.
One last question. Do Martin's girlfriend and the girls of the other guys really not mind the fact that so many girls are fighting over playing a part in one of their promo videos?
"Oh no, that's just a part of the job, and our girls know that. We of course do find it flattering that so many girls find us appealing, but we'll never consider taking advantage of that. Because we love our girlfriends way too much in order to be unfaithful."

Photo captions:
The boys of Depeche Mode, sitting between the heaps of requests and photos of all kinds of girls who want to play a part in their new video.
Until recently Martin was still living with his parents. Will he trade his little boys room for a Berlin flat?
Dave Gahan, a big talent on stage and in the studio, but a disaster behind the wheel.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:39:30
1984-06-14 - Bravo (Germany) -  Depeche Mode Star Album

[Many thanks to Sabu (;u=750) for sending in this scan!]

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Der Video-Freak
Auf Video-Spiele fährt Martin Gore (geb. 23.7.61) voll ab. Wenn sich der Gitarrist von Depêche Mode mal nicht mit Video-satelliten rumschlägt, zieht er gern mit seinem Kumpel Andy Fletcher durch die Pubs ihrer Heimatstadt Basildon. Martin wohnt noch bei seinen Eltern, und die "trainiert" er gerade auf seinen neuesten Tick: vegetarische Kost.

Chef und Beichtvater
Alan Wilder (geb. 1.6.59) - seit 1981 bei den Depêches - wird von allen als Chef anerkannt. Der Gruppenälteste spielt of Beichtvater und Ratgeber. Als einziger wohnt Alan in London, wo der Synthi-Mann als Toningenieur arbeitete. Seine große Leidenschaft ist das Fotografieren: Er hält Depêche Mode in allen Lebenslagen fest.

der Depêche-Designer
Dave Gahan (geb. 9.5.62) braust in jeder freien Minute mit seiner Geländemaschine durch die Gegend. Sonst entwirft der studierte Designer ind Sänger der Band die Bühnenklamotten für Depêche Mode oder zieht mit Freundin Joanne durch die Londoner Clubs.

Der wilde Mann
Auf der Bühne spielt Andy Fletcher (geb. 8.7.62) immer den wilden Mann, privat ist er ganz friedlich. Der gelernte Versicherungskaufmann und leidenschaftliche "Bücherwurm" war schon bei Depêche Mode, als sie noch in Hinterhöfen spielten.

[Translation by me:]

The video Freak
Martin Gore (born 07/23/61) loves to play video games. When the guitarist of Depeche Mode is not struggling with video satellites, he is going with his buddy Andy Fletcher to the pubs in their hometown Basildon. Martin still lives with his parents, and he "trains" them on latest tick: vegetarian food.

Chef and confessor
Alan Wilder (born 1/6/59) is since 1981 a part of the Depeches, and recognized by all as a captain. The oldest one of the group often plays a confessor and counselor. Alan is the only one living in London, where the synth-man worked as a sound engineer. His great passion is photography: He captures Depeche Mode in all situations.

Depeche designer
Dave Gahan (born 05/09/62) roams every free minute on his road bike through the area. When not roaming, the professional designer and singer is designing the stage clothes for Depeche Mode, or goes to the London clubs with girlfriend Joanne.

The wild man
On stage, Andy Fletcher (born 07/08/62) is always the wild man, but privately he is very peaceful. The qualified insurance salesman and passionate "bookworm" was already in Depeche Mode when they still were playing outside.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:40:16
1984-06-21 - Bravo (Germany) - Martin ist der Neue Boss

[Thanks to Milik (;u=13) for offering to send in this scan!]

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[I typed out the text:]

Depêche Mode
Martin ist der neue Boß

Depêche Mode: "Wir sind keine Teenie-Band mehr".
Martin Gore: Der neue Zeremonienmeister der Depêches verbietet das Lachen.
Dave Gahan: Auf der Autobahn wurde sein Wagen demoliert.
Depêche Mode: Wenig Licht und dunkle Hintergründe fordern Depêche Mode für alle Fotos.
Andy Fletcher: "Ultravox" ist der beste Beweis, daß es auch ohne Zahnpasta-Grinsen geht.
Alan Wilder: Seine Freundin Jeri rasiert ihm jede Woche das Haar.

"Ich bin ein Berliner!" Lange dauert es nicht mehr, dann kann Depêche Mode-Sänger Martin Gore diesen Satz stolz verkünden. Martin, dessen deutsche Freundin Christine in Berlin lebt, ist von der Stadt mit der Mauer total fasziniert. Zur Zeit muß er seine Umzugspläne jedoch etwas aufschieben, bis die neue LP fertig ist. Alan, Dave, Andy und Martin sind erst einmal von der Bildfläche verschwunden.
Nach dem Erfolg ihrer Hit-Single "People are People" und dem Album "Construction Time Again" hocken die vier in einem Londoner Plattenstudio und basteln an neuen Tracks.
Martin hat sich auch zum neuen Boß und Zeremonienmeister der Crew aufgeschwungen. Damit ist Alan, bisher Gruppenältester und Beichtvater, etwas aus dem Rennen. Martin läßt sich nur noch im Profil ablichten, weil er da besser wirkt. Er stellt die Gruppenfotos selbst, mischt sich überall in technischen Fragen ein und verlangt von den Fotografen nur noch karges Licht und dunkle Hintergründe.
Er sagt auch an, welche Klamotten Depêche Mode tragen, wie sie benehmen sollen und wann interviews gegeben werden. Dave Gahan machte in England kürzlich Schlagzeilen: Auf der Autobahn von London in seine Heimatstadt Basildon raste ihm ein anderer Wagen hinten rein und schrob sein Auto fast in den Straßengraben.
Daves brandneuer Escort-XRi-Flitzer was ziemlich demoliert. Dave und seine Freundin Joanne kamen mit ein paar Kratzern davon. Sie waren angeschnallt.
Übrigens: Alan Wilders Bürstenhaarschnitt mit den geschorenen Seite ist jetzt garantiert Hausemarke. Freundin Jeri schneidet ihm höchstpersönlich jede Woche die Haare. Die neue Depêche-Mode-Devise taucht immer wieder auf: "Wir lachen nicht mehr auf Befehl", brumme sie mißmutig und verweisen dabei auf Midge Ure und Ultravox, ihre Vorbilder. "Die sind der beste Beweis, daß es auch ohne Zahnpasta-Grinsen geht..."

[Translation by me:]

Depeche Mode
Martin is the new boss

Depeche Mode: "We are not a teens band more."
Martin Gore: The new ceremonial master of Depeche Mode forbids laughter.
Dave Gahan: On the highway, his car was demolished.
Depeche Mode: Depeche Mode demand low light and dark backgrounds for all photos.
Andy Fletcher: "Ultravox" is the best proof that it can be done without toothpaste grins.
Alan Wilder: His girlfriend Jeri shaves his hair every week.

"Ich bin ein Berliner!" It will not take long for Depeche Mode singer Martin Gore to proudly announce that sentence. Martin, whose German girlfriend Christine lives in Berlin, is fascinated by the 'city with the wall'. At the time, however, he must postpone his plans to move until the new album is ready. Alan, Dave, Andy and Martin have once disappeared from the scene.
After the success of her hit single "People are People" and the album "Construction Time Again", the four sit in a London recording studio and working on new tracks.
Martin has also declared himself as the new boss and ceremonial master of the crew. Thus, Alan, formerly the group elder and confessor, is somewhar out of the race. Martin may only be photographed in profile, because it looks better. He arranges the group photos himself, delves everywhere into technical questions and demands of the photographer to use only low light and dark backgrounds.
He also says which clothes Depeche Mode should wear, how they should behave and when interviews are given. Dave Gahan made headlines in England recently: On the highway from London to his hometown Basildon another car rushed past him and pushed his car almost into the ditch.
Dave's brand new escort XRi Racer was pretty much demolished. Dave and his girlfriend Joanne escaped with only a few scratches. They had their buckles on.
Incidentally, Alan Wilder's brushed-up haircut with the shaven sides is now a guaranteed home brand. Girlfriend Jeri cuts his hair herself every week. The new Depeche Mode motto appears again and again: "We do not laugh on command," they mumble morosely and refer to Midge Ure and Ultravox, their role models. "They are the best proof that it can be done without toothpaste grins..."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:40:58
1984-06-28 - Bravo (Germany) - Maschinen-Sound wie 1000 Volt & Autogrammkarte

[Many thanks to Sabu (;u=750) for sending in this scan! I transcribed/translated it:]

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Depêche Mode
Maschinen-Sound wie 1000 Volt

Action-Man Dave heizt den 40,000 Open Air Fans ein.
Auf der Bühne: Andy Fletcher verzichtet aus Eitelkeit auf seine braune Hornbrille.
Martin Gore mit seiner deutschen Freundin Christine. Er zieht demnächst zu ihr nach Berlin.
Dave ist einer der besten Tänzer der Szene. Martin greift bei "And Then" sogar die Gitarre.
Alan Wilder ist bei Depêche Mode der ruhende Pol.
Martin testet das Super-Tele unseres Fotografen.
Nach dem Depêche-Gig kümmert sich Andy ausschließlich und intensiv um seine Fans.

Wie auf Kommando sind die 40,000 Fans im Ludwigshafener Süd-West-Stadion in Bewegung. Für Depeche Mode lassen selbst eingefleischte Open-Air-Fans die mit Wein und Bier gefühlten Plastik-Kanister stehen und springen hoch von ihren Schlafsäcken und Camping-Matten.
Die Masse drängelt und schubst nach vorne in Richtung Bühne, um sich von den Sound-Hexenmeistern aus nächster Nähe antönen zu lassen.
Eingekeilte Sanitäter mit Tragbaren haben Mühe, sich selbst zu retten. War es schon am Nachmittag bei den Acts von Gianna Nannini, Howard Jones und Joan Baez verdammt eng im Halbrund um die riesige Bühne, bei Depeche Mode weiß man, wie sich Ölsardine in der Büchse fühlt.

Das dumpf-monotone Metall-Drumming der englischen Synthi-Meister verwandelt das Stadion in Null Komma nichts in eine glühende Hammerschmiede.
Superstar Elton John ist übrigens derselben Meinung: Bevor er als Headliner dem Open-Air die Krone aufsetze, plauderte er mit den vier Synthi-Stars. Väterlich legte er dabei den Arm um Martin und gestand: „"People are People" ist mein absoluter Top-Hit…“

Schon die saftige Einstiegsdroge "Everything Counts" geht bei den Fans voll ab. Von hellen Glockentönen bis zum brutalen Baß-Rumpeln fehlt nichts im tierischen Depeche-Live-Sound.
Stück für Stück drehen sie das Tempo immer höher. Die absolute Bühnen-Action besorgt Front-Mann und Sänger Dave Gahan. Obwohl er nie Ballett-Unterricht hatte, ist er bestimmt einer der besten Tänzer das Szene.

Bei "Construction Time Again" schwingt er seinen Mikrophonständer wie ein Samurai-Schwert, das er sich jeden Moment in den Bauch stoßen will. Dann jagt er wie von 1000 Volt geschüttelt quer über die Bühne und verkrallt sich kreisend in den Monitorboxen.
Absoluter Höhepunkt: "People are People". Da lassen sich auch Andy, Alan und Martin in puncto Action nicht lumpen. Alan drischt mit einer riesigen Keule auf ein Wellblech, Martin schlägt seine Sticks an einem E-Drum zu Bruch.
Die 40,000 stehen wie unter Strom: Wie aus einer Röhre grölen sie den Text ihrer neuen Lieblingsnummer, unterstützen den geilen Maschinen-Sound mit Nebelhörnern und Trillerpfeifen.

Für "And Then" wagt sich Martin Gore sogar hinter seinen Synthi-Wänden vor und klinkt sich mit der Akustik-Gitarre in Daves Donner-Hall ein. "Kein Saxophone, keine Geige, trotzdem irre Musik", schreit mir ein Familienvater ins Ohr, der soeben von Depeche Mode "bekehrt" wurde.


Depeche Mode
Machine-sound like 1000 volts

Action Man Dave excited 40,000 Open Air fans.
On stage: Andy Fletcher takes off his brown horn-rimmed glasses out of vanity.
Martin Gore and his German girlfriend Christine. He moves to Berlin soon because of her.
Dave is one of the best dancers in the scene. Martin grabs during "And Then" even a guitar.
Alan Wilder is the calming influence at Depeche Mode.
Martin tests the super-lens of our photographer's camera.
After the Depeche gig, only Andy intensively cares for the fans.

As if on cue, the 40,000 fans at the Ludwigshafen’s Süd-West-Stadium are in motion. Depeche Mode can even motivate the hardcore open-air fans who are holding wine and beer in plastic cups to jump up from their sleeping bags and camping mats.
The mass pushes and slides forward toward the stage to see the sound emanating from the wizards as closely as possible.
Wedged medics with stretchers struggle to keep themselves together. During the acts of Gianna Nannini, Howard Jones and Joan Baez in the afternoon it was already really tightly packed around the huge stage, but with Depeche Mode you will know how sardines in a can will feel.
The low, monotonous metallic drumming of the English synth-masters changes the stadium in no time at all into a glowing forge.
Superstar Elton John incidentally agrees: Prior to crowning the Open-Air festival as the headliner, he chatted with the four synth-stars. Fatherly, he put his arm around Martin and said: “"People are People" is my absolute favourite hit...”

Even the juicy gateway drug " Everything Counts " drives the fans wild. From bright bell sounds to brutal bass rumbling, nothing lacks in Depeche’s animalistic live sound .
Track by track they speed up the pace higher and higher. The absolute stage action is delivered by front man and singer Dave Gahan. Although he never has had ballet lessons, he is definitely one of the best dancers on stage.

During "Construction Time Again" , he swings his microphone stand like a samurai sword which he wants to stick at any moment into the stomach. Then he spirals wildly, like having 1000 volt running through him, across the stage and and yells into the monitor speakers .
The absolute highlight: "People are People". Now even Andy, Alan and Martin are not lacking in action. Alan smashes with a huge bar on a corrugated steel wall, Martin beats his drum sticks on an E-Drum until it will break.
The 40,000 people are standing as if they’re electrified: Like pipes, they bawl the lyrics of their new favourite songs, and support the hot engine sound with fog horns and whistles.

For "And Then", Martin Gore even dares to come forward from behind his synth wall and backs up Dave’s thundering echo with an acoustic guitar. "No saxophone, no violin, and yet crazy music," shouts in my ear a family man who has just been "converted" by Depeche Mode.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:41:37
1984-06-30 - Okej #13 (Sweden) - Depeche Mode med ny politisk image

[Thanks to Rome (;u=870) for sending a photo of this article!]

( (

1984-06-xx - Unknown (UK) - Masters of Change

[Thanks to meldepeche (;u=799) for this article. The month of publication is my guess. I typed out the text.]

( (

Depeche Mode
Masters of change

Between Duran Duran and Culture Club and the ambitious boys of Wham! The charts and music scene are kept fairly busy. After a while, it's hard to remember when pop was less glamourous. All these trendy suits, unusual visuals, ever changing hair cuts and colours and sun tans.

Yet, in between the gimmicks of Frankie and idiocy of Agadoo', there is Depeche Mode. The closest thing to glamour is a few blond streaks in Dave Gahan's hair. That's about it. The quartet of Martin Gore, Dave Gahan, Andy Fletcher and Alan Wilder look almost bleak by glam standards because they prefer to wear plain jeans and chain store tops. But the subtely of appearance suits them. Depeche Mode make great music, and concentrating on their sound instead of what they look helps.
'Master and Servant' will follow their earlier hit 'People Are People' into the charts. 'People Are People' became a number one hit in Germany and that's where the group cut both the 7 and 12" versions of the new single. They used the Hansa Tonstudio which has been used by British musicians like David Bowie and David Sylvian.
Martin Gore spends a lot of time in West Germany because he lives there with his German girlfriend. But the others enjoyed a change of scenery from England. Of course, when you're in a studio making music all day you hardly get to see the sights, do you?
Still, the group seem happy with the way their career keeps changing. "Our fans are growing with us" explains Martin. "They seem to be getting older as we do. Therefore, they like to change as much as we do. Our audiences don't seem to scream as much as years ago. They listen. That's a great feeling for us. It can be a bit depressing to get onstage and face a wall of screaming fans who aren't listening to what you're doing. This may not be as exciting, but it's rewarding."
It's not only the fans who are quietening down and changing. Depeche Mode report that their music making approach is also seeing some changes.
"We're using fewer conventional instruments" said Dave. "We still write our material before we go into the studio. We also make make up 'demos': samples of what the finished track should sound like before we go into the studio to cut the real thing. It's a mixture of using instruments and computers. People may say it's sounding harsher. But you could look back at our early songs and say they were silly love songs. It all depends which angle you want to start from."
Last year, Depeche did brilliantly during their winter tour of Britain. It's too soon to know when they will hit the road again. First, they're putting the finishing touches on the album that will follow 'Construction Time Again'. Can't wait!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:42:04
1984-06-xx - Popcorn (Germany) - Ganz kühl mit Gefühl

[Thanks to ScannedPress (;u=938) of ( for scanning this!]

( ( (

Depeche Mode
Ganz kühl mit Gefühl

Das neue Image: schwarzer Look, kein Lächeln, coole Mienen

Cool ist "in". Glasklare, sterile Synthi-Töne, präzise gestanzter Tanzbeat und dazu die aufreizend seelenlose Stimme von David Gahan (22), die einem den hypnotischen Refrain ins Gehirn hämmert: "People are people, so why should it be, you and I should go along so awfully." Zu deutsch: "Menschen sind Menschen, warum muß es dann sein, daß du und ich so schlecht miteinander auskommen." Selten wurde über Gefühle so cool gesungen. Depeche Mode, die in Deutschland schon immer etwas erfolgreicher waren als zuhause in England, kamen damit im Blitzschuß auf Platz 1 der deutschen Hitparaden - in Großbritannien reichte es "nur" zum 3. Rang. Und passend zu ihrem chromkalten Synthie-Sound schlüpften die vier jungen Musiker (all zwischen 21 und 25) in ein passendes Image: Ein Look ganz in Schwarz, ernste Gesichter, Kühle im Blick. Wie Musikroboter vom Fließband. Wer die vier Jungs nochmal richtig lachen sehen will, sollte sich an unser Poster in der Heftmitte halten, das kurz vor der Imagewende aufgenommen wurde.
"Lachen ist uncool", meint Alan Wilder (25) heute, "wir sind jetzt keine Teenieband mit harmlosen Electronic-Pop mehr. Wir empfinden uns seit dem Album 'Construction Time Again" also experimentelle Speerspitze der elektronische Rockmusik." Ganz offensichtlich haben die vier von Depeche Mode (ähnlich übrigens wie Kajagoogoo) einen Heißhunger auf künstlerische Anerkennung. Und wer ihre Story kennt, kann das auch verstehen. Vor vier Jahren formierten sich Depeche Mode (der Name ist der umgedrehte Titel des französichen Modejournals "Modedepeche") im der englischen Kleinstadt Basildon. Gründer und motor war damals Vince Clark, der inzwischen ausgestiegen ist und mit Yazoo ("Only You") erfolgreich war. Die Stilrichtung von Depeche Mode war vor vier Jahren noch revolutionär: Der Sound kam fast ausschließlich aus Synthesizern, die Jungs wurden "Spezialisten im Knöpfchendrücken" (David Gahan).
Man hatte Kraftwerk und Tangerine Dream im Ohr und wollte daraus etwas Neues entwickeln. Immerhin: Die erste Single "Dreaming of me" (März '81) kam in die englischen Top Thirty, die zweite "New Life" (Mai '81) in die Top Twenty und die dritte "I just can't get enough" schaffte wenig später die Top Ten. Mit dem Ohrwurm "I just can't get enough" schafften Depeche Mode bei uns den Durchbruch. Erste Disco-Tourneen waren erstaunlich erfolgreich, es folgten zahlreiche TV-Auftritte und steil steigende LP-Verkäufe. Vom dritten Album "Construction Time Again" (dt: "Es ist wieder Zeit für einen Aufbau") wurden schon vor dem Hiterfolg über 100.000 Exemplare abgesetzt.
Diese Scheibe bekam übrigens den letzten Schliff in Berlin - das dortige "Hansa-Studio" besitzt nach Ansicht der Gruppe das beste Abmischstudio der Welt. Martin Gore: "Wir waren vorher regelrecht auf Soundjagd gegangen und hatten unter Eisenbahnbrücken, an Flughäfen und in Fabriken die verrücktesten Geräusche eingefangen - viel davon ist auf dem Titel "Pipeline" zu hören. Dann nahmen wir in London die Rohfassung der Nummern auf und mixten alles in Berlin zusammen. Wir finden Berlin überhaupt sehr inspirierend, da gibt es tolle Gruppen wie zum Beispiel Einstürzende Neubauten, denen es übrigens ähnlich geht wie uns. Die sind in England sehr viel bekannter als in Deutschland..."
Die Liebe zu Berlin hat bei Martin Gore, dem blonden Wuschelkopf, noch private Gründe: seit längerem ist er mit einer Berlinerin namens Christine zusammen, die er mal auf Tour kennenlernte. Im Juni kommen Depeche Mode übrigens wieder nach Berlin, um bereits die nächste LP abzumischen, die im September erscheinen soll. Auf vierwöchige Deutschlandtournee geht die Gruppe dann im November. Wer sie vorher live erleben will, hat dazu am 2. Juni in Ludwigshafen Gelegenheit: An diesem Tag tritt die Band im Vorprogramm des Open Air-Konzerts von Elton John auf.

MARTIN GORE ist der musikalische Kopf von Depeche Mode. Er lebt zur Zeit noch zuhause bei seinen Eltern in Basildon und nervt seine Geschwister Jaqueline (16) und Karen (15) zur Zeit mit einer absoluten Videospielmanie. Seine Berliner Freundin Christine will ihn aber dazu überreden, nach Berlin zu ziehen. Martin ist Vegetarier, steht total auf schwarze Klamotten und läßt mit seinen ausdruckstarken Augen die Mädchenherzen schmelzen...

ALAN WILDER ist der Boß von Depeche Mode. Sein kleines Zwei-Zimmer-Appartment mitten in London will er demnächst aufgeben, um in eine weniger hektische Gegend zu ziehen. Alan ist leidenschaftlicher Fotograf und steht auf intelligent gemachte Filme. Vor seinem Einstieg bei Depeche Mode 1981, war Alan Tontechniker in einem Londoner Tonstudio.

DAVID GAHAN ist der Sänger und steht auf Wasser! Ob er in seiner knapp bemessenen Freizeit angelt oder schwimmen geht - feucht muß es sein. Außerdem braust er gerne mit seinem Motorrad durch die Straßen von seiner Heimatstadt Basildon. Seine Freundin Joanne, mit der er seit zwei Jahren fest zusammen ist, leitet den Depeche Mode Fan-Club. Adresse: 42 Hillway, Billericay (Essex), England.

ANDY FLETCHER war zwei Jahre lang als Versicherungskaufmann angestelt, ehe er feststellte, daß diese Laufbahn für ihn doch nicht das Wahre ist. Andy (22) ist politisch sehr interssiert und befaßt sich ausführlich mit den Problemen dieser Welt. Seine Freundin Grainne Mullan studiert Biologie und Physiologie. Auf der Bühne sorgt Andy für Action, privat ist er eher still.


Depeche Mode
Very cool with feeling

The new image: a black look, no smile, cool face expression

Cool is "hot". Crystal clear, sterile synth tones, precisely cut dance beats, and to add to that, the provocative soulless voice of David Gahan (22), who is hammering a hypnotic chorus into the brain: "People are people, so why should it be, you and I should go along so awfully." Rarely was feelings being sung so coolly about. Depeche Mode, who have always been somewhat more successful in Germany than at home in England,  entered the German charts with it in a flash, right onto the number 1 spot - the UK gave it "only" a third rank. And accommodating to their chrome, cold synth sound, the four young musicians (all between ages 21-25) slipped into a suitable image: an all black clothing look, with serious faces and coolness in mind. Like music robots coming off the assembly line. If you want to see the four boys properly laughing again, you should stick to our poster in the centre of this issue, which was captured just before their change in image.
"Laughing is uncool," says Alan Wilder (25) today, "we are no longer a teen band with harmless, electronic pop. We feel that since the album "Construction Time Again" we belong at the experimental forefront of electronic rock music." Quite obviously, the four of Depeche Mode (just like Kajagoogoo) have developed a strong craving for artistic acknowledgement. And if you know their story, you can understand that. Four years ago, Depeche Mode were formed (the name is the reversal of the title of the French fashion journal "Modedepeche") in the small English town Basildon. Founder and drive behind the band back then was Vince Clark, who has since dropped out and became successful with Yazoo ("Only You"). The style of Depeche Mode was already revolutionary four years ago. The sound came almost exclusively from synthesizers, the boys were "specialists in pressing buttons" (David Gahan).
They had Kraftwerk and Tangerine Dream in their ears and they wanted to develop something new. And then, the first single "Dreaming of Me" (March '81) came into the UK Top thirty, the second one, "New Life" (May '81) in the top twenty, and the third, "I just can't get enough" managed to get to the top ten a bit later. With the catchy "I just can't get enough", Depeche Mode managed to get a breakthrough over here. The first discotheque tours were amazingly successful, and was followed by numerous television appearances and quickly rising LP sales. Of the third album "Construction Time Again" have been sold over 100.000 copies before its hit success.
This disc, by the way, got its final touch in Berlin - the local "Hansa-Studio " has, according to the group, the best mixingstudio in the world. Martin Gore: "Before that, we had literally gone on a sound hunt, and had captured the craziest noises, under railway bridges, at airports and factories - much of it can be heard on the track "Pipeline". Then we recorded the raw versions of the songs in London and mixed them all in Berlin. We find Berlin also very inspiring, since it's got great groups such as Einstürzende Neubauten, who, by the way, are having similar success as us. They are much better known in England than in Germany..."
The love for Berlin that Martin Gore, the blond curlyhead of Depeche Mode,has, also has its private grounds: he has been together for a long time with a Berliner named Christine, whom he met while on tour. In June, Depeche Mode will incidentally come back to Berlin already in order to mix the next album, which will be released in September. The group will then go on a four-week tour through Germany, in November. Those of you who want to experience them live before then will have that opportunity in Ludwigshafen on the 2nd June: On this day, the band performs as the opening act of the open-air concert by Elton John.

MARTIN GORE is the musical head of Depeche Mode. He still currently lives at home with his parents in Basildon, and presently annoys his siblings Jaqueline (16) and Karen (15) with his absolute video game mania. But his Berlin girlfriend Christine wants to persuade him to move to Berlin. Martin is a vegetarian, is really into black clothes and melts with his expressive eyes girls' hearts...

ALAN WILDER is the boss of Depeche Mode. His small two-room apartment in the heart of London, he will soon give up in order to move to a less hectic area. Alan is a passionate photographer and is available on intelligently made ​​films . Prior to joining Depeche Mode in 1981 , Alan was a sound engineer at a London recording studio.

DAVID GAHAN is the lead singer and is crazy about water! Whether he's fishing in his limited spare time, or going swimming - it has to be something wet. He also likes to make his motorcycle roar through the streets of his home town Basildon. His girlfriend Joanne, with whom he has been firmly together for two years, manages the Depeche Mode fan club. Address: 42 Hillway, Billericay (Essex), England.

ANDY FLETCHER was employed as an insurance salesman for two years before he realised that this career wasn't the one for him. Andy (22) is very interested in politics and is always extensively engaged with the problems of this world. His girlfriend Grainne Mullan studies biology and physiology. On stage, Andy brings the action, but privately, he is rather quiet.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:42:20
1984-07-19 - Bravo (Germany) - People are People

[Taken from the now-defunct site]

( (

Depêche Mode
Sie sind inzwischen die Kult-Figuren des englische Synthi-Pop: Depêche Mode. Mit dem Reißer "People are People" räumten Alan Wilder, Martin Gore, Andy Fletcher und Dave Gahan die europäischen Hitparaden ab. Jetzt tüffeln sie an ihrer neuen LP. Das Werk stellen sie auf ihrer Deutschland-Tour im Herbst vor.

Depeche Mode
They are by now the cult figures of the English synth-pop: Depeche Mode. With the winner "People are People", Alan Wilder, Martin Gore, Dave Gahan and Andy Fletcher have secured the European charts. Now they are working on their new LP. They will present that work on their Germany tour in the fall.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:47:26
1984-07-xx - Depeche Mode - Information Sheet 7

Depeche Mode Official Information Service

                  INFORMATION SHEET NO. 7/84

I have enclosed the requested items/information which I hope are satisfactory. Please do not hesitate to write back to me if there is anything else about Depeche mode that you would like to know and I will do my best to answer your questions. Please send a stamped, self addressed envelope to the address below quoting the number 8/84 at the end of July for Information Sheet No. 8/84.

Record News: The follow up single to 'People are People' will be released on August 20th; as yet untitled it was written by Martin, as was the B-side which is very 'boystown'!

A new album is being recorded in London, the mixing of which will take place in Berlin throughout July. There is no title for this either. but Depeche Mode hope to release it in September.

Television   The BBC decided not to use one of the band in the current series of 'Pop Quiz'.

There are no programmes, nor press, lined up at the moment, but with the release of the single no doubt you'll see the band featured, so keep watching!

Tour News: Tickets for the UK concerts are now on sale (or will be shortly) and are available from the relevant box offices and agencies; not from me I'm afraid.
      September   27th   St. Augustell Coliseum
            28th   Hanley Victoria Hall
            29th   Liverpool Empire
      October       1st   Oxford Apollo
             2nd   Nottingham Royal Concert Hall
             4th   Dublin SFX
             5th   Dublin SFX
             6th   Belfast Ulster Hall
             8th   Manchester Apollo
             9th   Gloucester Leisure Centre
            10th   Cardiff St. David's Hall
            12th,13th   Birmingham Odeon
            14th   Blackburn King George's Hall
            16th   Glasgow Barrowlands
            17th   Aberdeen Capitol
            18th   Edinburgh Playhouse
            19th   Sheffield City Hall
            20th   Newcastle City Hall
            22nd   Bristol Colston Hall
            23rd   Brighton Dome
            24th   Portsmouth Guildhall
            27th    Ipswich Gaumont
            29th   Leicester de Montford
            30th   Southampton Gaumont
      November 1st,2nd,3rd,4th  Hammersmith Odeon
      From November 15th there will be concerts in Copenhagen, Stockholm,
      Lund, Essen, Ludwigshafen, Siegen, Freiburg, Italy, Basel, Munich,
      Berlin, Munster, Hanover, Aldenburg, Hamburg, Kiel, Stuttgart,
      Frankfurt, Dusseldorf, Paris, Belgium, Amsterdam.

Next lot of clues to crossword on 5/84 are;
ACROSS 20) 'Just Can't ___ Enough' (3)
    22) Andy's nickname (6)
    25) 'Any _____ ___' (6,3)
    27)(and 24 down) I run the Info Service (2,3)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:49:30
1984-07-xx - Rip it Up (New Zealand) - YEAH,YEAH HE'S A MODE

( (

Interview with Dave Gahan
By George Kay

Depeche Mode, one-time Basildon pop pixies fronted by Vince Clarke, have been searching for credibility, a music that will last. And being a synth band this search is going to be hard work with acceptance even harder.
DM's Dave Gahan sounds just like any other cockney on the phone - cheerful, hopeful and quite confident that the band is progressing and taking its audience with it.
Last year's concussive Construction Time Again was a departure from the candyfloss blows of Speak and Spell and Broken Fame [sic]. Did the band find it difficult to break out of the wimpy synth stereotype?
"No, because the label we're on, Mute Records, allowed us a lot of freedom to develop over the four years we've been together, and now we're starting to reach the point in production and general recording techniques where we're a lot better. So now we know how to make a record and sound good. It's all about learning."
Has the band felt that there's been a backlash against the feel of synthesisers in favour of more human instruments like guitars?
"A lot of people feel that but I don't agree there's been a backlash because if you listen to every pop record these days these's at least a few synthesisers in there and even a Linn drum. People are getting into the technology and it's making music a lot more accessible because young groups don't have to be so technically good as musicians to put their ideas across on computers or synthesisers. I think that's very healthy.
"But then again we've crossed that phase as our records sound very human unlike the records of someone like Gary Numan. The synthesiser is a very good instrument and you can use it the way we do and create good pop songs."
Looking at Depeche Mode's three albums it would be easy to argue the case that they're primarily a singles band who lack the staying power and emotional depth to make a satisfying long player. 'Just Can't Get Enough', 'Leave In Silence', 'The Meaning of Love', 'Get The Balance Right', 'Everything Counts' and now 'People Are People' are the real signs of their development.
In fact Yazoo's Alison Moyet said in these very pages a couple of years ago that the only song she liked by Depeche Mode at the time was 'Leave In Silence'. Comments?
"Well, at that time we weren't thinking about what we'd been doing. When we started recording 'Leave In Silence' we felt strong about it because it was a better style and we wanted to do something different and it was a very good song with plenty of atmosphere."
It was also a Martin Gore song, post Vince Clarke. Is it possible that if Clarke stayed with the band that he could have been a barrier to progress?
"Yeah, that may be true as Martin was just waiting to come out of his shell and he's come on so much and now he's a very good songwriter. When Vince left it gave us a good kick up the arse but it was the best time for him to leave as Martin had some good songs. When 'See You' became a big hit we gained even more confidence and it helped establish us."
Is commercial success important?
"Yeah, it is a worry and it's difficult but you have to develop first and from there hits are a plus. We're developing all the time, we're not trying to make another hit."
Are Depeche Mode reluctant pop stars?
"The pop star thing is just a name you get tagged with because of commercial success but basically we haven't changed as people, we're just wiser to the music business."
Depeche Mode's new single 'People Are People' is perhaps the strongest they've come up with. The twelve inch format almost buries the song with its percussive synthesiser thwack but the chorus refrain of 'I just can't understand/What makes a man/Hate another man/Help me understand' [sic] is one of the most moving insights you'll hear for a while.
"Martin's lyrics have really come on and he feels really concerned about things, like he's not into violence. But he's also a very private person and he doesn't like to talk about it.
"With 'People Are People' we had the same excitement in the studio as we had with 'Everything Counts' because we knew it was such a good song. And the sleeve is also important as it's a strong symbol showing a soldier and a priest and that those two people could meet together despite the fact that they are opposites."
At the time of this interview the band is in the process of recording their fourth album. Is there an awareness of making the music too overtly political, a feature that was too apparent in Construction Time Again?
"Yeah, very much and that's why the new album isn't going to be dealing with socialist and political things. There'll be some love songs and some on general topics other than social. What we've recorded so far is very good. We can't afford to rest on the success of the last record."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:49:57
1984-08-02 -Bravo (Germany) - Singen über Sex

( ( (

[Converted into text using OCR:]

BRAVO beobachtete sie in Berlin in Plattenstudio:

Andy, Alan, Dave und Martin arbeiten an jedem Song gemeinsam und stimmen über das Ergebnis ab: Oft gibt's Meinungsverschiedenheiten.
Die Depêches sitzen of bis spät in die Nacht im Studio und tüfeln an ihrem Sound. Mit Obst halten sie sich fit.
In einem extra gemieteten Studio stehen nur Mikrophone. Daves Donner-Gesang kann hier am besten eingefangen werden.

Die Musik von Depêche Mode muß sich stark verändert haben. Als das BRAVO-Team bei 30 Grad im Schaffen die vier Sound-Hexer im Berliner Platten-Studio besuchen wollte, dröhnte ihnen auf einmal ,,Stille Nacht, heilige Nacht“ und ‚.Oh Tannenbaum“ durch die Studiotür entgegen.
Schon leicht verunsichert, ob man sich um ein halbes Jahr verspätet habe oder auf der falschen Veranstaltung gelandet sei, gingen wir der Sache noch.
Tatsächlich saß in dem Plattenstudio ein biederes Streichquartett, das den Anblick verdutzter Gesichter offensichtlich gewohnt war.
„Depêche Mode — einen Stock höher“, meinte einer der Weihnachtsmänner, ohne die Frage abzuwarten.
Im dritten Stock werden die Töne allerdings vertrauter: dumpfe Syntesizer-Schläge und endloser Rhythmus-Donner. Eingepfercht zwischen unzähligen Synthis, Computern und einem Doppelbett-großen Mischpult hocken Alan, Andy, Dave und Martin rund um einen kleinen Monitor.
In fluoreszierend grüner Schrift wandern darauf Zahlen- und Buchstabenreihen hin und her; im passenden Rhythmus dröhnen die riesigen Wand-Boxen. „Das ist die Grund-Melodie eines neuen Songs“, erklärt Dave, der ab und zu einen kleinen roten Knopf drückt und das Tempo kaum merklich beschleunigt.
Die neue Single von Depêche Mode, die am 20. August erscheinen soll, heißt „Master and Servants“ (Herr und Diener); fünf Wochen später wollen die vier dann die LP rauslassen.
„Bei der neuen Single geht es im Grunde nur um Sex“, verrät Martin, der als Songschreiber der Gruppe auch eigene Erfahrungen mit einfließen ließ, wie er spottet: „Die Beziehung von Herrschern zu Sklaven, von Mann zu Frau, von Staat zu Gesellschaft, meine ich, die durch ihre unterschiedliche Machtpositionen oft sexuelle Probleme schaffen.“
Auch bei den übrigen Songs ihrer neuen Scheibe wollen Depêche Mode großes Gewicht auf kritische Texte legen. „Der Text ist für uns ebenso wichtig, wie die Musik“, sagt Dave, „außerdem wollen wir erzählen, was in unserer Umgebung abläuft.“
Wie entsteht bei Depêche Mode eigentlich eine Platte? „Die meisten Tracks haben wir bereits vorher in einem kleinen Studio in London eingespielt“, erklärt Alan.
„Hier in Berlin setzen wir die einzelnen Stücke zusammen, experimentieren mit allen möglichen Verfremdungen und mischen herkömmliche Instrumente dazu.“
Für den optimalen Raum-Klang von Daves Röhre haben sich die vier noch ein zusätzliches Studio gemietet, in dem nur Boxen und Mikrophon stehen. Die Arbeit, die bei den Depêches total demokratisch abläuft, beschert den Jungs aus Basildon aber auch eine Menge Schwierigkeiten.
„Wir stimmen über jeden Sang ab, und manchmal heißt das Ergebnis: 2:2“, sagt Andy. „Entweder wir fangen dann von vorn an oder unser Manager und Chef-Techniker Daniel entscheidet.“
Nicht nur das Studio hat die vier nach Berlin gelockt, sondern auch Martin setzte sich dafür ein. Er hat sich mit seiner Berliner Freundin Christina eine Zweizimmerwohnung gemietet, während die anderen im Hotel schlafen.
Nach den fünf Wochen im Studio geht’s für alle erst einmal in Urlaub: Martin und Andy fliegen mit ihren Freundinnen nach Mauritius, Alan zieht sich mit Jeri und ihrem Kind nach Malta zurück, und Dave will sich in Griechenland die Sonne auf den Bauch brennen lassen.
Anschließend starten sie im Herbst ihre riesige Europa-Tour. „Wir haben schon ein paar tolle Überraschungen ausgeheckt“, versprechen Depêche Mode.

Reinhard Haas

[Translation by me:]

BRAVO observed them in a Berlin recording studio:

Andy, Alan, Dave and Martin are working together on every song and vote on the result: often there's a disagreement.
The Depeche are often staying up late at night in the studio and work on their sound. They keep fit with fruit.
In an extra rented there are only studio microphones. Dave's thunder-singing can best be captured here.

The music of Depeche Mode must have changed a lot. As the BRAVO team are about to visit the four sound wizards working in a Berlin record studio at 30 degrees celcius, "Silent Night, Holy Night" and "Oh Tannenbaum" are blasting out of the studio's door.
Being slightly uncertain if we had mistaken the date by half a year or if we had landed on the wrong event, we nevertheless went in.
Turns out that, in the recording studio, a unsophisticated string quartet was sitting, who were obviously used to seeing puzzled faces.
"Depeche Mode - one floor up", said one of the Santas, without waiting for a question.
On the third floor, the sounds became familiar then: syntesizer-muffled beats and endless rhythm-thunder. Penned between countless synths, computers and a large mixingboard the size double bed, Alan Andy, Dave and Martin are are sitting around a small monitor.
On it in fluorescent green writing wander series of numbers and letters back and forth; in the appropriate rhythm, the huge wall boxes are roaring. "This is the basic melody of a new song" explains Dave, who now and then presses a small red button barely noticeably accelerates the tempo.
The new single by Depeche Mode, to appear on the 20th of August, is called "Masters and Servants" [sic], and five weeks later, the four want to release the LP.
"The new single is basically all about sex", says Martin, who as a songwriter of the group also incorporates his own experiences, as he scoffs: "The relationship from rulers to slaves, from man to woman, from state to society, I mean, which often create sexual problems through their different positions of power."
Also with the other songs on their new album Depeche Mode want to place great emphasis on critical texts. "The text is just as important as the music", says Dave, "and we want to say what is happening in our environment."
How is actually a Depeche Mode record created? "Most of the tracks we have previously recorded in a small studio in London," says Alan.
"Here in Berlin, we put the pieces together, experimenting with all sorts of distortions and mix it with conventional instrument."
For the best possible surround sound of Dave's voice, the four also hired an additional studio in which there are just speakers and a microphone. The work that takes place is totally democratic, but it brings the boys from Basildon also a lot of difficulties.
"We vote on each song, and sometimes the result is 2:2", says Andy. "Either we then start from scratch or our manager and chief engineer Daniel decides."
Not only the studio has lured the four to Berlin, but also Martin argued for it. With his friend Christina he has hired a two-room apartment in Berlin, while the others sleep in a hotel.
After five weeks in the studio all of them are going on a holiday for the first time: Martin and Andy fly with their girlfriends to Mauritius, Alan goes with Jeri and her child back to Malta, and Dave wants the sun in Greece to give his belly a tan.
Then they start their huge European tour in the fall. "We already have planned a few surprises", promise Depeche Mode.

Reinhard Haas
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:51:03
1984-08-16 - Smash Hits (UK) - Construction Time Again

[Taken from the now-defunct website]

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( ( (

[Smash Hits, 16th August 1984. Words: Tim de Lisle. Pictures: Mike Putland.]
" “Master & Servant” sounds wonderful but it’s hard to imagine how it would come across on the radio. “All right,” Dave Gahan says, “we’ll put it through small speakers.” It still sounds wonderful. "
Summary: An article that makes no secret of advertising the forthcoming "Master And Servant" single. The writer interviews Martin and Andy while the band mix the single in Berlin, and is consequently wide-eyed at all things technical. A light article, but with some discussion on studio matters and the band's changing fan base. [951 words]

 If you wanted to give your grandmother a nice holiday, you wouldn’t send her to Berlin.
    The West side is dirty, noisy, sleazy and overrun by teenagers – the girls all look like Nena and the boys all look like the boys in her band. The East side is clean, silent, prim and drab, and the Wall between the two sides is horrible, a constant reminder of what’s wrong with the world.
    But then your grandmother isn’t – or I assume she isn’t – a pop star. In the eight years since David Bowie, Brian Eno and Iggy Pop worked together in Berlin everyone from David Sylvian to Killing Joke has followed them across Northern Europe. The studio that they all use is the Hansa Tonstudio, set in a typically post-nuclear Berlin landscape and well within firing distance of the East German soldiers on the Wall. This is where Depeche Mode have come to mix their fourth album, though the only things being mixed when Mike Putland and I arrived one lunchtime were several kinds of muesli – breakfast for Daniel Miller, the band’s manager, producer and record company boss.
    The band turn up soon afterwards, Martin Gore from the flat he shares with his German girlfriend, the others from the Hotel Intercontinental. They sit around the mixing desk, drinking coffee, talking hard and cracking jokes. The first thing Andy Fletcher says to me is “What happened in the test match?” Like many cricket fans, he’s fond of facts and figures: when the conversation turns to Frankie Goes To Hollywood the only thing he has against them is that they look like equalling Gerry And The Pacemakers’ feat of going to Number One with their first three singles.
    This is Depeche Mode’s eleventh day in Berlin – before that they did two months’ recording in North London – and, like the first ten, it’ll be spent mixing the new single “Master & Servant”. The 7” version is complete and, for my benefit, they play it through the studio’s biggest speakers. They’re slightly smaller than the doors and could probably make “The Smurf Song” sound impressive. “Master & Servant” sounds wonderful but it’s hard to imagine how it would come across on the radio. “All right,” Dave Gahan says, “we’ll put it through small speakers.” It still sounds wonderful.
    The plan is to finish the 12” today, which means adding two minutes or so to the seven they’ve already got. The sounds are all laid down on tape: it’s just a matter of putting them down in the best possible order – like doing a jigsaw puzzle when the pieces fit a thousand different ways. This would be complicated for one person: for six (the band, Daniel, and Gareth Jones the engineer and co-producer) it’s tortuous. Gareth looks like a computer programmer in his grey suit, white shirt and stripey tie, and that’s more or less what he is. Most of the noises on the single have been put through a computer and on the mixing desk there are two video screens as well as 2000 switches.
    Over lunch in the studio restaurant I ask Martin if making a record now has more to do with technology than music.
    “Not really, ‘cause all the songs are written before we get into the studio, and we demo everything before we sample the sounds.”
    Sampling, he explains, means feeding non-musical noises into something called a Synclavier, which “sequences” them i.e. turns them into musical noises. [1]
    “We’ve used quite a lot of toy instruments. Me and Andy went to Hamleys and bought nearly everything in the musical department – xylophones, toy pianos, toy saxophones.”
    So how much do they use conventional instruments?
    “Less and less. We’re up to at least 50% sampled sounds now, maybe 60%.”
    Is the single typical of the new LP?
    “Typical of some of the songs,” says Martin, who writes them. “But I think there’s quite a cross-section. We tried to get away from the kind of theme we had running through the last album. Some of the songs, the new single for instance, could be called an extension of that [2], whereas some are different – there’s a couple of love songs, which we’re bound to be slagged for, but I think they’re more honest than the earlier ones – things like “See You” were very concocted love songs. The new album is very sincere!”
    Do they have any ambitions left?
    “We never really had ambitions,” Andy says. “It’s never been our ambition to be Number One, say, ‘cause we feel we’d never get to Number One anyway. Too many people hate us.”
    Who are their fans now? “It’s about 50-50 girls and boys,” Andy says, “and they’re mainly 16-20 now. It used to be mainly girls, and mainly younger than that. We don’t get them screaming any more – we’re not that good-looking, are we? Not exactly pin-ups!”
    After a quick go on the video game in the restaurant – Martin and Andy are addicts and Martin announces that he’s the “seventh best player in the world” – it’s back upstairs for another eight hours’ work on the “Master & Servant” 12”. For everyone except Gareth this means sitting and thinking rather than doing anything, but it’s hard work nonetheless. Snatches of the track are played over and over again.
    Fortified with coffee, mineral water and a copy of Smash Hits (they were delighted with the letter from Tony Shaw of Derby who called himself “Probably Their Greatest Fan Of All Time”) they eventually complete the job at 12:30am. The lights are turned down, the volume right up, and the 12” is played straight through twice to the tapping of toes and the nodding of heads.
    They’re pleased with it. And rightly so.
[1] - If the technical side of this album interests you, try this excellent article. 
[International Musician And Recording World, November 1984. Words: Adrian Deevoy. Pictures: Les Drennan.]
[2] - This comment from Martin surely gives the lie to the lingering doubts that can be sensed in the press in the wake of Master And Servant's release. When faced with a possible ban on the grounds of indecency in the lyrics, Depeche Mode's defence was that the song was not in fact about sexual relationships, but about working relationships while using sex as imagery. Sometimes, press write-ups on the matter come across as if they don't quite believe the band on this count. The fact that even before the song's release Martin is describing it as continuing the imagery of Construction Time Again proves, to me, that they were not bending over backwards to get out of the indecency charges at all.

1984-08-18 - Sounds (UK) - On the Mode again

[Photo found on eBay.]

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On the Mode again
DEPECHE MODE, the limp-as-lettuce-leaf synthpop lovelies, follow their recent hit 'People Are People' with a new single called 'Master And Servant'/'(Set Me Free) Remotivate Me' out on Mute on August 20. Produced by the band and electro legend Daniel Miller in London and Berlin, the 12" version will have longer takes as well as an instrumental of the A-side thrown in.
Depeche Mode are currently working in Berlin's Hansa Studio on an LP for Autumn release, to be followed by tours of the UK and Europe.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:51:32
1984-08-23 - Bravo (Germany) - Das Liebespaar bei Depeche Mode

[Thanks to Milik (;u=13) for offering to send in this scan!]

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[I typed out the text:]

Das Liebespaar bei Depêche Mode: wie Christina sich Martin Gore angelte

Alan, Andy, Dave und Martin nehmen in Berlin ihre neue Platte auf.
"Kuche und Abwasch sind meine Sache", tönt Martin. Meinstens gehen die beiden aber auswärts zum Essen.
Martin und Christina haben sich für eine kleine Wohnung entschieden, denn da muß man nicht viel aufräumen...
Martin liebt schwarze Klamotte über alles...

Das Wohnzimmer eines Pop-Stars ohne riesige Stereo-Anlage? Martin Gore hat keinen Bedarf: "Mir reicht der Piano-Spieler über uns voll und ganz. Der klimpert den ganzen Tag", stöhnt der Depêche-Mode-Songschreiber, als ihn BRAVO in seiner neuen Wohnung in Berlin besuchte.
Etwas zurückgesetzt von der vierspurigen Haupstraße im Stadtteil Chartlottenburg bewohnt Martin sein ein paar Wochen mit seiner Berliner Freundin Christina eine kleine 2-Zimmer-Wohnung.
"Es war eigentlich Martins Idee, hierher zu ziehen", erzählt die angehende Fremdsprachenkorrespondentin. "Wir lernten uns vor einem Jahr in einer Berliner Disco kennen. Martin was so begeistert von der Stadt - und hoffentlich auch von mir -, daß er spontan beschloß: wir nehmen uns gemeinsam eine Wohnung."
Als die Depêches dann von vier Wochen nach Berlin kamen, stand Martin bereits vor vollendeten Tatsachen: Christina hatte die zwei Zimmer komplett eingerichtet, selbst gestrichen und mit Gemälden ihrer Schwester geschmückt.
"Ich hatte erwartet, hier vor dem totalen Chaos zu stehen", erinnert sich Martin. "Aber Christina hat meinen Geschmack genau getroffen."
Im Schlafzimmer der beiden liegen zwei Matratzen auf den Boden, ein riesiger Spiegel lehnt an der Wand, und in einem dunklen Metall-Regal hat Martin seine Klamotten aufgestapelt.
In dem Berg von Nietengürteln, weiten Schlabber-Anzügen, Lederhosen und Netzhemden ist kein einziger Farbtupfer zu sehen. Martin steht voll auf Schwarz.
Auch das Wohnzimmer ist eher nützlich als prunkvoll eingerichtet. "Wir haben bewußt eine kleine Wohnung gesucht, wo wir nicht viel aufräumen müssen", erläutert Martin und läßt sich auf eine alte Couch fallen, die als Fernseh-Sessel, Gästebett und Sitzecke zugleich fungiert.
Mit einer weiß lackierten Kommode, dem großen Schreib- und Eßtisch sowie einem Metallregal ist die Küche behauptet Martin: "Kochen und Abwasch sind meine Sache." Christina lacht sich hinter seinem Rücken fast kaputt. Am liebsten gehen die beiden nämlich auswärts zum Essen - meist indisch. Wenn doch zu Hause gekocht wird, dann aus der Dose. Die zweite Leidenschaft von Martin und Christina ist gemeinsames Lesen.
"Ich lese auf deutsch vor", erklärt Martin, "und Christina korrigiert mich, wenn ich einen Fehler mache. Ebenso funktioniert es umgekehrt; und so lernen wir beide."
Schon lange foppt Martin die Journalisten damit, daß er fast perfekt deutsch spricht. "Daß ist sehr praktisch, wenn sie heimlich über mich reden wollen", witzelt er.
Bis die beiden ihre Wohnung jedoch richtig genießen können, wird es noch einige Zeit dauern. Während der Plattenaufnahmen muß Christina vormittags in die Schule; Martin ist bis spät in die Nacht im Studio beschäftigt. Danach wollen sie sich zwar zwei Wochen Urlaub auf Mauritius gönnen, aber im September soll schon die große Europa-Tour von Depêche Mode steigen. Wenn Martin dann im Januar endlich Zeit hat, ist Christina bereits mit ihren Prüfungen fertig und möchte am liebsten nach England.

[Translation by me:]

The lovers in Depeche Mode: How Christina caught Martin Gore

Alan, Andy, Dave and Martin are recording their new album in Berlin.
"Kitchen and doing the dishes are my thing," Martin laughs. Thry mostly go out for dinner.
Martin and Christina have chosen a small apartment, because then there is not much you have to clean up...
Martin loves black clothes most of all...

The living room of a pop star without huge stereo system? Martin Gore has no need "We can hear the piano player above us loud and clear. He strums all day," groans the Depeche Mode songwriter, as BRAVO visited him at his new home in Berlin.
Near the four-lane main road in the district Chartlottenburg, Martin lives with his Berlin girlfriend Christina in a small two-room apartment since a few weeks.
"It was actually Martin's idea to move here," says the aspiring foreign language correspondent. "We met a year ago at a Berlin disco. Martin was so taken away by the city - and hopefully also by me - that he decided spontaneously: we are taking an apartment together."
When the Depeches then came to Berlin four weeks ago, Martin was met by a fait accompli: Christina had furnished the two bedrooms completely, had painted them herself and decorated them with paintings from her sister.
"I expected to stand here before a total mess," Martin recalls. "But Christina has exactly my taste."
In their bedroom there are two mattresses on the floor, a huge mirror leaning against the wall, and in a dark metal case Martin has piled his clothes.
In the mountain of studded belts, wide baggy suits, leather pants and net shirts, not a single spot of color can be seen. Martin completely adores black.
Also, the living room is decorated more practically than ornately. "We have deliberately decided upon a small apartment, where we do not have to clean up a lot," explains Martin and plops down on an old couch which also acts as a TV chair, guest bed and sitting area.
With a white painted chest of drawers, a great writing/dining table and a metal shelf, the kitchen is Martin's territory: "Cooking and washing are my thing." Christina laughs hard behind his back. That's because the two prefer to go out to eat - mostly Indian food. If it is cooked at home, then it's from the can. The second passion of Martin and Christina is reading together.
"I will read aloud in German," says Martin, "and Christina corrects me if I make a mistake. It also works vice versa; and so we both learn."
Martin has long been teasing the journalists with the fact that he speaks German almost perfectly. "That is very convenient when they are secretly talking about me," he quips.
It will still take some time before both of them can really enjoy their apartment. During the album recordings Christina must go to school in the morning; Martin is busy in the studio late into the night. Then they want to indulge on a two week holiday in Mauritius, and in September the big European tour is already starting for Depeche Mode. Then in January when Martin finally has time, Christina has already finished her exams and would prefer to go to England.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:52:05
1984-08-25 - No. 1 (UK) - M&S Review

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Depeche Mode
Master And Servant

A swift return to the land of mortals. Depeche Mode have made some unexpectedly tough records in the last year or so but 'Master and Servant' sees their simple formula reduced to drivel.
The beat's still there but when you've got Dave Gahan pretending to be whipped you know it's time to buy a new Frankie re-mix.
Paul Simper

1984-08-25 - NME (UK) - Singles reviewed by Chelsea's Pat Nevin

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Depeche Mode 'Master And Servant' (Mute)
I have never thought Depeche Mode had much to offer. It all too often seems obvious and uninspired and the present single is no exception. They will in a comfortable little niche for 12-year-old girls who are beyond Kershaw and Jones but not up to New Order. I hope the lead singer has stopped trying to look like Jim Kerr as he hasn't quite got what it takes.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:52:50
1984-08-25 - BBC (UK) - Earsay

Master and Servant:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:53:08
1984-08-27 - TVAM (UK) - Good Morning Britain


[I made a transcript. The episode has been cut very often.]

John: ...who is talking to Mia right now.
Anne Diamond: Oh really? Well he should know. But the real question is, where did Depeche Mode come from? Because it's a frighteningly posh sounding name...
Dave: Well it sounds posh but it's not that posh actually. I got it from college, I was at college doing retail display and fashion design, and I was using a magazine there called "Depeche Mode". And I just liked the name, and we was looking for a name at the time as a band, so I just brought it along to rehearsal.
John: And it means?
Dave: It means nothing in the way we actually print it, because there's no accents or anything on the 'Depeche', so in fact it's meaningless, the way we actually-
Anne Diamond: -What should it mean?
Dave: It should mean, it's from the verb "to hurry up", I think.
Alan: Fast Fashion, you know something like that.
Anne Diamond: Fast going fashion?
Dave: Fast, fast, fast going mode, yeah "Mode" is "fashion".
Anne Diamond: Do you think you live up to your name?
Alan and Dave: No.
Dave: Well we move on. I don't know about fashion...
Anne Diamond: But, most important of all, why you'll settle back and spend about your bank holiday monday with us, are you Popeye fans?
Dave: Yes.
Alan: Oh, yeah, definitely.
Anne Diamond: Ah, terrific.
John: Which is a very good thing, because right now it is time for Popeye, it's 7:23 this Monday morning, time for Popeye.
Dave: ...until Pat Nevin-
John: -their star-eyed winner-
Dave: -Yeah. He gave some terrible review in a music paper, so, he's had it with us, then.
John: Chelsea and Pat, you're no longer-
Alan: -Shattered our illusions yes.
Dave: There's in fact two members of the band that support Chelsea, or they did, I don't know if... In fact, Andy is going today, I think, Andy is still going. So he's supports them but I don't know if he's going to do something about Nevin or...
John: Will they survive without supporting Depeche Mode? We'll find out after the break.
Anne Diamond: It's 7:39. Just to tell you, just in case you just tuned in, there's a lot of 'justs' in that sentence: Dave and Alan are here. They are special guests this morning. I gather that you're a bit addicted to space invader machines?
Dave: Yeah a couple of members in the band are, yeah, the two-
Alan: -Actually, the two others, they're the real-
Dave: -yeah the two that aren't here, they've got the computers and things at home, which they plug in, with settings and things-
Anne Diamond: And you're not into that?
Dave: I used to be, but I'm not that interested anymore. If we go to a gig somewhere and there's machines there, I'll have a go, but I don't go looking for them.
Anne Diamond: They're a bit addictive, aren't they?
Dave and Alan: Yeah.
Alan: Terrible.
Dave: And, after a while, as well, there's not a lot of interest in machines now, a lot of them get a bit boring.
Anne Diamond: A bit difficult to control the other two, isn'it?
Dave: Yeah. Definitely, yeah.
John: And they drive the rest of the public insane.
Dave: Yeah that's right. The noise-
Anne Diamond: -Oh, with the noises. I prefer it at home.-
Dave: -Yeah. Especially in pubs. I can't stand them in pubs.
Anne Diamond: It's funny, talking on noise, because you play synthesizers, is it true that you can plug into it any headset and not have somebody else hear the noise?
Dave: Yeah, in fact, that's how we used to rehearse. A long, long while ago, years ago, when we used to rehearse in a garage, in one of the band's mum's garage, the noise was so loud that she made us wear headphones, we used them to rehearse. All you could hear was, like, the tapping of the keys, going "kch, kch, kch!"
Anne Diamond: Yeah I saw you on the keyboard in that programme, the other day. What would you normally do on a bank holiday monday morning if you weren't here?
Dave: Eh, I don't know.
Alan: Recovering.
Dave: Recovering, yeah, I suppose, recovering from something, don't know what.
Anne Diamond: Sounds good. Well it is summer bank holiday, as I said, except for Scotland.
John: ...and Depeche Mode. Here are two members of Depeche Mode, who are our special guests this morning, Dave and Alan. We've been talking to you about how your group was formed, how it got its name. You've been all over the world, haven't you? I mean, New York, the Far East... What impression does that leave on youngs lads from Acton, in your case, Basildon, in your case, to suddenly be thrust into a worldwide tour?
Dave: Well obviously, being in a band gives you the great opportunity to see all these places, and if I was working in a general job, the likely thing would be that I would never be able to go to these sorts of places, so obviously it's a great opportunity.
John: You think you actually really do appreciate it, Alan, or is there danger that because you're working, all this passively-
Alan: Obviously, there is that danger, yes, and we do so much that half of the time we don't even have the time to appreciate what we're doing. But, I think we do realise we're very lucky to be able to do those things, and we enjoy ourselves very much, particularly when we went to the Far East and Japan and Thailand and Hong Kong, quite an experience.
John: Sure, sure. You say you're extemely lucky: do you think luck plays any part in determining which of the bands are successful and which aren't? Obviously you're talented, otherwise you wouldn't be there, you can play the music, you can sing, but is luck a factor as well?
Alan: Obviously, yeah.
Dave: To a certain extent. [laughs] In the beginning, yeah, obviously, you need the luck. When we played for about a year, playing in very small clubs, at horrible places, before anyone showed any interest at all, we were playing to sometimes five people, just in a pub, just to the people that were drinking in a pub...
John: And then you were spotted by who?
Dave: We were spotted by Daniel, who in fact we went to a long while before that and took at tape to him and he just walked out the door. Actually, we played the tape to him and he was in a terrible mood, and someone said "Daniel! These guys have got a tape to play to you!", and he came rushing in and he listened to it for about a minute, and then just rushed out the door, and so we said "Right, we're never gonna see him again", and in fact, when we were playing a gig in London, he came along, and he actually came backstage afterwards and said he'd like to meet us, maybe talk about doing a single.
Alan: That's Daniel Miller, by the way, from Mute Records.
Dave: He actually runs Mute.
John: I was almost afraid to ask.
Anne Diamond. Yes. Is that the label you're still with?
Dave: Yes. It's an independent label.
Anne Diamond: By now, the significance of this has already been explained to you, and you've picked out two birthday cards, would you like to read them out?
Dave: Yes. Oh, this a birthday wish for someone special. It says "Hello TV:AM, could you please say 'Happy Birthday' to my mum?" And it's Magdalene, Magdalene Kareth, 13A, Rockhampton Avenue, Westwood, East Kilbride, that's Glasgow. "She'll be 22 on the 27th of August '84", and she sends it "with lots of love, from Alister and oh, Jack".
Anne Diamond: Smashing. Alan, could you-
Alan: -And my one is "Could you please greet my daughter Laura Lamb and her granddad Joe a happy birthday on the 27th?" And that's "Love from mum, dad, grandma and nana", she's 7.
Anne Diamond: And John's got something as well.
John: A quickie, yes. A little girl called Jenna Ballock, who lives here in the East end of London, who is one year old today, and those best wishes come from mum and dad. Happy birthday, Jenna.
Anne Diamond: The time is 7:52, which is time for some more music, and the brand new video from our guests today, Dave and Alan of Depeche Mode. And the other two, as well. It's called "Masters and Servants", here it is!
Anne Diamond: Fantastic, isn't it? And our friends here from Depeche Mode were just telling me that the girl with the very stunning face was a tape operator you had just roped in.
Dave: That's right yeah, she was a girl, when we were recording in Berlin, we asked her to do it, and she said "Sure", and she came down, slapped some make-up on her, and that was it.
Anne Diamond: You have to have fame for her, smashing.
John: ...discovered. You stayed with the record company, a small one, one of the smaller record companies, throughout, haven't you? Despite offers from the big boys. Why is that?
Alan: Well, we've always had a really good relationship with Mute Records and we've got no reason to change, so it's quite simple. Daniel, who were talking about earlier, is a great music lover, and you don't feel that there is any alterior motive with Mute there, it's just kind of a business for him.
John: Presumably you could have had much more loot had you gone off-track...?
Dave: Well, yeah, we had, we've been offered huge amounts from "larger labels", I'll say, but... in the beginning, we're weren't really tempted with that, because we were all working. I was at college, the other guys were working in a bank and we were all in fixed jobs and things, and it was just for fun, you know. We want to make 'a single'. And, you see, all these big labels had all these great, big contracts for ten years and such, offering us lots of money, but we wasn't sure what we were going into.
Alan: And people have the illusion that when you get offered lots of money, it's just a gift. It's not a gift at all, it's an advance on it, so if you are successful you only have to pay that money back anyway. It's not just a gift.
Anne Diamond: In this industry you really have to learn how to play, don't you?
Dave: We've learned that through Mute, we manage ourselves as well.
Alan: And we have had success with Mute, it's not as if just because they're an independent, we haven't done as well as if we were on a major, we may not even have done as well.
Astrologer: ... But on Sunday, lightning opens the heavens and pours down money suddenly.
Dave: [I'm] abroad then. [laughs] (I'm not cute sure what he says)
Astrologer: Now, Gemini, and that gives Alan Wilder. You can curl up with a good book or the telly or a teddy bear early on in the week, home is very happy. Your health gives you a stirring warning, however. It's improving but you need to take care. You do get off the handle a bit at the weekend but there's excitement in the air as well. Now Cancer.
Dave: A lot of the stuff that you read in the papers is often coincidence, I feel, but sometimes a lot of the things fall into place.
Alan: And it's the rubbish that's printed out that troubles you, that kind cheapens it for a lot of people and puts people off, I think.
Dave: I think Al's probably-
Astrologer: Well it can do a bit, but I believe in some sort of astrology, because I think there's enough in it to persuade people. I mean, most of it actually just great fun, and if it's nice, it cheers you up, kind of thing. But there's no way you can actually do serious astrology for the general mass, because then you don't have access to the bits, but by and large, there are sort of 'enough about' terrains to be able to persuade you a bit, exactly like that.
Anne Diamond: Well, what's a typical taurus, then?
Astrologer: Ehm, very earthy, very physical. That means that always, because you touch people, well, not because you - almost like puppy dogs, because you love to cuddle up to people, which is a very Taurus thing. Whereas Gemini-
Dave: -Yeah I'm always touching the arms of people.
Astrologer: Really? Yeah Gemini is really not like that at all, Gemini is much more laidback, is a cooler case, much more of a 'mind' thing.
Anne Diamond: I always find Geminis just sort of super cool, and...
Dave: Yeah, that's exactly right, that's exactly right, yeah. We are always taking the mickey out of him, because of his accent, the way he speaks, you know. He's always very cool and laidback, with everything we do, really, just takes it easy.
Astrologer: And much more than adaptable, whereas Taureans are usually quite stubborn about having their own way-
Dave: -Worriers
Anne Diamond: A worrier?
Dave: A worrier. Well, I don't really worry, I'm just like "I gotta get things done", you know.
Anne Diamond. Quite spotting. Have given us some insights, certainly. Let's go straight over to John now.
Dave: ... And so, I wouldn't like to leave a dog on its own, I would have to put it in a kennel or something.
Anne Diamond: What's your favourite animal?
Dave: Probably a dog, I think.
Anne Diamond: Yeah. Man's best friend. What about you, Alan?
Alan: I got a cat, yeah, a very friendly cat.
Anne Diamond: Eh?
Alan: We got a very friendly cat, he's very nice.
Anne Diamond: What's he called?
Alan: Foxy.
Anne Diamond: Foxy. Is he a scruffy?
Alan: No, he's not, he's neat, he's very short-haired, that sort of thing.
Anne Diamond: I used to have a hamster, and hamsters are wonderful because they can get you up and going, just when you need to. You can spend an evening with hamsters.
Dave: Yeah they got that little [circly] thing, don't they, you can watch them all evening...
Anne Diamond: [laughs] I'm sure they hate it! I used to have a hamster, he used to get lost inside my piano, he used to come out three days later, covered in soot.
Dave: I used to have a budgie, he used to jump in the washing up liquid. He used to be on my shoulder, and he would jump in the foam and go in the water.
Anne Diamond: [laughs] Really? That's very odd. We're going to be talking to Dave and Alan from Depeche Mode a bit later on.
Dave: ...Just slide in.
Anne Diamond: A bit tired.
Alan: It's a bit of an unreasonable hour for us Rock 'n' Rollers, yeah.
Anne Diamond: Well we've got a competition for you, you see. Let's see if you can do this.
Dave: Well, I just support Chelsea for years and years and years since I was about 7 or something, I used to go there all the time, up to the bridge. But Pat Nevin gave us a terrible review in one of the papers this week. He was reviewing the singles in one of the music papers and he gave us a disgusting review, so...
Anne Diamond: Just goes to show what happens when you let footballers review music.
Dave: Well one man in the band, Fletch, in the band, he supports Chelsea as well and he's gone today.
Anne Diamond: Is he a good player?
Cliff: He is a good player, actually.
Dave: Yeah, he is, yeah.
Cliff: He is one of the up and coming elite, really, because there's not too many of 'em. And he could be an outstanding footballer as a young lad. Well, what did he say about you then?
Dave: That he disliked really, what was it?
Alan: I can't remember.
Dave: He just really put us down, to say that he's never liked anything we've done anyway, and a lot of things-
Anne Diamond: -That's a shame when you support him.
Dave: It's difficult, I mean, they don't really mean the reviews like that, because they're all down to the mood of the reviewer, or their take-
Cliff: Is it? I mean, sometimes, the guy never says it quite like...
Dave: No, they sort of do it in a way I don't really like-
Anne Diamond: -That's just about enough football conversation for now. [laughs] Sorry, I didn't mean to be rude. We've got to hurry on. I'm always being caring for you, aren't I, Cliff? Terribly sorry. I've offended you now.
Dave: "...Please wish my daughter Alison a very happy sixth birthday, on Monday, the 27th of August. Please tell her that mum thinks she's the best girl in the world. Happy birthday Alison, lots of love from mum, dad, Margaret, Jim Lee, Frank, May, and the boys."
Anne Diamond: Better give her a wave.
Dave: [waves]
Anne Diamond: Thank you. [laughs] Who have you got?
Alan: Yeah, I've got "Please say hello and best wishes to our daughter Joanne Wilding from from 22 Oakwellclerks Maude Ian Rotherham, who is 9 today. She's on holiday just now with her nana and granddad at Saltfleet, tell her we love and miss her very much, mummy and daddy."
Anne Diamond: I hope she had a really good holiday.
Dave: And the kisses.
Alan: And the kisses, yes.
Anne Diamond: And the kisses, go ahead, do the kisses.
Alan: [kisses]
Anne Diamond. Thank you. I've got one here, it says "Dear TV:AM, could you please wish Paul Thomas a very happy birthday"-
Anne Diamond: a school called the Victoria who is called Wiggy.
John: Really?
Anne Diamond: It must be one of those common nicknames. Hmm, happy birthday, Wiggy. That-
Dave: Hmm, think about that one.
Anne Diamond: Some very young youngsters doing the competiton, you see. Nice to encourage them from an early age.
Dave: Yeah. Very good.
Anne Diamond: Yeah. Well, we're gonna be talking about breakdancing a bit later on. How important a part of your persona, the group's identity-
Alan: He [Dave] is a bit of a mover.
Dave: I thought you were gonna ask us on camera to do something.
Anne Diamond: Well, if you would like to do a-
Dave: You see if Martin was here, he would be on the floor.
Alan: He is our expert actually, yeah he's our expert.
Dave: Martin is the expert in breakdancing.
Alan: But he [Dave] is a bit of a mover as well.
Anne Diamond: But when you say that you've got an expert, does he teach you, I mean is it important how you move on stage?
Dave: No, I move around a lot on stage, I dance around a lot on stage. But we haven't got any training or anything in dancing. I used to go to little clubs years ago, I like dancing. I used to like dancing and things, so you just find that when you're playing live, you find good points in songs where you can do something dramatic which actually will set off the audience.
Alan: And he has to do it for us, really, because the rest of us are all stuck behind keyboards and he has to keep the excitement going.
Dave: Behind keyboards and things, and they can't move or anything.
Anne Diamond: Yeah. What about the audience? I mean, actually, there's marvellous movers around nowadays, you know. Fantastic.
Dave"Well the audience are always really like this, great. They always get going with us, even in sit-down venues, you know, they're all up and going and they'll clap along and everything. It's great, the gigs are always really good.
Anne Diamond: Well, now weren't you moving along a bit more when Lizzy was doing her bit?
Alan: Well it's a bit slightly...
Dave: Because eh, it's slightly early in the morning.
Anne Diamond: [laughs] Alright, have a bit of sleep. We'll take another break.
Dave: That's great, thanks very much.
Anne Diamond: Good. Smashing having you.
John: And to Paul Theroux.
Anne Diamond: Yes.
Paul Theroux: Thank you. Didn't say much eh?
Anne Diamond and John: No.
Anne Diamond: You talk, you sound-
Paul Theroux: -I better may, I better sit up, eh? Sorry.
Dave: [laughs]
John: No, Paul, you thought me a great deal about-
Paul Theroux: -I got an album out, by the way.
John: Terrific.
Anne Diamond: Thank you so much for joining us, I'm looking forward to tomorrow's breakdancing now, it's really good.
John: Yes I am. Ian was terrific, I must say.
Anne Diamond: Yes, he-
Dave and Alan: [imitate breakdancing act]
Dave: With the flying in the end.
Anne Diamond: Yes, he was. Well, join us again tomorrow, we'll see some more.
Dave: Pretty good, eh?
Anne Diamond: Yeah. Bye bye.
John: Bye bye.
Paul Theroux: See you all later.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:57:44
1984-08-30 - Smash Hits (UK) - Master and Servant Review

[Thanks to mossy (;u=550) for scanning this for this forum!]

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DEPECHE MODE: Master & Servant (Mute)
Very reminiscent of The Royal Guardsmen's ancient hit 'Snoopy Versus The Red Baron. I'm afraid that, except for the lovely "See You", Depeche Mode have consistently failed to evoke any melancholy in me.
Robert Hodgens (The Bluebells)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:58:12
1984-08-30 - BBC (UK) - Top Of The Pops

Master And Servant:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:59:15
1984-08-30 - Time Out (UK) - M&S Review

What do you expect from this lame bunch of dickheads?
Dave Walters
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 03:59:40
1984-08-xx - Muziek Express (Netherlands) - Wat vindt Depeche Mode zo leuk aan vrouwenbladeren?

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[Muziek Express magazine, Netherlands, August 1984. Transcript and translation by me. Please note: this article has been fabricated completely! This is not the first time that Muziek Express has done this.]

Wat Vindt Depeche Mode Zo Leuk Aan Vrouwenbladen?

De muziek wás er al. Alleen het bedenken van een geschikte naam, dáár hadden David, Martin, Alan en Andy nogal wat moeite me. Totdat een exclusief Frans modetijdschrift de jongens uitnodigde voor 'n party. Want niet lang daarna werd Depeche Mode geboren...

In de ruime hotelkamer zitten David Gahan, Martin Gore, Alan Wilder en Andy Fletcher achter een rijk gedekte tafel geamuseerd te babbelen. Ondanks een overbezette agenda maken de jongens van Depeche Mode graag een half uurtje vrij voor een interview met Muziek Expres. Ook al gebeurt dat af en toe met een volle mond. "Ja hoor, we hebben het prima naar onze zin met z'n vieren", verkondigt blonde Martin tussen twee happen door. "Tenslotte hebben we ook buiten de band om veel contact met elkaar. Dit jaar hebben Andy en ik bijvoorbeeld een zááálige luiervakantie geboekt op een tropisch eiland. Hmmm, ik kijk er nú al naar uit!" Met verheerlijkte blik in z'n ogen propt Martin zijn laatste stukje brood in zijn mond waarop Andy grinnikend reageert: "Wat doet 'ie weer decadent, hè? Terwijl we helemaal niet zo zijn! Al doet onze naam dat misschien wel een beetje vermoeden." En glimlachend vertelt hij hoe Depeche Mode, eigenlijk stomtoevallig, aan z'n naam gekomen is. "We traden eerst, in een andere bezetting, als 'Composition Of Sound' op. Maar die naam vonden we zó nietszeggend en zó weinig bij onze muziek passend, dat we - in juni 1980 was dat - besloten naar een andere naam op zoek te gaan. Maar hoe we ook piekerden en overlegden, we konden niks geschikts bedenken! En toen ineens... kregen we een uitnodiging voor een party van het Franse modeblad 'Depeche Mode'. Nou, voor die party hebben we bedankt en in de plaats daarvoor hebben we de naam 'Depeche Mode' maar overgenomen. Nog bedankt, trouwens. Hahaha! Ik heb trouwens helemaal geen hekel aan modebladen, hoor", zegt Andy er snel achteraan. "Integendeel, in mijn vrije tijd lees ik graag in dure modebladen. Die prachtige foto's van fotomodellen boeien me enorm. Als zo'n foto met zorg gemaakt wordt, in mooie kleuren en doordachte compositie, dan is dat toch gewoon kunst? En daar zijn we alle vier gek op!" Dan mengt David zich nog even in het gesprek: "Maar behalve van kunst en vrouwen, houden we ook van mensen in het algemeen. Dat blijkt wel uit onze single 'People Are People', die dezelfde mensen tot een grote hit hebben gemaakt." En Andy rondt het gesprek af met een welgemeend: "Nog bedankt, mensen!"


What Does Depeche Mode Like About Women's Magazines?

The music was already there. Only coming up with the right name, THAT is something which David, Martin, Alan and Andy were having trouble with. Until an exclusive French fashion magazine invited the boys for a party. And after that, it did not take long before Depeche Mode was born..

David Gahan, Martin Gore, Alan Wilder en Andy Fletcher are sitting in the spacious hotel room at a set table, chatting joyfully. Despite a jam-packed schedule, the four boys of Depeche Mode love to open up a space of half an hour, for an interview with Muziek Express. Even when it occasionally happens with a full mouth. "Yeah that's right, we are having a wonderful time, the four of us", announced blonde Martin in between two bites. "After all, we do also have a lot of contact with one another outside of the band. This year, Andy and I, for instance, had booked an amaaaaazing, lazy vacation on a tropical island. Hmmm, I'm already looking forward to it!" With a romantic look in his eyes, Martin stuffs the last piece of bread in his mouth, to which Andy chucklingly responds: "He's being so decadent again, ain't he? Even though we're not that at all! Even though our name might suggest so." And smilingly, he explains how Depeche Mode, actually coincidentally, got its name. "We first, in a different formation, performed as 'Composition Of Sound'. But we found that name so meaningless and so unfitting to our music, and we - this was in June 1980 - decided to search for a different name. But no matter how we pondered and discussed, we could not think of anything appropriate! And then suddenly... we got an invitation for a party from the French fashion magazine 'Depeche Mode'. Well, we passed that party, but instead we simply adopted the name 'Depeche Mode. Thanks, by the way. Hahaha! I actually don't hate fashion magazine at all, by the way", says Andy quickly as a follow-up. "On the contrary, I like to read expensive fashion magazines in my free time. Those gorgeous photos of photo models interest me hugely. When a photo is being made with care, with nice colours and a well-thought-out composition, that's almost art, no? And all four of us love that!" Then David interrupts the conversation finally: "But besides art and women, we also like people in general. Hence 'People Are People', which made the same people into a huge hit." And Andy concludes the conversation with a heartfelt: "Thanks, people!"
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:00:06
1984-08-xx - Melody Maker (UK) - Depeche Mode Extra

[Thanks to meldepeche (;u=799) for this article.]

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Depeche Mode have added another London Hammersmith Odeon concert to their forthcoming tour.
Three dates at the Odeon, on November 1, 2, and 3, have already been sold out. Now a fourth has been set for November 4, and tickets are on sale now.
The 29-date tour of Northern and Southern Ireland, Wales, Scotland and England, opens at St Austell Cornish Coliseum on September 27, finally winding up in November in Hammersmith.
Meanwhile, Depeche Mode are releasing a special limited, numbered edition of their current hit single "Master And Servant".

The A side features "Master And Servant" - an On-U Sound Science Fiction Dance Hall Classic, re-mixed by Adrian Sherwood. The B side contains an "almost totally unrecognisable reworking" of "People Are People" entitled "Are People People" as well as the seven-inch B side "Set Me Free (Remotivate Me)".
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:02:00
1984-08-xx - Intercord (Germany) - Grüße aus Berlin

[Thanks to strange-pimpf (;u=801) for sending photos of this article for this forum! It seems that Intercord released this info not only as a magazine but also in the form of a newsletter. Thanks to godflesh230773 from the Depmod forum for that scan.]

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[I typed out the text:]

Depeche Mode bleiben auf Hitkurs! Nachdem "People Are People" im Mai drei Wochen lang die Nummer-Eins-Position in der Deutschen Musikmarkt-Hitparade hielt, spielten die vier Synthesizer-Spezialisten eine neue Single ein: "Master And Servant", erneut geschrieben von Martin Gore, verbindet mit der gleichen Leichtigkeit eingängige Gesangslinien mit kraftvoll-quirrligen Synthesizer-Strukturen und knalligen Rhythmus-Tracks. Ihr neue Titel ist eine Vorabkopplung aus der für Oktober geplanten vierten LP. Produziert wurde wie immer unter Anleitung von Mute-Mastermind und boß Daniel Miller in London sowie Berlin. Die Abmischung lief in den Berliner Hansa-Studios übers Band.
Martin Gore, 24jähriger Depeche Mode-Songwriter hat inzwischen zusammen mit seiner deutschen Freundin Christine seinen Zweitwohnsitz in Berlin aufgeschlagen. Martin: "Ich liebe diese Stadt. Sie hat Charme und gab mir schon viele Inspirationen für neue Songs." Nicht verwunderlich also, wenn auch gleich das neue Video an Ort und Stell abgedreht wurde. Allerdings dürfte Martin seine neue Heimatstadt in den nächsten Monaten nicht gerade oft sehe: Ab 27. September ist Depeche Mode "On The Road" - zuerst in England, danach in Deutschland. Vom 20. November bis 13. Dezember stehen 14 Konzerte auf dem Plan. Die optische Uraufführung von "Master And Servant" läuft am 20. September im "Musikladen" über die Bildschirme.

[Translation by me:]

Depeche Mode remain on hit course! After "People Are People" held the number one position in the German music hit parade for three weeks in May, the four synthesizer specialists release a new single one: "Master And Servant", again written by Martin Gore, connects with the same ease catchy vocal lines to a powerful, bubbly synthesizer structure and bright rhythm tracks. Their new track is a preview from the fourth LP, which is scheduled for October. It has, as always, been produced under the guidance of Mute boss and mastermind Daniel Miller in London and in Berlin. The mixing happened in the Berlin's Hansa Studios by the band.
Martin Gore, the 24-year-old songwriter of Depeche Mode, has now taken together with his German girlfriend Christine a two-room-apartment in Berlin. Martin: "I love this city. It has charm and it gave me a lot already inspirations for new songs." Not surprising then, to know that also the new video has been filmed on site. However, Martin is not likely to see his new hometown often in the coming months: From September 27th, Depeche Mode will be "On The Road" - first within England, then in Germany. From the 20th of November to 13th of December, 14 concerts are on the schedule. The visual performance of "Master And Servant" is to be seen on "Musikladen" on television starting September 20th.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:02:26
1984-08-xx - Poppis n.4 (Sweden) - Depeche Mode

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:02:52
1984-08-xx - Unknown (Unknown) - Martin and Fletch Interview

Sadly, we don't have this radio interview. It used to be hosted on Depechemode.TV.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:03:52
1984-08-xx - Radio 1 (UK) - Dave Phone Interview (1:20)

Sadly, we don't have this radio interview. It used to be hosted on Depechemode.TV.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:06:03
1984-09-01 - BBC (UK) - Radio 1 On the Road

This used to be online but is now offline again. It was a playback peformance of Master And Servant + People Are People.

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:06:30
1984-09-20 - ARD (Germany) - Musikladen

Master and Servant:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:06:53
1984-09-22 - Melody Maker (UK) - Blasphemy Rewarded

[Taken from the now-defunct website]

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[Melody Maker, 22nd September 1984. Words: Mark Jenkins. Pictures: Tom Sheehan.]
" You have to take risks… you can’t be safe all the time, even if the kind of people you might offend are just the sort to kick up a fuss and start petitions and that sort of thing. "
Summary: A balanced, nimble and thoughtful band interview allowing the band to speak about the impetus behind the Some Great Reward album without hindrance, the interviewer wisely refraining from comment for the sake of it. The band also discuss the practical matters behind recording and performing. One of the meatier 1984 articles. [2734 words]

    Depeche Mode have a problem. It’s not enough to be big in Britain any more – they have to think about being big everywhere at once. That makes considerations like having a single banned by the BBC fade into insignificance, although there’s a good chance that will happen if they choose to follow up “Master And Servant” with the closing track of “Some Great Reward”, their new album.
    “ ‘Blasphemous Rumours’ is really not an anti-religious song,” insists Dave Gahan. “Of course it’s a personal statement on Martin’s part” (Martin Gore’s writing again dominates the album) “but at the same time it’s a statement of how everybody must feel at one time or another. We all had a bit of a religious upbringing, Andy particularly, and I went to church regularly for a year or so when I was about 18, so there’s obviously a bit of a rebellion against that. It’s just that – some of the things we noticed, like there’d always be a prayer list for certain people and the one at the top always died. Things like that…
    “My mother’s side of the family were always religious, involved with the Salvation Army and so on, but she lived through so much tragedy… I don’t know how I’d feel by now, but then I’ve never been religious although she stuck to her beliefs. I used to go down to Sunday School with my sister on our bikes and instead of going in we’d just ride around for a couple of hours, and when we got back we’d say it was great.”
    The others agree that it’s not religion itself but having religion (or politics or any other belief) forced onto you that they dislike.
    “People get too much preaching – even around the town in Basildon, you know? People cling to religion through fear of death,” offers Martin. “It’s not a bad thing to be religious, in fact I think I’d be happier if I did believe.”
    “I turned away from religion because I found I was leading a really boring life,” says Andy. “I wanted to live life to the full but I was trapped, and I thought ‘if I die tomorrow that’ll be it’… it’s a shame that Christianity is perverted and hyped so much, because it does have something to offer.”
    It turns out that Dave Gahan’s first public appearances were singing carols with the Salvation Army around the age of eight, something he couldn’t think of going back to because “so many unhappy things have happened that I just feel it can’t all be true.” But “Blasphemous Rumours” is a strong (as well as catchy) song and needs a strong place on the album, BBC or no BBC.
    “You have to take risks… you can’t be safe all the time, even if the kind of people you might offend are just the sort to kick up a fuss and start petitions and that sort of thing. They’re still a minority; we even had problems with ‘Master And Servant’ when the BBC called for a copy of the lyrics to check them out, but only one guy thought they were obscene, and he was away on holiday when the final decision was taken! The girl who took the decision agreed with us that it’s about love and life, which of course it is.”
    Pressured into making some comparison with Frankie, Dave goes thus far and no further. “ ‘Master And Servant’ is a bit more subtle than ‘Relax’ but then it’s got a very different point to make. Frankie’s records sound good – but we don’t like to make a lot of comments about other bands…”
    Writers like to sum up albums at a stroke, whether the artists want to make it that easy or not. Suggesting that “Some Great Reward” is dominated by “anti-love” songs brings a considered but emphatic “No” from Martin.
    “ ‘Lie To Me’ isn’t an anti-love song… it’s about a situation of paranoia which anybody could find themselves in. ‘Somebody’ is pretty much a straightforward ‘I love you’ song if you like, certainly not an anti-love song. The album’s about all sorts of things apart from love through… power, religion, life.”
    “Some Great Reward” has once again been produced by the band, engineer Gareth Jones and Daniel Miller, the man behind Mute, The Silicon Teens and The Normal. But Miller’s been quoted as saying that he doesn’t see himself as a producer…
    “It’s a co-production. Daniel takes ideas from the band as well as giving them, but it’s difficult to explain what goes on over a period of four months. It’s all quite diplomatic, and he won’t make us use anything we don’t like, but every team works in a particular way that’s very hard to explain. We need an outside view or we wouldn’t take so much care over the songs and the sounds – if it wasn’t for Daniel we’d have a lot more arguments too!”
    The band feel that their standards have gone up on this album, and swear that the backing tapes from the “Speak And Spell” tour now sound horribly sloppy to their newly-trained ears.
    “We spent days doing just one or two sounds or rhythms this time – we went over the top really and it cost us a few bob, but it’s paid off because this is the first album we’re all really proud of. Not that we don’t like the others, it’s just that this one is so much better in terms of sound quality.”
    On the subject of backing tapes, was there any desire to try to play a completely live set on the forthcoming tour?
    “We’re aware of the limitations of using a backing tape, it takes away a lot of the spontaneity, but we can’t see ourselves playing with a live drummer at this stage. Nobody could play precisely enough or give us all the sounds we’ve used in the studio, but we’ve found other ways to make things a bit more visual.
    “We’ve got a moving set with lots of scaffolding, slide screens and so on to match the album sleeve – Jane who worked with us last time wanted to take some of the ideas a bit further – but we don’t think there’s any danger of being compared to industrial bands like Einsturzende Neubaten. [1]
    “Granted, we use a lot of metallic sounds, but so do a lot of people from Bowie onwards, and in any case we’re using those ideas in the context of pop songs. Hitting bits of metal is very visual, and you can’t get away from the fact that some of our old TV appearances with three pairs of hands playing keyboards were just boring!
    “You need something else, and when we’ve got something more visual we look more confident – that’s why we do things like playing the shawm (a Chinese oboe) on the ‘Everything Counts’ video, even though it was just another keyboard sound. Some people wrote to us to say they felt cheated that we hadn’t spent three months learning to play a shawm, but I don’t see that at all…”
    Dave’s main pleasure in the band is still live work, despite the feeling that they’ve taken on a lot in the new gig schedule.
    “The fewer gigs you do on a tour the more you enjoy yourself. I love the audience contact, it gives me a big kick that you can’t get in the studio or on TV – I always feel a great deal of power when I can make 6,000 people do what I want. We’re about to embark on a huge tour, though – more dates than we wanted to do really, ending towards Christmas and taking in Germany, Sweden, Holland, Belgium, Italy and Switzerland.
    “There are a few days off, but the gigs are mostly back to back – when we get a day off it’s always a Sunday in Hanley. Have you ever been in Hanley on a Sunday? You look at a couple of antique shops, you wander about thinking ‘what the hell can I do?’, you go back to the hotel and watch a couple of videos. It’s awful.
[1] - The Jane in question being Jane Spiers, who provided lighting design on the Construction Time Again tour and graduated to set design as well on the Some Great Reward tour. [continue]
[Melody Maker, 22nd September 1984. Words: Mark Jenkins. Pictures: Tom Sheehan - page 2 of 2]
    “After this lot most of us will be wanting a holiday. The last German tour finished right before Christmas and by that time it had got very difficult to do something different every night. My mind used to drift sometimes and I’d forget the words – it’s even worse for the others because they’re going be stuck behind two Emulators, and there’s no way you can move them around, but a lot of the audiences don’t seem to notice that we don’t move much. I like moving about the stage now – at one time I used to keep still and just clutch the mike stand – but now I go to different parts of the audience and play up to them.”
    One song on the album which shows a complete departure from the electro-dance style is “Somebody”, which features a rare performance on piano from Alan. Martin takes the vocal, and says the song’s simplicity “is based on a sort of Jonathan Richman back-to-basics theory. It’s performed all together – it just needed three takes, mainly to get the sound okay – and really uses the bare essentials.
    “In fact I sang it completely naked in the cellar of the studio which we use for ambience, and the others sent the female tape op downstairs while I was doing it to ‘check the connections’.”
    Dave recounts how they stood with baited breath until a small Germanic scream tipped them off – he mimics Martin’s (possible) reaction, and goes on to say that if every song on the album had been done as quickly they’d stand a better chance of making some money out of it.
    Cost is an increasing preoccupation in the band’s considerations while recording, but working in the German Hansa studio rather than London’s Music Works at least means fewer interruptions, although it still demanded a month of recording time. The first album cost around £8,000, which was cheap for the time, but now the band are much more satisfied with the results even if they’ve had to pay the price.
    Dave comments: “I’m very pleased with the vocal sound on this one – it’s a lot to do with having confidence and a lot to do with being comfortable with the engineer. Also, I took a couple of lessons with Tona deBrett, scales and things, and I didn’t see much application to singing pop songs but I wanted to do more for the breathing control.
    “Sometimes when I’m running across the stage and singing I get very out of breath. On this album we took more care on the vocals – if you like, it’s our ‘together’ album which is why a line from one of the songs is quoted on the sleeve, ‘the world we live in and life in general’.”
    “Some Great Reward” seems a more personal album than “Construction Time Again”, which the band agree could be called a “political” album “but only for want of a better word”.
    “It’s not as if we’ve suddenly returned to playing pop,” says Martin, “it’s just a more mature album. We feel 100 per cent confident about it, and a good few of our friends have been pleasantly shocked when we played it to them – they couldn’t believe that we could record something like this. A lot’s changed since Vince left three years ago, and the people who gave us less positive reactions in the past when we deserved them aren’t afraid to tell us now that they like what we’re doing.
    “That’s really good – through being with Mute we were given a chance to develop in our own time without being manipulated into giving away posters or free singles or anything like that. When we do a remix of a single we make sure it is something really different that gives value for money – Daniel’s against a lot of fancy packaging anyway – but we’ve been lucky in that the real fans have always bought the singles. In four albums and 10 or 11 singles we’ve never really had a low period, the fans have been very loyal, and if we did put out ‘Blasphemous Rumours’ and it got banned they’d still be buying it.”
    The band are totally involved with sleeve design and set design and pity others who don’t share this enviable position (“after a while you realise how much some other bands are manipulated…”). They’re doubly lucky in that Mute owns all the computer equipment they need to record, since it’s also used by other acts on the label.
    The gear lets them exploit ideas from all the different types of music with which they come into contact (“Systems music – Steve Reich – Philip Glass – Gamelan orchestras – all sorts of things!”) and have infinite flexibility as to who plays what and how each sound is created.
    Some of the sounds on “Master And Servant” – such as the whip effect – are based on Daniel Miller standing in the studio hissing and spitting (“we tried to sample a real whip but it was hopeless”). Anything that’s impossible to play live ends up on the backing tape for stage purposes, although Dave, Martin and Andy have a healthy respect for the potential of Alan’s more developed keyboard skills.
    Since so many “real” sounds are creeping into the music, are we likely to see Depeche Mode assuming rockist guitar poses again in the near future? Martin thinks not – “I played an acoustic guitar on stage last time, and we mime to some of the drum parts on ‘Master And Servant’, but I don’t feel too happy about it. We use samples of guitar sounds if we like them but we don’t think about whether they come from guitars or not, we just want a new sound.
    “We don’t think about being ‘anti-guitar’, but a lot of the old electronic bands are going back to guitars, and if we did that just for the visual effect or so that we could move around a bit, we’d end up being blander instead – looking just like anybody else. We’re prepared to do things for TV to make it look a bit more exciting though!”
    Despite their willingness to play up to the cameras, the band are convincing in their insistence that “the new album is 100 per cent sincere. We’d like people to see in it passion, intensity and sincerity. The last one got good reviews so we expect a few iffy ones this time – usually your enemies slag it off and your friends are so positive that they don’t tell you anything really. A lot of people still tend to write us off, but we think ‘Construction Time Again’ was a turning point and a lot of new people now know what we can do.”
    And as for the image (or lack of one)?
    “It’s really as unified as it’ll ever get now. We’re misfits – we don’t fit into an area, although other companies might have pushed us into one. In the long run it’s a benefit, but we do find people can’t put faces to our music even now.”
    Dave adds, “… and that’s a good thing – we’re on the edge now, between commercial and non-commercial music, and I think that’s a good place to be.”
    Questioned on the expected reception of “Some Great Reward”, Dave offers: “I took a lot of time getting to know all the songs on this one and I think we deserve a lot. ‘People Are People’ was a German Number One and ‘Master And Servant’ is at 15 in Germany, so it ought to do well, but some of the reviews can be very negative.
    “One guy who slagged us last time told us he only listened to half the album at four in the morning and that he’d got to like it since, but by then the damage had been done – when you’ve spent three months recording an album that sort of thing is really disgusting.
    “A lot of people are going to be expecting ‘Construction Time Again Part Two’, because they liked the ‘political’ content of the last one, but that’s not what ‘Some Great Reward’ is all about and we might get slagged for that.
    “We hope that everybody will see it as our best yet, but journalists can be unpredictable. Then again, so can we…”

1984-09-22 - Hitkrant nr.38 (Netherlands) - PASPOORT DEPECHE MODE

[Source: The info comes from a "Personal Fact Sheet" made by DM's Official Info Service at the time. Transcribed/translated by me.]

( (

"Wij zijn helemaal geen sterren", lacht Andy Fletcher. "We hebben enkel vreselijk veel geluk gehad." 'Bescheidenheid siert de mens' is bij deze groep waarschijnlijk de huisspreuk, want de Depeche Mode-boys kunnen ondanks hun jonge leeftijd al op een bijzonder rijk hitverleden terugblikken. Reden te over dus om met dit viertal wat nader kennis te maken.

Naam: Alan Wilder
Geboortedatum: 1 juni 1959
Broers en zusters: geen [sic]
Burgelijke staat: Ongehuwd. Woont samen met vriendin Jeri en haar kind
Vorige baan: klanktechnicus in een Londense opnamestudio
Vorige bands: geen [sic]
Woonplaats: Kilburn, London
Grootste trots: kater Tamla
Favoriete artiest: David Bowie
Favoriete kleding: losse hemden
Eet graag: lekker
Drinkt graag: Pale Ale
Vreselijkste ervaring: dat de tijd zo snel gaat
Favoriete film: alles van Polanski
Haat: opscheppers
Hobby: fotografie, dieren
Ambitie: op een exotisch eiland wonen met Jeri

Naam: David Gahan
Geboortedatum: 9 mei 1962
Broers en zusters: twee broers, Peter en Philip. Eén zus, Susan
Burgelijke staat: Ongehuwd. Vaste vriendin Joanne
Vorige baan: te veel om op te noemen
Vorige bands: Vermin
Woonplaats: Basildon, Essex
Grootste trots: zichzelf op de radio horen
Favoriete artiesten: Bowie, Roxy Music, Siouxsie & The Banshees
Favoriete kleding: grijze gestreepte broeken
Eet graag: moeders rosbief
Drinkt graag: limonade
Vreselijkste ervaring: bestolen worden
Favoriete film: "The Deerhunter"
Haat: politici, lopen, wachten
Hobby: vissen
Ambitie: nummer één zijn

Naam: Andy Fletcher
Geboortedatum: 8 juli 1961
Broers en zusters: Twee zussen, Susan en Karen. Eén broer, Simon
Burgelijke staat: Ongehuwd. Vaste vriendin Grainne
Vorige baan: verzekeringsagent
Vorige bands: The Blood
Woonplaats: Basildon, Essex
Grootste trots: een gouden onderscheiding bij de padvinders
Favoriete artiest: Tuxedo Moon
Favoriete kleding: lederen broeken
Eet graag: Chinees, spaghetti
Drinkt graag: bier
Vreselijkste ervaring: omvergereden worden door een bromfiets
Favoriete film: "The Warrior"
Haat: uitgelachen worden
Hobby: uitgaan
Ambitie: steeds beter synthesizer spelen

Naam: Martin Gore
Geboortedatum: 23 juli 1961
Broers en zusters: twee zusjes, Jackie en Karen
Burgelijke staat: Ongehuwd, wel een duitse vriendin, Christine
Vorige baan: bankbediende
Vorige bands: Norman & The Worms
Woonplaats: Basildon, Essex
Grootste trots: bitter weinig
Favoriete artiesten: Talking Heads, Iggy Pop
Favoriete kleding: lederen hesjes
Eet graag: vegetarisch
Drinkt graag: sinaasappelsap
Vreselijkste ervaring: in elkaar geslagen worden
Favoriete film: "One Flew Over The Cuckoo's Nest"
Haat: werken als hij geen zin heeft
Hobby: meisjesbladen lezen
Ambitie: miljonair worden


"We are no stars", laughs Andy Fletcher. "We have just been very lucky." 'Modesty is our strong suit' is probably the group's main saying, because the Depeche Mode boys can look back on a extremely rich hit-past despite their young age. So there's plenty of reason to get acquainted with this foursome.

Name: Alan Wilder
Date of birth: 1st of June 1959
Siblings: none [sic]
Relationship status: Unmarried. Lives with girlfriend Jeri and her child
Previous job: sound technician in a London recording studio
Previous bands: none [sic]
City of residence: Kilburn, London
Biggest pride: male feline Tamla
Favourite artist: David Bowie
Favourite clothing: loose shirts
Likes to eat: nice food
Likes to drink: Pale Ale
Most horrible experience: time going by so fast
Favourite movie: everything by Polanski
Hates: braggers
Hobby: photography, animals
Ambition: living on an exotic island with Jeri

Name: David Gahan
Date of birth: 9th of May 1962
Siblings: two brothers, Peter and Philip. One sister, Susan
Relationship status: Unmarried. Steady girlfriend Joanne
Previous job: Too many to count
Previous bands: Vermin [sic]
City of residence: Basildon, Essex
Biggest pride: hearing myself on the radio
Favourite artists: Bowie, Roxy Music, Siouxsie & The Banshees
Favourite clothing: grey striped pants
Likes to eat: mother's roastbeef
Likes to drink: lemonade
Most horrible experience: getting robbed
Favourite movie: "The Deerhunter"
Hates: politicians, walking, waiting
Hobby: fishing
Ambition: being number 1

Name: Andy Fletcher
Date of birth: 8th of July 1961
Siblings: Two sisters, Susan and Karen. One brother, Simon
Relationship status: Unmarried. Steady girlfriend Grainne
Previous job: insurance agent
Previous bands: The Blood
City of residence: Basildon, Essex
Biggest pride: a scouts' gold medal
Favourite artist: Tuxedo Moon
Favourite clothing: leather pants
Likes to eat: Chinese, spaghetti
Likes to drink: beer
Most horrible experience: being run over by a moped
Favourite movie: "The Warrior"
Hates: being laughed at
Hobby: going out
Ambition: playing the synthesizer better and better

Name: Martin Gore
Date of birth: 23rd of July 1961
Siblings: Two sisters, Jackie and Karen
Relationship status: Unmarried, but a German girlfriend, Christine
Previous job: bank clerk
Previous bands: Norman & The Worms
City of residence: Basildon, Essex
Biggest pride: not much
Favourite artists: Talking Heads, Iggy Pop
Favourite clothing: leather jackets
Likes to eat: vegetarian
Likes to drink: orange juice
Most horrible experience: getting beaten up
Favourite movie: "One Flew Over The Cuckoo's Nest"
Hates: working when not in the mood
Hobby: reading girls' magazines
Ambition: becoming a billionaire
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:07:16
1984-09-22 - Melody Maker (UK) - DEPECHE SEEK THEIR REWARD

[Taken from the now-defunct website]

( (

[Melody Maker, 22nd September 1984. Words: Uncredited. Picture: Tom Sheehan.]
Summary: Short news item (not a review) announcing the release of Some Great Reward and the subsequent tour. [117 words]

    Depeche Mode release an album this month to follow their current hit single, “Master And Servant”.
    The album, “Some Great Reward”, is out on Mute Records on September 24. It features nine tracks, all written by Martin Gore except for Alan Wilder’s “If You Want”.
    Recorded in London and Berlin, it was produced by Daniel Miller, Depeche Mode and Gareth Jones. And like the band’s first three albums, it features a Brian Griffin sleeve design and photograph.
    Tracklisting: “Something To Do”, “Lie To Me”, “People Are People”, “It Doesn’t Matter”, “Stories Of Old”, “Somebody”, “Master And Servant”, “If You Want”, “Blasphemous Rumours”.
    Depeche Mode start a 27-date British tour at St Austell Cornwall Coliseum on September 27.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:08:42
1984-09-25 - Unknown (UK) - Trivial quiz with Alan (4 min)

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:09:01
1984-09-27 - Bravo (Germany) - Stars unter vier Augen: Martin Gore

[Thanks to Milik (;u=13) for offering to send in this scan! I typed out the text:]

( ( (

BRAVO-Talkshow: Stars unter vier Augen

Martin von Depêche Mode
In der Band gibt's oft schwere Kämpfe

Depêche Mode setzen voll auf ihre neue Single "Master and Servant".
Martin und Christina: In einem Berliner Nachtclub begann ihre Liebe.
"Unsere Hörer sind da schon kritischer".
"Wir diskutieren lange über unsere Songs."
Unter sechs Augen: Christina und Martin mit BRAVO-Redakteur Reinhard Haas.

Bravo: Die wenigsten wissen, daß du perfekt deutsch sprichst.
Martin: Ha ha, du hast gedacht, du könntest dich hinter meinen Rücken mit Christina unterhalten? In der Schule in England habe ich so die Grundbegriffe gelernt, aber das Sprechen kam erst in Deutschland. Ich war oft auf Urlaub hier.
Bravo: Und da hast du dann Christina kennengelernt?
Martin: Das ist ein Geheimnis! Nein, es war tatsächlich hier; in so einer Art Nachtclub in Berlin vor etwa einem Jahr. Es war Liebe auf den ersten Blick.
Bravo: Du warst sicherlich ein heißer Fan von Depêche Mode?
Christina: Ich konnte die Gruppe überhaupt nicht. Außerdem war ich musikalisch nie sonderlich interessiert. Jetzt lese ich auch BRAVO. Das ist genauso, wie wenn du einen Freund hast, der Motorrad fährt. Plötzlich fängst du an, dich für Vergaser und so Zeug zu interessieren. Da beinflußt man sich ja auch gegenseitig.
Bravo: Habt ihr euch kurzfristig entschlossen, in Berlin zusammen eine Wohnung zu nehmen?
Christina: Ja, Martin hatte eigentlich die Idee. Also Martin meinte, das wäre besser so.
Bravo: Und die Möbel habt ihr aus England hierher geschafft?
Martin: Nein, das sind ganz billige Eisenregale von Großmarkt. Den Fernseher hat Christina selber angesprüht; ging nur leider etwas daneben, aber wir schauen ohnehin nicht viel fern. Gehen lieber indisch essen oder lesen zusammen in einem Buch.
Bravo: Ist das schon das Endstadium eurer Einrichtung?
Martin: Ich mag es nicht, wenn die Räume so vollgestellt sind. Ein Bett, ein Tisch und ein Sofa sind genug. Hauptsache, meine geliebte Videospiele sind da.
Bravo: Jedesmal wenn Depêche Mode nun in Berlin ist, kannst du dich ins gemachte Bett legen und die Gruppe muß ins Hotel...
Martin: Die jungs haben auch schon gemeckert, daß Herr Gore immer eine Extra-Wurst haben muß. Aber da gibt es keinen Neid oder so. Sie verstehen das.
Bravo: Seid ihr auch im Privatleben gute Freunde?
Martin: Du weißt ja, daß Andy, Dave und ich aus Basildon kommen und uns schon seit einer Ewigkeit kennen. So was verbindet. Andy und seine Freundin fahren jetzt auch mit uns nach Mauritius, und Dave kommt nur deshalb nicht mit, weil er ein absoluter Griechenland-Fan ist und sein geliebtes Land auch dieses Jahr nicht missen will.
Bravo: Könntet ihr euch vorstellen, zusammen in Urlaub zu fahren?
Martin: Als wir auf unserer Fernost-Tour waren, hatten wir in Thailand einmal vier Tage Zeit und sind zum Camping gefahren. Das waren die chaotischsten vier Tage meines Lebens. Versteh' mich nicht falsch, wir lieben uns, aber ab und zu will auch Alan mal mit seiner Frau und seinem Kind allein sein, Dave will surfen, und Andy und ich wollen uns in die Sonne knallen.
Bravo: Gibt es auch verschiedene Ansichten über Musik?
Martin: Alan und ich haben oft Mühe, die anderen von unseren Demo-Bändern zu überzeugen. Wenn Alan oder ich einen Song geschrieben haben, kopieren wir das auf ein paar Kassetten, und jeder nimmt sich das Ding mit nach Hause. Im Studio treffen wir uns dann wieder und die große Diskusion beginnt. Oft genug haben wir einen Song dann völlig umgeschrieben oder ganz weggeworfen, wenn einer dagegen war. Ist das Abstimmungsergebnis 2:2, muß unser Manager Daniel als Schlichter oder Richter auftreten.
Bravo: Kommt es auch mal vor, daß einer unter Protest das Studio verläßt?
Martin: Meistens geht das relativ sachlich ab, und wenn mich doch die Wut packt, dann verziehe ich mich für eine halbe Stunde und hämmere auf irgendein Videospiel ein. Ich schleppe überall so ein Ding mit mir rum, und zu Hause habe ich schon eine riesige Sammlung. Mich beruhigt das ungeheuer, mal für ein paar Minuten meine Aggression an Ungeheurern und Raumschiffen auslassen zu können.
Bravo: Wo schreibst du deine Songs?
Martin: Meistens zu Hause in Basildon oder in London. Ab nächstes Jahr werde ich sie warscheinlich hier in Berlin schreiben. Und wenn ich manchmal die Gitarre oder ein Casio dazu nehme, stört das hier keinen Menschen. Im Gegenteil, über uns wohnt ein Pianospieler, der klimpert sowieso den ganzen Tag. Da sind die Leute bestimmt ganz froh, wenn sie mal etwas Abwechslung bekommen.
Bravo: Glaubst du, daß Depêche Mode in England zur Zeit am beliebtesten sind?
Martin: An erster Stelle steht wohl sicherlich Culture Club und dann Duran Duran. Ja, Frankie ist auch noch sehr berühmt. Diese Gruppen ziehen mehr Massen an und verkaufen mehr Platten, weil sie von vorneherein einen unheimlichen Bonus haben bei den Kids. Unsere Hörer sind da schon kritischer und vielleicht nicht ganz so jung, wie die von Duran Duran oder Nik Kershaw. Aber ich würde sagen, an vierter Stelle stehen wir wohl.
Bravo: Wie sieht das Programm von Depêche Mode für den Herbst aus?
Martin: Jetzt machen wir erst einmal zwei Wochen Urlaub auf Mauritius zusammen mit Andy und seiner Freundin. Nach den langwierigen Plattenaufnahmen in Berlin haben wir das auch dringen nötig. Aber danach wird's hektisch. Noch während des Urlaubs kommt unsere neue Single "Master and Servant" heraus, und sobald wir wieder da sind, drehen wir eine TV-Show in England. Anschließend geht's noch mal für eine Woche ins Studio, um den Computer für die Live-Auftritte zu programmieren. Danach müssen wir schon mit den Proben für unsere große Europa-Tour beginnen.

[Translation by me:]

BRAVO Talk Show: Stars in private

Martin from Depeche Mode
There's often heavy fighting in the band

Depeche Mode are placing all bets on their new single "Master and Servant".
Martin and Christina: Their love began at a Berlin nightclub.
"Our listeners are more critical."
"We discuss our songs at length."
From person to person to person: Christina and Martin with BRAVO editor Reinhard Haas.

Bravo: Very few people know that you speak fluent German.
Martin: Ha ha, you thought you could mock me behind my back with Christina? I've learned the basics at school in England, but the actual speaking happened in Germany. I was often on holiday here.
Bravo: And there you met Christina?
Martin: That's a secret! No, it was here actually, in one of these night clubs in Berlin, about a year ago. It was love at first sight.
Bravo: You were probably a big fan of Depeche Mode?
Christina: I didn't even know the group. Also, I was never particularly interested in music. Now I also read BRAVO. This is just like when you have a boyfriend who rides a motorbike. Suddenly you'll start to care about carburetors and stuff. Then you are also influencing each other.
Bravo: Have you decided quickly to take an apartment in Berlin?
Christina: Yes, Martin actually had the idea. Martin said it was better that way.
Bravo: And the furniture you have brought here from England?
Martin: No, these are very cheap iron shelves of the marketplace. Christina has painted the TV herself, but unfortunately something went wrong, but we do not watch much TV anyway. We'd rather go out to eat Indian food or read a book together.
Bravo: Is this already the final stage of your apartment?
Martin: I do not like it when rooms are so cluttered. A bed, a table and a sofa are enough. The main thing is to have my beloved video games here.
Bravo: Whenever Depeche Mode is now in Berlin, you can lie into your own bed, and the group has to go to a hotel...
Martin: The guys have already grumbled that Mr. Gore must always have special treatment. But there is no envy or anything. They understand it.
Bravo: Are you guys good friends privately?
Martin: As you know Andy, Dave and I come from Basildon and have known each other for ages. Something like that connects. Andy and his girlfriend are going to drive with us to Mauritius, and Dave will not, but only because he is an absolute fan of Greece and does not want to miss his beloved country this year.
Bravo: Could you imagine to go on holiday together?
Martin: When we were on our far-East tour, we had four days of free time in Thailand once and we went to the campsite. Those were the most chaotic four days of my life. Don't get me wrong, we love each other, but from time to time Alan will also want to be alone with his wife and child, Dave will want to surf, and Andy and I want to bake in the sun.
Bravo: Do you guys have different views about music?
Martin: Alan and I often have trouble convincing the others of our demo tapes. When Alan or I have written a song, we copy the tapes onto a few cassettes, and everyone takes one home with them. In the studio we will meet again and the big discussion begins. Often enough we have then completely rewritten or completely discarded a song when one person was against it. If the voting result is 2:2, our manager Daniel must act as an arbitrator or judge.
Bravo: Have there also been times that one person leaves the studio under protest?
Martin: Most of the time the situations are pretty formal, but if anger does get a hold of me, I will excuse myself for half an hour and start hammering on some video game. I take such a game around with me anywhere, and at home I have a huge collection. It calms me immensely to be able to vent my aggression onto monsters and spaceships for a couple of minutes.
Bravo: Where do you write your songs?
Martin: Mostly at home in Basildon or London. Starting from next year I will probably write here in Berlin. And sometimes when I take the guitar or a Casio here I won't disturb people here. In fact, above us lives a piano player who strums the entire day anyway. So the people here are probably quite happy to hear some variety.
Bravo: Do ​​you think Depeche Mode are the most popular band in England at the moment?
Martin: In the first place is probably Culture Club and then Duran Duran. Yes, Frankie is also very famous. These groups attract more crowds and sell more records because they mostly have a unbelievable advantage with kids. Our listeners there are more critical and maybe not quite as young as the fans of Duran Duran or Nik Kershaw. But I would say we are probably in fourth place.
Bravo: What is the schedule of Depeche Mode for the fall?
Martin: First we will go on a two week holiday in Mauritius, together with Andy and his girlfriend. We really need this, especially after the lengthy recordings in Berlin. But then it gets hectic. Already during our holiday, our new single "Master and Servant" will come out, and when we go back again, we have to shoot a TV show in England. Then we got to go back again into the studio for a week in order to program our computer for live performances. And then we have to start rehearsing for our big European tour.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:09:27
1984-09-27 - Smash Hits (UK) - SGR Review

[Thanks to mossy (;u=550) for scanning this for this forum!]

( (

Opening with what sounds like an overheating brain scanner, the LP ends with a human breath. What lies inbetween is a complex interaction between a metallic, computarised rhythmic core and more organic sounds ranging from spanking to spinning tops. Like "Construction Time Again", it analyses politics, power and the more ideologically unsound aspects of life, framing all this in sturdy pop songs riddled with intoxicating melodies. One word of warning: it sounds wrong on an old record player. Definately music for Walkmans with added compact speakers. (8 out of 10)
Peter Martin
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:11:24
1984-09-29 - Sounds (UK) - Album Review

[Thanks to meldepeche (;u=799) for this article.]

( (

[Reprinted in a BONG magazine many year later.]
Slave Labour
    Pop goes to your house! OK, so I already expected to like this album, despite the Test Dept image plagiarism, despite the teen paper glamour and even the pop fashionability, Depeche Mode have always won through with that most endearing of qualities – good tunes. I just didn’t expect to be surprised. Thundering rhythms, offbeat drum machines, you know the kinda thing. Great for the singles, terrific for the first album, but then? Depeche Mode, however, have kept a trump card well up their sleeves – a crazy little thing called love. The Depeche boys are in lerv and doesn’t it show! This album leans away from sheer power, from anti-capitalist ideas or whatever, and heads itself firmly in for feelings. And the combination of the Depeche strength of vocal and now the Depeche delicacy is going to be hard to beat. This package is a carefully assorted, daintily arranged symphony. It’s a tender trade-off, one that carries emotion, devotion and yet never gives way to feebleness or predictability. “Somebody”, for example, quietly pumps its way into the dominatrix tale of “Master And Servant” (as yet unblemished by the Mike Read school of morals), a recipe of unexpected variations and a tasteful blend of effects that lasts right through the album. This is Depeche turning from general issues inwards, experiencing and then illustrating life and how to live it. “Blasphemous Rumours” is a harshly melodic, highly cynical look at God; and to make that work, there has to be a new confidence. OK, as you’ve probably guessed, the lyrics look trite, often naïve and frequently cliched when printed out in industrial grey and white. Yet Depeche have the right balance and necessary gauche to pull it off. Perhaps it’s simply that power – never mawkish – that sustains it. Whichever way, the combination locks in. The Depeche Mode clicks. This is an album I can see myself settling down with over the long winter months.
Carole Linfield
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:16:05
1984-09-29 - Melody Maker (UK) - GREATNESS AND PERFECTION

[Taken from the now-defunct website]

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[Melody Maker, 29th September 1984. Words: Barry McIlheney. Picture: Uncredited.]
" It used to be okay to slag this bunch off because of their lack of soul, their supposed synthetic appeal, their reluctance to really pack a punch. “Some Great Reward” just trashes such bad old talk into the ground and demands that you now sit up and take notice of what is happening here, right under your nose. "
Summary: A rapturous review of Some Great Reward, long enough to go into detail on eight of the nine tracks (sadly, the exception is the sole Alan Wilder track, If You Want). One of the earliest articles of any description to wake up to the progress the band was making, and refreshing in that the author finds space to look at the tracks individually. [799 words]

    And to think that not so long ago Depeche Mode were regarded as a bit of a joke. Those desperately shallow early singles, the tedium of the TV appearances, the sheer monotony of most of the “Speak And Spell” live show. And then a very strange thing happened.
    Suddenly, the Basildon boys took a quick look at what they were doing, decided to dump it in the nearest garbage can, and emerged into the brand new daylight with a body of truly wonderful songs, topped by a hat which has “politically aware” written all over it.
    With the dubious benefit of hindsight, it is now clear that the departure from the ranks of Vince Clarke was an almighty blessing in disguise, freeing the massive songwriting potential of young Martin Gore. Under his guidance, Britain’s finest exponents of the beast known as electropop developed into something that even their most loyal supporters from the salad days could not have thought possible. Namely, a band that was truly popular and populist all at the same time, and one which threw in the odd dose of proletarian consciousness just for good measure.
    As hit followed hit followed hit, it suddenly became clear that we were looking at a most remarkable phenomenon. Good God, I do believe that we are talking about a sparkling Eighties version of the Jam.
    There is a truly remarkable development in the Voice of Gahan. He’s either been hiding the old tonsils underneath a very big bush for the last few years, or else some rather serious lessons have been taken in recent months. [1] Either way, the end result is a most strange kind of wonderful, with a deeper, more mellow croon now dominating the proceedings. It’s apparent right from the word go, with “Something To Do” proudly pushing it right up into the front of the mix, as if to say “well here you are now ladies and gentlemen, this is what you all wet your pants over in the bad old days”.
    As if all that isn’t quite enough to be thinking about, “Lie To Me” suddenly booms out of the speakers with what I swear to George Clinton sounds very like a Funkadelic breed of slapping bass smeared all over the place. Indeed, it says quite a bit about the general standard of the first five in a row here that “People Are People” sticks out only through its relative mediocrity.
    Gore has always said that “Some Great Reward” heralds a return to the more poppy side of things, but what he forgot to mention was that this seemingly retrogressive step would actually include (deep breath) ballads. That’s right, slow songs, songs that meander around all over the place, songs a million miles removed from the standard frenetic dash of the early product.
    “It Doesn’t Matter” and “Stories Of Old” are splendidly pathetic in the true sense of the word, the one sounding vaguely OMD-at-their-bestish, while the latter is much more vintage Basildon beat with a few background noises that have somehow made their way across a record made in the late Sixties called “The White Album”.
    How did that get in here? God only knows, so we’ll turn the damned thing over before it bites and just quickly point out that “Master And Servant” fulfils the same role as its predecessor on side one by looking very duff indeed when it decides to keep such exalted company.
    “Somebody” is simply stunning, the best vocal ever recorded without its clothes on [2], while the already controversial “Blasphemous Rumours” may get the braces in a twist up at Broadcasting House but will undoubtedly make a lot of sense out there in the real world. Apart from the fact that it’s destined all the way for the top, ban or no ban, it is basically just a simple and suitably muddled query about the seemingly irreconcilable link-up between blind faith in an essentially Beneficial Being and the harsh tragedies of everyday life. And yes, you can dance to it.
    Nine tracks then, two of them already released to ecstatic reactions despite the fact that they’re by far the weakest songs on the whole thing. There’s certainly more than enough here to shut all the critics up once and for all, but just in case you still fancy a little row it might be best to bear this in mind. It used to be okay to slag this bunch off because of their lack of soul, their supposed synthetic appeal, their reluctance to really pack a punch. “Some Great Reward” just trashes such bad old talk into the ground and demands that you now sit up and take notice of what is happening here, right under your nose.
    No? Ah well, snobbery always was the greatest sin of all. [3]
[1] - Dead right: for this album Dave had been taking lessons with vocal coach Tona deBrett, something which he hated so much he was scared clean away from the entire concept until the condition of his voice during 1996's Ultra sessions forced a rethink.[continue]
[2] - For the new people who might not be familiar with the celebrated story - Martin stripped naked to sing the song when it was being recorded in the studio. [continue]
[3] - Devotees who have finished this article cheering wildly might be interested to know that the author was evidently on a mission for the Mode. For dessert, gobble up this live review he wrote the previous year. DREAM AND SCREAM
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:17:18
1984-09-29 - Record Mirror (UK) - MASTER OF THE GAME

[Taken from the now-defunct website]

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( ( (

[Record Mirror, 29th September 1984. Words: Eleanor Levy. Pictures: Paul Cox.]
" Depeche Mode are a thoughtful group of people. Which doesn’t mean that the impression given by those ‘four serious men’ publicity shots they are so fond of is necessarily correct, but that they think a great deal about what they do. "
Summary: Brief and un-taxing discussion with the band looking at the Master And Servant single and the touch of controversy it courted. The band also explain their perspective on remixes, and begin by mercilessly picking on Fletch for his very small what-do-you-call-its. [1029 words]

    Nipples? Chains? Domination? What on earth has happened to those nice Depeche Mode boys? And what is (gasp) VFM? Eleanor Levy reveals all. Picture by Paul Cox.
    Did you know that Andy Fletcher of Depeche Mode has the world’s tiniest nipples? As Martin Gore explains, “Fletch, apart from being in a quite successful band, has also got the smallest nipples in the world.”
    “They’re like two freckles,” Dave Gahan offers helpfully. Andy, obviously hurt by his colleague’s disloyalty, tries to explain. “They’ve just never grown. But they’re not that bad.” This is too much for Martin.
    “They are, Fletch,” he tells him. Men can be cruel sometimes.
    “You’re a weird guy, Fletch,” Dave adds cheerfully. It doesn’t cheer Andy up.
    “I just haven’t got very big what-do-you-call-its.” The assembled minds boggle at just what Andy can be talking about. “The round bit… the dark bit around it,” he clarifies.
    “That IS your nipple, Andy,” Dave tells him in a tired voice.
    “Ni-pol,” Martin adds, emphasising each syllable with obvious glee.
    “No it isn’t,” Andy pleads, looking more confused than when he started. Dave, meanwhile, has obviously taken pity on his friend. “I’ll talk to you later Fletch. Man talk. I’ll give you a few books on the subject.”
    And it had all started so seriously too. After hours waiting for photos to be taken, phone calls to be made and a good deal of giggling at Shakin’ Stevens’ would-be athleticism on Top Of The Pops, the interview is about to commence.
    Depeche Mode and journalist are seated outside a pub teeming with Australians. Various Raylenes, Charlenes and Bruces wander around muttering the odd ‘dingbat’ and ‘possum’ under their breath.
    Alan is explaining that a lot of people are about to be surprised by the new Depeche Mode album. It’s the sort of cliché that turns up time and again, but a few listenings to ‘Some Great Reward’ later and you realise this is no false pop star patter.
    Depeche Mode are continuing to confound their critics by producing sharp and intelligent music that refuses to leave your brain once contact is made. Hear the current single ‘Master And Servant’ for the perfect pop song (for this week at least) that goes for your feet AND that bit in your tummy that wobbles when Terence Stamp smiles and men in tight leather trousers bend over.
    But what about the song itself? Its message seems to have caused not a little mystification. What is its theoretical and moral standpoint? Its hidden meanings? Is it a telling political analysis of capitalist exploitation or just sweet Martin Gore revealing his S&M yearnings and making a nasty mess on the carpet in the process? In the past, Martin hasn’t been too keen on explaining those parts of himself revealed in his lyrics. Thankfully, it seems, all this is changing.
    “I feel a lot more open about it now,” he says, “and a lot more confident with the new album – it’s more open and if I’m going to bare myself on it I might as well bare myself in interviews as well.”
    So what was he trying to say in ‘Master And Servant’?
    “It’s about domination and exploitation… and using a sexual angle to get that point across.” But does he think it’s a bad thing?
    “Of course I do,” he answers.
    “No, you don’t Martin!” a loud voice sounds from the other side of the table. Martin grins. “Well, it depends on which side you’re talking about. What the song’s saying is that these two people are indulging in this and getting fulfilment from it because it reminds them of their lives outside the bedroom.”
    Which makes you wonder what the video is like, but Martin soon dispels all thoughts of de-robed Depeche Modes frolicking about.
    “We steered clear of the sexual side a bit,” he explains, “it’s very easy to make a video like that… ‘Relax II’. There’s a bit of rolling around with chains and hanging up with chains… but nothing too blatant.”
    “Obviously,” Dave adds, “you have to think about it getting banned. It might mean hundreds or thousands of people not actually seeing the thing because of one thing in the video.”
    “We did think about the song as well,” Alan admits, “but we went ahead and released it. Somebody did complain to the BBC but there was someone there intelligent enough to read a copy of the lyrics and actually see a little more in them. That was quite encouraging.”
    Depeche Mode are a thoughtful group of people. Which doesn’t mean that the impression given by those ‘four serious men’ publicity shots they are so fond of is necessarily correct, but that they think a great deal about what they do. This goes right the way through, from ticket prices to the requisite handful of remixes for singles that record companies are so fond of foisting on the public.
    “To be fair,” says Andy, “we wouldn’t do it if we didn’t feel we had to.” And he sounds like he means it too!
    “VFM!” Martin declares enigmatically. “That’s what we’re about.”
    “Value for money,” Dave explains, “and our fans appreciate that. The thing is, we have to compete somehow, but we always make sure we give people something new. What bands don’t realise is that when they have 10 different versions of the single, it’s the fans they’re kidding. If the 12 inch just has a little bit more on the front and fades a little bit later at the end it’s taking the piss a bit. Taking the piss out of your own fans.”
    “We feel if we’re going to compete,” Alan explains, “at least do it tastefully.”
    Which is something Depeche Mode ARE doing – and with increasing depth and maturity… to their music, to their lyrics and to the way they present themselves. A group responsible for some of the most ridiculous haircuts in the pop business, are now giving us songs which improve with age rather than impress for five minutes and then irritate for ever more. They may have strange nipples, but as they say themselves:
    “What we’re going for is Passion… Love… and VFM!”
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:19:49
1984-09-xx - Radio 1 (UK) - Dave & Fletch interview

[I made a transcript:]

Host: ...The first album you're really proud of, I read in a music paper...?
Andy and Dave: Noooo!
Dave: Well, that was probably slightly misquoted. I mean, we're very excited about this album, we feel that it IS our best album, and the best collection of songs that we've written together, in that way. But obviously we're proud of all our albums. That's part of Depeche Mode history, you know, it's building the albums.
Host: Sure. I mean, you may go back and do things differently now, but they are a fact that they're there, and why not. So what's special about this LP then, Andy, what is it that makes it all maybe just a bit better, from your point of view?
Andy: Quite a few reasons, really. I think that there's nine very good quality songs. I think it's the best collection of songs we've ever put together, and it's got a great variety of things on it, as well, and we've spent a long time over it, writing the songs, recording, really took a lot of care over it, and that's why I think it's the best.
Host: Hmm.
Dave: So buy it! [laughter]
Host: That's the end of the commercial, alright? The thing is, you took a long time there recording it, how long did it take to record?
Dave: All in all, well, writing was probably, what, three, four months.
Host: That bit doesn't cost much money.
Dave: Well, no, but the studio [was] three to four months, actual studio time,-
Host: -Goodness gracious-
Dave: -Actually, for us it's double of what we've ever done before. It's mainly because we too so much care over each sound, and over the production as well, because we're doing the production with Daniel, as a joint thing, and Gareth is now coming with us as well, Gareth Jones-
Host: -Who was engineer on the last album as well, yeah?
Dave: -That's right, yeah. Now he has sort of taken over a role with the sounds, with the actual having a say about the sounds and things as well. And the team that we've got now strong and I think the production is so much better than the last album. It's an improvement, and that's what's Depeche Mode about. It's sort of moving on all the time, trying to create a new sound-
Host: Working with Daniel, not only on the prodcution, but he is also sort of in charge in the record company as well, has he given you a lot of time to mature in your way, with no pressure?
Dave: Well, that's one thing that we had been allowed. With Mute, I think we didn't probably realise it in the beginning, but now I really realise it more than anything, that we've actually had room to develop. And if you didn't listen to the four albums in a row, the difference in sounds and song quality and the maturity as well, the maturity has sort of gone through the albums as we've been growing up. No one has pushed us in any direction, it's just something that we've done, and we're all very proud of that.
Andy: Quite perversly, Andy, I think that the fact that Vince quit when he did was probably the best thing that could have happened for Depeche Mode. Does it make you think again? Doesn't it?
Andy: Oh, yeah. I mean, we had to really just start again. And we had to really - because, before, you see, me and Martin were quite lazy people because we let Vince do a lot of the work, and all of the running about, and as soon as-
Dave: -Nothing's changed. [laughs]
Andy: -As soon as Vince left, basically we was in position, we had to keep on the name, because there was no way the group was gonna end at that time, because we had just started.
Host: And you were sort of forced to try to write, and things like that?
Dave: Well, Martin was put in a-
Andy: Martin has been writing for a long time, he has been writing for a long time, and we thought his songs wouldn't be developed into what we were doing at the time, but now, he's... he's great.
Host: Leaping ahead, yes. Now, it's not all electro stuff either, isn't it? Because there's a track called "Somebody" on the LP, which is sort of back to basics, in a way. Alan on piano.
Dave: Well, basically, Martin's theory on that is the "back to basics" theory, which was actually a Jonathan Richman theory. It was going completely back to basics, with just acoustics or whatever. And it was actually recorded within three takes or something, which is Martin singing.
Host: Very live.
Dave: And in just huge room in Hansa, in Germany, in a big studio, we used a big old studio.
Host: What's the theory that nudity entered into this recording as well?
Dave: Well, that was, actually, you see, Martin wanted to get the feeling of, just feeling totally free, actually. So the best way of doing that was to take all his clothes off, so he did.
Host: Oh dear. I thought I read somewhere that there was a girl engineer over there?
Dave: That's right, yeah. We sent Steffi down there, who's the girl taper in Germany, to check out some wires, and Martin, not knowing she was coming down and us knowing that Martin has stripped off, and then we heard a little shriek when she got down there, and Martin going "Eh, eh, sorry, eh..."
Host: Well, you can tell he's got no clothes on, this is the track, this is called "Somebody", and it sort of fades in quietly...
Dave: There's another balled on the album as well that Martin sings, and right from the beginning I felt that it would be better if Martin could sing them, because they're very personal songs. And they're feelings that I didn't have at that time, I don't know, I just felt I couldn't really relate to it as well as I could sing some of the other songs. But not only that, I think it's good to be able to sort of have that thing in the band, we've always been like that with the musical part, there's no one that plays any musical-
Host: -That's true, I've noticed you were kind of swapping around on different keyboards and things-
Dave: -So, why should we do the vocals [that way]? Let's sort of expand with the vocals and things. It's more interesting live and everything.
Host: An extra dimension.
Dave: Yeah.
Host: For the light show as well. We're talking to Dave Gahan and Andy Fletcher of Depeche Mode and playing tracks from their album "Some Great Reward". As well as the album coming out, you have a tour in the very near future, don't you, Andy?
Andy: That's right, we start on the 27th in St. Austell-
Host: -And I see it kind of runs up to four nights at the Hammersmith Odeon, in November.
Andy: That's right, it's probably the biggest tour we've done in this country, and it's about 30 days.
Dave: And the sampled sounds into those, like we do in the studio-
Host: -So it will sound like you got a piano in the room?
Dave: -a sampled clarinet, and stuff like that. And Al's got his pedals and things. [laughter]
Andy: On the last tour we did use a guitar on a few songs, but, now-
Dave: -Actually, live, using them, well Martin felt a bit sort of suspect about it, he sort of felt... You see, a lot of the electronic bands, or [the ones that] started off electronic, gradually they start using, bringing in guitars and things, and when they do TV shows, they think, "Oh we have to use guitars, because that's what's "in" at the moment." So we sort of felt "Why do that? This is the way we are", so let's be like that.
Host: And you're gonna stick with the tapes that you use, as well, you're not gonna have an actual drummer?
Dave: No, we haven't found anyone tight enough actually [laughs] to play with us-
Host: Haha, oh really? Hahaha, okay. Well let's talk a bit about the tour, because it's a very long tour in Britain and then it goes into Europe, well most of Europe. How do you survive and keep the enthusiasm going for what, nearly two, three months?
Dave: Well, that's, one of the biggest problems, really, is actually keeping up the enthusiasm and sort of be able to go out every night. And what you're doing is giving people hundred percent.
Host: You must be kind of thinking about what you're gonna eat for dinner, aren't you?
Dave: Well I do, sometimes, personally, myself, I drift off quite a lot and I forget what-
[audio missing]
Andy: -You know, bad, and they sort of like, have good criticisms. But sometimes they just criticise us as people, and that really hurts because-
Dave: -Or the type of clothes you wear, which actually-
Andy: Yeah.
Host: It doesn't have a lot to do with it, it's got nothing to do with it.
Andy: We've put a lot of work into this album, and that's just disheartening, it's not so bad with a single, because they're just a laugh, the reviews.
Dave: I think journalists have like, become totally predictable, basically, to us. We, I'm sorry, but a lot of the time we can predict what they're gonna do.
Andy: Or what you can do: just go to the name at the end-
Dave: Yeah, you give them the tune, you give them the album, you give them the tape and so on, and you could write it yourself, it's all the same.
Host: Write the review yourself. Alright, well I enjoyed listening the LP today, I must tell ya. And good luck with the album and the tour in the near future.
Dave and Andy: Alright, thanks.
Host: That's Dave and Andy from Depeche Mode.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:20:25
1984-09-xx - BBC (UK) - Saturday Picture Show

People are People:
Something to Do:
There is also an interview with Dave Gahan, and Dentez has that in good quality, but it's not hosted online.

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:20:41
1984-09-xx - Pop Rocky (Germany) - Depeche Mode

[Thanks to mossy (;u=550) for scanning this for this forum! I typed out the text:]

( ( (

Depeche Mode
Warum Martin Gore & Co. von Berlin schwärmen!
Wo sie ihren Urlaub verbrachten!
Wann sie mit ihrer Supershow nach Deutschland kommen!

Das einzige, was den Depeche-Mode-Jungs an ihrer Lieblingsstadt Berlin missfällt: Die trist Mauer!
Proben für "Master And Servant"-Videoszenen: "Noch ein Schlückchen gefällig?" Servant Dave bedient Master Martin.
Nach der Arbeit das Vergnügen: Martin und seine Bandkumpels leisteten an der Flipperkästen Schwerarbeit!
Siesta auf der Terrasse des Hotels "Schloss Gerhus".
Martin Gore verschönert eine riesige Mauer des alten Berliner Hauptbahnhotel.
Tönt alles ok? Kritisch hören sich Alan, Dave, Martin und Andy die Aufnahmen ihrer neuen LP an.

Lautes Geknatter zerreist die Stille um den ehemaligen, verwilderten Hauptbahnhof von Berlin. Ein junger Martin mit blondem Kraushaar drückt mit aller Kraft einen Pressluftbohrer in eine bröckelige Wand! Wird der alte Bahnhof abgerissen? Keinesfalls! Der arbeitswütige junge Mann entpuppt sich als Depeche Mode-Chef Martin Gore. Martin und seine Bandkumpels Dave Gahan, Alan Wilder und Andy Fletcher suchten sich die Bahnstation als Kulisse für ihn "Master And Servant"-Video aus. Der Videoclip war vor kurzem zum erstenmal im "Musikladen" und in "Ronnie's Pop Show" zu sehen.

Berlin - da geraten Depeche Mode ins Schwärmen!
Nach den anstrengenden VideoDreharbeiten verschanzten sich Depeche Mode wieder im Studio, um ihre neue LP "Some Great Reward" einzuspielen. Das Album soll Mitte Oktober erscheinen. Wie schon für ihre letzte LP "Construction Time Again" hatten Martin Gore und seine Kumpels auch jetzt wieder die Berliner Hansa-Studio gebucht. Weshalb? "Ein Studio mit vergleichbarer Qualität kostet in England das Doppelte. Ausserdem liebe ich meine deutsche Freundin Christina... und Berlin! Diese Stadt hat viel Charme und gab mir schon viele Ideen für neue Songs. Deshalb habe ich mir in Berlin eine Zweitwohnung zugelegt, die ich mit Christina teile", verrät Martin. Wie wird die neue LP tönen? "Der Sound lässt sich am ehesten mit "People Are People" vergleichen. Die Texte sind aber nach wie vor kritisch. Allerdings dreht es sich diesmal vermehrt um Gefühle, sprich: Liebe!"

Im Luxushotel ging's oft drunter und drüber!
Während der Studioaufnahmen wohnten die Depeche Mode-Boys im komfortablen "Intercontinental" Hotel, wechselten aber für einige Video-Szenen ins berühmte Hotel "Schloss Gerhus", wo Grössen wie Ex-Beatle Paul McCartney oder Nastassja Kinski abzusteigen pflegen. In der noblen Empfangshalle und im riesigen Speisesaal entstanden auch einige der tollen Videoszenen. Kein Wunder, dass die Hotelgäste die "bunten Vögel" bei ihrem Treiben mit grossen Augen bestaunten und oft lange Hälse kriegten!

Depeche Mode rocken bald in Deutschland!
Nach dem Riesenstress war Mitte August erst mal Urlaub angesagt. Depeche Mode pausierten für zwei Wochen. Während Andy und Martin mit Begleitung auf die Trauminsel Mauritius flogen, genoss Dave die Sonne und das Meer auf Rhodos. Wo Alan sich auf den Rücken legte, blieb selbst für seine Kumpels ein Rätsel. "Ein Geheimnis möchte ich schliesslich auch noch haben", grinste Alan vergnügt. Inzwischen ist bei Depeche Mode wieder volle Action angesagt. In ihrer Heimat England haben sie soeben ihre Tournee begonnen. Und das Erfreulichste: Am 20. November kommen Martin, Andy, Dave und Alan für 14 Konzerte nach Deutschland. "Wir freuen uns ganz speziell auf unsere Fans in Deutschland und versprechen Euch, dass es ein riesiges Spektakel geben wird! Wir haben nämlich eine neue Show einstudiert. Nur soviel: Nehmt Eure Sonnenbrillen ins Konzert; unsere Lichtshow wird gewaltig sein!" lächelt Martin Gore vielsagend!

Hier macht der Depeche Mode-Rockexpress halt:
20.11. Essen
21.11  Ludwigshafen
22.11. Siegen
23.11. Freiburg
 1.12. München
 3.12. Berlin
 4.12. Hannover
 5.12. Münster
 7.12. Oldenburg
 8.12. Hamburg
 9.12. Kiel
11.12. Böblingen
12.12. Frankfurt
13.13. Düsseldorf
(Mehr über die irre Depeche Mode-Show verraten wir Euch in einer der nächsten Ausgaben!)

[Translation by me:]

Depeche Mode
Why Martin Gore & Co. are so crazy about Berlin!
Where they spent their holidays!
When they come to Germany with their super show!

The only thing that displeases the Depeche Mode-Boys about their favourite city Berlin: The dreary wall!
Rehearsals for the "Master And Servant" video scenes: "Another sip, maybe?" Servant Dave serves Master Martin.
After work comes pleasure: Martin and his band mates are working hard at the pinball machine!
Siesta on the "Castle Gerhus" hotel's terrace.
Martin Gore is working on a huge wall of Berlin's former main railway hotel.
Sounds are all ok? Critical Alan, Dave, Martin and Andy listen to the recordings of their new LP.

Loud rattle tears the silence at the old, overgrown Berlin central station. A young Martin with blond curly hair is pushing with all his might a pneumatic drill into a crumbling wall! Is the old station being demolished? Absolutely not! The workaholic young man turns out to be boss Martin Gore of Depeche Mode. Martin and his band mates Dave Gahan, Alan Wilder and Andy Fletcher picked the station as a backdrop for their "Master And Servant" video. The videoclip could recently be seen for the first time on the "Music Store" and on "Ronnie's Pop Show".

Berlin - Depeche Mode are crazy about it!
After the boring filming of the video, Depeche Mode lock themselves up in the studio again to record their new album "Some Great Reward". The album will appear mid-October. Liike for their last album "Construction Time Again", Martin Gore and his buddies had once again now also booked Berlin's Hansa studio. Why? "A studio with comparable quality costs twice as much in England. Besides, I love my German girlfriend Christina... and Berlin! This city has a lot of charm and even gave me lots of ideas for new songs.This is why I've bought a second home in Berlin, which I share with Christina", says Martin. How will the new LP sound? "The sound can best be compared with "People Are People", the lyrics are still critical however. This time around it's more about feelings, like, let's say: Love!"

The luxury hotel often went topsy-turvy!
During the studio recording, the Depeche Mode boys lived in the comfortable "Intercontinental" hotel, but changed for some video scenes to the famous "Schloss Gerhus" hotel where great names such as former Beatle Paul McCartney and Nastassja Kinski are regulars. In the posh lobby and in the huge dining room were some of the funny video scenes being created. No wonder that the hotel guests got long necks and stared at the "colorful birds" with big eyes!

Depeche Mode will soon rock Germany!
After the huge stress in mid-August there was a holiday first. Depeche Mode paused for two weeks. While Andy and Martin flew with company to dream island Mauritius, Dave enjoyed the sun and sea on Rhodes. It remained a mystery where Alan was laying on his back, even to his friends. "I like to have at least one secret" Alan grinned cheerfully. Meanwhile, Depeche Mode is back in full action. In their native England, they have just started their tour. And now the most pleasant news: On the 20th of November, Martin, Andy, Dave and Alan will come for 14 concerts to Germany. "We are especially excited to see our fans in Germany and we promise you that it will be a huge spectacle! And that's because we have rehearsed a new show. I'll tell you this: Take your sunglasses to the concert; our light show will be amazing!" Martin Gore smiles suggestively!

The Depeche Mode Rock Express will make a stop here:
20.11. Essen
21.11  Ludwigshafen
22.11. Siegen
23.11. Freiburg
 1.12. München
 3.12. Berlin
 4.12. Hannover
 5.12. Münster
 7.12. Oldenburg
 8.12. Hamburg
 9.12. Kiel
11.12. Böblingen
12.12. Frankfurt
13.13. Düsseldorf
(We will tell you more on the crazy Depeche Mode show in the next issue!)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:20:57
1984-09-xx - Radio 1 (UK) - Collector's Choice: Dave (15 min)

[We don't have this audio interview.]

1984-09-xx - Music Shop (Germany) - Hit-Inspiration in Berlin

[Thanks to strange-pimpf (;u=801) for sending a photo of this article!]

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Hit- Inspiration in Berlin:
Depeche Mode bleiben auf Hitkurs! Nachdem „People Are People“ im Mai drei Wochen lang die Nummer 1 Eins Position in der offiziellen Deutschen Hitparade hielt, spielten die vier Synthesizer-Spezialisten eine neue Single ein: Master And Servant, erneut geschrieben von Martin Gore, verbindet mit der gleichen Leichtigkeit eingängige Gesangslinien mit kraftvoll-quirligen Synthesizer-Strukturen und knalligen Rhythmus-Tracks. Chart-Tip für Deutschland: Top Ten.

Der neue Titel ist eine Vorabkopplung aus der für Oktober geplanten vierten LP. Produziert wurde wie immer unter Anleitung von Mute-Mastermind und boß Daniel Miller in London sowie Berlin. Die Abmischung lief in den Berliner Hansa-Studios übers Band.
Martin Gore, 24jähriger Depeche Mode-Songwriter hat inzwischen zusammen mit seiner deutschen Freundin Christine seinen Zweitwohnsitz in Berlin aufgeschlagen. Martin: "Ich liebe diese Stadt. Sie hat Charme und gab mir schon viele Inspirationen für neue Songs." Nicht verwunderlich also, wenn auch gleich das neue Video an Ort und Stell abgedreht wurde. Allerdings dürfte Martin seine neue Heimatstadt in den nächsten Monaten nicht gerade oft sehe: Ab 27. September ist Depeche Mode "On The Road" - zuerst in Englang, danach in Deutschland. Vom 20. November bis 13. Dezember stehen 14 Konzerte auf dem Plan. die optische Uraufführung von "Master And Servant" läuft am 20. September im "Musikladen" über die Bildschirme.
"Speak And Spell“, INT 146.801
„A Broken Frame“, INT 146.804
Aktuelle LP:
„Construction Time Again“, INT 146.807


[Translation by me:]

Hit inspiration in Berlin:
Depeche Mode remain on a hit-course! After "People Are People" held the number 1 position in one of the official German charts for three weeks in May, the four synthesizer specialists played a new single: Master And Servant, again written by Martin Gore, connects with the same ease catchy vocal lines to powerful, lively synth structures and bright rhythm tracks. Chart tip for Germany: Top Ten.

Their new track is a preview from the fourth LP, which is scheduled for October. It has, as always, been produced under the guidance of Mute boss and mastermind Daniel Miller in London and in Berlin. The mixing happened in the Berlin's Hansa Studios by the band.
Martin Gore, the 24-year-old songwriter of Depeche Mode, has now taken together with his German girlfriend Christine a two-room-apartment in Berlin. Martin: "I love this city. It has charm and it gave me a lot already inspirations for new songs." Not surprising then, to know that also the new video has been filmed on site. However, Martin is not likely to see his new hometown often in the coming months: From September 27th, Depeche Mode will be "On The Road" - first within England, then in Germany. From the 20th of November to 13th of December, 14 concerts are on the schedule. The visual performance of "Master And Servant" is to be seen on "Musikladen" on television starting September 20th.
"Speak And Spell“, INT 146.801
"A Broken Frame“, INT 146.804
Current LP:
„Construction Time Again", INT 146.807

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:21:53
1984-09-xx - No. 1 Magazine (UK) - SGR Review

[Thanks to mossy (;u=550) for scanning this for this forum!]

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Dpeche Mode
Some Great Reward (Mute)
The sadly under-rated Depeches turn out consistently excellent singles. But 45s rather than LPs remain their forte.
They've progressed a million musical miles from their boppy origins, but Martin Gore's lyrics haven't kept up. Over a whole LP, their gaucheness is a major distraction from the record's musical merits. Love the group, but I only like 'SGR'.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:22:19
1984-10-04 - Bravo (Germany) - DM auf ihrer Europa tour

[Thanks to Milik (;u=13) for offering to send in this scan! I typed out the text:]

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Depêche Mode
Auf ihrer Europa-Tour geht's rund!

Martin Gore, Dave Gahan, Alan Wilder and Andy Fletcher versprechen für ihre Deutschland-Konzerte vom 20.11 bis 4.12 ein tolles Spektakel. Kürz vor der Depêche-Tour kommt die neue LP "Some Great Reward" heraus.

Wenn bei Depêche Mode das Licht angeht, sitzt ein Mädchen an den Knöpfen. Wenn auf der Bühne ferngesteuerte Roboter auftauchen, ist dafür ein Mädchen verantwortlich.
Sie heißt Jane Spears [sic] und ist die Chef-Konstrukteurin bei Depêche Mode. Seit Monaten baut sie hydraulisch gelenkte Bühnenteile, entwirft Modelle und läßt sich außergewöhnliche Gags einfallen für die große Europe-Tour der vier Synthi-Hexer aus England.
Mit riesigen Lichtbatterien, wandernden Computern und besonderen Neon-Effekten wollen Depêche ihre neue Live-Show anziehen. "Jane spielt bei uns eine fast so große Rolle, wie die Musiker", erzählt Dave, den wir kurz vor Tourneestart in London zum Interview erwischen.
Seit vier Monaten arbeiten Andy, Dave, Martin und Alan schon an ihrer neuen Show; mindestens zehn Sitzungen wurden allein deshalb abgehalten. Jane brachte immer neue Entwürfe und Modelle an, bis alles im Kasten war. "Das wird die größte Lichtshow, die ihr je erlebt habt", protzt Dave.
Mit ihrer neuen Single "Master and Servant" haben Depêche Mode schon beim "Musikladen" enorm abgeräumt. Seit 27. September sind sie in England an Tour. Mit zwei Luxusbussen für die Band und Crew, drei Trucks bepackt mit Lampen, Kulissen und Tonausrüstung, Dreißig-Mann-Crew und einem Wohnwagen mit eigenem koch, der vor allem die Vegetarier Martin und Alan rund um die Uhr versorgen soll.
Ihre Mammut-Tournee durch Europa mit allein 14 Konzerten in Deutschland wird sich bis Weihnachten hinziehen. Holland, Belgien, Frankreich und Skandinavien stehen vorher noch auf dem Plan. Das Programm soll - laut Dave - etwa eineinhalb Stunden dauern und setzt sich aus Songs quer durch ihre vier LPs zusammen. Während Dave mit Freundin Joanne im Beach-Buggy quer über die griechische Insel Kos sauste und Andy und Martin im Indischen Ozean Tiefseetauchen übten, schwitzte Alan als einziger im feuchtwarmen Londoner Studio am Plattentisch. Er konnte sich nur eine Woche mit Frau und Kind auf Malta erholen und mußte dann den Tracks für das neue Album den letzten Schliff geben. Es heißt "Some Great Reward" (Eine große Belohnung) und bringt eine Menge neuer "Sound-Überraschungen". Martin und Andy haben für einen Song z. B. sämtliche Londoner Spielzeuggeschäfte durchstöbert und dort den Sound von Kinderklaviern aufgenommen. Einen anderen Song haben sie ihrer Heimatstadt Basildon gewidmet. Die Band kam braungebrannt und erholt aus dem Urlaub zurück, während Techniker Alan jetzt schon total gestreßt ist.
Trostpflaster für alle: Die Single "Master and Servant" ging in den Charts gut los...
Margit Rietti

[Translation by me:]

Depeche Mode
On their European tour it's a go!

Martin Gore, Dave Gahan, Alan Wilder and Andy Fletcher promise a great spectacle for their concerts in Germany starting from 20/11 till 4/12. Right before the tour, they release the new album "Some Great Reward".

When at Depeche Mode the lights go on, a girl is sitting behind the switches. When a remote-controlled robot appears on stage, this is a girl's responsibility.
Jane Spears [sic] is her name and she is the chief design engineer for Depeche Mode. For months she has been building hydraulically steered stage parts, designs models and can come up with extraordinary gags for the Europe-wide tour of the four synth-sorcerers from England.
With huge light-batteries, computers and special neon effects, Depeche want attract their new live show. "Jane plays almost as big a role with us as the musicians", says Dave, with whom we catch an interview briefly before the tour starts in London.
For four months, Andy, Dave, Martin and Alan have been working on their new show, at least ten meetings for that alone were held. Jane always brought in new designs and models until everything was in the box. "This is the greatest light show you've ever seen", sports Dave.
With their new single "Master and Servant", Depeche Mode have already left a huge impression at "Musikladen". Since the 27th of September they will be on tour in England. With two luxury buses for the band and crew, three trucks loaded with lights, backdrops and sound equipment, a thirty-man crew and a caravan with a private chef, who will primarily supply vegetarians Martin and Alan with food around the clock.
Their mammoth tour in Europe with just 14 concerts in Germany will continue until Christmas. Holland, Belgium, France and Scandinavia are as of yet still in the planning. The program should - according to Dave - take about one and a half hour and will have songs from their four LPs together. While Dave and girlfriend Joanne darted across the Greek island of Kos with a Beach buggy and Andy and Martin practiced scuba diving in the Indian Ocean, Alan was the only one sweating in the humid London studio at the mixing desk. He was able to only spend a week with his wife and child in Malta and then he had put the finishing touches on the tracks for the new album. It's called "Some Great Reward" and brings a lot of new "sound surprises". For example, Martin and Andy have browsed through all toy shops in London and recorded the sound of a children's clavier there for a song. And another song is dedicated to their hometown Basildon. The band came back from their holidays tanned and relaxed, while technician Alan was already completely stressed.
Consolation for all: The single "Master and Servant" was already going well in the charts...
Margit Rietti
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:23:16
1984-10-06 - Melody Maker (UK) - SOFT SELL

[Taken from the now-defunct website]

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[Melody Maker, 6th October 1984. Words: Penny Kiley. Picture: Tom Sheehan.]
" ...compared to The Thompson Twins, this is art but do Test Dept. instigate clap-alongs? "
Summary: The author of this review captures the lively atmosphere of a Depeche Mode concert, although she has reservations about how well the more experimental tone they were taking at the time can really come through at the same time as Dave's gleeful crowd-pleasing. It's a very sensible reservation, and she wasn't the only one to be having it at this time. [367 words]
Apologies for the poor scan quality - this is due to it being taken from a public library microfilm.

Depeche Mode
Empire, Liverpool
    Destruction time again? Let’s hear it for the great misunderstood masters of ignored creativity.
    If Depeche Mode think they should be taken more seriously, perhaps it’s not just their critics they should be worried about. And if they want to be listened to, perhaps they’re not in quite the right place tonight. The music starts and so do the screams, the whole theatre bouncing by the time the curtain rises on four ramps, three lots of keyboards, a tape recorder and one leather-clad hip-swiveller.
    But their music doesn’t bounce these days – or, rather, doesn’t just bounce – and the signs say there’s something here that should be important. The stage set, an impressive design in fashionable grey, combines hi-tec metallics with occasional projections and dearly wants to say something about the music. But, if there’s any metal in the sound, it’s molten. There are no edges.
    Whether the failure’s technical or artistic is hard to say – perhaps the screams are submerging the subtleties of the songs. For the most part, though, the music is no more than a subliminal accompaniment to the event: those hips, those screams, the hardware and the lights. Whether the music’s bubblegum, metal-bashing or ballads, the ‘event’ is simply pop and the strongest messages are visual.
    The packaging of the LP, “Some Great Reward”, is an opposition of work and romance, real life and illusion. On stage, the packaging extends that opposition with the same quasi-industrial background and, out in front, pop stars. They beg reappraisal but they play the old hits.
    Despite the 50/50 mix of boys and girls, it’s the gyratory aspect that seems most important to the audience and the responses soon become wearisome and predictable. The agile Dave Gahan plays to the audience with unremitting energy and every time those leather legs move in the slightest, the screams drown the music.
    Depeche Mode are caught between two stools at the moment, unable to discover a means of presenting their serious aspirations, compared to The Thompson Twins, this is art but do Test Dept. instigate clap-alongs? On this stage there’s a choice of modes. At this stage, it’s a choice that will soon have to be made.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:24:10
1984-10-06 - NME (UK) - Modeahead? Uh-Uh…

Modeahead? Uh-Uh…
But How Do You Rate The Review, Lads?
"IT'S PECULIAR how Depeche Mode continue to pursue a career of mild critical favour and reasonable chart success – year after year, hit after hit. From Vince Clarke to playschool socialism, from tinny teen pop to bits of metal, Depeche Mode have never been objects of vilification, or flavour of the month. Like teapots, they just seem to be there.
Part of the reason for this tepid enthusiasm must be Depeche Mode's inability to escape the limits of their interest of the moment, or, more accurately, to fulfil the expectation aroused by such interests. While journalists raved about the band's sudden charge into revolutionary socialist electro-bop, all DM actually came up with was "Everything counts/In large amounts".
And when they were well suited to be the band that melded the more accessible ideas of Einsturzende Neubauten and the like with day-to-day pop, they failed to produce anything from the two styles, other than add the odd bonking noise and clatter. It was novel on 'Everything Counts', but when the same bonk and clatter turns up on 'Master And Servant', the wrong kind of repetitiveness is recalled.
Some Great Reward accordingly suffers from too many missed grips on good ideas. It ought to be an intelligent chart contender, a mix of commercial class and magpie manipulation of the unconventional; it isn't. When that bonk and clatter is used on this album, it's just a nod to left-field, rather than use of the sound.
Often the tunes are ordinary; Martin Gore, as ever, favours a bit of a drone. In small doses (singles) this is fine. Over 40 minutes, the interest begins to wane. Dave Gahan's voice has improved greatly – in that he's learned how to use its limited range – but like the melodies, it imparts mucho sameiness to the record. Put together, they cause the toe to tap vaguely.
It's the lyrics which prove a further disappointment. They avoid the usual trite havens of pop writing, but Gore's choice of subject-matter is never met by an equally striking way with words. 'People Are People' may well be directed toward a noble theme, but it offers as much insight as 'Ebony And Ivory'. And what ought to be the most striking song, the closer, 'Blasphemous Rumours', is a lucky-bag of soap-opera cliche. Its theme – "I don't want to start any blasphemous rumours/But I think that God's got a sick sense of humour/And when I die/I expect to find him laughing" – is illustrated with tales of young girls on life support machines the moment they find the Lord, tears falling from mothers' eyes, and so forth. If it's a subject you wouldn't find on Into The Gap or Human's Lib, it's still treated with almost the hamfistedness of Howard or Alannah.
All of this is annoying more than anything else; because for their attitudes, for the way they approach pop songs, for what they want to achieve, and for the times they do achieve it, Depeche Mode can be one the few acts worthy of the name "pop group". It's just that they should be so much better.
David Quantick
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:24:32
1984-10-11 - Bravo (Germany) - Depeche Mode Stärke Fotos

[Thanks to Milik (;u=13) for offering to send in this scan! I typed out the text:]

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( ( (

Depêche Mode
14 heiße Shows in Germany

Alan ist der Boß im Studio, Dave gibt auf der Bühne den Ton an.
Auf Tour heizen Depêche Mode bei uns bei 14 Gigs im November und Dezember ein.
Martin Gore schrieb, bis auf einen, alle Songs fürs neue Depêche-Album "Some Great Reward". Im Studio riß ihm die Geduld: Die letzten drei Wochen ließ er die anderen allein an der Songs bosseln. Dave wird nervös, wenn er zwei Monate lang nicht live singen kann.
Alan und Andy wird's bei Gigs langweilig, wenn sie zum fünfzigstenmal dieselbe Tonfolge auf ihren Synthis orgeln. Die beiden experimentieren lieber im Studio mit neuen Klängen. Sie entwickelten den neuen harten Depêche-Mode-Sound.

Bravo: Werdet ihr auf der Tour wieder mit Hämmern und Eisentangen anrücken, wie bei euren letzten TV-Auftritten?
Martin: Nein. Unter den Rampen unseres Bühnenaufhaus kommen zwar allerhand Metallanlagen zum Vorschein, z. B. eine ganze Orgel aus Dampfpfeifen. Aber die Sounds stammen aus Synclavier und Emulator. Übrigens auch im Studio. Mit dem Synclavier kannst du natürlich Klänge aufnehmen und sie hinterher in allen gewünschten Tonhöhen der Tonleiter abspielen. Unsere Show wird ca. 100 Minuten dauern.
Bravo: Auf dem Cover eurer neuen LP "Some Great Reward" (Irgendeine tolle Belohnung) ist ein Hochzeitspaar mit Kranz und Schleier abgebildet. Zeichen dafür, daß ihr euch nach dem harten "Construction"-Album wieder mehr der romantischen Welle zuwendet?
Martin: Sozusagen. Das neue Album ist nicht so politisch wie das letzte. Die Songs handeln mehr von persönlichen Themen. Die Romantik hat allerdings einen bitteren Beigeschmack. Das Paar auf dem Bild steht vor einer Fabrikhalle. Die soll die rauhe Wirklichkeit symbolisieren, die sich zurückmelden wird, sobald die Hochzeitsglocken verklungen sind.
Bravo: Auf eurer neuen Single "Master and Servant" (Herr und Diener) singt ihr ungeschminkt von etwas eigenartigen Bettspielen - "...dieses Spiel zwischen den Laken, mit dir oben und mir unten - vergiß alles über Gleichberechtigung. Laß uns Herr und Diener spielen..." Ist das auch ein "persönlicher" Song?
Martin: Nein, bei meiner Freundin und mir zählt nicht, wer oben liegt. Der Song behandelt eigentlich ein allgemeines Problem. Wenn zwei Menschen aufeinandertreffen, spielt meist einer der überlegenen und der andere den Unterdrückten. Das fängt im Bett an und setzt sich in Beruf und Politik fort.
Bravo: Wie kamst die auf die Song-Idee?
Martin: Ich las letzten September in der Zeitung über Dennis Newton, den "Würger von Nottinghill", der ganz England in Angst und Schrecken versetzte. Ein verrückter, der junge Männer von der Straße mit nach Hause schleppte und mit ihnen "Master und Servant" spielte. Anschließend brachte er sie um und vergrub sie in seinem Garten. Was dieser perverser irre getan hat, ist die extremste und abscheulichste Form des Herr-und-Diener-Spiels, der Art wie die Menschen miteinander umgehen.
Bravo: In "Blasphemous Rumours", dem Song, der auf eure nächste Single soll, heißt es - "...Ich will keine gotteslästerlichen Gerüchte in die Welt setzen, aber ich glaube, Gott hat einen krankhaftigen Humor. Und wenn ich sterbe, erwarte ich, daß er lacht..." Wollt ihr religiöse Menschen vor den Kopf stoßen?
Dave: Wir wollen niemandes Gefühle verletzen. Der Song gibt nur eine persönliche Meinung wider. Ich wollte damit sagen, daß die Leute zusätzlich versuchen müssen, sich selbst aus der Patsche zu helfen. Wer stattdessen nur untätig auf Gottes Hilfe wartet, wartet meist vergebens. Beispiel ist meine Mutter, Sie wurde sehr religiös erzogen. Doch nach all den schrecklichen Erfahrungen, die sie im Leben machen mußte, hat sie das Beten heute aufgegeben. Als sie 18 war, starb ihre Mutter und die mußte ihre Geschwister großziehen. Als ich drei war, seilte sich mein Vater ab, sie mußte uns allein durchbringen.
Bravo: Warum trägst du einen Totenkopf als Ring am Finger?
Dave: (lacht) Der bedeutet Ruhm oder Tod. Es ist mir egal, ob ich lebe oder sterbe, Hauptsache ich kneife nicht. Das ist ein alter Samurai-Grundsatz.
Bravo: Alan, wie lange brauchst du, um deine Haare jeden Tag in Form zu kriegen?
Alan: 20 Minuten und eine Dose Haarspray "Extra Stark". Erfordert etwas Geduld, bis ich alle Haare hochgekämmt habe. Gefällt meine neue Frisur den Bravo-Lesern?
Bravo: Was gibt es Neues auf eurer Tournee?
Martin: Wir haben einen ganz neuen Bühnenaufbau mit hydraulisch beweglichen Rampen. Das Bühnenbild ändert sich ständig. Und außerdem benutzen wir diesmal bestimmt so viel Licht, wie letztesmal. Bei manchen Songs wird es richtig heiß werden.

Tour-Daten Depêche Mode
20.11. Essen
21.11  Ludwigshafen
22.11. Siegen
23.11. Freiburg
 1.12. München
 3.12. Berlin
 4.12. Hannover
 5.12. Münster
 7.12. Oldenburg
 8.12. Hamburg
 9.12. Kiel
11.12. Böblingen
12.12. Frankfurt
13.13. Düsseldorf

[Translation by me:]

Depeche Mode
14 hot shows in Germany

Alan is the boss in the studio, Dave is set the tone on stage.
Depeche mode are putting up 14 gigs in November and December for us on tour.
Martin Gore wrote all but one songs for the new Depeche album "Some Great Reward". In the studio, he lost his patience: The last three weeks he let the others fiddle the songs. Dave becomes nervous when he spends two months without singing live.
Alan and Andy become bored at gigs when they have to play the same sequence of notes on their synths for the fiftieth time. The two prefer to experiment with new sounds in the studio. They developed the new hard Depeche Mode sound.

Bravo: Will you use again hammers and iron bars on tour, like on your latest TV appearances?
Martin: No. Under the ramps of our stage set there will be all sorts of metal equipment, such as an entire organ from steam pipes. But the sounds come from the Synclavier and Emulator. And also in the studio. With the Synclavier you can of course record sounds and play them back in any desired pitch of the musical scale. Our show will take about 100 minutes.
Bravo: On the cover of your new album "Some Great Reward" is a wedding couple shown with a crown and veil. A sign that you have returned to the more romantic wave again after the hard "Construction" album?
Martin: So to speak. The new album is not as political as the last one. The songs are more about personal issues. However, the romance has a bitter aftertaste. The couple in the picture are standing in front of a factory building. It is to symbolize the harsh reality that will retuns as soon as the wedding bells have faded away.
Bravo: In your new single "Master and Servant" you sing blatantly about something like strange bed games - "...This play between the sheets, with you on top and me underneath - forget all about equality. Let's play Master and Servants..." Is that a "personal" song?
Martin: No, with my girlfriend and I is not a matter of who is on top. The song actually covers a common problem. When two people meet, one of them is the most superior and the other plays the oppressed one. It starts in bed and continues in business and politics.
Bravo: How did you get the idea to the song?
Martin: Last September, I read about Dennis Newton in the newspaper, the "strangler of Nottinghill," who put the whole of England in fear and terror. A crazy person, who dragged young men from the street to his house and played "Master and Servant" with them. Then he killed them and buried them in his garden. What this perverted freak has done is the most extreme and disgusting form of the Master-and-servant-game, the way people treat each other.
Bravo: "Blasphemous Rumours", the song that you will put on your next single, goes - "...I don't want to start any blasphemous rumours, but I think that God has a sick sense of humor. And when I die, I expect to find him laughing..." Do you want to offend religious people?
Dave: We don't want to hurt anyone's feelings. The song only reflects a personal opinion. I mean, the people must also try to help themselves out of trouble. If you just idly wait for God's help instead, you're usually waiting in vain. An example would be my mother, she was raised very religiously. But after all the terrible experiences that came in her life, she has given up praying now. When she was 18, her mother died and she had to raise her siblings. When I was three, my father took off, she had to raise us alone.
Bravo: Why are you wearing a skull ring on your finger?
Dave: (laughs) It means glory or death. I do not care if I live or die, the main thing is to not screw up. This is an old samurai principle.
Bravo Alan, how long do you need to get your hair in shape every day?
Alan: 20 minutes and a can of hairspray, "Extra Strong". Requires some patience for me to comb the hair high. Do the the Bravo-readers like my new haircut?
Bravo: What will be new on your tour?
Martin: We have a whole new stageset with movable, hydraulic ramps. The image of the stage is constantly changing. And this time we will also use definintely as much light as last time. During some songs it will be really hot.

Depeche Mode Tour Dates
20.11. Essen
21.11  Ludwigshafen
22.11. Siegen
23.11. Freiburg
 1.12. München
 3.12. Berlin
 4.12. Hannover
 5.12. Münster
 7.12. Oldenburg
 8.12. Hamburg
 9.12. Kiel
11.12. Böblingen
12.12. Frankfurt
13.13. Düsseldorf
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:24:59
1984-10-11 - Rock  n.75 (China) - Depeche Mode

[Found on]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:26:16
1984-10-12 - NDR2 (Germany) - Interview (15 min)

[We don't have this audio interview.]

1984-10-14 - BBC Radio Lancashire (UK) - band interview + live tracks

[We don't have this audio interview.]

Depeche Mode (Dave/Martin/Alan/Andy) - Interview & tracks
Depeche Mode - Are people people? / Something to do / It doesn't matter / Blasphemous rumours
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:26:42
1984-10-18 - Bravo (Germany) - so läuft ihre Show

[Taken from the now-defunct website Thanks to strange-pimpf (;u=801) for sending a photo of the first page of this article for this forum. I typed out the text:]

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( ( (

So läuft die Depêche Mode Show
Bravo erlebte sie hautnah

Daves Freundin Joanne und Alans Freundin Grayne begleiten die Jungs auf ihrer Tournee.
BRAVO-Reporter Hannsjörg Rieman saß bei Depêche Mode im Bus und erlebte ihre Show.
"Familienleben" ist angesagt auf der Depêche-Tour. Gegessen wird gemeinsam, zwei Stunden vor dem Konzert.
Alan kauft sich unterwegs immer wieder neue Teile für seine Kameraausrüstung.
Die Rampen auf der Depêche-Mode-Bühne können hydraulisch zu Scheinwerfer-Pyramiden aufgerichtet werden.
Bei der Zugabe "Just Can't Get Enough" pustet Martin in die Melodica.

Am 29. September begann mit einem Konzert in Liverpool die neue „Some Great Reward“-Tour von Depeche Mode, die vom 20. November bis 13. Dezember auch durch Deutschland führt.
BRAVO sah sich für Euch die neue Show der Synthi-Zauberer an. Schon der Start ist äußerst spannend inszeniert:
Bei geschlossenem Vorhang lassen Depeche Mode eineinhalb Minuten lang zum Rhythmus von „Just Can‘t Get Enough“ ihre Maschinen verrückt spielen und ausgefallenste Klänge in den stockdunklen Saal pusten.
Selbst Leute, die nicht dem Augenblick entgegenfiebern, in dem sie den ersten Blick auf Dave, Alan, Andy und Martin werfen können, werden durch diesen Sound-Spuk in totale Aufregung versetzt.
Klar, daß alle vollkommen ausrasten, wenn dann endlich der Vorhang aufgeht und Dave mit sexy-heiserer Stimme und dem Startsong „Something to Do“‘ loslegt.
Zu Sang Nr. 2 „Two Minute Warning“ taucht die Lichtanlage ohne Warnung die Bühne und die vier Jungs darauf in blutfarbene Rot- und Orangetöne.
Noch der kalten Blau-Atmosphäre von „Something to Do“ ein weiterer Nervenschock, der die Zuschauer noch mehr abfahren und die Welt außerhalb des Konzertsaals endgültig vergessen läßt: Durch einen tollen „magischen“ Lichteffekt wird Martin, der weiter hinten als die anderen steht, in hektischem Rhythmus weg- und wieder hergezaubert.
18. Minute: Depeche Mode legen mit einer schnellen knallharten Fassung ihres vorigen Hits „People Are People“ noch mal einen kräftigen Zahn zu. Alan dreht sich immer wieder von seinen Tasten weg und drischt den aggressiven Rhythmus des Songs in die Wellblechwand hinter sich.
Martin schlägt mit einem Hammer auf die Stangen des „Rohstahl-Klaviers“ neben ihm ein.
Dave, der vom ersten Ton des Konzerts an mit wildem Hüftschlenkern und schnellen Shuffle-Schritten gepowert hat, bekommt jetzt einen echten Energie-Anfall:
Er springt in weiten Sätzen von einem Bein aufs andere, dreht Pirouetten und läßt die Arme kreiseln. Sogar der stille Andy geht aus sich raus und tanzt hinter seinen Keyboards auf und ab.
38. Minute — David verläßt die Bühne. Martin kommt vor ans Mikrofon und singt die Ballade „Somebody“. Alan allein begleitet ihn am auf Pianotöne programmierten Synthesizer.
Martin steht beim Singen reglos mit den Händen in den Taschen hinterm Mikro und wirkt fast schüchtern.
Trotz schwarzem Leder-Outfit und umgeschnallten Handschellen sieht er mit dem frechen Haarschopf, der unter seiner Baskenmütze vorlugt, richtig niedlich aus. Die Girls vor der Bühne versuchen immer wieder nach ihm zu grapschen.
65. Minute — Mit „Master and Servant“ kocht Dave jetzt die Fans endgültig gar. Inzwischen hat er so viel Tempo drauf, daß es scheint, als würde er auf Schlittschuhen über die Bühne fegen.
Einfach, aber genial ist die Depeche-Mode-Bühne konstruiert. Mit Hilfe einer Hydraulikanlage können die Rampen, die die Bühne unterteilen, senkrecht oder schräg gestellt werden. An ihrer Unterseite sind Scheinwerfer angebracht, welche die Stahlgerüste in die Umrisse einer leuchtenden Pyramide verwandeln. Links hinter Alan kann man bei genauem Hinsehen eine Tonbandmaschine entdecken. Sie spielt die Rhythmus-Tracks für da ganze Konzert ab.
Deshalb kommen die Depeche-Mode-Songs jeden Abend exakt auf die Sekunde genau getimt. Vor und nach den Konzerten geht es ganz locker zu.
Die Band reist mit zwei Köchinnen durch die Gegend, die die Jungs, sowie Daves Freundin Joanne und Andys Freundin Grayne mit ihren Lieblingsspeisen versorgen.
Martin läuft tagsüber grundsätzlich in einer grünen warmen, aber scheußlichen viel zu großen Original-Polizistenjacke aus Berlin und Sibirienpelzmütze auf dem Kopf rum.
Depeche Mode sind in einem Bus mit allen Schikanen, Videospielen etc, unterwegs. Allerdings kümmert sich kaum jemand um sie. Martin liest die meiste Zeit, Alan befaßt sich mit seiner Kameraausrüstung und jagt nach Schnappschüssen aus dem Busfenster. Dave hört sich per Walkman durch Stapel von Kassetten, und Andy befasst sich mit Grayne…

[Translation by me:]

This is how the Depeche Mode show went
Bravo experienced them from really closeby

Dave's girlfriend Joanne and Alan's girlfriend Grayne accompany the boys on their tour.
BRAVO-reporter Hannsjörg Rieman was sitting next to Depeche Mode on the bus and went to their show.
"Family life" is important on the Depeche-Tour. They eat together, two hours before the show.
Alan is always buying new equipment for this camera while on the road.
The ramps on the Depeche Mode stage can be directed hydraulically into headlight pyramids.
With the encore song "Just Can not Get Enough" Martin blows into the melodica.

On the 29th of September began with a concert in Liverpool the new "Some Great Reward" tour of Depeche Mode, which also runs from the 20th November to 13th December through Germany.
BRAVO observed for you the new show of the synth wizards. Even the start has been staged very excitingly:
With closed curtains, Depeche Mode let their their machines play crazily for a minute and a half to the rhythm of "Just Can not Get Enough" and blow the most unusual sounds into the pitch-dark room.
Even the ones who are not immensely waiting for the moment when they can have a first look at Dave, Alan, Andy and Martin are becoming completely excited by these haunting sounds.
Naturally, they completely go wild when the curtain finally rises and Dave gets going with his sexy husky voice and the song "Something to Do" starts.
Along with song no. 2, "Two Minute Warning", the lights appear without warning in blood-coloured red and orange tones onto the stage and the four guys.
After the cold blue atmosphere of "Something to Do", another nervous shock for the audience appears which makes them forget the world outside the concert hall even more after all: With a great "magical" lighting effect, Martin, who stands further away than the others, is lit up in a hectic pace on and off again.
18 minutes: Depeche Mode set once again with a fast, hard hitting version of their previous hit "People Are People" their foot on the ground. Alan turns then and again away from his keys and clashes along with the aggressive rhythm of the song onto the corrugated iron wall behind him.
Martin hits a with a hammer onto the bars of the "crude steel piano" next to him.
Dave, who has been highly charged already since the first note of the concert with wild hip shakes and quick shuffle steps, now gets a real energy attack:
He jumps with large steps from one leg to the other, pirouetting and spins the arms around. Even the silent Andy walks away from his keyboard and dances up and down.
38 minutes - David leaves the stage. Martin goes in front of the microphone and sings the ballad "Somebody". Only Alan accompanies him on the pianotone-programmed synthesizer.
Martin stands motionless behind the mic while singing with his hands in the pockets and seems almost shy.
Despite black leather outfit and belted cuffs and the funky head of hair, which peeps under his Basque beret, he seems really cute. The girls in front of the stage to try to grab him again and again.
65 minutes - With "Master and Servant" Dave is now really boiling the fans. Meanwhile, he has so much pace, that it seems as if he's sliding on stage with skates.
Simple but awesomely is the Depeche Mode stage constructed. With the help of a hydraulic system, the ramps that divide the stage can be placed vertically or diagonally. The headlights are mounted from below, which transform the steel frames into the contours of a luminous pyramid. Behind Alan on the left, you can see a tape recorder if you look closely. It plays the rhythm tracks for the whole concert.
Therefore, the Depeche Mode songs are exactly timed down to the second every night. Before and after the concert it's going to be quite hectic.
The band travels with two cooks through the land, who feed the boys and Dave's girlfriend Joanne and Andy's girlfriend Grayne with their favourite foods.
Martin spends the day wearing basically a warm green, but obviously way too big vintage police jacket from Berlin and a siberian fur cap.
Depeche Mode are travelling on their bus with all their chicanes, video games, etc. However, hardly anyone cares about them. Martin reads most of the time, Alan is concerned with his camera equipment and chases snapshots from the bus window. Dave listens on his walkman to piles of cassettes, and Andy occupies himself with Grayne...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:27:36
1984-10-20 - No. 1 - SWANKY MODE

[Taken from the now-defunct website]

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[Number One, 20th October 1984. Words: Glenn Rice. Pictures: Bryn Jones.]
" “Come on, let’s hear you!” yells David Gahan. And I prepare to duck again. "
Summary: A fairly brief and basic piece combining a lively show review with a backstage interview, covering the risque tone of the band's recent singles, and some comment on touring in general. Comes with a page of impressive photos. [541 words]

    Depeche Mode received a rapturous welcome from their Nottingham audience. Even the group thought they were very good indeed.
    Glenn Rice got a black eye watching Dave Gahan wiggling.
    Bryn Jones fought through the screaming fans to take pictures.

    Nottingham’s Royal Concert Hall is a spacious white hi-tech building.
    An appropriate setting for the electronic antics of white hi-tech Depeche Mode.
    The band come on stage at 8.30, to a barrage of near hysterical screams.
    The audience, mainly girls, yelp and wail throughout, nearly raising the roof when David Gahan shakes his leather clad rump at them.
    The new stage set features mobile mechanical arms. Against this striking industrial backdrop, Depeche Mode give the event their all, crashing through most of their new album ‘Some Great Reward’, and the hit singles as far back as ‘New Life’.
    If the audience start to flag, Dave gets them going again with a mighty leap across the boards and a cry of “Come on, let’s hear you!”
    The whole place duly erupts.
    Halfway through the concert Martin Gore, the man behind Depeche’s music, takes a rest from his synth and sings a lilting ballad, dressed in a black string vest and a leather mini-skirt. Stirring stuff.
    The girl beside me is typical of the audience – leaping up and down like a lunatic, waving her arms around with such fervour that she gives me a hefty thump in the eye.
    “Ouch,” I say.
    “Come on, let’s hear you!” yells David Gahan. And I prepare to duck again.
    They’re called back for three encores. The last is a singalong version of ‘Just Can’t Get Enough’. The audience obviously can’t either – in fact they’re still calling for encores for minutes after the lights have been turned up.
    “This evening was great,” Dave Gahan tells me afterwards. “I didn’t like the hall much, but the audience were brilliant!”
    ‘Master And Servant’ has caused some controversy with its references to sado-masochism. Martin Gore clears up a few misconceptions.
    “It’s not as drastic as you might think,” he claims. “It’s about domination and exploitation in life, but it uses sex.
    “It’s about the power that people employ in work, love, hate… and in sex. We just used the sexual angle to portray it.”
    Most of Depeche Mode’s songs are in a serious or political mood so it’s strange to see a venue full of exuberant fans dancing and screaming to a song like ‘People Are People’. Alan Wilder explains the situation.
    “We don’t write ‘dance music’ specifically,” he says.
    “Our music is to listen to but in a live situation of course it’s good to see people dancing.”
    Andrew Fletcher has a definite case of post gig euphoria: “It was great. Good to be back in the old home town (he was born here). I don’t want to boast, but we were good… very good!
    “There are places around the country that are exceptional to play in… Liverpool, Birmingham… Nottingham’s one too.
    “This is a difficult place to play, but the audience were really good.”
    Depeche Mode are gigging around the British Isles for the next month, then they head off for a six-week tour of Europe.
    If you’re smart, you’ll catch them while you can.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:27:52
1984-10-20 - Depeche mode - Blasphemous Rumours


Blasphemous Rumours
Video Released: 1984
Video Director: Clive Richardson

Appears on the album:
Some Great Reward
Appears on the home video(s):
Some Great Videos home video
Some Great Videos 81>85 home video (U.K.)

1984-10-27 - Radio Clyde Glasgow (UK) - Dave Interview (6:55 min)

[We don't have this radio interview. Used to be on]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:34:51
1984-10-27 - No. 1 (UK) - MEGA MODES

[Taken from the now-defunct website]

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[Number One, 27th October 1984. Words: Uncredited. Picture: Uncredited. Summary: Brief news item detailing the (very lavish!) release of Blasphemous Rumours. [90 words]

    Depeche Mode release a unique package this week.
    Ready for this? Their new single will be released in three versions simultaneously:
•   ‘Somebody’ with ‘Blasphemous Rumours’ on the B-side in 7”
•   ‘Blasphemous Rumours’ as the A-side on the 12” with four live tracks, ‘Somebody’, ‘Two Minute Warning’, ‘Ice Machine’ and ‘Everything Counts’ (played at 33rpm).
•   And finally, a 7” double A-sided four-track single, featuring ‘Somebody’ (remixed version), ‘Everything Counts’ (live), ‘Blasphemous Rumours’ and ‘Told You So’ (live).
    Apparently the record will not be released in any other format!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:35:11
1984-10-xx - Vinyl (Netherlands) - Album Review

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[I typed out the text:]

Depeche Mode
Laat ik voorop stellen dat ik Depeche Mode een warm hart toedraag en dat ik ze (nog) niet zal afvallen, ook niet na deze elpee. Op de dansvloer is de groep nog steeds één van mijn favorieten, hoewel de dansbaarheid van hun singles enigszins begint af te nemen. Op Some Great Reward, alweer de vierde elpee van dit jonge kwartet, staan twee nummers die al eerder als single uitkwamen, People Are People en Master And Servant. Twee songs waar het moeilijk dansen op is vanwege de tempowisselingen. Ongetwijfeld zal Something To Do de volgende single zijn, het is het meest up-tempo nummer van de plaat. Meest opvallende titel is Somebody. Hierin probeert Depeche Mode krampachtig Bridge Over Troubled Water van Simon & Garfunkel te evenaren, wat ze vanzelfsprekend niet lukt. Een andere song die ik niet zag zitten is Doesn’t Matter: te langzaam en slijmerig. Tja, en de rest van de negen nummers, die zakt weg in de grauwe middelmaat van ‘plinke plonke’ synthesizers en steeds doorratelende ingeblikte ritmes. Het nadeel van Depeche Mode is dat alles hetzelfde klinkt, al die synthesizers en ritmebozen hebben in ieder nummer dezelfde klankkleur. Dit vergezeld van een gezellig deuntje en klaar is je Depeche Mode-song. Is er nou niemand met fantasie bij, die die grote hoeveelheid apparatuur eens anders gebruikt of instelt? Koop voor mijn part een ander merk synthesizer, of beter, haal er eens een gitarist bij of een echte bassist, blazers misschien, een percussionist, iemand met een tamboerijn dan? Er loopt vast ook wel ergens een of andere Grandmaster rond die wat scratchgeluiden wil verzorgen. Stap eens naar Arthur Baker in plaats van Adrian Sherwood en laat hem dan een hele elpee produceren en mixen in plaats van een single. Kortom doe wat! Deze keer ga ik nog niet zo ver om de plaat af te kraken, er zitten tenslotte best wel lekkere deuntjes bij, je moet ze alleen niet te vaak horen. Maar als de volgende elpee weer zo doorkabbelt, zou ik als ik Depeche Mode was maar dekking zoeken.
Depeche Mode / Some Great Reward (Mute/elpee)
Oscar Smit

[Translation by me:]

Depeche Mode
Let me first say that I dedicate a kind heart to Depeche Mode and I won’t reject them (yet), even after this LP. On the dance floor, the group is still one of my favourites, although the danceability of their singles begins to decrease somewhat. On Some Great Reward, which is already the fourth LP from this young quartet, there are two songs that previously came out as a single, People Are People and Master And Servant. Two songs with which dancing is difficult because of the changing of the tempo. Undoubtedly, Something To Do will be the next single, since it's the most up-tempo song on the album. The most notable title is Somebody. With this, Depeche Mode is frantically trying to emulate Simon & Garfunkel’s Bridge Over Troubled Water, which they obviously can’t. Another song that I dislike is Doesn’t Matter: too slow and slimy. And as for the rest of the nine songs, well, they sink into the grey, average mediocrity of 'plink plonk' synthesizers and continued rattling of canned rhythms. The disadvantage of Depeche Mode is that everything sounds the same, all the synthesizers and rhythm beats have in every song the same sound. This will be accompanied by a pleasant tune, and then your Depeche Mode song is done. Is there nobody with imagination in the group who uses or sets the large amount of equipment differently once in a while? Buy another brand of synthesizer for all I care, or better yet, get a guitarist or a real bass player in there for once, or blazers perhaps, a percussionist, or someone with a tambourine, then? I’m sure there’s probably also a Grandmaster somewhere around who cares to make some scratch noises for you. Reach out to Arthur Baker instead of Adrian Sherwood and let him produce and mix a whole LP rather than just a single. In brief, do something! This time around, I'm not going to go as far as to slash the record, after all, the record does have some nice tunes on it, but you just have to not listen to it too often. But if the next album is once again trickling in like that, if I were Depeche Mode I would be looking for cover.
Depeche Mode / Some Great Reward (Mute / LP)
Oscar Smit
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:35:40
1984-10-xx - Music Life (Japan) - People are People

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:35:56
1984-10-xx - Rambletree Pelham (UK) - Depeche Mode (from: the sony tape rock review)

[Taken from the now-defunct website]

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[Rambletree Pelham, 1984. Words: David Dorrell (ed. Lesley-Ann Jones, Robin Eggar, Phil Swern). Pictures: Uncredited.]
" It seemed that the most important thing they had to debate was how to pronounce their name. But with the release of their album, Construction Time Again, they unleashed on unsuspecting pop world a vibrant score of socialist lyrics and heavyweight rhythms. "
Summary: Reasonable, if condensed, piece detailing the band's career up to early 1984. The piece gives more in the way of a general outline than colourful details due to the obvious space constraints and as such comes across a little bland, but as a quick resume for someone new to the band, the main points are there. [884 words]

    Few bands nowadays are given the chance to change their colours midway through their career – yet Depeche Mode have made the transition from synth-poppers to agit-prop rockers with consummate ease and moreover, to much acclaim.
    For too long the Basildon boy wonders were seen as nothing more than purveyors of an insipid score of bubblegum pop tunes. It seemed that the most important thing they had to debate was how to pronounce their name. But with the release of their album, Construction Time Again, they unleashed on unsuspecting pop world a vibrant score of socialist lyrics and heavyweight rhythms. [1] And suddenly they became the darlings of the press.
    Depeche Mode’s inception began in the early days of 1980, when three school friends, Vince Clarke, Martin Gore (born June 23, 1961) and Andy Fletcher (born July 9, 1961) [2] played around with the bass, guitar and drums under the name of Composition of Sound. Failing to make much progress on a conventional level, they decided to make moves towards the vogue for synthesisers. The New Romantics had just hit the clubs with their hearts on their sleeves and everything, everywhere, seemed geared toward the rising star of ‘electro-pop’. The chips were down and the stakes were high. With the addition of a gawky young chap called David Gahan (born June 9, 1962) [2] and a quick change of name to Depeche Mode (literally ‘hurried fashion’) the new town wonders were in the running.
    Their first gig was at The Bridgehouse and after a week’s residency there, supporting Fad Gadget, they were spotted by a young DJ called Stevo. Stevo’s addiction to the new futurist sound led him to release a compilation LP titled Some Bizzare, which featured such (then) unknowns as Soft Cell, Blancmange and B-Movie. As luck would have it, Deoeche Mode also found a slot. Their track Photographic, though still rough, was one of the best on the slate.
    But their biggest break was meeting producer Daniel Miller, who had seen them at The Bridgehouse and was intent on signing them to his growing indie label, Mute Records. Their first release for Mute was Dreaming Of Me (February 1981), which scored a creditable top 60 placing, caught as it was on the first wave of synth-pop chart success. Their second single New Life catapulted them to Number 11 and, with Just Can’t Get Enough, their rise from small town creed to Big City sound seemed complete. Yet, just as they were on their way, Vince Clarke, founder member and songwriter of all their material, upped and left. Purportedly because of his feeling of restriction within the group, it was a sharp blow to the young and still inexperienced lads.
    Vince, a particularly gifted musician (and a bit older than his erstwhile colleagues), wasted no time in making moves elsewhere and by the summer of 1982 he had formed a winning partnership with the big blues singer ‘Alf’ Moyet. Yazoo were a hit. With the demise of Yazoo in the summer of ’83, Vince set up a new project with Eric Radcliffe and former Undertones man Feargal Sharkey, called The Assembly.
    Although Vince had written all but two of the tracks on their debut LP, Speak And Spell, the mantle of songwriter immediately fell upon Martin Gore, who handled the role with a capability far outstripping his age. His first single See You went to Number Six in the charts and was proof enough that the Mode could manage without their former songwriter.
    Augmented by Vince’s replacement, Alan Wilder (born June 1, 1959), the band toured America and the Orient, making noticeable inroads into the fierce Japanese market. At home, their young charm and schoolboyish looks kept them high in the charts with Meaning Of Love, Leave In Silence and their second LP, Broken Frame. But their angelic looks failed to find them favour with the press. Their fall from grace centred on their ability to seemingly float by, releasing an album here, a pop-ditty there. It was as if there was no real substance, as if they were nothing but ‘hurried fashion’ after all – and one that had outstayed its welcome.
    Fully aware of this fact, Martin Gore decided to let slip the façade of eternal youth and busied himself with writing a harder, more politically committed set for the third album Construction Time Again. [3] The first augury of the band’s new direction came with the powerful and accusatory tone of Everything Counts, which reached Number Six in the charts, their biggest hit for a year and a half. The general nature of Construction was even harder hitting. The cover depicted a well built worker, sledge hammer in hand, looming large over a mountain top. Its themes of international socialism and world depression, married to a fine pop sensibility, caught the feelings of a nation and resulted in their best work to date.
    As if this was not enough (the album went to Number Six), the follow up singles Love In Itself (lifted from the album) and People Are People both went top twenty (the latter reaching Number Four in March ’84 – their highest placing so far).
    As to whether they can capitalise on their success remains to be seen, but with Construction Time Again under their belts they’re already walking down the right road.
[1] - Oh no, not that old chestnut, even if it wasn't old at the time. Depeche Mode sing about ethical concerns (human rights, ecology, religion) so they must be reds! This 1983 article RED ROCKERS OVER THE EMERALD ISLEhas a lot to answer for on that one, but by the end of 1984 and the release of more material, the press was starting to get a clearer idea and the image was getting soundly punctured. [continue] DECONSTRUCTION TIME AGAIN
[2] - Both birth dates are wrong. Martin was born on 23rd July 1961, and Andy on 8th July 1961. Later on there's another clanger with Dave's birthday, which is actually 9th May 1962.
[3] - I think the author is giving the band the benefit of the doubt here, or maybe in 1984 the band had yet to evaluate this time of their career with the benefit of hindsight. The fact is that Martin and the others have consistently said in later years that they didn't quite realise how naive they were - when Vince left they never thought twice about bashing on with more songs, and in retrospect had they done so they might well have quit. While the music hardened up noticeably, their image problems remained awful well into 1983 - it must have been difficult for reviewers to take on board the clanking and banging of Construction Time Again when it came from four nice lads in windcheaters and woolies.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:36:50
1984-10-xx - Soundcheck (Germany) - Interview Martin Gore

[Thanks to spirit (;u=7) for submitting this scan to this forum. Transcribed using OCR, translated by me.]

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Sounds aus der Spielzeug Kiste
Interview mit Songwriter Martin Gore

Depeche Mode - die große Ausnahme im britischen Electro-Pop: Spätestens seit ihrem vorigen Album, "Construction Time Again", zählen die vier Musiker und ihr kreatives Overhead, Daniel Miller zu den innovativsten Sound-Tüftlern der Szene. Gerade eben haben Depeche Mode in den Berliner Hansa-Studios ihr neues Album "Some Great Roward" fertiggestellt. SOUND CHECK-Mitarbeiter Frieder Felden war dabei...

Hansa-Studios. Berlin. Mischraum vier. Vom Band donnert wuchtig eine Breit wand-Snare. Vor dem Mixer flucht Songwriter Martin Gore: "Aber wir haben doch keinen Drummer, das ist zu viel Geknalle..." Doch weil er gleich grinst, entgegnet niemand etwas in der Runde. Producer Daniel Miller schraubt immer noch am Synclavier, Sänger Dave Gahan ärgert sich lautstark über einen "Bravo"-Artikel, Alan Wilder scherzt mit der hübschen Hansa-Hostess und Mischpult-Mann Gareth Jones beugt sich konzentriert über den 56-Kanal-Mixer. Trotz aller Lockerheit ist die Stimmung gespannt: Die Jungs sind unter Zeitdruck. Dennoch steht Martin Gore auf und nickt mir zu: "Sorry, laß uns auf die Terrasse gehen und es hinter uns bringen..." Gemeint ist das nachfolgende Interview.

SOUND CHECK: Sorry, ich glaube, ich komme nicht gerade gelegen?
Martin Gore: Ist schon okay. Weißt Du, wir sind in Zeitdruck mit unseren Takes. Irgendwie haben wir am Anfang zu lange Zeit vertan, und jetzt müssen wir schauen, daß wir das Band rechtzeitig abliefern.
S.C.: Es ist ja dennoch absolut unüblich, daß man einen Journalisten ins Studio einlädt, um Interviews zu machen. Die meisten Gruppen sperren sich dagegen. Wohl auch, weil sie ungestört arbeiten möchten.
M.G.: Bei uns geht das schon. Normalerweise macht es uns nichts aus. Wir müssen in den seltensten Fällen alle gleichzeitig ins Studio. Bei den Rockbands ist dies anders. Zeit für ein Gespräch hat der eine oder andere immer...
S.C.: Entstehen Eure Songs eigentlich erst im Studio oder geht Ihr mit fertigen Stücken an die Aufnahme?
M.G.: Die Songs entstehen alle zuvor. Alan und ich haben jeweils 4-Spur-Demos der Songs mitgebracht. Alles, was wir im Studio machen ist, an Sounds und Gags zu tüfteln. Und da ist Daniel Miller so eine Art "King Pin" (großer Meister).
S.C.: Laß uns über Eure neue LP sprechen. Auf der vorigen LP habt Ihr ja mit dem Einsatz des Synclaviers überrascht.
M.G.: Auf dieser LP haben wir nahezu das ganze Album ausschließlich mit Synclavier eingespielt. Weißt Du, im  vorigen Jahr waren wir auch noch nicht so toll zufrieden mit unseren Sound-Spielereien. Daniel hatte sein Synclavier gerade erst bekommen, es war noch neu für ihn und die Ergebnisse auf dem Album waren erste Experimente. So mußten wir beim vorigen Album viel mit zusätzlichen Synthesizern arbeiten. Auf dem neuen Album aber wirst Du schwerlich einen Synthesizer finden.

Keine Sound-Software
S.C.: Also habt Ihr jetzt gelernt, das "Ding" besser zu bedienen?
M.G.: Richtig. Und vor allem: Wir haben keinerlei Sound-Software verwendet.
S.C.: Was heißt das?
M.G.: Dieses Mal haben Andrew Fletcher und ich ein paar ganz originelle Gags aufs Band gebannt. Aber im Gegensatz zu früher, haben wir mehr Sounds von "echten" Musikinstrumenten ins Synclavier eingespeist. Wir gingen zum Beispiel in Spielzeuggeschäfte und nahmen billige Spielzeug-Keyboards aufs Band. Genau das gleiche machten wir mit Drum-Sounds. Auf dem neuen Album hörst Du fast nur "richtige", natürliche Drum-Sounds, nur wenige Linn-Lines. In einem Londoner Studio ließen wir erst einen Drummer werkeln und dann noch einen afrikanischen Percussionisten, der alle möglichen Percussionsinstrumente bediente.
S.C.: Und was ist mit "Brass"-Instrumenten?
M.G.: Nun, wir nahmen auch Saxophon und Trompete auf. Aber diese Instrumente blasen wir frequenz mäßig mit dem Synclavier schon noch auf, damit sie saftiger und voller klingen.

Das Konzept
S.C.: Nun, kommen wir zum Konzept Eurer neuen LP...
M.G.: Das ist ganz einfach: Wir erzählen, was uns in dieser Welt eben bewegt. Das Leben als solches, unser Leben als solches. Und das ist ein weites Feld. Das neue Album ist allerdings thematisch eher dem "Broken Frame"-Konzept angeglichen. Ich habe mehr persönliche Songs geschrieben, weniger über generelle, soziale Probleme. Wir wollen nicht plötzlich als politische Band dastehen. Aber natürlich haben wir auch Songs wie "People Are People" drauf.
S.C.: Kannst Du etwas konkreter werden?
M.G.: "Master Of Servant", unsere neue Single, ist ziemlich "dancy", und viel härter als "People..." Wir hatten soviel Power auf dem Master-Tape, daß die Matritze beim Überspielen dreimal kaputtging. Vom Text her könnte es beschrieben werden als eine sexuelle und politische Gleichung: Es geht darum, wenn eine Person eine andere dominiert. Einmal ist es ein Sex-Spiel, und eben auch der Lauf der politischen Welt.
S.C.: Wie lange arbeitet Ihr denn schon an diesem Album?
M.G.: Drei Monate, echte drei Monate und wir sind immer noch nicht fertig. Dabei müssen Alan, Daniel Miller und Gareth Jones noch den Mix fertig machen.
S.C.: Übrigens, habt Ihr Euer Video schon im Kasten?
Videos machen Starverkäufer
M.G.: Ja, wir haben es ebenfalls in Berlin abgedreht. Es ist ein bißchen im Stil von "People Are People". Es ist viel von Eurem Bundestag optisch umgesetzt.
S.C.: Mit wem arbeitet Ihr in Bezug auf Videos zusammen?
M.G.: Clive Richardson. Ein wahnsinns-kreativer Typ. Er hat auch schon unsere vorigen vier Videos gestaltet. Wir überlegen uns gerade, einen Video-Sammler zu machen...
S.C.: ...was heißt, daß Ihr Video sehr ernst nehmt?
M.G.: Du mußt einfach. Ein gutes Video kann Dich zum Starverkäufe machen.
S.C.: Was kostet ein Depeche Mode Video?
M.G.: Ungefähr 15 000 Pfund (etwa DM 55 000). Das ist nicht billig, aber wenn Du das mit Michael Jackson vergleichst oder mit Duran Duran, dann ist es billig. Du mußt bedenken, daß Du im direkten Vergleich mit solchen Bands stehst.
S.C.: Du lebst ja mittlerweile in Berlin. Ist das der Grund, warum Ihr hier aufnehmt?
M.G.: Nur zweitrangig. Entscheidend ist das Studio hier. Wir nehmen unsere Basic-Tracks zwar in London auf, produzieren aber die Mixes und Additional-Overdubs hier in Berlin. Und das liegt am exzellenten Mischraum des Hansa-Studios. Und Gareth Jones, dem Sound-Fuchs.

Der Super-Mixer
S.C.: Was ist den der Vorteil am Hansa-Studio?
M.G.: Da muß ich ausholen. Das größte Problem mit Synthesizer- oder Synclavier-Sounds ist der Hall. Synthies klingen meist zu trocken, damit zu synthetisch. Im Hansa gibt es diese Hallräume, die einfach Saft in die Synthies drücken. Und auch in die Stimmen. Das verbessert den Sound wahnsinnig. Ein anderes Problem, das wir hatten war, daß unser Sound immer laut und massiv war, eben richtig powervoll. Aber auf der Platte fiel er ab - es fehlte die Kraft. Gut, im Studio klang es immer schön hart und mächtig. Aber dann gingst Du nach Hause, und auf Deinem Walkman tat's dann plötzlich sehr dünn, klein und müde. Ein weiterer Pluspunkt sind die 56 Kanäle. Weißt Du, die ersten Grundplaybacks nehmen wir in London auf. Das "Music Works Studio" ist zum aufnehmen okay. Aber wenn wir mischen, haben wir hier im Hansa mit dem Solid State ein so gewaltiges Mischpult mit 56 Kanälen zur Verfügung. Daniel hält es für das technisch beste Mischpult überhaupt. So können wir alles räumlich featuren, können auch noch beim Mischen viel am Arrangement arbeiten. Und dann ist es auch wichtig, Computer-Mixing zu haben.
S.C.: Das ist aber ein teurer Spaß!
M.G.: Überhaupt nicht. Es ist halb so teuer wie vergleichbare Studios in England. Für ein solches mußt Du rund 1200 Pfund (etwa DM 2200) pro Tag bezahlen. Und hier kostet es um die 500 Pfund pro Tag.
S.C.: Wie teuer ist dann die gesamte Produktion des neuen Albums?
M.G.: Oh, ziemlich! Ich glaube schon, daß wir zwischen 30 und 40 Tausend Pfund liegen werden.
S.C.: Naja, das gibt es häufigen!
M.G.: Aber für uns ist das tierisch viel. Wenn Du bedenkst, daß das erste Album "Speak & Spell" ungefähr 7000 Pfund gekostet hat!
S.C.: Vorhin sagtest Du, Ihr würdet fast nur noch mit Syclavier arbeiten. Wie macht Ihr das dann live?
M.G.: Puuh, ja, das wird natürlich deshalb zum Problem, weil wir auf dieser Platte kaum Synthesizer einsetzen. Aber wir lösen das mit dem Emulator. Ich spiele ihn live. Nun, er klingt nicht so gut wie ein Synclavier. Aber live genügt das. Wir werden wahrscheinlich noch einen zweiten hinzukaufen. Natürlich werden wir einige Sachen auf Band aufnehmen müssen. Aber alle Vocals werden natürlich live, ohne Band-Hilfe, eingesungen.
S.C.: Und Ihr braucht keinen weiteren Musiker hinter der Bühne, der die elektronischen Instrumente programmiert, wie es YES bei der letzten Tour gemacht hat?
M.G.: Nein, ich glaube, daß gerade YES die meisten Sachen eh auf Tape hatten. Es ist überhaupt komisch: Die meisten Top-Gruppen verwenden heute Tapes, lassen die Snare und Bass-Drum drauf, oder weiß der Teufel was. Bei uns ist es klar: Wir haben nun mal keinen Drummer. Ich glaube, das Wichtigste bei einer Live-Performance ist, daß Du es schaffst, dem Publikum ein neues, verändertes Sounderlebnis wie auf Platte zu präsentieren.

Keine Verträge
S.C.: Wenn man so erfolgreich ist, wird man ja wohl auch von anderen Produzenten angesprochen...
M.G.: Nein, wir nicht. Die wissen, daß wir uns bei Daniel Millers Mute-Records wohlfühlen. Seit 1981 haben wir keine Angebote mehr erhalten.
S.C. Wie sieht denn Euer Vertrag mit Daniel aus?
M.G.: Vertrag? Wir haben keinen. Weder mit Mute noch mit Daniel. Das basiert alles auf Vertrauen.
S.C.: Wie kommt das? Seid Ihr so auf ihn angewiesen?
M.G.: Gott, er ist ein Sound-Fuchs. Ich glaube, wir könnten auch ohne ihn einen guten Sound zusammenmischen. Aber warum sollten wir? Der Erfolg gibt uns recht. Und bisher haben wir uns immer verstanden!
S.C.: Es gibt Leute, die meinen, ohne Daniel seid Ihr nur die Hälfte wert.
M.G.: Glaube ich nicht. Wir sind Depeche Mode. Daniel hilft uns, berät uns und hat großen Einfluß auf unseren Sound. That's It.
S.C.: Und einen Manager, habt Ihr den?
M.G.: Auch nicht, was natürlich einige Probleme mit sich bringt. So müssen wir uns sehr viel um Business-Sachen kümmern. Aber noch packen wir es. Und der Vorteil: Du bist mit allen Aspekten des Business befaßt. Da kann man nur lernen.
S.C.: Aber glaubst Du, das ist ein Zustand auf Dauer?
M.G.: Ich glaube nicht. Irgendwann wird es sicherlich mal notwendig werden, das Ganze zu übergeben, wer weiß... Aber, sorry, ich muß zurück ins Studio. Du weißt ja, wir stehen unter Zeitdruck und müssen noch einen Titel fertigmachen, der wohl mit einigen Vorurteilen aufräumen wird.
S.C.: Wieso?
M.G.: Der Song enthält, außer einigen Bandschleifen, nahezu nur Piano und Stimme. Es ist eine Ballade, die wir vor drei Jahren wohl nicht eingespielt hätten.
S.C.: Nur Piano? Hat Euch da Elton John inspiriert? Ihr habt Euch in Ludwigshafen mit ihm unterhalten...
M.G.: Er sagte, er fände unsere Produktionen einfach toll und auch die Kompositionen. Ich wurde schon echt rot dabei. Vielleicht ist es das - eine Art Tribut an Elton John. Aber: Mann, das brauchst Du ja nicht unbedingt schreiben...
Frieder Felden

Synclavier II
Für die Studioarbeit benutzt Depeche Mode immer mehr den Synclavier II. Warum? Worin liegen seine Vorteile?
Zuerst einmal ist der Synclavier ein Musik-Computer. Seine musikalischen Möglichkeiten sind vom Software-Angebot abhängig. Mit diesem Computer können völlig neue Sounds konzipiert, aber auch natürliche Klänge analysiert und verarbeitet werden. Wichtig dazu ist die sogenannte 'Sample-Rate', also die Zeitspanne, in der man beliebige Klänge aufnehmen und speichern kann. Man kann also das Hupen eines Autos aufnehmen und dann in jeder Tonlage reproduzieren. Für diese und andere Funktionen der Klangmodulation stehen dem Musiker Floppy Discs mit den nötigen Daten zur Verfügung.


Sounds from the toy box
Interview with songwriter Martin Gore

Depeche Mode - the big exception in British electro-pop: ever since their previous album, "Construction Time Again", the four musicians and their creative overhead, Daniel Miller, belong to one of the scene's most innovative sound tinkerers. Depeche Mode have just completed their new album "Some Great Roward" at the Berlin Hansa Studios. SOUNDCHECK-employee Frieder Felden was present...

Hansa Studios. Berlin. Mixingroom four. From the band emanates massively a wide wall-snare. Songwriter Martin Gore sits in front of the mixer: "But we have no drummer, that's too much banging..." But because he then immediately grins, no one replies to it. Producer Daniel Miller is still screwing the Synclavier, singer Dave Gahan is loudly irritated about a "Bravo" article, Alan Wilder jokes with the pretty Hansa-hostess and mixerman Gareth Jones leans focusedly on the 56-track mixer. Despite the looseness, the mood is tense: The boys are under time pressure. Nevertheless, Martin Gore stands up and nods to me: "Sorry, let's step onto the terrace and get this over with..." He is referring to the following interview.

SOUND CHECK: Sorry, I guess I haven't exactly arrived at a good time?
Martin Gore: It's okay. You know, we are pressed for time with our sessions. Somehow the beginning took us a too long time, and now we have to make sure that we will deliver the tape in time.
S.C.: It's nevertheless really unusual to invite a journalist into the studio to do an interview. Most groups refuse. Perhaps because they want to work undisturbed.
M.G.: With us it's ok. Usually it does not bother us. We are rarely all in the studio at the same time. For rock bands this is different. Someone or the other always has time to talk...
S.C.: Are you songs actually created in the studio or do you guys start the recordingprocess with finished tracks?
M.G.: The songs have all been created before then. Alan and I have each brought 4-track demos of the songs. All that we do in the studio is tinkering with sounds and gags. And with regards to that, Daniel Miller is some kind of "King Pin".
S.C.: Let's talk about your new LP. On the previous LP you have indeed surprised us with the use of Synclaviers.
M.G.: On this LP we recorded the whole album almost exclusively with Synclavier. You know, last year we were not even that greatly satisfied with our sound gimmicks. Daniel had just got his Synclavier, it was still new for him, and the results on the album were mainly new experiments. So on the previous album we had work a lot with additional synthesizers. On the new album but you will hardly find a synthesizer.

No sound software
S.C.: So you've this time you've learned how to use the "thing"?
M.G.: Correct. And above all: We have used no sound software.
S.C.: What does that mean?
M.G.: This time, Andrew Fletcher and I captured a few entirely original gags on tape. But unlike previous times, we have fed more "real" musical instrument sounds into the Synclavier. We went for example to toy shops and recorded cheap toy keyboards on tape. We did exactly the same with drum sounds. On the new album, you hear almost only "real", natural drum sounds, just a few Linn lines. In a London studio, we first let a drummer do the work, and then an African percussionist, who made us of all sorts of percussion instruments.
S.C.: And what about "brass" instruments?
M.G.: Well, we also recorded the saxophone and trumpet. But we blew these instruments along the frequency of the Synclavier, so that it would sound more soft and full.

The concept
S.C.: Well, we arrive to the concept of your new LP...
M.G.: It's very simple: we simply tell you what moves us in this world. Life as such, our life as such. And that is a wide field. The new album thematically aligns rather the "Broken Frame" concept. I have written more personal songs, and fewer general, social problems. We do not want to suddenly appear to be a political band. But of course we also have songs like "People Are People" on it.
S.C.: Can you be more specific?
M.G.: "Master Of Servant", our new single, is pretty "dancy" and much tougher than "People..." We had so much power on the master tape that the matrix broke three times during the transfer. Lyrically, it could be described as a sexual and political comparison: It's about a person dominating another person. Sometimes it's a sexual game, and, indeed, sometimes it's the way the political world works.
S.C.: How long did you work on this album?
M.G.: Three months, genuinely for three months, and we are still not finished. On top of that, Alan, Daniel Miller and Gareth Jones have to finish the mix.
S.C.: By the way, have you recorded your video already?
Videos make starsellers
M.G.: Yes, we have filmed it also in Berlin. It's a bit in the style of "People Are People". Much of your Bundestag has been optically implemented.
S.C.: Who are you working together in relation to videos ?
M.G.: Clive Richardson. A insanely creative type. He has also directed our previous four videos. We are considering making a video compilation...
S.C.: ...which means that your video take very seriously?
M.G.: You just have to. A good video can make you a star in sales.
S.C.: What does a Depeche Mode video cost?
M.G.: About 15.000 pounds. That's not cheap, but if you compare it with Michael Jackson or Duran Duran, then it is cheap. You must remember that you are standing in direct comparison with those bands.
S.C.: You now live in Berlin. Is this the reason why you record here?
M.G.: only secondary. The studio is crucial here. We record our basic tracks in London, but produce the mix and additional overdubs here in Berlin. And this is thanks to the excellent mixing room of the Hansa Studios. And to Gareth Jones, the sound talent.

The super mixer
S.C.: What is the advantage of the Hansa studio?
M.G.: Allow me to explain. The biggest problem with synthesizer or Synclavier sounds is the echo. Synths often sound too dry, and thus too synthetic. In Hansa, there are these echo rooms, which simply press some juice in the synths. And also in the vocals. This improves the sound very much. Another problem we had, was that our sound was always loud and massive, and downright powerful. But on the record it fell down - it lacked that strength. Yes, in the studio, it always sounded nice and hard and powerful. But then you went home, and on your walkman it suddenly sounded very thin, small and tiresome. Another advantage are the 56 tracks. You know, we record the first basic playbacks in London. The "Music Works Studio" is doing okay when it comes to recording that. But for mixing, we have with the Solid State here at Hansa such a powerful mixer with 56 tracks. Daniel considers it to be the best technical mixing console of all. So we can arrange it all spatially, and we can also work a lot on the arrangements during mixing. And then it's also important to have computer mixing.
S.C.: But that sounds expensive!
M.G.: Not at all. It is half as expensive as comparable studios in England. For such studios you have to pay about 1.200 pounds per day. And here it costs around 500 pounds per day.
S.C.: How expensive is then the total production of the new album?
M.G.: Oh, a considerable amount! I do believe that it will cost us between 30 and 40 thousand pounds.
S.C.: Well, there are more expensive ones!
M.G.: But for us this is an insane amount. If you consider that the first album, "Speak & Spell", has cost about 7000 pounds!
S.C.: Just now you said you had almost only worked with Syclaviers. How will you do it live then?
M.G.: Pfff, yes, that will of course become a problem because we hardly use synthesizers on this record. But we can solve this with the Emulator. I play it live. Well, it does not sound as good as a Synclavier. But it is enough for playing live. We will probably buy a second one. Of course we will have to record some things onto tape. But all vocals are of course being sung live without any help from tapes.
S.C.: And you do not need another musician behind stage who programs the electronic instruments, as YES did on their last tour?
M.G.: No, I think that YES even had most of their stuff on tape anyway. It's also quite funny: most top groups today use tapes, and even leave the snare and bass drums on it, or the devil knows what. With us it is clear: we simply have no drummer. I think the most important thing about a live performance is that you succeed in presenting a sound experience to the crowd that is new and different from the record.

No contracts
S.C.: When you're so successful, you will probably also be contacted by other producers...
M.G.: No, we aren't. They know that we feel comfortable with Daniel Miller's Mute Records. We have received no offers since 1981.
S.C.: What does your contract with Daniel entail?
M.G.: Contract? We have none. Neither with mute nor with Daniel. This is all based on trust.
S.C.: How come? Are you so dependent on him?
M.G.: God, he's a sound talent. I do think we could succeed without him in mixing a good sound. But why should we? The success speaks for itself. And so far we have always understood each other!
S.C.: There are people who think that, without Daniel, you are worth only half.
M.G.: I disagree. We are Depeche Mode. Daniel helps us, advises us and has great influence on our sound. That's it.
S.C.: And a manager, do you have one?
M.G.: Also none, which of course brings some problems with it. So we have to take care of business matters a lot. And yet we still manage. And the advantage: you are concerned with all aspects of this business. You can only learn from that.
S.C.: But do you think that it will become a hassle in the long run?
M.G.: I don't think so. Eventually, it will certainly become time to pass the whole thing onto someone else, who knows... But, sorry, I must go back into the studio. As you know, we are pressed for time and still need to finish a track, which will probably get rid of some of our stereotypes.
S.C.: What do you mean?
M.G.: The song contains, besides some tape loops, almost only a piano and vocals. It is a ballad, something which we probably would not have recorded three years ago.
S.C.: Only piano? Has Elton John inspired you? You have had a conversation with him at Ludwigshafen...
M.G.: He said that he thought our productions were simply great, and that the same goes for our compositions. It really made me blush. Maybe that is what this is - some kind of tribute to Elton John. But, man, you really don't have to write that down...
Frieder Felden

Synclavier II
In the studio, Depeche Mode use the Synclavier II more and more. Why? What are its advantages?
First of all, the Synclavier is a music computer. His musical choices depend on the software range. With this computer, completely new sounds can be designed, but also natural sounds can be analysed and edited. Important is the so-called 'sample rate', i.e. the time period in which you can record and save any sound. With it you can record the horn of a car and then reproduce it in any pitch. For these and other functions of the sound modulation, the musician can use floppy discs which contain the necessary data.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:37:20
1984-11-03 - No1 (UK) - Somebody

[Thanks to mossy (;u=550) for scanning this for this forum!]

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Somebody (Mute)
Depeche Mode are becoming a Very Important band indeed.
Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality.
'Somebody' gently unfurls the map of a modern relationship and explores every fold. The double A-side, 'Blasphemous Rumours' weighs religion and reality with precision and feeling.
Thought provoking stuff.
Martin Townsend.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:37:45
1984-11-03 - Melody Maker (UK) - Review

"IT'S not one of the best Depeche records I've ever heard. "Somebody" just doesn't work at all, which is a pity because generally I like them. I think Martin's got to be very, very careful. "People Are People" was a classic example of a great record spoiled because of the way he strings his words together. I mean, "Why should we treat each other so awfully?" or whatever it was - hardly a classic rock 'n' roll line is it?
He does verge on the twee sometimes but then one of the things I like so much about Depeche is that they can drift off and try things and succeed very well and still maintain that teenybop audience. Now that's pretty damn clever by anybody's standards."
Feargal Sharkey
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:38:47
1984-11-06 - BBC (UK) - Whistle Test

Blasphemous Rumours and Somebody:


[I transcribed the interview:]

Host: Now, watching the film with us were Dave and Alan from Depeche Mode.
Alan: Morning. [makes the peace sign]
Dave: Yeah, hi. [makes the peace sign also]
Host: Very spaced-out. Well, Dave, what did you think about what Jimmy Page was saying there about modern musicians, as if there was something actually wrong about using computers?
Dave: Well, I don't know, you know. I mean, they've sort of done their thing at their time, and I think it seems a bit silly to sort of put down what's happening now. With the technology now, you can do so much more, and it's enabling musicians to do so much more with music.
Alan: The thing is, he did talk SOME sense in that there is a lot of rubbish around these days. But, the thing about computers is, you're only limited by your imagination and your ideas. And often I think that people who knock computers or modern music are a bit scared that they haven't got all the ideas.
Dave: Because you can't... The thing is, you gotta have an idea in the first place, it's not like [with] these things you just can press a button and they write the song for you.
Alan: They're still based on ideas.
Host: What's it like on stage, though? Because you're using a lot of backing tapes, it must be surely difficult to react to what an audience does. I mean, does the gig ever get any better or any worse? Or what happens if the tape will break down?
Dave: Well, we don't find that any problem, we don't find any problem with live gigs. Our gigs are very, very good. We just finished a tour that was great. And we use... We had certain things on tape and we use keyboards that we can sample sounds from.
Host: Well we're gonna see and hear that in a few minutes. Meanwhile, it's time to find out who won the video vote.

1984-10-06 - Okej nr. 20 (1984) - Synth-Extra

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:39:15
1984-11-08 - Smash Hits (UK) - Blasphemous Rumours Review

Blasphemous Rumours ... is a routine slab of gloom in which God is given a severe ticking off.
Neil Tennant
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:39:43
1984-11-08 - BBC (UK) - Top of the Pops

Blasphemous Rumours:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:39:58
1984-11-15 - Unknown (Denmark) - Concert Review

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:40:57
1984-11-15 - Unknown (Denmark) - Interview with Martin Gore

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:41:11
1984-11-15 - Unknown (Denmark) - Concert Review

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:41:27
1984-11-15 - Unknown (??) - Martin + live broadcasting in Copenhagen (21 min)

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:41:44
1984-11-17 - SVT (Sweden) - Barnjournalen


Alan: It's very difficult to know exactly WHY we're successful, but obviously it's very nice to be successful.
Interviewer: Have you got any idea what it could be, or...?
Alan: I think it's just... because... Martin writes good songs, you know. [laughter] I mean, it's very difficult, what do you want me to say? "I think we're very brilliant, yes"? "That's why people like us"?
Interviewer: What's so good with your songs?
Martin: Sorry?
Interviewer: I mean, are they simple enough for everbody to understand, or...?
Martin: I think they're very simple and very melodic, and melodic songs have always been quite commercial, and I think that's possibly part of it but that's not all of it. A lot-
Andy: It's down to the record company as well.
Alan: Really, you're directing that question to us: we're the wrong people to answer that question, you should ask the fans that question, really.
[Swedish fans being interviewed]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:42:26
1984-11-17 - SVT (Sweden) - Press Conference + Lund live clips (Unaired)

Dentez has this in good quality. Not hosted online.


1984-11-18 - Göteborgs-Posten (Sweden) - Ett Syntigt Segertag

[Uploaded by Andreas Noreen in the FB group Depeche Mode Original:]

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1984-11-18 - Sydsvenska Dagbladet (Sweden) - Utan musiken ingen framtid

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:42:57
1984-11-19 - ARD (Germany) - Live aus dem Alabama


Interviewer: Depeche Mode! Andy, it's not the first time you've been here in Alabama.
Andy: Well, we've been here twice before; once we came to see another group, one of our friends, and we played here two years ago as well.
Interviewer: Oh, I see. [...] It's not your only appearance here. You've got something to do here in Germany: What?
Andy: Yeah, good pun there. Yeah, no, we're on tour for about three weeks, in Germany, starting from tomorrow in Essen.
Interviewer: [...] But you don't have business contacts only here.
Andy: Martin lives here now.
Interviewer: Martin, what have you got to do with our country in private?
Martin: Not a lot. Not a lot, really. Nothing.
Interviewer: Nothing? You don't have a girlfriend here?
Martin: Yes, I've a girl here, yeah.
Interviewer: But this is not a lot?
Martin: Sorry?
Interviewer: A girlfriend is quite a lot, isn't it?
Martin: I was joking, actually. [laughs]
Interviewer: So, where is she living?
Martin: In Berlin.
Interviewer: In Berlin. You see her often?
Martin: Nicht wirklich. [Not really.]
Interviewer: Es heißt, wir können eigentlich in Deutsch weiter, du sprichst Deutsch, oder? [This means that we can talk further in German, you speak German, right?]
Martin: Ein bisschen, aber nicht so viel. [A bit, but not a lot.]
Interviewer: Ein bisschen, aber nicht so viel. Hast du ein Deutsche Depeche Mode Text gemacht? [A bit but not a lot. Have you written a Depeche Mode text in German?]
Martin: Nein. Das ist zu schwer. [No. That is too difficult.]
Interviewer: Okay, also weiter in Englisch. So viel von Depeche Mode. Du könnst natürlich noch mehr von ihnen sehen in Deutschland. [Okay, so continuing in English. That ends our meeting with Depeche Mode. You can see of course a whole lot more of them in Germany.] Thank you for coming. I guess there will be a lot of people seeing you in Germany anyhow.
Dave: Yeah.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:43:37
1984-11-22 - Smash Hits (UK) - STRANGE BUT TRUE

[Taken from the now-defunct website]

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[Smash Hits, 22nd November - 5th December 1984. Words: Neil Tennant. Pictures: Eric Watson (cover) / Paul Rider.]
" And only Martin drinks a can of lager with his food – the rest opt for either Tizer or Vimto (it’s a really crazy rock-and-roll life on the road!). "
Summary: Wry collection of curious and amusing tidbits put together when Neil Tennant hitched a ride on the Mode tour bus. Not remotely as 'torrid' as the opening implies: I could get snooty and say it's trying to drag their image back to their cheesy days at a time when they were maturing nicely...but instead I'll say it's pleasant enough trivia. Enjoy it! [1109 words]

    When Depeche Mode were in Berlin a few months ago, they got a bit drunk while doing an interview and let a photographer take some “very dodgy” photos. “We stripped off and that.” The next morning they had to buy the negatives back to make sure they didn’t get printed anywhere. They’re still a bit worried that they didn’t get all the negatives back…
    We’ve got more stories about Depeche Mode. Loads more. When Neil Tennant (words) and Paul Rider (photos) joined the band’s tour in Leicester, they discovered it wasn’t all games of Scrabble and early nights with a mug of hot cocoa. There’s more torrid tales down below and over the page…
    The man who drives their tour coach spends a lot of time waiting for the group outside theatres. He whiles away the time by chatting to fans: “They ask some really weird questions.” Like what? “Well, one of them wanted to know if Dave Gahan shaves his armpits.”
    Martin Gore wears a leather mini-skirt on stage. He bought it at Kensington Market in London and wears it rather fetchingly with leather trousers and a girl’s slip that a fan left hanging on their tour coach. Drinking in the hotel bar after their show in Leicester, a fan asks Christina, Martin’s girlfriend: “Is Martin kinky?” They laugh.

    Dave Gahan, singer, 22 years old. Recently moved out of his mum’s house to his own house in Basildon. Is it in the posh bit of Basildon? “There isn’t a posh bit of Baz.” The moodiest of the group, he often sits by himself at the back of the coach and before concerts looks drawn and nervous. Afterwards he’s friendly and relaxed, smiles and jokes with the rest of the group, but admits about touring: “You can get quite lonely, really.”
    Dave Gahan has become an accomplished bum wiggler on stage, as well as shaking his pelvis in a very suggestive way. If you think that Depeche Mode are a bunch of solemn, synthesiser-programming boffins, you’d be amazed at the waves of screaming that they arouse. A lot of the credit must be taken by Dave whose energetic performance is one of the most sexy to be seen on a stage anywhere at the moment.

    Martin Gore, 23 years old, writes most of Depeche Mode’s songs. He lives with his German girlfriend, Christina in a flat in Berlin: “We’ll not see it ’til January though.” On tour he chats to Christina, chuckles a lot, reads books on Nazi Germany and drinks Pils or Dutch Grolsch beer. On stage he wears a leather mini-skirt, plays keyboards, bangs some metal pipes and sings one song, “Somebody”.

    Fletch reminisces about being in the sixth form at school with Alison Moyet. He still knows her. “I don’t think she’d have been successful if she hadn’t met Vince – she’d never have had the opportunity. But she deserves it. She’s got a great voice. I haven’t seen her for about six months, though.”
    Christina cuts Martin’s hair. In Leicester she nipped out to buy a ruler to cut straight partings through the hair at the side of his head.
    If you’re a really together fan, how do you get close to your favourite group? Hang round the back of the theatre hoping to catch a glimpse of them? Chat up the roadies in the hope that they’ll introduce you to Dave Gahan? No, really organised fans book into the same hotel as the group and very casually wander into the bar after the show for a drink with the group. Or maybe join them for breakfast in the morning. In Leicester five fans crammed into one room in the same hotel as Depeche Mode and were to be found chatting to them after their concert and watching Martin and Alan swimming the next morning.
    Alan Wilder, 25 years old, lives in Kilburn, London, doesn’t come from Basildon, writes a few songs. On stage he plays keyboards, makes lots of weird noises on an Emulator, and bangs a piece of corrugated iron (although it’s not miked up). He comes across as the most suave and sophisticated of the group, seems to go to bed the latest and never gets ratty. Maintains his hairstyle with pots of gel and is a keen photographer.


    The group manage themselves, sharing responsibilities. Alan is the secretary and deals with correspondence. He’s normally to be seen with a briefcase, dishing out photographs to be signed. Dave Gahan “deals with the bank” (Barclays, Basildon) and helps to organise their merchandise. Andy Fletcher is in charge of VAT payments and liases with their music publisher and booking agents. Martin Gore, according to Fletch, is “a lazy bastard”. That means he writes most of the songs and isn’t expected to do anything else.

    Before each concert the group and their road crew eat a meal cooked for them backstage. Alan and Martin don’t eat the lamb chops everyone else is munching because they’re both vegetarians. And only Martin drinks a can of lager with his food – the rest opt for either Tizer or Vimto (it’s a really crazy rock-and-roll life on the road!). While they eat the caterers play a tape of old songs by The Eagles and Steve Miller. Dave Gahan sings along with ‘Abracadabra’.

    This tour of Britain was Depeche Mode’s longest-ever: 29 dates. Which places do they like playing best? “Liverpool,” says Alan. “They go mental there. And Ireland. We couldn’t get out of our hotel in Dublin because so many people were out there. I think it’s because they don’t get so many bands over there.”
    They’re now off on a long European tour, an exhausting prospect for them. “It’s pretty much the same every night, so it can get a bit boring,” admits Alan. “The worst thing is finding something to fill in three hours in a hotel bedroom in the afternoon. I take photographs to relieve the boredom. I can’t write songs or anything, neither can Martin. There’s something about touring that stops you doing that.”
    Andy Fletcher (known as “Fletch”), 23 years old, lives with his girlfriend and her mum in their house in Basildon. He’s never considered living anywhere else: “It’s what you’re used to, I suppose.” Off stage he wears glasses, looks a bit like a cheeky schoolboy and chats easily to fans. Likes to wind up their coach driver by messing around on the walkie-talkie that links them with him when they’re backstage. Plays keyboard on stage and occasionally waves his arms about.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:43:53
1984-11-22 - Bravo (Germany) - Nach Jeder Show Kippt Dave Um!

[Thanks to Milik (;u=13) for offering to send in this scan! I typed out the text:]

( ( (

Depêche Mode
Nach jeder Show kippt Dave um!

Der Gag der neuen Depêche Mode-Show sind schwenkbare Scheinwerfer-Rampen, die ständig das Bühnen-Bild verändern.
Unbestrittener Boß auf der Bühne ist Frontmann David.
Alan ist der oberste Sound-Ingenieur und Konzertmeister bei Depêche Mode.
Andy ist live auch für den Background-Gesang zuständig, weil er schwierige Harmonien genau trifft.
Martin hat seinen großen Auftritt als Solosänger bei der Ballade "Somebody".

Dave Gahans Gesicht ist kaum wiederzuerkennen. Sein Mund steht weit offen, er japst nach Luft, die Augen sind geschlossen, die Lider zittern, und der Adamsapfel des Depêche-Mode-Sängers hüpft in hektischem Rhythmus auf und ab.
Dave kommt nach der letzten Zugabe "Just Can't Get Enough" von der Bühne. Zwei Schritte ist er noch aus eigener Kraft Richtung Bühnentreppe getaumelt, dann packen zwei kräftige Roadies den total erschöpften Frontmann unter den Armen und schleifen ihn in Windeseile zur Garderobe.
Einer knallt noch mit dem Stiefelabsatz die Tür zu, bevor sie Dave, dessen Körper jetzt von Frostschauern geschüttelt wird, vorsichtig auf einer Holzbank in der Ecke absetzen.
Die beiden Helfer legen ihm ein Handtuch um den Hals und decken ihm mit einem Bademantel zu, dann verlassen sie den Raum und halten Wache vor der Tür.
Nicht mal Andy und Alan, die fröhlich lachend den Gang entlangkommen, dürfen rein. Als einer der Roadies abwehrend die Hand hebt, nickt Alan kurz, sagt verständnisvoll "sorry" und verschwindet in der nächsten Tür.
Alan, Martin und Andy schieben im Konzert hinter ihren Synthi-Pulten, verglichen mit Dave, eine ruhige Kugel. Sie verzichten absichtlich auf große Action, denn die Aufmerksamkeit der Fans soll sich ungeteilt auf das Energie-Bündel Dave richten.
Außerdem müssen sich die drei voll auf komplizierte Computerprogramme für Sound und Rhytmus konzentrieren, die den Ablauf der Songs steuern.
Während die drei Synthi-Freaks bereits ein Bierchen zischen, die durchgeschwitzten Bühnenklamotten in die Ecke werfen und Witze reißen, hängt Dave immer noch reglos und völlig apatisch auf seiner Ruhebank.
Ihm ist nicht nach Feiern zumute. Sein Gesicht wirkt eingefallen und grau, auf seiner Stirn stehen immer noch Schweißperlen, seine Augen starren in weite Ferne. So sieht jemand aus, der absolute mörderische Strapazen hinter sich hat.
Wer Daves wilde Show beobachtet, wundert sich nicht mehr darüber, daß der Sänger nach dem Konzert fix und fertig ist. Drei Songs benötigt er gewöhnlich, um voll in Fahrt zu kommen. Bei "Puppets" flippt Dave zum erstenmal völlig aus.
Mit einer eckigen Roboterbewegung reißt er den ausgestreckten linken Arm hoch. Sein Kopf dreht sich ruckartig und maschinenmäßig von der linken Schulter zur rechten und wieder zurück.
Davids Bein stampfen im Dauer-Shuffle in die Bühnenbretter, und sein rechter Arm wirbelt den Mikroständer durch die Gegend wie die Kolbenstange einer Dampflokomotive.
Das Ganze passiert mit ungeheuer Geschwindigkeit und aller Power, die in dem mageren Depêche-Mode-Sänger steckt. Um wirklich auch seine allerletzten Reserven während einer Show zu mobilisieren, steigert sich Dave in einen regelrechten Trance-Zustand hinein.
Der vordere Teil der Depêche-Mode-Bühne wird stets vollkommen leer geräumt, die Synthi-Burgen von Andy und Alan stehen in respektvollem Abstand weit hinten. Denn im Tanzrausch läßt sich Dave durch nichts bremsen. Was im Weg steht, wird erbarmungslos über den Haufen gerannt oder mit einem Fußtritt beiseite gekickt.
Daves Punk-Vergangenheit schlägt bei solchen Gelegenheiten voll durch, aber das meiste seiner Action kriegt er selbst gar nicht mit. "Früher war ich einer von den ganz harten Jungs", erzählt Dave. "Damals hatte ich auch die Arme voller Tätowierungen, die ich mir später mit einem äußerst schmerzhaften Atzmittel wieder habe wegmachen lassen. Wenn ich heute auf die Bühne gehe, begrüße ich erst die Fans", beschreibt er einen Auftritt aus seiner Perspektive. "Dann geht plötzlich alles ganz schnell. Es ist wie ein Strudel, der mich fortreißt. Ab und zu wird mir klar, daß ich schon wieder zwei oder drei Songs runtergerissen habe. Das Konzert ist blitzartig vorbei. Es kommt mit oft vor, als hätte es nur vier oder fünf Minuten gedauert."
Sein Tempo hält Dave eisern durch, bis zum letzten Ton. Doch wer genau hinschaut, kann während der letzten Nummern der Show tiefe schwarze Schatten unter seinen Augen entdecken. Es sind Zeichen der herannahenden Totalerschöpfung. Mindestens 30 Minuten braucht Meister Gahan hinterher, bis er überhaupt wieder ein Wörtchen über die Lippen bringt.
Wenn die anderen später noch an der Hotelbar feiern, ist er nicht mehr mit von der Partie.
Auf Tournee liegt Dave regelmäßig um elf Uhr im Bett und tankt neue Kräfte. "Wenn ich nicht höllisch gut auf mich aufpassen würde, ging ich bei so einer Tour wahrscheinlich wirklich drauf", meint er. "Ich merke nicht, wie ich mich mehr verausgabe, als gut für meine Gesundheit ist. Das ist das gefährliche an der Sache. Zwölf Stunden Schlaf pro Tag und literweise Flüssigkeit halten mich am leben."

[Translation by me:]

Depeche Mode
After every show, Dave falls over!

The gag of the new Depeche Mode show are swiveling headlights on ramps that which constantly change the stage image.
Undisputed boss on stage is frontman David.
Alan is the chief sound engineer and concert leader at Depeche Mode.
Andy is also responsible for the live backing vocals, while he hits the difficult harmonies precisely.
Martin has his grand entrance as a solo singer with the ballad "Somebody".

Dave Gahan's face is barely recognisable. His mouth is wide open, he gasps for air, his eyes are closed, his eyelids are trembling, and the Adam's apple of the Depeche Mode singer is jumping up and down along to the hectic rhythm.
Dave steps off the stage after the last encore "Just Can't Get Enough". Two steps towards the stage stairs he managed to still walk on his own, but then two strong roadies grab the totally exhausted frontman under his arms and drag him to the wardrobe within no time.
One pops with his heel the door open before they gently lay Dave down, whose body is now trembling from the cold, onto a wooden bench in the corner.
The two helpers put him a towel around his neck and cover him with a robe, then they leave the room and stand guard at the door.
Not even Andy and Alan, who come down the corridor laughing happily, dare to go in. As one of the roadies defensively raises his hand, Alan nods, understandingly says "sorry" and disappears into the next door.
Alan, Martin and Andy move behind their synth panels at the concert, and are, compared with Dave, quiet slugs. They abstain intentionally from big action, since all the attention from the fans will be directed onto the unbelievably energetically packed Dave.
Besides, the three must concentrate on complicated computer programs for the sound and rhythm, which control the flow of the songs.
While the three synth geeks are already having a beer, and have thrown the sweat-soaked stage clothes into the corner and crack jokes, Dave still sits motionless and completely apathetic on his resting bench.
He is in no mood to celebrate. His face looks haggard and grey, on his forehead is still standing sweat, his eyes are staring into the distance. This is the face of someone who has just experienced absolutely dreadful hardships.
For those who are watching Dave's wild show, it is no surprise that the singer is completely done after the concert. He usually needs three songs to fully get going. During "Puppets", Dave goes wild completely for the first time.
With an angular robotic movement he holds his stretched left arm up high. His head turns abruptly and machine-like from the left shoulder to the right and back again.
David is stomping his leg in continuous shuffle onto the stage floor, and his right arm twirls the mic stand around like the piston rod of a steam locomotive.
The whole thing happens with immense speed and all power lies in the flexible Depeche Mode singer. In order to truly also mobilise his very last reserves during a show, Dave boosts into a real state of trance.
The front part of the Depeche Mode stage is kept completely empty very well, the synth castles of Andy and Alan are widely behind him at a respectful distance. Because in dance mode, Dave does not stop for anything. Whatever stands in is way will be mercilessly run over or kicked to the side with his foot.
Dave's punk-past fully returns on such occasions, but he doesn't even register most of his actions. "In the past, I was one of the tough guys", says Dave. "At that time I had my arms covered in tattoos of which I had one removed with an etchant later on, which was extremely painful. Nowadays when I go on stage, I first welcome the fans", Dave says as he describes a performance from his perspective. "Then, suddenly, everything happens very quickly. It's like a vortex that continuously takes me over. Now and then I realise that I have already completed two or three songs. The concert is over in a flash. It often feels as if it only lasted four or five minutes."
Dave determinedly maintains his pace throughout, down to the last note. But if you look closely during the last songs of the show, you can discover big, dark bags under his eyes. There are signs of him approaching complete exhaustion. Mister Gahan needs least 30 minutes afterwards to be able to utter any word from his lips.
When the others are partying at the hotel bar later on, he is no longer present.
Dave gets into bed while on tour usually at eleven o'clock in order to acquire new strengths. "If I did not vigorously take good care of myself, I would probably really go down during a tour like this", he says. "I do not notice how I much more energy I am spending than is good for my health. That is the dangerous side of the matter. Twelve hours of sleep a day and gallons of liquid keep me alive."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:44:19
1984-11-24 - Record Mirror (UK) - LIVE depeche mode

( (

[Taken from the now-defunct website]

[Record Mirror, 24th November 1984. Words: Eleanor Levy. Pictures: Joe Shutter.]
" On record they have an air of musical maturity and lyrical innocence. Technically perfect, there’s a feeling of vulnerability which forms a major part of their wide appeal. Live, Depeche Mode are all this, with the added ingredient of FUN. "
Summary: A brief but informative - and very eager! - review of an unnamed live show. The writer approaches the show with an open mind and doesn't fall into the familiar trap of just reviewing the songs. Instead, they concentrate on the sense of energy at the shows and Dave's growing stage presence. A treat to read - with a stunning photograph! [273 words]

    The lesser spotted Gahan: a strange bird. Its mating cry of “Wooaargh” and strange ritual dances and twirls are expertly demonstrated as Depeche Mode breathe fresh life into the mausoleum known as Hammersmith Odeon. Gahan headbutts the air, showers the first five rows with sweat and the audience shout raucously in response. It’s the hips… it’s definitely the hips.
    Never having seen Depeche Mode live, I realise I’ve been missing a whole different side to them. On record they have an air of musical maturity and lyrical innocence. Technically perfect, there’s a feeling of vulnerability which forms a major part of their wide appeal. Live, Depeche Mode are all this, with the added ingredient of FUN.
    Dave Gahan is the moving part of the performance – only once is the centre stage taken from him as Martin Gore emerges to sing “Somebody”, hands clasped in front like a rubber coated choirboy. A popular lad is Martin. Cries for him are only matched by the rabid yells accompanying Dave’s rippling shoulder muscles during the second encore. Alan Wilder and Andrew Fletcher, meanwhile, remain resolutely behind their stacks of boxes, only emerging to milk the applause at the end.
    It was a night of greatest hits and choice album cuts, with “Blasphemous Rumours” standing out for the use of lights and slides to accompany it and “Shout” and “Master And Servant” getting the perspiration rate up nicely.
    Depeche Mode proved tonight that they have more energy than all the new breed of clean cut, white-teethed popsters could summon up in a year. You really should rehearse a third encore you know boys.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:44:38
1984-11-26 - Videomusic (Italy) - ? (Dave and Martin interview)


[I made a transcript:]

Johnny Parker: [...] to the guys of Depeche Mode, Dave and Martin.
Dave: Hi.
Martin: All right?
Johnny Parker: What you guys doing here?
Dave: Just cruising. Looking for chicks.
Johnny Parker: Aahh... And what happened to Andy? And Alan?
Martin: They've been more successful. They got some already.
Johnny Parker: Okay. You guys are here for a tour, right?
Dave: Yeah. We're doing three shows. We're doing one here tonight in Florence and then tomorrow I think we go to, eh-
Martin: -Bologna.
Dave: Bologna, and then Milano.
Johnny Parker: All of us need to know, NEED to know, how you guys started together, you know, the group, in 1980. Martin?
Martin: That's right. Eh, we started in 1980, and in those days we had a different line-up. There was a guy called Vince who left about a year after; the end of 1980, the end of 1981. He went on to form Yazoo and the Assembly. And so when he left, we got in a replacement who was Alan Wilder, who, as you know, is quite nice.
Johnny Parker: Alright but what happened when Vince left, okay? I mean, you as a group, alltogether, you started with Vince, so he left, and he had some kind of dark scenes, or?
Dave: He left really early on, we has only sort of, well, it was after a year or so, so we just started, really. It wasn't... There was no question that we were gonna split or anything, we didn't even think about it, really. We just went into the studio and Martin was writing songs, and we was lucky enough that Martin had some songs, of which one was See You, and that was a big hit for us, so we carried on.
Johnny Parker: Your first single on the compilation Some Bizarre, I remember that.
Dave: Photgraphic, yeah.
Johnny Parker: Photographic. It was a hit?
Dave: Well, it wasn't-
Johnny Parker: -Not a hit, but it was the start of the beginning of, I can say, a new style of music, because you guys did a lot electronic, right?
Dave: Yeah.
Johnny Parker: Oh, I have to translate, I'm sorry.
Johnny Parker: [...] Your records, date by date. The first one, the second, the third, the fourth one... After Photographic, what happened?
Martin: Well, Photographic wasn't actually a single.
Johnny Parker: It was a part of the compilation.
Martin: It was part of the compilation album. The first actual single was a song called Dreaming Of Me, which came out in February 1981. And after that we had a song called New Life, which came out around June 1981, followed by our first album. Do you wanna know all of them? [laughs] Our first album, Speak And Spell, which came out around September 1981-
Johnny Parker: That's it! From now on, I would like to know, I mean not by the fans but for real, the critics on Depeche Mode. After Speak And Spell, the LP, what were the rumours between, around you guys? Dave?
Dave: The thing is, there was a lot of, a lot of people ask this question. At the time, we never even though about that were gonna split up and finish after the first album, sort of thing. But a lot of critics were saying that when Vince left, because he wrote most of the songs on the first album, that we were gonna split and things, but we didn't, and we just carried on to record another three albums.
Martin: You see, after the first album, we did come in for quite a lot of slagging, which was quite obvious, really, and we sort of rode through that, and Yazoo at that time were getting sort of really praised, and from that, you go into the next year, and of course the critics can't do the same thing next year running. The next year we got praised and Yazoo got slagged. They just change with the wind. It doesn't matter, really, it doesn't matter.
Johnny Parker: Don't worry, don't worry.
Dave: It doesn't matter. You shouldn't really worry about it too much, although sometimes some of it does hurt. But sometimes you should just try to ignore it, because otherwise you start thinking about critical things that are, bad critical things. It just puts you down, you know.
Johnny Parker: A fact is that Depeche Mode in 1982, the critics were kind of "so-so", but in the mean, Depeche Mode proved to others that you can play some good music. In fact, your music is based on electronics, right? And who is the one, the boss, who goes searching for new type of sounds, is it all of you?
Dave: Really, yeah. I mean, we all come up with sounds and things or ideas for sounds, but most of them come from around us, like, we could probably find some interesting bits in this fairground.
Johnny Parker: [...] What do you think  about going to look for Andy and Alan?
Martin: Good idea.
Dave: Yeah, good idea!
Johnny Parker: They're pretty good with girls, aren't they?
Dave: Yeah, they probably are, the probably got a couple of chicks now.
Johnny Parker: It's gonna be hard to find them?
Dave: Well, yeah.
Johnny Parker: Difficult. No problem [...] Okay.
Martin: This is pretty cool, actually.
Johnny Parker: [...] You guys alright?
Dave: Yeah... [trembles hands]
Johnny Parker: So-so. I'll tell you what, this is not for making an interview, right? A nice interview, calm and relaxed interview. [...]
Martin: Do you know what our motto is?
Johnny Parker: Say that again?
Dave: Yeah, right.
Martin: Do you know what our motto is? Ride to live, live to ride.
Johnny Parker: Oh boy! Oh boy! I see, left, yeah, whatever. Talking about video [...], how many videos did you guys shoot?
Martin: I think we've done 9 in all, now.
Johnny Parker: [...] And what do you think about the videos you've shot before, do you like them, or...? Your idea, you guys' idea?
Dave: Well the earlier ones are not appropiate, in perspective. But we didn't know, a lot of the times we had to act in the videos, and we don't know how to act, we're not very good actors. So now, we make the videos more visual, and not, like, acting scenes, [but] just visuals to go with the music.
Martin: And eh-
Johnny Parker: [...] No, say it.
Martin: And before, we never really got on with directors in the videos. And now we really have a good team, [with which] we sort of work on the ideas together and we come up with good ideas together.
Johnny Parker: Who is the act director?
Martin: The director, really, just like, the video director is Clive Richardson. He has worked with a few other bands, you know.
Johnny Parker: Tell me some other bands.
Martin Gore: Siouxie and the Banshees, Blancmange...
Johnny Parker: I see, I see. Good reputation, that's a good reputation! Not bad. What do you think of a video like a promotion? It is valid, or no good, or...?
Dave: I think it's quite important, especially since there's a lot of shows now, live shows, and it's all day, and I think now, yeah it's more important now, really, especially in places like America as well.
Johnny Parker: And talk about America,-
Dave: -Oh no.-
Johnny Parker: -in 1982 in the Ritz, when Depeche Mode was in New York, and I know you had a... talk about emotion! No! Well, talk about emotion, right? How was the atmosphere when you started, was it kind of scary?
Martin: No, the audiences over in America are fine really, you know. We haven't done many concerts [there], but we just didn't sell many records there.
Johnny Parker: Not yet.
Martin: Not yet.
Dave: Not yet.
Johnny Parker: Not yet.
Martin: And we might never, in fact.
Johnny Parker: Never, haha. Not yet.
Dave: We're working on it.
Johnny Parker: I know you guys are, and I know you have put out and LP in October which is called, eh...
Martin: It's called, "Some Great Reward."
Johnny Parker: "Some Great Reward." And you just put out a single, "Master And Servant", right? To promote the LP. Okay, how long did it take to work on that LP? Two, three days? [smiles cheekily]
Dave: Well, you're a bit off: four months.
Johnny Parker: Four months. In England or in Berlin, where?
Dave: Both of them, both. In England and in Berlin. In Germany, we did the mixing.  And in England most of the warm up.
Johnny Parker: And how are the scenes for this LP? Like the critics in the...
Dave: Oh, it's very good. Very good. Yeah, the reviews in Britain and over in Europe have been very, very good. And it's doing very well as well.
Johnny Parker: And who wrote the music and the words?
Dave: [points at Martin]
Martin: Mainly. Mainly me, but one track was written by Alan. That guy [that] we're looking for.
Dave: The guy we're looking for.
Johnny Parker: Oh really? Oh, where is he? Boy, if I catch him...
Dave: I don't think we're gonna find him, actually.
Johnny Parker: It's too late.
Dave: He's probably with somebody.
Johnny Parker: One or two at the time, huh? Well, do you know about Videomusic, have you watched the music channel Videomusic?
Dave: It's pretty good. It's pretty good. When we came last time, it wasn't on all day, but now it's on all day long, so you can you can just switch it on and off whenever you like, you know. It's good.
Johnny Parker: That's great.
Dave: It's like radio but with visuals, you know.
Johnny Parker: [To the camera] No, I didn't pay this guy to say this. I sure did, but okay, at this point...
Dave: Keep buying the stuff.
Johnny Parker: Why don't you say something to your friends in Italy? ...In Italian? WOW, I got you this time!
Martin: You have got us this time, yeah. Ehm...
Johnny Parker: Think about it. I asked them to say something to the fans in Italy in Italiano, and qu'est e loro problema?!
[the guys shriek]
Johnny Parker: Or say something in Engl... Whatever. Dave first.
Dave: Well I just wanna get my stomach this high.
Johnny Parker: Martin.
Martin: Eh, hello, fans, in Italy.
[the guys wave]
Dave: Hello.
Johnny Parker: Hello! Hello! I wanna say thanks to Martin and Dave. I'm sorry for Alan and Andy.
Dave: We hope everyone enjoys the gigs.
Johnny Parker: [...] Ciao from Johnny Parker, Videomusic, e ciao from:
Dave: Ciao.
Martin: Ciao, Martin.
Dave: Ciao, Dave.
Johnny Parker: Ciao, Dave.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:44:58
1984-11-30 - DRS3 (Switzerland) - Martin, Fletch & Alan live in Basel (17:55 min),_Basel,_Switzerland

[I'm not every good at transcribing German, especially not Swiss German, so I probably made a few grammatical mistakes in the interviewer's questions, but I think I got the gist of what he was saying.]

[Clip 1:]

François: How did the previous concert go?
Alan: Very good, yeah, we were very pleased. We thought our performance was pretty good. There was a small problem with one of the synthesizers, but I don't think anyone noticed. And I think the audience reacted very well and enjoyed it, and it was very good, yeah.
François: What would Depeche Mode do when the floppy discs are being rejected by the computers, and so their tunes and sounds are not being played?
Martin: Panic. Luckily, I use an Emulator 1, and I used that on the last tour as well, and we've not had very many problems with that. It's just, just for this tour, Alan started using an Emulator 2, which is sort of, like, pushing it a bit, because they've only just come out. And on the British tour we have had quite a few problems.
François: Do DM ever dream of long solos on a guitar?
Alan: Sorry, Martin can play the guitar quite well.
Martin: And Alan can certainly bash out a steady beat on the drums.
Alan: But no, we just prefer to do it this way, because, in the long run, it's easier to get the right sounds, and it's easier to do it live, with keyboards, really.
Martin: It's not even easier to get the right sounds, it's easier to get interesting sounds. The guitars is very boring, really.
François: Aren't you making musicians unemployed by making music with digital instruments?
Alan: No, I don't... Firstly, I think, they will get a job, because there will always be work for those people. And secondly, you can't find technology. If the technology is there, use it. I think the only thing is, like Martin said, you have to use it in a good way. You have to have the good ideas and as many [clip is cut off].
François: After this techno-scene, there will likely follow an acoustic-revival-scene. How do they feel about this?
Martin: As you say, there is already a slight backlash. There's, like, a jazz revival or whatever, but-
Dave [in the background, sarcastically]: Yeah, there's a jazz revival.
Other people: Wow!
Martin: Yeah, there is. But I don't really think you can fight the technology, though, because it's by far the most interesting thing that is happening. Everything else is just regressive.

[Clip 2:]

François: Depeche Mode. Am letzten Rubrik live auf die Bühne in die Sporthalle St. Jakob, Basel, für über 6000 Leute. Wo, wie man höre, lebe dort sehr ungewöhliche Töne, weil Depeche Mode die Gitarre haben abgespeichert, live am Freitagabend, und konsequent gibt's kein andere Band. Warum die harte Töne: für ihnen, oder von der Studio Genie die hintem ihnen steckt, Daniel Miller? [Depeche Mode. As last item, live on stage at the St. Jakob Sporthall in Basel, in front of 6000 people. Where, as you can hear, are sounding very unusual sounds, because Depeche Mode have put away their guitars, live last Friday night, and who consequently have no rivals. Why the hard sounds? Do they come from them, or do they come from the the studio genius behind the band, Daniel Miller?]
Martin: It's partly us, and it's partly Daniel. It's actually Daniel's computer, he obviously understands it best. But as we've been working with it now for like 2 years or so, we understand it sort of fairly well, and we're actually able to use it, like, to a certain extent.
François: Plus you already come with melody lines, or they will come from Mute?
Martin: No. Don't ask Daniel for melody lines.
Alan: That is not his strong point.
Martin: Daniel is very good at sounds, and song structures, and things like that, but he's not when it comes to melody.
Alan: Melody and vocals he doesn't really get.
François: Martin Gore schriebt jetzt die meiste liedern, Hits, für Depeche Mode. Wie kommt er drauf? Was heißt zum Beispiel Blasphemous Rumours, ihre neue Single? [Martin currently writes the most songs, the hits, for Depeche Mode. How does he get to those songs? What does, for example, their new single Blasphemous Rumours mean?]
Martin: All the time I just come across instances where I just expect something to happen and it just doesn't, but I just imagine that God is somewhere, laughing. A famous occasion, if you like, a famous instance, is, me and Andy used to go to church. I was never heavily into it but Andy quite, and every week there was like a prayerlist, and everyone had to sit down and pray for these people who were ill. And every week, the person at the top of the prayerlist died. [laughs] Especially for me, not being a Christian at the time, it always struck me as slightly funny.
François: In England, wo man die Texte besser versteht, war die Text intensiver als bei uns für Blasphemous Rumours. Hätte Martin und Depeche Mode mit Blasphemous Rumours sehr viel Leute geschockt. Ist dass absichtig? Wollte sie mit ihre Texte etwas verändern? In England, where the people there understand the lyrics better, the lyrics to Blasphemous Rumours were found to be a lot more intense than over here. Martin and Depeche Mode have shocked many people with Blasphemous Rumours. Was that intentional? Did they want to change anything with the lyrics?
Martin: When we write songs, we never think that we're going to change anything, it just... I don't like that this has gone a bit quite near [=personal], hasn't it? [laughs] We never intend to change anything, but basically I just write what I'm feeling at the time. And I don't really think about the consequences, I didn't really... At the time, I was a bit naive, I didn't think it was such a strong subject.
François: Depeche Mode gehalt sich, vor allem durch Martin, sie sind kein politsche Band, was soll dass Volk von ihnen? Davon wurden sie furios bereits, dafür fuhlen sie sich verantwortlich: Depeche Mode maintain, especially Martin, that they are no political band, because, why should people care about that? This makes Depeche Mode angry, it makes them feel responsible:
Martin: It's a horrible tag to be called a political band. It's just something that we don't wanna get tied down in.
Alan: It puts so many people off.
Martin: ...slightly political, but I think, I'm very naive, I'm very young, I don't really know anything. Who am I to tell everybody, "This is this, this is this", you know? I'm very dubious about politicians as well. Politics is just, like, a dubious subject.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:45:16
1984-11-xx - Deejay Television (Italy) - Band interview

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

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:45:37
1984-11-xx - Smash Hits (UK) - Somebody

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DEPECHE MODE: Somebody/Blasphemous Rumours (Mute)
A double-A-sided single of two tracks from their "Some Great Reward" LP. "Somebody" gets my vote because it's so different from all their other singles. Maetin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves.
Neil Tennant
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:46:08
1984-11-xx - Musikexpress (Germany) - Album Review

[Scanned by me. This was reprinted in March 2013. If you can scan the original article, please let us know.]

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[Transcribed using OCR. Can also be viewed here:]

Obwohl der Sound inzwischen hoffnungslos maschinell überladen ist, verdienen zunächst noch einige positive Aspekte Erwähnung. Schreiber Martin Gore beweist wirklich Herz: „It Doesn‘t Matter“ und „Somebody“ sind als sentimentale Schmachtfetzen die Bremsen dieses unwiderstehlichen Tanzwerkes. Ersteres wird ausschließlich von diversem Synthie-Klingklang begleitet; „Somebody“ dagegen von simplem, ohne verzerrende Effekte beeindruckendem Klavier. Andy Fletchers Gesang erinnert da verdammt an Feargal Sharkey von den Undertones.
Den Vorwurf, rhythmisch eintönig und einfallslos zu sein, kann man Depeche Mode wirklich nicht machen. Sie arbeiten mit einem wahren Arsenal an Drum- Effekten und echter Percussion. Zudem sind es die unzähligen metallischen Geräusche, die geschickt aneinandergefügt die Einzigartigkeit jedes Songs akzentuieren. Eben jene graben sich bei mehrmaligem Hören ins Hirn, erhöhen den Wiedererkennungswert, der schließlich zwischen Hit und Niete entscheidet. Dass die britischen Techno-Popper eigentlich gar nichts anderes mehr als Hits schreiben können, beweist erneut dieses Album: jedes Stück ein Volltreffer. Nächste Auskopplung dürfte vermutlich „Something To Do“ sein, nicht nur durch die rasende Sequencer-Folge eine Hommage an DAF und Kraftwerk. Mute-Produzent Daniel Miller zauberte in den Berliner Hansa-Studios wieder einen Sound, der so perfekt, futuristisch-kalt und unnahbar ist, dass es einem kalt den Rücken herunterläuft. Das Programm wird eingeworfen, die Marionetten spielen, das Publikum tanzt. Wie bei einer Spielorgel.
**** Kai Billerbeck

[Translation by me:]

Although the sound is now hopelessly heavily machine-like, let me first mention some positive aspects. Writer Martin Gore really proves to have a heart: "It Doesn't Matter" and "Somebody" are as sentimental tearjerkers the brakes within this irresistible dance work. The former is accompanied solely by the addition of several synth-clatters; "Somebody" on the other hand is accompanied by a simple, impressive, no-distorted-with-effects piano work. Andy Fletcher's singing reminds you surely of Feargal Sharkey of The Undertones.
The accusation of being rhythmically monotonous and unimaginative, really cannot be applied to Depeche Mode. They work with a true arsenal of drum effects and real percussion. In addition, there are the countless metallic sounds that, joined together, cleverly accentuate the uniqueness of each song. And precisely those each take hold of the brain with repeated listening, increase the value of recognition, which finally makes a distinction between a hit and a failure. This album proves once again that the British techno poppies actually write nothing but hits: each piece a direct hit. Next single should probably be "Something To Do", and not just because the frantic sequencer-part pays homage to DAF and Kraftwerk. Mute producer Daniel Miller once again conjured at Berlin's Hansa Studios a sound that is so perfect, futuristic, cold and cool, that a shiver runs down your back. The programme starts, the puppets are playing, the audience is dancing. As in a toy organ.
**** Kai Billerbeck
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:46:26
1984-11-xx - Ciao 2001 (Italy) - Interview

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:46:42
1984-11-xx - Musikexpress (Germany) - Auf Tour mit DEPECHE MODE Zwischen Make-Up und Moral

[Many thanks to Sabu (;u=750) for sending in this scan! I typed out the text. Can also be read here:]

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Zwischen Make-Up und Moral
Auf Tour mit: Depeche Mode

St. Austell in Cornwall. Bewußt hat man den Tourneestart Anfang Oktober in ein unscheinbares Kaff gelegt. Die Medien brauchen ja nicht unbedingt Augenzeuge der ersten Gehversuche sein. Alle Bedenken aber erweisen sich als unbegrundet: Der Sound stimmt— und auch das Publikum steht wie eine Eins hinter der Band.
Das Programmheft zur Tournee wird von Alan. Martin und Dave gemeinsam studiert...
...während Andy seinen Ruf als Einzelganger pflegt.
Noch ein schneller Blick in den Spiegel — das Make-up sitzt! Während Kollege Andy sich mit dem Schminken schwertut, ist Martin Gore voll in seinem Element.
22 hungrige Mäuler wollen gestopft sein. Debbie (r.) erinnert sich noch an die erste Tournee, „als die Jungs zu schüchtern waren, um sich zu beschweren, wenn ihnen das Essen nicht schmeckte.“
Die beinharten Fans sind schon frühmorgens zur Stelle. Mit Schlafsack und Ghettoblaster läßt sich das Warten ertragen.
„Tourneen sind eigentlich Geschenke an die Fans; wir sind nach einer Woche gelangweilt.“ Autogramme geben Gore & Co. natürlich trotzdem bereitwillig.

Daß sie noch immer als halbgare Synthi-Popper belächelt werden, treibt sie zur Weißglut. Mit politischeren Tönen und Songs wie „People Are People“ und „Master & Servant“ versuchen sie schon seit geraumer Zeit, aus dem Teen-Pop-Ghetto auszubrechen. Dabei wissen Martin Gore & Co. nur allzu genau, daß sich ihr Publikum nach wie vor vorwiegend aus modischem Jungvolk rekrutiert. Wie Depeche Mode aus dieser Zwickmühle einen Ausweg zu finden versucht, konnte Ulf-Gunnar Switalski beobachten, als er die Gruppe beim Start ihrer England-Tournee begleitete.
Die See tobt. Nur wenige Fischer haben sich, mit dicken Pullovern, Regenjacken und kniehohen Gummistiefeln bekleidet, an den Strand gewagt, der nur wenige Schritte von der Konzerthalle entfernt liegt. Eine frische Brise fegt durch die Bucht und bringt den salzigen Geschmack von Meeresluft mit sich.
Die düstere Atmosphäre Cornwalls setzt sich im Coliseum fort, einer modernen Halle, in der hektisch umhergelaufen wird.
„Habt ihr gesehen, daß die Leute draußen Sandsäcke geschleppt haben“, fragt Dave seine Freunde. „Es soll heute die heftigste Flut der gesamten Saison anrollen.“
Doch nicht nur die stürmische See versetzt die ansonsten eher fröhlichen Gesichter von Depeche Mode in bedrückte Stimmung; überhaupt stand ihr Tournee-Auftakt in St. Austell unter einem ungünstigen Stern. Nicht nur, daß die Band die letzten fünf Tage nicht mehr geprobt hatte, weil Martin Gore seine deutsche Freundin noch für einige Tage in Berlin besuchen wollte und erst am Morgen in London Heathrow gelandet war, sondern auch die Meldung des Veranstalters, daß nur 800 Eintrittskarten im Vorverkauf abgesetzt worden waren, drückte die Stimmung.
Als Dave Gahan, Andy Fletcher, Alan Wilder und Martin dann nach zwei Soundchecks zurück in ihr 15 Kilometer entferntes Hotel fahren, reden sie aufgeregt durcheinander und versuchen zu klären, wie die zu erwartenden Schwierigkeiten am einfachsten zu lösen seien. Alan hatte Probleme mit den Programmen seines Emulators — die Pausen zwischen den Songs erschienen ihnen zu lang.
Wie gut, daß Depeche Modes Produzent und Mastermind Daniel Miller immer eine wohltuende Ruhe versprüht und den Jungs schon durch seine Anwesenheit ein Gefühl von Sicherheit gibt.
Der rothaarige Andy Fletcher hatte indes ganz andere Probleme: Ihm fiel die schwere Last zu, sich zum ersten Mal in der Geschichte seines Pop-Alltages selbst zu schminken! Auf den sechs vorangegangenen Touren durch Europa hatte dies geduldig Daves Freundin Joe erledigt; diesmal mußte sie daheim in Basildon bleiben, um ihre Ausbildung zu beenden.
Auf die unschuldige Frage, wo er mit dem Make-up denn anfangen solle, hagelt es gleich ein Dutzend Ratschläge seiner Bandkollegen. Ernst, aber nicht ohne ironischen Unterton meint Alan: „Eigentlich ist es egal, wo du an fängst. Manche Leute schminken sich zuerst die Stirn und dann die Wangen, aber vergiß ja nicht den Hals, damit man nicht den Bruch sieht. Du weißt schon, was ich meine.“ — „Und manche Leute fangen auch in den Nasenlöchern an“, gibt Martin zu bedenken.
Eigentlich hatte diese kurze Konversation auf mich eher den Anschein eines Jokes gemacht, doch als Andy wenig später zaghaft an Martins Zimmertür klopft und seine rotbraunen Augenbrauen kräftig schwarz angemalt hatte, begreife ich, daß er es ernst gemeint hat.
Martin nimmt eine Creme und entfernt die Schminke, um sie etwas dezenter wieder zu verteilen. Ungläubig schaut Andy in den Spiegel und fragt, ob er nicht noch ein wenig Kajal auftragen soll. Doch als Martin seinen weißen Stift aus der Tasche holt, winkt er ab: „Das ist mir zu exzentrisch.“
Martin hingegen liebt es, sich zu schminken und hat ein ganzes Arsenal von Make-up-Utensilien dabei. Kritisch schaut er in den Spiegel, bevor er seine schwarzen Lederklamotten aus dem Koffer holt und schwere Eisengürtel umlegt.
Als wir in den Mini-Bus steigen, der die Band vom Hotel abholt, weil der große Tourbus nicht durch die verwinkelten Gassen des Fischerdörfchens fahren kann, herrscht beängstigende Ruhe. Alles konzentriert sich auf den bevorstehenden Auftritt.
Ein Blick in die Halle beseitigt die Ängste, daß es nicht voll werden würde, und die Kassiererin verkündet stolz, daß sie nur noch 200 Karten verkaufen müßte, um ihren Laden zu schließen. Draußen im Regen steht eine Handvoll Fans, die schon seit 10 Uhr morgens warten — in der Hoffnung einen kurzen Blick oder gar ein Autogramm von ihren Stars zu erhaschen. Einige haben sich in ihre mitgebrachten Schlafsäcke eingemummelt; auf die Frage, was sie dazu veranlaßt, in bitterer Kälte zu warten, kommt nur ein Achselzucken als Antwort. „Depeche Mode ist die beste Band der Welt, und ich bin stolz, wenn ich ein Autogramm von ihnen besitze“, erklärt ein 17jähriges Mädchen, daß mich um ein Tikket bittet, weil sie „Kein Job und kein Geld hat“.
In der Halle ist der Teufel los, als das Licht erlischt und die Drum-Maschine mit hartem Sound den Beginn des Konzertes ankündigt. Der Vorhang geht auf — und die Menge tobt, als sie die ersten Töne von „Something To Do“ ertönen, einer der Songs des neuen Albums SOME GREAT REWARD.
Die Bühne gleicht einer lndustrielandschaft mit den vielen Synthezisern, einer großen Metallkonstruktion, die Dave als Laufsteg in eine zweite Ebene dient, und den kühlen blauen Farben, in denen sich die Band präsentiert. Schon optisch sieht die Bühne aus wie der Hintergrund zu einem lndustrie-Endzeit-Musical, in dem Depeche Mode die Hauptrolle spielen und ihre Thesen über Liebe, Zusammenleben und Unterdrückung kundtun. „About the world we live in and life in general“ steht auf dem Cover von SOME GREAT REWARD zu lesen, und damit ist der Tenor der neuen Songs hinlänglich beschrieben.
Das Publikum ist mit dem neuen Sound der oft als Teenie-Popper belächelten Band offensichtlich zufrieden; es scheint, als hätten sie die Zeiten, als Dave verschüchtert hinter dem Mikrophon stand und „Photographic Pictures“ sang, ebenso hinter sich gelassen wie die Band.
„Eigentlich sind diese Tourneen nur ein Geschenk an unsere Fans“, erklärt mir Alan später in der Garderobe. „Wir finden es nur in der ersten Woche wirklich interessant und lustig, danach ist es nur noch Routine.“
In der Garderobe herrscht ausgelassene Stimmung. Allen Zweifeln zum Trotz war ihr Konzert ein gelungener Auftakt. Die Zufriedenheit steht allen Vieren im Gesicht geschrieben; Dave reißt die ersten Witze und Martin und Alan beginnen Autogramme zu geben, die Busfahrer Don, der Depeche Mode auf allen Touren chauffiert, den ungeduldig wartenden Fans vor die Türe bringt. Allein Andy ist völlig aus der Puste und denkt nur noch an sein Bett.
Vorher heißt es jedoch noch Fan-Besuch zu empfangen. Drei Mädchen ist es gelungen, bis in die Garderobe vorzudringen und sich mit ihren Lieblingen fotografieren zu lassen. Die englischen Teenies scheinen überhaupt von Pocket-Kameras fasziniert zu sein; nicht ein Mädchen konnte ich entdecken, das keine Ritsch-ratsch-Klick in ihrer Jackentasche versteckt hielt.
Am nächsten Morgen trifft man sich nach und nach beim Frühstück in der Hotelhalle wieder. Andy steht als erster auf, um noch einen Spaziergang zu machen und sich mit den neuesten Pop-Zeitungen für die bevorstehende Busfahrt einzudecken. Martin hustet am Frühstückstisch hat sich eine leichte Erkältung eingefangen, kein Wunder bei dem Wind, der mit Wucht vom Meer herüberbraust.
Alan versteckt seine schläfrigen Augen hinter seiner verspiegelten Sonnenbrille und sieht in seiner schwarzen Lederhose aus wie ein beinharter Rock‘n‘Roller. Dave kommt wie immer als letzter aus den Federn und legt sich auch sich sofort wieder in die Kojen, als die Band im Bus sitzt.
Daniel Miller fährt zurück nach London, um die Studioarbeit vorzubereiten, die nach dem übernächsten Gig ansteht.
„Als nächstes werden wir eine EP mit vier Songs veröffentlichen. ‚Somebody‘ und ‚Blasphemous Rumours‘ wird darauf sein, und zusätzlich zwei Live-Tracks aus dem Konzert“, erzählt Alan, der es sich in einer Ecke bequem gemacht hat, während Andy mit dem Busfahrer über die Erlebnisse mit den Fans witzelt. „Don schnappt sich immer die ganzen kleinen Groupies und nimmt sie mit in den Bus“, lacht Martin. Selbst lassen sie lieber die Finger von den kleinen Mädchen, obwohl sie während der gesamten Tournee immer in Doppelzimmern schlafen. Daß das zweite Bett nicht anderweitig besetzt wird, dafür sorgen die Freundinnen, die zumindest die Wochenenden bei der Band verbringen.
Endlos lang scheint diese Busfahrt zu sein. Martin warnt mich vor Hanley, einem kleinen, schmutzigen Industrienest, wo sie schon auf der letzten Tour abends festsaßen, denn außer einer langweiligen Dorfdisco und unzählig vielen Antiquitätenläden bietet die Stadt keinerlei Unterhaltung.
Seine Worte fallen mir sofort wieder ein, als wir plötzlich vor einem alten, rotgeklinkerten Gebäude halten, das eher wie eine stillgelegte Fabrik, keinesfalls aber wie eine Konzerthalle ausschaut.
Im Aufenthaltsraum sind Debbie und Linda mit den letzten Vorbereitungen für das Abendessen beschäftigt. „Ich weiß noch genau, wie ich die erste Depeche Mode-Tour mitgemacht habe‘ erinnert Debbie, die insgesamt 22 Personen zu verpflegen hat. „Damals waren die Jungs so schüchtern, daß sie nicht einmal etwas gesagt haben, wenn ihnen unser Essen nicht geschmeckt hat.“
Während Alan und Martin ihre vegetarische Mahlzeit essen, wittert Andy die Gelegenheit, sich für den gestrigen Abend zu rächen, als man sich über seine Schminkprobleme lustig machte. Er greift einen umherfliegenden Schuster, hält ihn an einem Bein fest und fragt provozierend: „Was meint ihr, wieviel Beine ich ihm ausreißen kann, so daß er trotzdem noch fliegen kann?“ Martins Gesichtsausdruck wird zunehmend finsterer; Alan legt für einen Moment den Löffel aus der Hand. Dave kümmert sich darum wenig, denn zu seiner Freude ist seine Freundin Joe gerade angekommen. Beide begrüßen sich wie ein Ehepaar: ohne große Aufregung, ohne stürmische Umarmung sitzen sie nebeneinander. Ich nutze diese Gelegenheit, um Martin, der den Großteil der Texte geschrieben hat, auf die englische Mentalität anzusprechen. Der Eindruck, daß Liebesbeziehungen meist in eheähnliche Verhältnisse münden, scheint richtig zu sein. „Englische Kids, vor allem Mädchen, werden schon von klein auf so erzogen, daß es das Wichtigste für sie ist, einen soliden Partner zu finden, ihn zu heiraten und Kinder zu bekommen. Ich war auch schon in einer solchen Situation, und mein ganzes Leben schien nur für diesen einen Menschen bestimmt zu sein“, sagt Martin. „Die deutsche Mentalität ist da ganz anders, wenn es um Liebe und Sex geht. In den englischen Teenie-Magazinen gibt es zum Beispiel keine Aufklärungsseiten. Die Deutschen sind viel offener.“
Liebesbeziehungen sind auch die vorherrschenden Themen auf dem neuen Depeche Mode-Album. Während CONSTRUCTION TIME AGAIN und die letzte Nr. 1-Single „People Are People“ politisch Stellung bezogen, sind die neuen Songs weitaus persönlicher und atmosphärischer ausgefallen.
„Wir wollten vor allem nicht auf ein politisches Image festgelegt werden. Als du vorhin mit Alan diskutiert hast, habt ihr über Ernsthaftigkeit gesprochen. Ich glaube nicht, daß Songs, die persönlicher sind, also Liebeslieder, auch gleichzeitig dümmlich sind.
Den Beweis liefert er zwei Stunden später vor mehr als zweitausend begeisterten Fans, die stillschweigen, als Martin seine melancholische Ballade „Somebody“ vorträgt und beim Ausklingen des Pianospiels eine Spieldose aus der Tasche zieht und sanft daran dreht, während die Scheinwerfer erlöschen.
„Der Wunsch, das Publikum zu verändern, war vor allem der Wunsch, uns zu verändern, weil wir selbst mit dem, was wir taten, nicht mehr zufrieden waren“, erzählt Alan später in der Garderobe. „Wir haben es nicht unbedingt bewußt gewollt, aber wir haben uns neue Leute erschlossen, ohne das Teen-Publikum zu verlieren. Die alten Hits spielen wir auch nur noch als Dankeschön an die Fans.“
Ulf-Gunnar Switalski

[Translation by me:]

Between make-up and morality
On tour with: Depeche Mode

St Austell in Cornwall. They have laid the start of tour in early October in insignificant backwater on purpose. The media don't really need to be an eyewitness of the first steps. All concerns prove to be unnecessary: The sound is right and the audience is completely supporting the band.
The tourprogramme booklet for the tour is being examined by Alan, Martin and Dave...
... while Andy maintains his reputation as a loner.
Just a quick glance in the mirror - the makeup is still in check! While colleague Andy is having a hard time painting his face, Martin Gore is in his element.
22 hungry mouths have to be fed. Debbie (right) still remembers the first tour, "when the boys were too shy to complain not liking the food."
The die-hard fans are already standing in place early in the morning. With a sleeping bag and boombox they await.
"Tours are actually gifts to the fans; we are bored after a week." But Gore & Co. of course still willingly give autographs.

That they are still dismissed as half-baked synth-poppies, drives them nuts. With more political tones and songs like "People Are People" and "Master & Servant" they have been trying for some time now to break out of the teen-pop ghetto. And Martin Gore & Co. know only too well that their audience is mainly recruited out of fashionable young people. Ulf Gunnar Switalski could observe how Depeche Mode try to break away from this stigma, as he accompanied the group at the start of their UK tour.
The sea is raging. Only a few fishermen have dared to go to the beach while wearing thick sweaters, rain jackets and knee-high rubber boots, which is just steps away from the concert venue. A fresh breeze sweeps through the bay and brings the salty taste of sea air with it.
The dark atmosphere of Cornwall continues at the Coliseum, a modern venue in which people are running about hectically.
"Did you see that people have dragged out sandbags?" Dave asks his friends. "Currently it's is the most violent tide wave of all seasons."
But not only the stormy sea has put the otherwise rather cheerful faces of Depeche Mode into a depressed mood; their tour opener in St. Austell seems have been aligned under an unfavourable star tonight. Not only because the band have not rehearsed in the past five days, since Martin Gore and his German girlfriend wanted to visit Berlin for a few days and had landed only at London Heathrow early this morning, but also because the message from the organiser that only 800 tickets had been sold in advance, killed the mood.
When Dave Gahan, Andy Fletcher, Alan Wilder and Martin then drive from two sound checks back to their hotel at a 15km distance, they talk excitedly to each other and try to make clear how the anticipated difficulties can be solved best. Alan had problems with his emulator's programmes - the pauses between the songs appeared too long to him.
How fortunate that Depeche Mode's producer and mastermind Daniel Miller always exudes a soothing tranquility and immediately gives the boys a feeling of security with his presence.
The red-haired Andy Fletcher, however, had other problems: He has the heavy task of putting make-up on himself for the first time in the history of his everyday poplife! On the six previous tours through Europe this was done patiently by Dave's girlfriend Joe, but this time she had to stay at home in Basildon in order to finish her study.
The innocent question of where to start with his makeup is met by a dozen suggestions from his bandmates. Seriously but not without an ironic undertone Alan says: "Actually, it does not matter where you start. Some people put make-up firstly on the forehead, then on their cheeks, but don't forget your neck, so you don't see a line. You know what I mean." - "And some people begin at the nostrils", Martin points out.
Actually, this conversation first gave me the impression of being a joke, but when Andy later knocks shyly on Martin's room door and has painted his little red-brown eyebrows black vigorously, I then understand that he meant it seriously.
Martin takes some cream and spreads the makeup discreetly. A baffled Andy looks into the mirror and asks if he maybe should put on a bit of eyeliner. But when Martin gets his white pen from his bag, Andy waves his hand: "That is too eccentric for me."
Martin, on the other hand, loves to wear make-up and has an arsenal of makeup supplies at hand. Critically he looks into the mirror before he gets his black leather clothes out of the suitcase and flips on a heavy iron belt.
As we descend into the mini-bus that picks up the band from the hotel since their large tour bus cannot drive through the narrow streets of the fishing village, a deadly silence takes hold. Everyone is focused on the performance to come.
A glance into the venue removes the fear that it would not be full, and the cashier is proud to announce that they only needed sell 200 more tickets before they would have to close the shop. Outside, in the rain is a handful of fans who have been waiting since 10 o'clock in the morning - in order to hopefully catch a glimpse or even an autograph from their stars. Some of them are bundled in the sleeping bags that they took with them, and at the question of what causes them to wait in the bitter cold, only a shrug comes as a response. "Depeche Mode is the best band in the world, and I'll be proud if I get their autograph," says a 17-year-old girl who asks me for a ticket because she has "no job and no money."
In the venue, the devil cuts looks when the lights go out and the drum machine heralds the beginning of the concert with a hard sound. The curtain goes up - and the crowd goes wild when the first notes of "Something To Do" are sounding, which is one of the songs from the new album SOME GREAT REWARD.
The stage is like an industrial landscape with many synthesizers, a large metal structure which Dave uses as a catwalk on a another platform, and the cool blue colors, in which the band present themselves. Merely in visual form, the stage presents a backdrop to an industrial, end-of-time musical in which Depeche Mode play the leading role and express their theories about love, living together and oppression. "About the world we live in and life in general" as can be read on the cover of SOME GREAT REWARD, and thus adequately describes the tenor of the new songs.
The audience is obviously pleased with the new sound of the band which is often derided as a teen-popper band, and it seems as if the band pretty much left behind the days when Dave was shyly standing behind the microphone singing "Photographic Pictures'.
"Actually, these tours are a gift to our fans," Alan explained to me later on in the wardrobe. "We really only find the first week interesting and fun, and then it's just routine."
In the dressing room there is a lively atmosphere. Despite all the doubts, their concert was a successful start. The satisfaction is written on the faces of all four of them; Dave pulls the first jokes, Martin and Alan begin signing autographs, and the bus driver Don, who has driven Depeche Mode around on all tours, brings the autographs to the eagerly waiting fans outside the door. Except for Andy who is still totally out of breath and can only think of his bed.
But before that, there are still fan visits to be received. Three girls have managed to sneak into the dressing room and to be photographed with their beloveds. The English teenagers seem to be all fascinated by pocket cameras, I could not see any girl who had no Ritsch-ratchet-click hiding in her pocket.
The next morning we meet again by and by while having breakfast at the hotel lobby. Andy is the first to get up and take a walk and stock up on the latest pop newspapers for the upcoming bus trip. Martin coughs at the breakfast table and has caught a slight cold, which is no wonder with the wind that roars from the sea with force.
Alan hides his sleepy eyes behind his mirrored sunglasses and looks as a die-hard rock'n'roller in his black leather pants. Dave is as always the last to get up and lies down again immediately into the cabin, when the band is sitting in the bus.
Daniel Miller is returning to London in order to prepare for the studio work, which is due after the next gig.
"Next, we will release an EP with four songs. 'Somebody' and 'Blasphemous Rumours' will be on there, and two additional live tracks from the concert", says Alan, who has made himself comfortable in a corner, while Andy quips with the bus driver about the experiences with the fans. "Don always likes to take all the little groupies and take them onto the bus", laughs Martin. As for them, they prefer to not touch the little girls, even though they always sleep in double beds during the entire tour. The second bed is not always occupied, but their girlfriends spend at least the weekends with the band.
This seems to be an endless bus ride. Martin warns me about Hanley, a small, dirty industrial nest where they were stuck on their last tour at night, which, except for a boring town disco and countless antique shops, offers no entertainment.
His words struck me again immediately after we suddenly stopped in front of an old red-cobbled building, which seems more like a discontinued factory, but by no means like a concert venue.
In the lounge, Debbie and Linda are busy with the final preparations for dinner. "I remember exactly the first Depeche Mode Tour I've been through" recalls Debbie, who has to cater for a total of 22 people. "At that time the boys were so shy that they didn't even say anything when they didn't like our food."
While Alan and Martin eat their vegetarian meal, Andy spots an opportunity to avenge the previous evening, when they were making fun of his make-up problems. He grabs a flying crane fly, holds it by one leg and asks provocatively: "What do you reckon, how many legs can I tear from it so that it can still fly?" Martins facial expression becomes immediately sinister, Alan momentarily lets go of his spoon. Dave doesn't really care, because, to his delight, his girlfriend Joe has just arrived. Both greet each other like a married couple: with minimal fuss, without a big hug, they sit next to each other. I take this opportunity to talk to Martin, who wrote most of the lyrics, and which appeal to the English mentality. The impression that love relationships usually end in marriage-like relationships seems to be correct. "English kids, especially girls, are already trained from a young age onwards with the notion that it is most important for them to find a solid partner to marry and have children with. I have been in such a situation, and my life seemed to be destined only for this one person", says Martin. "The German mentality is very different it comes to love and sex. In the English teen magazines there are for example no explanation-pages. The Germans are much more open."
Love relationships are the dominant themes on the new Depeche Mode album. While CONSTRUCTION TIME AGAIN and the last No.1 single "People Are People" were more political, the new songs are more personal and atmospheric.
"We did not want to be committed to a particular political image. As you previously discussed with Alan, you talked about sincerity. I do not think that songs which are personal, meaning love songs, are at the same time also stupid.
He provides evidence for this two hours later in front of more than two thousand enthusiastic fans who remain silent when Martin sings his melancholic ballad "Somebody" and pulls a music box out of his pocket and spins it gently while the piano music and headlights fade.
"The desire to change the audience was mainly the desire to change ourselves, because we were not satisfied anymore with what we were doing", Alan says later on in the wardrobe. "We did not do it consciously, but we have attracted new people without losing our teen fanbase. We play the old hits now just as a thank you to our old fans."
Ulf Gunnar Switalski
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:47:19
1984-11-xx - International Musician And Recording World (UK) - SAMPLING MODE

[Taken from the now-defunct website]

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[International Musician And Recording World, November 1984. Words: Adrian Deevoy. Pictures: Les Drennan.]
" “Professional Walkmans are good for sampling too,” claims Martin. “Gareth has always got his out. On trains… at home. They’re good because they get a very impure sound that can often be really interesting. But if we want a very pure sound then we’ll take the thing, say a bit of scaffolding, into the studio and mike it up in the proper conditions and get a clean sound.” "
Summary: An early technical article from when the band first hit a stride with sampling. Alan and Martin discuss in detail how sounds on Some Great Reward were constructed. Plenty of focus on equipment and methods, and aspects such as timing and sequencing. Although some of it will go over the average reader's head, the article is full of anecdotes which keep it interesting. [2445 words]

    Leaving their beginnings as wide-eyed popsters behind them, Depeche Mode have become masters of the art of noise and the science of the studio. Adrian Deevoy had a rewarding chat with the Basildon-to-Berlin boys, Les Drennan took some great pictures.
    Somewhere, off one of the corporate corridors in the labyrinthine complex we affectionately term Broadcasting House, a woman sits alone. Her job is to create emotion, tension and atmosphere. Her key to this process is a PPG system. Although this is heartbreakingly unromantic it is the ultimate argument for machines in the Machine vs Human debate. It’s also quite a nice little story.
    Depeche Mode like this story.
    “All the sounds for Life Of Earth,” declares Alan Wilder.
    “All those little animals,” beams Martin Gore.
    After four years Depeche Mode are pretty bogged off with being told that they make inhuman music. They quite rightly believe this accusation to be untrue. They might accept that their first two albums weren’t cataclysmic – catchy, melody blip-bops if you like your lager warm but nothing to telex home about – but they remain adamant that last year’s LP, Construction Time Again, this years singles People Are People and Master And Servant, and their latest album Some Great Reward are anything less than stirring. For in the last 18 months Depeche Mode have discovered, embraced and subsequently immersed themselves in sound. With the aid of producer Daniel Miller’s matchmaking Synclavier a strange love affair has developed between the band and sampled noise.
    Alan Wilder and Martin Gore, the songwriters, seemed worst smitten to a meeting between themselves and a micro-Walkman was promptly arranged in a horrendously loud video wine bar where they both bawled unashamedly of their love for sound.
    “I’ll take you through all the sounds on People Are People,” says Martin, eyes glazed, sparing the machine no blushes. “The bass drum at the beginning was just an acoustic bass drum sampled into a Synclavier then we added a piece of metal to that – just a sampled anvil type sound – to give it a slight click and make it sound a bit different. That’s the beauty of the Synclavier, you can edit sounds together to make what we call combination sounds. The main synth sound is the actual ‘synth’ sound on the Synclavier, that’s the one that plays the bass riff. But the bass sound is a combination sound too with part of it being an acoustic guitar plucked with a coin, which sounds very interesting when the two sounds are sequenced together.”
    “There’s very little playing going on in People,” adds Alan, “virtually everything is sampled into the Synclavier. With the guitar sounds we altered them slightly once they were in the Synclavier because you sample in one note and then you can alter the length and dynamic of every note in the sequence for the guitar part so it will give expression, but it will still be completely in time. You can justify all the rhythms, you see, so that you can have articulation but it’s all in time.”
    Getting back to the People Are People breakdown Martin unveils a short sampling anecdote: Love on a plane.
    “I took a stereo Walkman when I was going on a plane from England to somewhere,” he begins. “I originally brought it along to take the takeoff but while the air hostess was doing her safety speech at the start of the flight I decided I’d take that as well. But as she was telling everyone to ‘Check the instruction cards under your seat,’ the door flew open and all this air rushed in which made a real noise and everyone laughed. Anyway I looped the end of what she was saying and the laughter so it goes, ‘…tion cards ha ha ha ha …tion cards ha ha ha ha,’ which sounds funny but I used it in conjunction with a choir sound and it added a really nice texture to the bridge on People.”
    “There’s a Synclavier harp sound in the verses,” contributes Alan, “and an ARP sequencer playing very fast in the chorus and there’s some Emulator sounds that we used for adding a few frills here and there.”
    The three throaty clunks at the end of each chorus is in fact Martin’s throat.
    “That was a combination sound,” says Alan. “First of all we sampled Martin going, ‘Unk Unk Unk,’ with his throat then we added a bell sound and a timpani to give it depth.”
    “I felt a bit of a berk doing that,” admits Martin. But love’s a bit like that.
    The vocal line, “It’s a lot… like life,” at the beginning of Master and Servant was yet more fodder for the Synclavier. As Alan explains.
    “Firstly we got a lot of people singing the high, ‘It’s a lot,’ and then a low, ‘Like life.’ You don’t have to play one slower or faster than the other to get the octave either because you make a patch on the Synclavier keyboard for each part and then you play the parts in their natural pitches and both at the same speed which is very handy.”
    The lead vocals on People Are People and Master and Servant (or M&S as us Depechies call it) on the 7” mixes at least, were pretty well the only sounds that weren’t sampled.
    “The vocals,” explains Alan, “were recorded in a big room. That is the vocals were sent down through a PA into a big, live room so we could not only get a great big sound but so we could put effects on the vocal while it was being recorded and afterwards on the desk.
    “Although we sampled all the snare sounds,” he adds as an afterthought on the live rooms, “we always record the initial sound in an ambient space. We like to vary the snare sounds a lot so we record all different acoustic snares in various rooms and we close mike them or mike them from a distance depending on the width of the sound that we require. Simmons pads? No, I don’t like them. After you’ve done all that fiddling around to get away from that factory preset sound you might as well have got a really good sound on the Synclavier. Simmons pads just remind me too much of that Howard Jones factory preset and Drumulator syndrome. Really boring ‘synth’ sounds. They’re just not interesting, they sort of scream ‘DX7!’ and ‘JP8!’ at you.”
    The latest Depeche album boasts a myriad of sounds, less overtly metallic than the socialist sentiments that they reflected on Construction Time Again but just as fascinating. Love is all about contrasts.
    “We don’t think that we overdid the metal-beating idea on Construction Time,” says Martin, “but we wanted to make this one less obviously metal sounds. We wanted a little more subtlety…”
    So instead of belting skips they belted concrete.
    “Yeah, on one of the tracks on the album, Blasphemous Rumours,” elaborates Alan, “we sampled some concrete being hit for what turned out to be the snare sound. All that entailed was us hitting a big lump of concrete with a sampling hammer…”
    “…I’m sure they’re not actually called sampling hammers,” interjects Martin giggling.
    “Anyway,” continues Alan, “the engineer / producer we use, Gareth Jones, has got this brilliant little recorder called a Stellavox which we use with two stereo mikes and it’s as good as any standard 30ips reel-to-real but this is very small and therefore very portable. So we just took the Stellavox out into the middle of this big, ambient space and miked up the ground and hit it with a big metal hammer. The sound was… like concrete being hit. I can’t really put it any other way.”
    “Professional Walkmans are good for sampling too,” claims Martin. “Gareth has always got his out. On trains… at home. They’re good because they get a very impure sound that can often be really interesting. But if we want a very pure sound then we’ll take the thing, say a bit of scaffolding, into the studio and mike it up in the proper conditions and get a clean sound.”
    If an equipment list had been included in the mentions on Some Great Reward, apart from pavements, buildings, bottles and old people being stapled together it would have incorporated a long list of toy instruments which Martin divulged as he became more intoxicated; by love of course.
    “One morning me and Andy (Fletcher) went down to Hamleys, the toy shop in London, and bought as many toy instruments as we could find. Pianos, saxophones, xylophones and we took them all back to the studio and sampled them. One we used a lot was a Marina (?), a toy one, very strange, but after we’d sampled it, it was great. It sounded pretty terrible as a toy but when we took it down a couple of octaves it sounded really good.”
    “People tend to think that if you’re using toy instruments then they have to sound whacky,” complains Alan, “but we put some to very good use because as soon as you sample them they take on a whole new quality and when you transpose them it puts them in a completely new context. Like the noises Martin was making with his throat, we only took those down a tone and it was unrecognisable as someone going, ‘Unk’, with their throat.”
    But sampling, like love, isn’t all happiness and although Depeche have learnt to take the rough with the smooth, they found out the hard way. Alan breaks off in the middle of another ‘good combination sound’ story to tell how they were stitched up by a sussed, sampling percussionist.
    “We were doing this combination with Martin doing his Indian voice combined with a bassoon type sound.”
    “It was pretty ethnic,” says Martin launching into his Indian voice.
    Alan ignores him. He has something on his mind that he’s not sure if he should tell us.
    “I’m not sure I should tell you this,” he tells us, “but we got this percussionist in for the afternoon to sample his drums and the different techniques of playing them. We didn’t try to hide the fact that we were sampling him. We said, ‘We hope you don’t feel raped,’ and he agreed to be sampled literally just hitting one drum, once at a time. Anyway we sampled all his drums once, maybe twice. Now, the Musicians Union haven’t really caught up with sampling and this bloke had obviously contacted them when he got home because he gave us this bill for about 50 different sessions, plus sampling time plus a consultation fee. It was enormous and the stupid thing was that most of the sounds weren’t even as good as that (bangs two pint glasses together) and we only used about two for maybe two seconds each on a couple of songs.”
    Another problem came when the band had to divide their recording time between Music Works in England and the 56-track, Solid State luxury of Hansa Mischraum in Berlin.
    “There were all these builders in next door at Music Works,” moans Martin, “and we’d have the track running with us hitting skips and concrete and they’d be next door tearing a wall down and we couldn’t tell which was which. It was very confusing at times.”
    Like love and marriage, sampling and timing tend to go together like the proverbial horse and jockey.
    “Although it makes the whole process even longer, when you get into one you can’t really help but get into the other,” says Alan. “You can’t help, after you’ve been involved with sequencing for a while, noticing three millisecond or five millisecond discrepancies. So you end up time-shifting every sequence until it’s perfect. Then we got into consciously putting things slightly out of time. Like, for example, the choir sound on People again we used a combination sound of different choir sounds on different synths and then put them slightly out of time with each other. Like we took one sound from the Synclavier, one from the PPG and one was on the Emulator. Are you familiar with the Friendchip? It’s a time code reading clock that can monitor every single click output from all your drum machines and all your synths so when everything is going via the Friendchip you can adjust the feel by pulling something, say five or six milliseconds in one direction.
    “The thing is so many things can’t play in perfect time anyway,” reveals Alan, “the Linn isn’t in time when it’s meant to be playing ‘drum machine’ perfect time without human error programmed in. It can go out by 20 milliseconds. We set an oscilloscope on several things to see how well they kept time. The one that came out best was the TR808 which only as a two millisecond shift. That’s better than the Synclavier. Rotten sounds though. But we actually ended up triggering stuff from the 808 just because it’s so tight within itself.”
    “We always thought the 808 had a good feel,” chips in Martin before adding a bitchy, “even though Alan has a grade eight piano his playing is still incredibly out of time compared to the Synclavier sequencer… and even that’s out!”
    All this and the Emulator II?
    “Yeah,” admits Martin realising that his love has almost turned him into a technocrat, “the sampling time is about 17 seconds now, I think, and you can get more sampling across the keyboard, it gives better quality than the Fairlight and it only costs about seven grand which is a lot but it will be a big help to us live.”
    And there’s a pianillow ballad, Somebody, to be sung love. Martin promises some. Kinda wonderful.
    “We’re going to go for a completely human feel on that one. Just a piano played by Alan and Dave singing and Andy playing tapes on the Fostex X15. [1] It’ll be very different.”
    So the love for sound can take you backwards but what of the future?
    “I don’t know,” confesses Martin, “the Synclavier can already go further than your imagination and they’re thinking of getting new software for that. Then there’s re-synthesis which might happen in a couple of years where you can take a sampled sound and change just tiny parts of it. It’s really impossible to say. Maybe we’ll just get the guitars out and make a Rock ’n’ Roll album. Who knows?”
    …and somewhere, within the folds of Auntie Beeb’s ageing skin, a woman sits alone wrestling with a similar emotional predicament. Is she really in love with her PPG system is has it been David Attenborough all along?
[1] - Now this is interesting, since the song is always sung by Martin, on the album and even on the Some Great Reward tour. Perhaps Martin was originally in two minds about singing the song live, as it was the first time he had done so, because it seems strange for Martin to sing on the album while Dave performs it live.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:47:37
1984-11-xx - Unknown (UK) - Getting Their Reward

[Thanks to meldepeche (;u=799) for this article.]

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Getting Their Reward

A lot of folk gave Depeche Mode up for dead when Vince Clark left. They'd had some pretty good songs, and were getting lots of attention (Just Can't Get Enough, in fact), but their songwriter had left. In terms of quality it's taken a long time to regain their confidence, although they've been consistently successful.
The new LP, Some Great Reward, boasts a more industrial feel to it, and is beautifully produced. However, like most Depeche Mode LPs, it's a little inconsistent with the gems separated by rather ordinary songs. The best bit is saved until last, with the cynical Blasphemous Rumous rounding things off in style. Another single from the LP is due before Christmas, and the band are currently busy touring. They should be back in circulation at Christmas time, ready for the fun that that entails...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:48:09
1984-11-xx - Popcorn (Germany) - dm hypnotisierten fans

[Taken from the now-defunct website]

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[I typed out the text:]

Depeche "hypnotisierten" die Fans

Das Depeche-Mode-Konzert in der Essener Grugahalle war total ausverkauft. Keine Maus hätte mehr reingepaßt. Schon vor Beginn war in der Halle die Hölle los. Alle drängten sich nach vorne - das völlige Chaos. Kurz nach 20 Uhr kommt Matt Freton auf die Bühne und versuchte, Stimmung zu machen. Fehlschlag! Nach unaufhörlichen Buh-Rufen verschwand er nach einer halben Stunde von der Bühne. Punkt 21 Uhr gehen dann die Lichter zum zweiten Mal aus. Die Anfangsklange von "Master and Servant" dringen durch den schwarzen Vorhang. Dann geht er hoch, und man sieht nur noch Nebelschwaden. Von diesem Moment an herrscht Bombenstimmung im Saal. Dave Gahan hat die Fans völlig unter Kontrolle. Wenn er "Come on" ins Mikrofon ruft, hüpfen und klatschen alle wie hypnotisiert. Der Höhepunkt war meiner Meinung nach, als Martin seine Schmusesong "Somebody" ins Mikro haucht. Er wird von Andy und Alan begleitet, und Dave war kurz verschwunden. Zu manchen Songs werden die hydraulisch betriebenen Stege auf der Bühne zu einer bunten Lichterkulisse. Nach "Everything Counts" verabschieden sich Depeche Mode und gehen. Das Publikum tobt, die Gruppe kommt noch zweimal zurück und bringt drei weitere Song, u.a. "See You". Ein Bombenerfolg für die vier Briten. Als die Lichter endgültig wieder angingen, sah man zufriedene und begeisterte Fans - und die Enttäuschung, daß das Konzert schon vorbei war.
(Konzertbericht von Claudia Schemanski, Marktstraße 72, 4200 Oberhausen -Honorar DM 25,-)

[Translation by me:]

Depeche "hypnotised" the fans

The Depeche Mode concert in Essen's Grugahalle was completely sold out. Nobody would have fit anymore. Already before it begins all hell broke loose in the venue. They all crowded towards the front - utter chaos. Shortly after eight o'clock, Matt Freton arrives on stage and tries to set the mood. Mistake! After constant booing he disappeared off the stage after half an hour. Nine o'clock sharp, the lights go out for a second time. The initial sound of "Master and Servant" penetrates through the black curtain. Then it lifts, and you see nothing but fog. From that moment on, there is a terrific atmosphere in the venue. Dave Gahan has the fans completely under his control. When he yells "Come on" into the microphone, everyone bounces and claps as though they were hypnotised. The highlight in my opinion was when Martin whispered his cuddly song "Somebody" into the microphone. He was accompanied by Andy and Alan, Dave was gone shortly. For some songs, the hydraulically operated bridges on stage became a backdrop of colourful lights. After "Everything Counts" Depeche Mode go and say goodbye. The crowd is cheering, the group comes back twice more, delivering three more songs, including "See You". A huge success for the four British boys. When the lights reappeared finally, we saw happy and enthusiastic fans - and the disappointment that the concert was over.
(Concert review by Claudia Schemanski, Marktstraße 72, 4200 Oberhausen -fee DM 25,-)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:48:48
1984-11-xx - Radio 1 (UK) - Alan (4 min)

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:49:34
1984-11-xx - Tutto (Italy) - Interview

Sul filo della musica e delle immagini
testo e foto
di Fabio Nosotti
La dancemusic inglese è ormai nota per aver fornito alcuni tra i nomi che vanno per la maggiore tra i teenagers di mezzo mondo. Duran Dural, Kajagoogoo, Limahl, Human League, Spandau Ballet, contano pure in Italia una grossa schiera di proseliti. Anche il quartetto dei Depeche Mode si e messo in evidenza piùdi una volta sui palcoscenici italiani, facendosi conoscere con il singolo "Get The Balance Right" un paio di anni fa.
I Depeche Mode sono, oggi, una grossa realtà; migliorando di vinile in vinile, (l’ultimo e il pregevole "Some Great Reward"), sono riusciti a catalizzare I’attenzione di una grossa fetta di pubblico,
specie tra i teenagers, siagrazie ai loro video sia grazie ad un suono sempre piu maturo ed attuale. Una particolarità distingue i Depeche Mode da tutte le altre formazioni coetanee: sono uno dei pochissimi gruppi a non avere ne un batterista (usano nastri preregistrati), nè un chitarrista. Martin Gore, Alan Wilder, David Gahan e Andrew Fletcher, suonano tutti le tastiere e, naturalmente,cantano.
A proposito di "Some Great Reward", che tipo di evoluzione c’e stata rispetto al disco precedente'?
"Innanzitutto è un disco molto più personale rispetto al precedente. La produzione e molto piu curata, essendo stata eseguita da noi stessi con l’ausilio di Daniel Miller. Infine le tecniche di lavorazione sono ultramoderne, abbiamo utilizzato per la primavolta il computer e nuove tastiere elettroniche".
Cosa intendete quando dite piu personale? Vi riferite allo stile musicale o ai testi?
"Entrambe le cose. Lo stile musicale si è perfezionato. I testi sano per la prima volta autobiografici, anche se sono scritti in terza persona. Solo la stampa inglese ci ha un pa’ criticati...".
Ma cosa pensa di voi la stampa inglese, vi considera solo un gruppo di tecnopop per teen agers o qualcosa di piu?
"Ci sano varie tendenze non si puo generalizzare, anche se la stampa inglese non ci ama in particolar modo. Ci sano quelli che ci criticano perche non usiamo la chitarra e questo, secondo loro, e assurdo per una rock band. Altri ci considerano una banda di stupidi teenagers che fanno di tutto per non essere considerati tali. Altri ci criticano per come ci muoviamo sul palco. Ognuno dice la sua e la cosa piu divertente e che queste critiche giungono da giornalisti magari appassionati di heavy metal. Noi andiamo avanti per la nostra strada, perche se ascoltassimo tutti non saremmo piu niente! ".
Siete etichettati con il nomignolo di teenyband, ovvero gruppo per giovanissimi. Siete d’accordo con questa definizione?
"Non pensiamo assolutamente di essere una teenyband. E lo abbiamo dimostrato in quattro anni di lavoro, incidendo ben quattro album, con delle canzoni sempre piu valide e sempre in progresso. Speriamo che la critica si ricreda presto; d’altronde non e mica colpa nostra se piacciamo molto ai giovanissimi... ".
Ma questa etichetta è venuta solo perchèavete un pubblico cosi giovane, o anche per il contenuto delle vostre composizioni?
"Chiaramente le nostre canzoni sano molto semplici e quindi hanno una presa speciale sui giovanissimi. D’altronde quasi tutti i gruppi inglesi di oggi hanna un pubblico molto giovane. Potrei citare i Simple Minds, i Duran Duran. etc. Pero c'è una cosa da chiarire assolutamente. Sono i teenagers la forza del mercato. Sono loro che comprano i dischi, che corrono per primi in un negozio, che vengono ai concerti, che comprano i giornali, gli adesivi da attaccare ai muri. le magliette. E' una realta che bisogna assolutamente considerare".
Pensate che il vostro pubblico sia cresciuto con voi in quattro anni d’attivita, o vi e un ricambio continuo?
"Abbiamo i nostri superfans cresciuti con noi, ma il pubblico, e questo vale per ogni gruppo, subisce un ricambio continuo".
Avete pubblicato moltissi me versioni come mix delle vostre canzoni. E una vostra scelta o una scelta della casa discografica?
"Beh, chiaramente e anche una scelta finanziaria. Quando noi siamo completamente soddisfatti di un nostro Lp, parlando con la gente che piu ci sta vicino decidiamo quali possono essere le canzoni da reixare. La scelta cade su quelle piu ballabili. Fare i mix significa guadagnare di piu; e stupido non dare il giusto risalfo a un buon prodotto se e ballabiie e quindi commercialmente sfruttabile".
Dunque la componente dance è fondamentale nella vostra musica?
"Si, anche se I'ultimo Lp e abbastanza lontano dal fenomeno dance. La cosa si riduce in questi termini: quando una canzone ha caratteristiche dance, cerchiamo di renderla piu ballabile possibile".
Quali sono i massmedia piu importanti per la vostra musica. Le discoteche, la tv e quindi i video, o le radio?
"Ovviamente le radio, poi la tv e, da ultime, le discoteche. La discoteca diventa estremamente importante quando hai un pezzo veramente ballabile: a quel punto puoi fare una grossa presa sul pubblico".
Come mai non avete mai usato le chitarre?
"Le abbiamo usate un paio di volte, ma non pensiamo di essere il tipo di gruppo adat
to. Non vogliamo fare compromessi stupidi, solo per vendere in America (ridono)... Preferiamo lasciare il nostra sound com’e; anche la batteria è tutta elettronica. D’altronde pensiamo che cosi tutto sia estremamente più interessante".
Daniel Miller e personaggio mitico del rock inglese. Qual e il suo ruolo nel successo dei Depeche Mode?
"Dobbiamo molto a Daniel, sotto tutti i punti di vista. E uno che ha creduto in noi sin dall’inizio, che ama i piu svariati generi musicali, che si appassiona al lavoro che svolge. Per noi e come un papà; e il nostro coproduttore e tecnico del suono, ci aiuta in fase compositiva, e la nostra guida nelle situazioni difficili. Un grande uomo, davvero!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:50:01
1984-11-xx - Unknown (UK) - First Post (Martin Gore interview)

Dentez has this in good quality. Not hosted online.


1984-11-xx - Muziekexpres (Netherlands) - Zo Zijn Wij Gelukkig!

[Scanned, transcribed/translated by me. P.S. Dutch music magazines like these really seem to just make up stories, so don't believe too much of this article.]

( ( (

Depeche Mode zal niet gauw doldraaien in de wereld van glitter en glamour...
Zó Zijn Wij Gelukkig!

Als het aan de jongens van Depeche Mode lag, kwam de hele wereld naar hun geboortedorp, Basildon om dáár hun optredens bij te wonen. Want eigenlijk vinden ze het maar niks om vaak maanden achter elkaar van huis te zijn...
Ongeveer een uur rijden van Londen ligt een klein industriestadje, Basildon. Op zich niks bijzonders, natuurlijk. Ware het niet, dat David Gahan, Alan Wilder, Martin Gore en Andy Fletcher, de vier sympathieke bandleden van Depeche Mode, daar zijn opgegroeid. Na iedere doodvermoeiende tournee keren ze in Basildon terug om weer even op adem te komen. "Als ik hier ben, heb ik het gevoel héél ver weg te zitten van de showbizz-wereld", bekent zanger David Gahan. "Mijn moeder en broers Phil en Peter behandelen me niet als een ster! Voor hen ben ik gewoon Davy. En weet je hoe ik het liefst mijn tijd doorbreng? Aan de waterkant met een hengel in mijn hand. En als het erg warm is, duik ik zelf ook in het water, want ik ben gèk op zwemmen!" Gitarist Andy Fletcher is minder vaak in Basildon te vinden, want hij bewoont samen met zijn vriendin Graine een flat in Londen. Maar net als David brengt hij zijn vrije tijd op een rustige manier door. "Ja, ik ben een echte boekenwurm", lacht Andy. "En met name geschiedenis interesseert me mateloos. Maar ja, als ik thuis ben bij mijn ouders, en mijn zusters Susan en Karen en broer Simon zijn er ook, dan komt er niet veel van lezen. We zien elkaar zó weinig, dat we vijf kwartier in een uur nodig hebben om bij te praten!" Bij Martin Gore thuis gaat het er heel wat minder rustig aan toe. Want zodra de blonde toetsenist één voet over de drempel zet, wordt hij bestormd door een grote, vrolijke hond. Lachend vertelt Martin dat zijn blonde Labrador Ben altijd weer gek van vreugde is bij het weerzien. "Sinds kort huur ik met mijn Duitse vriendin Christina een verdieping in Berlijn. We hebben het heerlijk samen, daar niet van. Maar af en toe mis ik Ben wel, hoor!", aldus Martin. Alan Wilder woont allang niet meer bij zijn ouders thuis. Met zijn vriendin Jeri, haar zoontje Jason en de kat Tamla heeft hij het prima naar zijn zin in Londen. En fanatiek amateurfotograaf als hij is, hangt zijn hele huis vol met foto's van zijn drie huisgenoten. "Jeri vindt het maar niks," grijnst de 25-jarige toetsenist, "zij wil juist dat er meer foto's van mij hangen. Ik ben tenslotte steeds weg! Nou, eigenlijk hoeft dat dus geen punt te zijn, want als ze een paar popbladen van de afgelopen maanden koopt, vindt ze vast wel één of andere fraaie poster. Wat mij betreft mag ze die ophangen. Maar alleen als ik weg ben, hoor. Want anders gaat mijn eigen hoofd me nog vervelen!"


Depeche Mode won't go crazy anytime soon in the world of glitter and glamour...
This Is How We're Happy!

If it's up to the boys of Depeche Mode, the whole world would come to their town of birth, Basildon, to attend their concerts there. Because they actually don't like being away from home for months at a time...
About an hour away from London, there is a small industrial town, Basildon. In itself, it's nothing special, of course, were it not for the fact that David Gahan, Alan wilder, Martin Gore and Andy Fletcher, the four likable members of Depeche Mode, grew up there. After every exhausting tour, the return to Basildon, to catch a breath. "When I'm here, I feel like I'm veeerrry far away from the showbizz world", David Gahan confesses. "My mother and brothers Phil and Peter don't treat me like a star! To them, I'm just Davy. And do you know how I prefer to spend my time? By the waterside, with a fishing rod in my hand. And when it's hot out, I like to get in the water myself too, because I love swimming!" Guitar player Andy Fletcher is to be found in Basildon less often, because he owns a flat in London together with his girlfriend Grainne. But just like David, he spends his free time in a quiet manner. "Yeah, I'm a real book worm", Andy says laughingly. "History interests me particularly. But oh well, when I'm at home with my parents, there's not much reading going on. We see each other so rarely, that we need 75 minutes in an hour to catch up!" At Martin Gore's house, things are a whole lot less quiet, because as soon as the blond keyboard player steps one foot across the threshold, he gets surprised by a big, friendly dog. Smilingly, Martin explains that his blond Labrador Ben is always filled with joy when meeting up. "Since recently, I rent an apartment in Berlin with my German girlfriend Christina. We are having a wonderful time together, no complaining there. But once in a while I do miss Ben!", so says Martin. Alan Wilder hasn't lived with his parents for a long time. With his girlfriend Jeri, and her son Jason and cat Tamla, he is quite enjoying London. And like the amateur photographer that he is, he likes to hang up photos of his three roommates all over the house. "Jeri doesn't like it one bit", the 25 year old keyboard player smirks, "she wants there to be more pictures of me instead. After all, I'm the one who's gone all the time! Well, that shouldn't be an issue, because if she just buys a couple of pop magazines, she'll probably find some nice poster. As far as I'm concerned, she can hang it up. But only when I'm gone. Otherwise I'll get bored of my own head!"
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:50:30
1984-11-xx - Unknown (Germany) - Tip Der Woche

[Thanks to Dennis Burmeister (;u=979) for this scan. Transcribed using OCR and translated by me:]

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Tip der Woche: Depeche Mode

Weg mit der guten alten Dampfgitarre, her mit den intelligenten Bastelanleitungen für elektronische Computertöne — mit diesem programmatischen Wechsel in der Instrumentenbranche hat zu Beginn der 80er Jahre auch eine neue Sound-Richtung von sich reden gemacht. „Techno-Pop" haben die Plattenfirmen — immer auf der Jagd nach einer Marktlücke — ihre neuen Studiokreationen fix getauft, die allerdings nicht immer so live-haftig auf der Bühne nachzuspielen waren, daß auch Kritiker und Publikum begeistert aus ihren jeweiligen Häuschen gerieten. Als eine der haltbarsten Maschen im kurzlebigen Popgeschäft hat sich bislang die Musik des britischen Quartetts „Depeche Mode" erwiesen, ihre flotten Fummel-Sounds wollen die vier Jungtechnokraten am kommenden Dienstag in der Eilenriedehalle live fertigen.
Da sind die vier immer noch jungen Briten vielleicht durchaus am richtigen Ort — während diese Halle ja bekanntlich den modischen Chic eines Getreidesilos ausstrahlt, haben sich die Klangtüftler der britischen Mode-Depesche in ihrer jüngsten LP-Produktion auch eines recht herben Charmes befleißigt. Musikferne Geräusche geben „Construction Time Again" (bei Intercord unter der Bestell-nummer 146.807 erschienen) den besonderen Reiz — da tritt ein S-Bahn-Zug akustisch in Erscheinung, da wird Maschinen- und Verkehrslärm zum kreativen Bestandteil des Computerprogramms. Jedes Umweltgeräusch, das steht als Programm hinter diesem nur scheinbar beliebigen Sammelsurium der Klänge, kann für die britischen Jungelektroniker zum Baustein ihrer „Songbauwerke auf Synthesizerfundamenten" werden (wie die Platten-firma die Kreationen der Modisten besingt).
Das muß nicht immer kalt und seelenlos klingen, obwohl manch anderer Computersound nicht unbedingt von Funken sprüht — „Depeche Mode" hat sich im vierten Jahr der Band-Geschichte den sicheren Sinn für den richtigen Einsatz des technischen Bastelkastens bewahrt. Zwar hat im Rock-Geschäft längst auch schon die Gegenbewegung eingesetzt, deren Vertreter statt grell und steil gestylten Posen und sanften Popliedchen wieder den handgemachten, kernigen Lärm des Hardrocks und dessen schwitzende Ekstase bevorzugen. Doch Andrew Fletcher und Martin Gore, Dave Gahan und Alan Wilder aus dem kleinen Basildon unweit von London haben es bislang verstanden, sich nicht nur modischer Attitüden, sondern auch musikalischer Kompetenz zu bedienen. Wie haltbar ihre Masche noch ist und ob die vier vielleicht tatsächlich „Pop-Geschichte schreiben" werden, wie es ihnen der für exzentrische Vorlieben berüchtigte Kollege Elton John vorhergesagt hat, kann Hannovers Publikum am Dienstag in der Eilenriedehalle testen.


Tip of the week: Depeche Mode

Out with the good old steam guitar, in with the smart craft instructions for electronic computer sounds - with this programmatic change in the instrument industry has brought about a new sound direction in the beginning of the '80s. With "techno-pop" the record companies have christened - always on the hunt for a gap in the market - their new studio creation fix, although they cannot always be very hastily repeated live on stage, resulting in even critics and audiences going nuts. As one of the most durable formations in short-lived pop business, the music of the British quartet "Depeche Mode" has proven itself, and the four young technocrats want to show their brisk, queer sounds live at the Eilenriedehalle next Tuesday.
There, the four still-young Brits are perhaps quite in the right place - because while this hall is well known for its fashionable chic apperance of a grain silo, the sound engineers of the British Mode Depeches have cultivates on their latest LP project a quite bitter charm. Distant music noises give "Construction Time Again" (on Intercord released under order number 146.807) a particular charm - an S-Bahn train goes by acoustically, because machines and traffic noise is the creative part of the computer program. Each environmental noise which appears on this program, only seems an arbitrary mash of sounds, but can be for the young British electronic engineers a building block for their "song structures on synthesizer foundations" (as the record companies phrase the creations of these Modists).
They must not always sound cold and soulless, although many other computer sounds does not necessarily shine of sparks - "Depeche Mode" have stayed on the safe side of the proper use of technical craft box in the last four years of the band's history. But also the rock business has already been in a counter-movement for a long time, whose representatives keep preferring glaring and sharply styled poses and gentle pop songs over the handmade, robust sounds of hard rock and its sweaty ecstasy. Yet Andrew Fletcher and Martin Gore, Dave Gahan and Alan Wilder from the near-London small Basildon have understood to not only work on fashionable attitudes but also on musical competence. How durable their plan still is and if the four might actually "write pop history", as was predicted about them by the notoriously eccentric colleague Elton John, can be tested by the Hanover audience at the Eilenriedehalle on Tuesday.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:51:01
1984-11-xx - Tutti Frutti (Italy) - Review

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:51:33
1984-12-05 - Mädchen #50 (Germany) - Ihre erste grosse Tournee wurde für Depeche Mode zu einem triumphzug

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( ( (

[Thanks to Stay Depeched (;u=618) for scanning this. Bought/transcribed/translated by me.]

Depeche Mode
Ihre erste grosse Tournee wurde für Depeche Mode zu einem triumphzug

Vor drei Jahren wurden Depeche Mode noch als „Techno-Popper fur die Pickel-Generation" (Melody Maker) belächelt. Über die Show ihrer jungsten Europa-Tournee außerte sich Englands kritischste Musikzeitung schon beinahe enthusiastisch: „Wir haben die Zukunft des Rock gesehen — sie heißt Depeche Mode..."
Den vier jungen Elektronikspezialisten aus der englischen Kleinstadt Basildon ist es gelungen, ihren mit vielen Geräuschen und Effekten befrachteten Synthi-Sound überzeugend auf die Bühne zu bringen. Ja mehr als das: Bei ihren Konzerten tobten, kreischten und brüllten die Fans und bewiesen damit eindrucksvoll, daß nicht nur der traditionelle Rock 'n' Roll so richtig einheizen kann. Bei ihrer Bühnenkulisse verzichteten Depeche Mode auf Kinkerlitzchen — ein zunächst geplanter Kurzauftritt eines ferngesteuerten Roboters wurde schon nach wenigen Tagen aus dem Programm gestrichen, weil „das einfach zu vordergründig und billig wirkte" (Dave Gahan). So blieb es bei den drei Podesten fur die Keyboards und einer schragen Bühnenrampe, auf der Sänger Dave Gahan zwischen seinen Mitmusikern und den Fans vor der Bühne hin and her pendeln konnte. Von einer eher dezenten Lightshow illuminiert brachten Depeche Mode wahrend des gut 90minütigen Auftritts 19 Songs. Mit „Something to do" vom neuen Album „Some Great Reward" (Eine große Belohnung) stieg das Quartett ein und heizte mit Two Minute Warning" die Stimmung gleich ordentlich an. Bei „Puppets", dem dritten Song, kam dann die einzige, aber sehr wirkungsvolle optische Überraschung: Die vorher erwahnten Bühnenrampen entpuppten sich als bewegliche Beleuchtungsarme, die nach oben fuhren und an ihrer Unterseite mit starken Flugzeugstrahlern besetzt waren. Diese Lichtbalken rahmten so den erhöht in der Bühnenmitte sitzenden Martin Gore ein, der bei dieser Tour als eindeutiger Liebling der weiblichen Fans hervorging. Das mag wohl an der getragenen Ballade „Somebody" gelegen haben, die Martin Gore — nur von Alan leise begleitet — vorn an der Bühnenrampe wie ein schüchterner Chorknabe sang...

Danach sorgten Depeche Mode mit schnelleren Nummern wie „Ice Machine", „Lie to me", „Master and Servant", der neuen Single „Blasphemous Rumours" und „Everything counts" wieder fur heiße Stimmung. Sänger Dave Gahan tanzte in seinem typischen, abgehackten Stil über die Bühne und Anheizer Alan machte das Publikum mit wilden Luftsprüngen hinter seinem Synthesizer an. Bei den Zugaben „See you" und „Just can't get enough" wurde dann auch im Publikum getanzt, die Fans hüpften wie Gummiballe.

Die britische Gruppe freute sich vor allem über ihre großen Erfolge in Deutschland. Denn hier spielten sie 1982 schon in kleineren Klubs, während England noch nichts von ihnen wissen wollte. Aus dieser Zeit rührt auch die Vorliebe von Depeche Mode, ihre Platten in Berlin zu produzieren — Martin Gore lebt inzwischen sogar mit einem deutschen Mädchen in Berlin zusammen. „Wir sind ja nicht die ersten, die den Reiz von Berlin entdeckten", meint Martin Gore, „David Bowie hat ja auch mal fast zwei Jahre hier gelebt. In Berlin ist jedenfalls in der kreativen Avant-garde-Szene sehr viel mehr los als in London, wo langsam alles zu einer eitlen Nachtclub-Clique verkommt."
Die Musik von Depeche Mode entsteht direkt an der Berliner Mauer — im Hansa-Studio, wo sonst Schlagerstars wie Roland Kaiser produzieren. „Wir finden die technischen Möglichkeiten dieses Studios optimal, und wir haben uns schon die allerbesten Studios von New York bis Mailand angesehen", meint Alan Wilder, der als letzter zur Band stieß and den heute so erfolgreichen Stil der Gruppe wesentlich beeinflußt hat. Inzwischen überlegen auch die anderen Bandmitglieder, ob sie wie Martin Gore nach Berlin ziehen sollen oder sich zumindest Apartments mieten. Wie sehen die Zukunftspläne von Depeche Mode aus?
„Wir sind noch bis kurz vor Weihnachten live unterwegs, dann machen wir im Januar Pause", erzählt Dave Gahan. „Im Februar beginnen wir neue Songs zu schreiben, und im März sind wir schon wieder im Berliner Hansa-Studio eingebucht, um die nachste Platte einzuspielen." Werden Depeche Mode dem aktuellen Trend in der britischen Musikszene nachgeben und rhythmisch sehr viel härter werden? „Nein, wir orientieren uns nicht an Kollegen", meint Alan, „wir versuchen sogar, möglichst wenig Radio zu hören, um uns nicht beeinflussen zu lassen. Wir haben selbst genügend neue Ideen und machen unsere Trends selbst — das wird unser nächstes Album beweisen, auf das unsere Fans schon mit Spannung warten."


Depeche Mode
Their first big tour was a triumph for Depeche Mode

Three years ago, Depeche Mode were still ridiculed as "technopop for the pimple generation" (Melody Maker). Regarding their youngest European tour, England's most critical music newspaper was almost enthusiastic: "We have seen the future of rock - it is called Depeche Mode..."
The four young electronics specialists from the small English town Basildon have managed to convincingly bring their synth sounds on stage with much noise and effects. Even more than that: At their concerts, the fans raged, shrieked and roared, thus impressively demonstrating that not only traditional rock 'n' roll can be hot. In their stage backdrop, Depeche Mode did without any special frills - a first planned brief appearance of a remote-controlled robot was removed after a few days of the tour, because "it was looking too superficial and cheap" (Dave Gahan). So they stuck to the three pedestals for the keyboards and a sloping ramp of a stage, where singer Dave Gahan could dance back and forth between his fellow musicians and the fans. Illuminated by a rather decent light-show, Depeche Mode delivered 19 songs during the over 90-minutes presentation. With "Something To Do" from their new album "Some Great Reward", the quartet started off, and heated up the mood with "Two minute Warning". During "Puppets", the third song, the only but very effective visual surprise came by: The previously mentioned stage ramps turned out to be portable lighting arms that went up and were decorated with strong aircraft spotlights on its underside. These light beams framed a Martin Gore who was standing in an elevated spot in the center, and who emerged on this tour as the clear favourite of female fans. That may have been due to the deep ballad "Somebody", which Martin Gore - accompanied only softly by Alan - sang at the front of the stage ramp as a shy choir boy...

And then Depeche Mode brought back a hot mood again with faster tracks like "Ice Machine", "Lie To Me", "Master and Servant", the new single "Blasphemous Rumours" and "Everything counts". Singer Dave Gahan danced on stage in his typical, staccato style and aggravater Alan made heated up the audience with wild jumps in the air behind his synthesizer. During the encores "See You" and "Just Can't Get Enough", there was dancing in the audience, the fans jumped like rubber balls.

The British group was particularly pleased about their big successes in Germany. Because here they already played in smaller clubs in 1982, when England did not want anything to do with them. During this time Depeche Mode also carried a passion to produce their records in Berlin - Martin Gore now even lives together with a German girl in Berlin. "Obviously we are not the first to discover the charm of Berlin," says Martin Gore, "David Bowie has also lived here for nearly two years. In Berlin, in any case, the creative avant-garde scene is much more alive than in London, where everything slowly degenerates into a vain nightclub clique."
The music of Depeche Mode is recorded directly at the Berlin Wall - the Hansa-Studio, where also schlager stars like Roland Kaiser record. "We think the technical possibilities of this studio are optimal, and we looked at the best studios from New York to Milan," said Alan Wilder, who joined the band last and has significantly influenced current, so successful style of the group. In the meantime, the other band members are discussing whether they should move to Berlin like Martin Gore or at least rent apartments. What are the future plans of Depeche Mode?
"We are still on the road until just before Christmas, then we will have a break in January," says Dave Gahan. "In February we will start to write new songs, and in March we have already booked Berlin's Hansa Studio to record the next record." Will Depeche Mode follow the current trend in the British music scene and become much harder rhythmically? "No, we don't follow our colleagues," says Alan, "We even try to listen to radio as little as possible, as to not to be swayed. We have enough new ideas ourselves and make our trends - our next album will prove that, which our fans are waiting for excitedly."

1984-12-05 - NDR1 (Germany) - Popfit (Interview Martin Gore),_NDR1,_Hanover,_Germany
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:52:36
1984-12-06 - Bravo (Germany) - Martin in den Klamotten seiner Freundin!

[Many thanks to Sabu (;u=750) for sending in this scan!]

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[I typed out the text:]

Das war der Tour-Hammer!
Martin in den Klamotten seiner Freundin!

Bei den Depêche-Mode-Konzerte in Deutschland mußten die Fans reihenweise „gerettet“ werden.
Mit Spitzenhemd, Lederrock und Stöckelschuhen auf der Bühnen.

Die Depeche Mode Fans rasteten aus!
Die weiblichen Fans in der Hotelhalle werden langsam unruhig. Jeden Augenblick muß er herunterkommen, ihr Liebling von Depêche Mode. Der mit den süßen blonden Locken und dem schwarzen Lederkäppi: Martin Gore.
Aber auf der Treppe erscheint eine schwarz gekleidete Lady mit hohen Stöckelschuhen, Netzstrümpfen, Mini-Lederrock und dunklem Schleier vor dem Gesicht.
Graziös schreitet sie die Stufen herab, und vor lauter Aufregung lassen die Mädchen mit Poesie-Alben, Posters und Platten in der Hand sie unbeachtet durch.
Erst jetzt laßt Martin seinen Schleier fallen, dreht sich um und schüttelt sich vor Lachen, als er die verdutzten Gesichter seiner Verehrerinnen sieht.
„Habt ihr noch nie mit eurer Freundin die Klamotten getauscht?“, grinst er. Seine Fans johlen vor Begeisterung…
Zwei Stunden später ist in der gleißend hell erleuchteten Konzert-Halle schon wieder die Hölle los.
Diesmal sind es 8000 Fans von Depêche Mode, die schon eine Stunde vor der Show drängelnd und schubsend um die besten Plätze kämpfen.
An der Buhnenabsperrung haben die Ordner alle Hände voll zu tun.
Reihenweise ziehen sie Fans mit total verschwitzten Haaren und hochrotem Kopf aus der Menge, damit sie nicht von den anderen zerquetscht werden. Doch kaum werden die „Geretteten“ wieder in die Arena geführt, kämpfen sie sich wieder vor.
Für seinen Auftritt hat sich der Songschreiber der Depêches wieder mit den irrsten Klamotten hergerichtet.
Diesmal trügt Martin den schwarzen Minirock noch über seiner Lederhose; das Ganze wird von einem dicken Nietengürtel gehalten, an dem ein Paar Handschellen baumeln.
Als Oberteil hat er sich von seiner Freundin Christina ein hauchdünnes, schwarzes Spitzenhemdchen geliehen, und am Hals hängt eine kleine Tonpfeife, die ihm Dave aus Griechenland mitgebracht hat.
Sein geliebtes Lederkäppi darf natürlich nicht fehlen. Warum er sich eigentlich immer so verrückt anzieht, frage ich ihn noch kurz vor der Show.
„Das hat nichts mit Travestie zu tun oder so was“, meint er. „Es macht einfach Spaß, die verschiedensten Lederklamotten miteinander zu kombinieren und dann die Reaktion der Leute zu beobachten.“
Andy, Dave, Alan und Martin stehen jetzt auf der Treppe zur Bühne und warten auf den Startschuß ihrer Show. Der donnernde Sound von „Just can‘t get enough“ röhrt aus den Boxen, dichter Nebel umwabert die Synthis, und wie ein Blitz schlagen sie los: Depêche Mode, live in Germany...

[Translation by me:]

That was the tour-bomb!
Martin in the clothes of his girlfriend!

For the Depeche Mode concerts in Germany, the fans had to be „saved" in rows.
With a lace shirt, leather skirt and high heels on stage.

Depeche Mode fans fully engaged!
The female fans waiting in the hotel lobby are getting restless. At any moment he can come down, their favourite Depeche Mode member. The cute one with the blond hair and the black leather cap: Martin Gore.
But a black-clad lady with high heels, fishnet stockings, leather mini-skirt and a dark veil covering the face appears on the stairs instead.
Gracefully she walks down the steps, she walks unnoticed with a thrill past the girls holding poetry albums, posters and records.
And now Martin's veil drops, he turns and shakes with laughter when he sees the startled faces of his female admirers.
"Have you never swapped clothes with your girlfriend?" He grins. His fans cheer with delight...
Two hours later, all hell broke loose again at the glistening, brightly lit concert venue.
This time there are Depeche Mode 8,000 fans, who fight already one hour before the show and are jostling and shoving for the best places.
At the barriers, the guards are busy keeping the fans at peace.
In series they take fans with sweaty hair and a red face from the crowd, so they are not crushed by the others. But once the "saved" are put back into the arena, the people at the front are struggling again.
For his performance, the songwriter of the Depeches has redecorated himself with the craziest outfits.
This time around, Martin wears a black mini skirt on top of his leather pants, and it is held together by a thick studded belt, on which a pair of handcuffs are dangling.
As a top, he has borrowed from his girlfriend Christina a really thin, black lace camisole, and on his neck hangs a small clay pipe, which Dave brought for him from Greece.
His beloved Leather cap should not be missed. I ask him shortly before the show why is always wearing such mad outfits.
"This has nothing to do with travesty or anything", he says. "It's just fun to combine the different leather clothes together and then to observe the reaction of people."
Andy, Dave, Alan and Martin are now on the stairs to the stage, waiting for the start to their show. The thundering sound of "Just can not get enough" is roaring from the speakers, and dense fog surrounds the synths, and like a flash the take off: Depeche Mode, live in Germany...

1984-12-06 - Superchannel (Netherlands) - Countdown



Adam Curry: Twee weken geleden kozen de DJ's van Veronica een romantisch armschijf, namelijk Somebody van Depeche Mode, misschien weet je hem nog wel te herinneren. Twee leden van die groep zijn vanavond in de studio, [Translation: Two weeks ago, the DJs of Veronica picked a romantic cuddle track, namely Somebody from Depeche Mode, maybe you remember it. Two of the members of that group are in the studio tonight,] and I'd like to ask you, why are only the two of you here instead of the usual four?
Alan: Well, we've chucked them out, you know. We couldn't stand them any longer.
Adam Curry: Seriously now.
Alan: Well there's only two of us on the record, because it's just a piano and a voice, and it's a song of which we felt that we just wanted to do it in a very simple way, so there's no point in them coming, really.
Adam Curry: And the voice is Martin Gore. Martin, you usually just write the lyrics, how come you sing on this record?
Martin: We felt, at the time, that it was quite a personal song, so it seemed wrong for somebody else to sing it.
Adam Curry: Fantastic. Okay, we have a grand piano over there in the studio for you, you could move over there, and I'll translate it for our viewers. [Ze hebben niet de twee andere bandleden eruit gegooid maar ze hadden maar twee mensen nodig voor het spelen van het nummer, en Martin Gore vond het een beetje persoonlijk dat hij het geschreven had en daarom zingt hij dat zelf. Depeche Mode, Somebody.]

1984-12-07 - Hilversum 3 (Netherlands) - Popjournaal (Interview Martin and Alan),_Hilversum_3,_Hilversum,_Netherlands
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:54:55
1984-12-08 - ZDF (Germany) - Thommy's Pop Show

Blasphemous Rumours:
People are People:


1984-12-08 - BFBS Radio 1 (Germany) - Interview Fletch & Martin,_Cologne,_Germany
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:55:11
1984-12-0x - Unknown (Germany) - Concert Review

[Thanks to Dennis Burmeister (;u=979) for this scan. Transcribed using OCR and translated by me:]

( (

Ekstase im Kühlschrank
„Depeche Mode" in der Eilenriedehalle

Die ärgste Sorge war den Dutzenden Erziehungsberechtigten ja schon genommen, die sich gegen Konzertschluß vor der Eilenriedehalle drängten und nur verstohlen hier und dort mal mit einem Ohr in die brodelnde Halle hineinhorchten — zu Auseinandersetzungen zwischen den unterschiedlich grellen Modefraktionen der Popper drinnen und der Skinheads draußen war es nicht gekommen. Nach ein paar wüsten Pöbeleien war die Energie der jugendlichen Bewegungen zum Glück schon erschöpft, eine übersehbare Polizeitruppe hatte wohl das Ihre zum inneren Frieden geleistet. Und doch wurde der Hannoverabstecher der vier britischen Popmodisten von „Depeche Mode zu einem getreuen Spiegelbild der Freuden, Sehnsüchte und Ängste, mit denen sich die jüngsten Pop-Getreuen heutzutage herumschlagen müssen.
Hier gereckte Kinderfäuste, dort die beiden aggressiv aufgemotzten Mädchen, die sich doch fest aneinanderklammern, hier die bedrohliche Enge hitziger Teenie-Leiber und ekstatische Verzückung, die manchem Fan für kurze Zeit Atem und Bewußtsein rauben, dort Gesichter, diese leer sind wie nur irgend etwas — wer im dunklen Keller am lautesten pfeift, singt und schreit, so scheint es, kommt am besten zurecht mit sich und der Welt. Aber auch nicht immer — hinter der Fassade herrscht Kälte vor, die Eisbrocken im Gefühlsalltag schmelzen nur langsam weg. So wirkt das Konzert mit all dem Drum und Dran wie eine Ekstase im Kühlschrank.
Worum eigentlich der ganze Wirbel, was läßt da fast hundert junge Leute in der ausverkauften, stickigen Halle derart in Verzückung geraten, daß sie bald danach leichenblaß herausgetragen werden müssen? Die Frage, so unbedarft sie klingt, geht an den Kern — gerade weil sich da soviel nettes Nichts auf der Bühne ausbreitet, muß hinter der Verzückung mehr stecken als das simple Vergnügen an musikalischen Ideen.
Die wären vom dritten, vierten Titel an wohl auch schwer auszumachen — beziehungsweise stieße man auf immer wieder die gleichen Tricks und Wendungen einer Musik, die zur Kürzelsprache geronnen ist. Kein Wunder, wenn Handarbeit nicht mehr gefragt ist, echte Instrumente und deren handwerkliche Beherrschung verpönt sind — Kollege Computer macht halt die Musik. Und der Vor-Sänger Matt Fretton, der die Junioren im Saal offenkundig mit seinen Playbacks so unendlich ödet, denkt doch die Konzepte der modischen Briten-Depesche nur konsequent zu Ende. Da hütete auch ein Drahtmonster zum Bit-Gottesdienst auf der Bühne stehen, regungslos wie die Musik in ihren immer gleichen Bahnen.
Da muß Show her und eine Messerspitze Provokation. „Depeche Mode" liefern beides — eine ausgeklügelte Lichtchoreographie für die Augen und für die Ohren Texte, die so ausgefallen über menschlichen Abgründen schwindeln wie der Aufputz der Tausendschaften im Saal, an denen sich ganze Stilistenhorden schwindlig verdient haben müssen. Und gelegentlich glänzt Väterchen Stalin gutmütig auf der Bildleinwand hinter der vernebelten Bühne — wer weiß schon noch, wer das gewesen ist! Unter all dem liegt beständig der Computerrhythmus, hart und abwechslungslos, so unausweichlich wie ein Herzschlag — nur kälter. Der Herzschlag einer Generation?


Ecstasy in the refrigerator
"Depeche Mode" at the Eilenriedehall

The worst fear of dozens of legal guardians had already been relieved, when they stood in the crowd in front of the Eilenriedehalle during opening time and only could stand still here and there and were listening with one ear to the simmering hall - there were no clashes between the different poppy fashion groups and skinheads outside nor inside. After a few cases of bullies, the energy of the youth movements had luckily already become exhausted, a police force team had probably caused there to be inner peace. And so, the visit to Hannover became for the four British pop modists of "Depeche Mode" a true reflection of the joys, desires and fears with which the recent pop followers have to deal nowadays.
Here are stretched fists of kids, there are the two aggressively pimped girls who cling together, here in the threatening crampedness are hot-tempered teen bodies and ecstatic rapture which for many fans take away breath and consciousness for a short time, there are the faces which are empty as nothing else - who whistle loudest in a dark cellar, seemingly sings and screams, who do best when it's them versus the world. But not always - there, behind the facade, reigns the cold, the ice chunks of everyday life melt away only slowly. So the concert with all its bells and whistles is like ecstasy in a refrigerator.
What is actually all the fuss about, what causes nearly a hundred young people to get into such ecstasy in the sold-out, crowded hall, that they soon after that must be carried out while looking pale? The question, as clueless as it sounds, goes to the core - precisely because there is so much nice nothingness happening on stage, there has to be found more than just the simple pleasure of musical ideas behind the rapture.
They were also hard to place from the third, fourth track onward - you would encounter again and again the same tricks and turns of music that has been crafted finely. No wonder, when manual labour is no longer necessary, and when real instruments and their mastering as crafts are frowned upon - the computer colleague ends music. And pre-vocalist Matt Fretton, who obviously is infinitely boring the juniors in the venue with his backing tracks, also thinks the concepts of the fashionable British Depeches are the only logical path. There on stage, you can see another wire monsters worshipping the God of Bits, standing as motionless as the genre of the music.
There must now be delivered a show with a pinch of provocation. "Depeche Mode" deliver both - an elaborate choreography of light for the eyes, and lyrics for the ears which so unusually swindle on the human abysses like the surface of the thousands of people that are in the hall, of which entire herds of stylists must have earned a buckload of money. And occasionally, Father Stalin shines benevolently from the screen projection behind the foggy stage - who still remembers who he was! Underneath all that is the persistent computer rhythm, hard and unchanging, as inevitable as a heartbeat - only colder. The heartbeat of a generation?
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:56:31
1984-12-10 - ZDF (Germany) - Tele Illustrierte

Blasphemous Rumours:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:57:31
1984-12-11 - Unknown (??) - Interview in Boblingen (11 min)

[We don't have this audio interview.]

1984-12-15 - Okej (Sweden) - Synthpopens Glamrockare

( (
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:58:34
1984-12-16 - Unknown (France) - La Belle Vie

Master And Servant:


1984-12-16 - KRO FM (Netherlands) - Wereldparade (Interview with Martin),_KRO_FM,_Hilversum,_Netherlands

1984-12-19 - WDR (Germany) - Mal Sondocks Hitparade,_WDR,_Cologne,_Germany
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 04:59:43

[Taken from the now-defunct website]

( ( (
( (

[NME, 22nd December 1984. Words: Don Watson. Pictures: Derek Ridgers.]
" Depeche Mode have become a big noise, but they’ll never be faces. In an age of stultifying conformity – of the well-rounded sound, the docile look and the manufactured style – they are a charming anachronism. They have a personal anatomy that bears no relation to the reluctant facelessness of Howard Jones and Nik Kershaw, because it is not a front for mediocrity. They are not non-entities struggling to be somebodies, they simply are – gawky, inelegant, likeable, sharp. "
Summary: A lively and absorbing long article / discussion looking at Depeche Mode in the year which, more than any other, they broke out of their mould. The author actually sounds genuine when he pokes holes in the old "red rockers" stereotype just as easily as the even older one of "wimps with synths". This gives them a fair hearing as far as influences are concerned, as well as providing some amusing anecdotes about their continental following. [2710 words]

    You thought they were prissy pinkos. But no! They drink, talk to girls, wear leather mini-skirts! Don Watson walks tall with Depeche Mode, the new Neubatens of Basildon. Photos by Derek Ridgers.
    It’s just one of those winter evenings.
    Depeche Mode’s “Some Great Reward” LP plays inside the room while outside the window, and behind the opposite terrace, the tower block windows light up one by one.
    The telephone rings.
    Cracking down the line, a strained voice echoes the sound inside the record machine: “I can’t stand another drink / It’s surprising this town doesn’t sink… Is there something to do?”
    Probably not, but then there’s another temporary reprieve in the offing – a few wild nights in Berlin, the chance to chat with the nice boys from Depeche Mode.
    “Depeche Mode,” crackles the voice in the phone, “who exactly are they anyway?”
    Good point. Given half an hour I could name you all their singles; given half a bottle I could sing you a few as well, with a medley from the LPs as an encore. But describe a member of Depeche Mode? Well, one of them’s got a blonde fringe, but then so have I, one of them looks like an old friend of mine who looked sort of… normal. And the other two? Pass. [1]
    Flicking through the NME archives for further information, with the rationale that to recognise your interviewee might not be a bad idea, something begins to emerge.
    “Are you a member of Depeche Mode?” a young Basildon boy asked Paul Morley in 1981. [2]
    “What happened to your fringe?” a Dublin girl asked X. Moore in 1983 (tantamount to asking Ian Paisley what happened to that nifty black beret and shades combo he used to wear to terrorist funerals). [3]
    By the time I arrive at the Munich hotel, to be greeted by clutches of wide-eyed and hopeful-looking Bavarian boppers proffering pens and paper and demanding autographs, I’m beginning to twig something – NOBODY knows who Depeche Mode are.
    I consider really confusing them by signing anyway, but hell, why should I do the band’s PR work? I’m not him – eiben spien ein journalist! They clearly don’t believe me.
    Later I discover a genuine Mode, Andrew Fletcher – Fletch, natch! – bright-eyed, ginger-haired and blessed with possession of a pair of black NHS glasses that never rest on face or in case for too long at a time.
    “We actually base our style on the NME journalists,” he explains, “in fact we were hoping to discuss a deal whereby you, X. Moore, Paul Morley and another of your choice go on the road for us, while we have a month off.”
    On the road? Shiver. Well, I’m not sure you could afford the other two, and I could foresee some disagreements on band direction.
    “You big in Germany then?” enquires straight man photographer Derek Ridgers, who does not, during the entire stay, get mistaken for a member of Depeche Mode.
    “About six foot two,” replies Fletch gleefully.
    In fact, Depeche Mode are moderately enormous in Germany. In Munich they play to a hall packed with hip and hysterical young things (and plain things), a capacity crowd of great haircuts, lousy dancers and lighter flames held aloft. In Berlin they play to a capacity crows and a selection of fireworks in a cycle track.
    Fletch pauses for thought. “Are we a mega-band?” he wonders.
    Depeche Mode could sell-out the world, and still be one of the least mega-bands on the planet. They may play football stadiums, but their sound will still be stamped indelibly with the mark of the youth club disco – which is, in itself neither a good or bad thing, just a fact. Depeche are the original small town boys. The question is, given that, what do they do: and the answer is quite a lot.
    The stated aim of pop music in 1984 appears to be regression, its position strictly foetal. Meanwhile the music press for the most part adopts an attitude of cowed condescension: “Yes that’s all very well, but if I was a mentally retarded six-year-old, I’d want Boy George telling me that war is stupid too.”
    In the Face of this, Depeche Mode are a Sound that in its own small way remains committed to the idea of pop music as a dynamic force – eclectic and even plagiaristic but always open. The difference between “People are people” and “War is stupid” as a statement may be minimal, but if you want a statement phone the bank; the difference between George’s Moonie chant and Depeche Mode’s shiny metal pop is where my interest lies.
    The show in Munich is punchy, polished but still unpredictable enough to rupture the melodic surface. Dave Gahan, once the most unassuming of front men, races around the stage jerking hips and engaging the audience in call and response routines. If this were Bono I might throw up, yet in this context these gestures appear just what they are – a bizarre and rather amusing ritual.
    “Full of 14 and 15-year-olds,” bemoans one backstage sweetie who might just have scraped 16.
    How do you feel now you’ve sold out, Fletch?
    “Sick as a parrot.”
    At this point hordes of girls burst into the dressing rooms. “Depeche Mode, After Show” read the passes; scrawled below in thick black felt tip they all read “Sex”.
    Dave Gahan groans, conversation is interrupted.
    Depeche Mode have become a big noise, but they’ll never be faces. In an age of stultifying conformity – of the well-rounded sound, the docile look and the manufactured style – they are a charming anachronism. They have a personal anatomy that bears no relation to the reluctant facelessness of Howard Jones and Nik Kershaw, because it is not a front for mediocrity. They are not non-entities struggling to be somebodies, they simply are – gawky, inelegant, likeable, sharp.
    They’ll never record a masterpiece with the quivering angst of an “Art Of Falling Apart”, but in their own clean way they continue to produce pop singles with a shiver of… well, if not the forbidden, at least the unexpected: “See You” with its echoed tones and buried vocals, “Everything Counts” with its offbeat sweetness and verbal slapstick, “Blasphemous Rumours” with its arch naivety and hidden percussive edge.
    By the next day the fans who inhabit the lobby of the hotel seem to have worked out that I’m not part of the band.
    The first thing I am faced with, in fact, is a TV camera (not before breakfast, please). The people behind the lens may not take me for a Mode, but they may have any number of unsavoury roles in their slice of fiction to slot me into – dealer, male groupie or leather skirt maker. For this is Bravo TV, an offshoot of Germany’s apocryphal pop mag.
    “It’s no good refusing to talk to them,” says Fletch, “they’ll just go ahead and make it up anyway.
    “The last time we refused an interview with them, they made up a story about Dave having to be carried off-stage at the end of every performance, taken to a separate dressing room and kept supplied with constant fluids.
    “The time before that they said we hated everyone under 20, which made us very popular with their readership.”
    As we make our way through the swing doors, Dave makes a theatrical fall on the hotel courtyard.
    “Help! I need a cup of coffee,” he wails as the rest of the band crowd around him.
    “Oh God!” shams Al, “this happens all the time.”
    The camera moves in closer.
[1] - You might have thought that another seventeen years in the limelight would change all that. But no. Huge swathes of this 2001 article are given over to pondering the band members' virtual anonymity. BLANK CELEBRATION
[2] - That's here. THREE MODES IN A BOAT
[3] - And although it's not actually in it, that'll be in connection with this article. RED ROCKERS OVER THE EMERALD ISLE
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 24 June 2012 - 05:00:05
1984-12-24 - OK! N°467 (France) - Depeche Mode Pas La Grosse Tête!

[Thanks to KFDM (;u=940) from for uploading this on their site.]

( (

[I typed out the text:]

Partout où ils passent, c'est le triompe, pourtant...
...Depeche Mode n'a pas la grosse tête!

Depuis trois ans, ils grimpent très régulièrement dans les hit-parades et depuis "Dreaming of Me", leur premier 45 tours, jusqu'au dernier et récent "Master and Servant", les membres de Depeche Mode ont fait bien du chemin. Pour preuve, leur actuelle tournée européenne qui affiche vraiment complet où ils passent...
Pourtant lorsqu'en 1980, Martin, Vince, Andy et Dave décident de se réunir, ils n'ont pour atouts que leur amour de la musique et quelques vagues notions de synthétiseurs...
Mais les jouer perdants à l'avance, c'était compter sans leur formidable pouvoir d'invention et de création. A l'époque, c'est Vince Clarke qui compose la plupart de leurs morceaux et son départ quelque deux ans plus tard aurait bien pu marquer la fin de ce groupe frémissant. Finalement, avec l'arrivée d'Alan Wilder, "Depeche Mode" prend un nouvel essor. La suite, on la connait : c'est le triomphe en Angleterre, leur pays natal, mais également en Europe, aux Etats-Unis et en Extrême-Orient ! Pour leur unique passage à Paris, le 17 décembre dernier, les organisateurs avaient choisi le Zénith, mais devant le succès de la location, ils ont finalement fait passer le groupe à Bercy, une salle beaucoup plus grande. Malgré ce triomphe, le groupe qui a choisi son nom en feuilletant justement un célèbre magazin français, ne change pas. Ils ont soutenus à leurs débuts, presque artisanalement : "On préfèr fonctionner avec une petite équipe que d'être noyés dans une multi-nationale", disent-ils. Pas d'idées de grandeur donc pour Depeche Mode juste l'envie de progresser encore...
Véronick Dokan

[Translation by me:]

Everywhere they go, there's a triumph, and yet...
...Depeche Mode are not big headed!

In the last three years, they regularly climb the charts and since "Dreaming of Me", their first 45er, until the latest and recent "Master and Servant", the members of Depeche Mode have come a long way. Evidence is their current European tour which shows very comprehensively where they go...
When, in 1980, Martin, Vince, Andy and Dave decide to unite, they had nothing but their love for music and some vague notions of synthesizers...
But this loss becomes their advantage, and it opened up to tremendous power of invention and creation. At the time, this was Vince Clarke who composed most of their songs, and him leaving the group about two years later might well have marked the end of this delicate group. Finally, with the arrival of Alan Wilder, "Depeche Mode" is revitalized. The rest we know: it is the triumph in England, their native country, but also in Europe, the USA and the Far East! For their only trip to Paris, on December 17th, the organisers had chosen the Zenith, but given the success in the venue, they finally passed the group onto Bercy, a much larger venue. Despite this triumph, the group, who chose their name while merely flicking through a famous French magazin, do not change. They sustained their succes pretty much self-made: "We prefer to work with a small team than being embedded in a multi-national," they say. No grandiosity for Depeche Mode, they just want to progress further...
Véronick Dokan
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 04 July 2012 - 23:54:57
1984-12-27 - Bravo (Germany) - Depeche Mode demolieren Autos

[Thanks to Milik (;u=13) for offering to send in this scan!]

( (

Ihre irren Soundeffekte entstehen auf Schrottplätzen:
Depêche Mode demolieren Autos

Alan tobt sich an den Steinen aus, und Martin läßt ein Speichenrad rattern.
Auf der Bühne greift auch Sänger Dave zum "Schlagstock".

Irgendwo hinter der Bühne muß eine Stahlschmiede auf Hochdruck arbeiten, und das bei geöffneten Toren. Dann stampft auch noch eine schnaubenden Dampflokomotive vorbei; daneben werden wohl gerade ein Dutzend Schrottautos zu handlichen Quadern verarbeitet. Wer im Konzert die Augen aufmacht, sieht aber vor sich nur vier schwarzgekleidete Typen, die, mit Ausnahme ihres Sängers, seelenruhig hinter ihren Keyboards stehn: Depêche Mode.
Schwerstarbeit haben Alan, Andy, Dave und Martin schon vor einigen Wochen geleistet, als die vier mit futuristischen Tonbandgeräten und Synthesizern quer durch London zogen.
Mal stellten sie sich mit ihren Mikrofonen mitten in den Nachmittagsverkehr, dann klapperten sie die Fabriken in den Außenbezirken ab oder bearbeiteten selbst mit großen Vorschlaghämmern alte Autowracke.
"Die Aufnahmen werden in ein sogenanntes Synklavier eingegeben und können noch beliebig vertausche, verfälscht, und verändert werden", erklärt Sound-Fachmann Alan Wilder.
Was haben dann die große Wellblech-Wand, die Eisenstangen oder das auf den Kopf gestellte Fahrrad noch auf der Bühne zu suchen, wenn doch alles vom Tonband kommt?
"Diese Effekte kommen natürlich noch hinzu, und zusammen mit den Synthis, dem Gesang und den kleinen E-Drums wird der Sound erst Perfekt", erklärt Sänger Dave. Für ihre Bühnenshow haben sich die Depêches noch einige Gags einfallen lassen: Da schleppt Alan fünf große Hohlblock-Steine an und bearbeitet sie mit einem riesigen Hammer; Martin schnappt sich zwei Gymnastik-Keulen und donnert gegen die Eisenstangen hinter sich; Andy läßt seine Drum-Sticks durch ein Speichenrad rattern. Die vier haben schon früher versucht, ihren Sound härter zu trimmen, aber erst der Einsatz "echten Lärms" stellte sie zufrieden.
Im Studio sitzen Depêche Mode mit ihrem Produzenten Daniel Miller oft studenlang hinter dem Computer, bis da ganz genau dieser Öltonnen-Klang oder das echte Echo-Lot herauskommt, das sie sich vorstellen. Schwierig wird es erst, wenn ein schnaubender Drache oder ein handfester Auto-Crash her muß", lacht Alan...

[Translation by me:]

Their crazy sound effects are created on scrap yards:
Depeche Mode wreck cars

Alan is raging against the stones, and Martin rattles a spoke wheel.
On stage, singer Dave also plays the "baton".

Somewhere behind the stage, a steel forger must be working under high pressure, and with open doors. Then a blowing steam locomotive stomps by; and then probably about a dozen car wrecks are being processed into manageable blocks. Those who open their eyes at the concert, see only nothing but four black-clad blokes, who, with the exception of the singer, stand calmly behind their keyboards: Depeche Mode.
Alan, Andy, Dave and Martin have done hard work in the past few weeks as they toured across London with futuristic synthesizers and tape recorders.
Sometimes they either stood with their microphones in the middle of the afternoon traffic, or rattled the factories in the suburbs or even crushed old car wrecks with large sledgehammers.
"The recordings are entered into a so-called Synclavier and can then be arbitrarily shifted, distorted and changed", says sound expert Alan Wilder.
Then why do the large corrugated wall, the iron bars or the bike upside down have to be on stage when it all comes from tape?
"These effects are of course added, and together with the synths, the vocals and the small E-Drums, the sound becomes just right", declares singer Dave. For their stage show, the Depechies have also included some gimmicks: As Alan drags five large hollow bricks and smashes them with a huge hammer, Martin grabs two gymnastics clubs and clashes them against the iron bars behind him, and Andy rattles his drum sticks through a spoke wheel. The four have previously tried to make their sound harder, but only the use of "real noise" satisfied them.
Depeche Mode often sit with their producer Daniel Miller for a long time in the studio behind the computer, until there is exactly the type of oil barrel-sound or echo-sounding line coming out that they want. "It becomes difficult when a snorting dragon or a tangible car crash has to be put in it," laughs Alan...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:37:52
1984-12-xx - Unknown (Switzerland) - Hervorragende Depeche Mode

[Many thanks to Sabu (;u=750) for sending in this scan!]

( (

[Converted into text using OCR:]

In der St.-Jakob-Halle, Basel
Hervorragende «Depeche Mode».
Schon auf dem Weg zum Hauptbahnhof, in Zürichs Tram, war die Rede vom bevorstehenden Konzert der englischen Techno-Formation «Depeche Mode», die am Freitagabend in Basels St.-Jakob-Halle vor ca. 6000 Zuhörern (-innen) ihren einzigen Auftritt auf Schweizer Boden absolvierten. Gleiches dann im Zug, wo für einmal das eintönige Grau der schillernden Manigfaltigkeit «kurzlebiger Mode» weichen musste. Zürich — so scheint’s — ist eine Hochburg der «Depeche Mode»-Anhängerschaft.
Nach einer missratenen halbstündigen Show des Soul-/Disco-Sängers Matt Fretton — begleitet wurde er von Musik ab Band — begannen «Depeche Mode» ihren Set unter stürmischem Applaus des Publikums. Natürlich ist es nicht Zufall, dass sie den Auftritt mit einem Stück aus ihrer letzten LP, «Some Great Reward», eröffneten, das den tiefsinnigen Titel «Is There Something To Do» trägt. Der Sound erklang erstaunlich transparent (soweit dies in einer Halle, die 12.000 Leuten Platz bietet, überhaupt möglich ist). Ebenso wirkte ihre Show niemals langweilig, obwohl drei der vier Mitglieder sich hinter den synthetischen Klangerzeugern verbargen, was Dave Gahan, der kraftvolle Bariton der Gruppe, mit seiner quirligen Beweglichkeit freilich mehr als wettmachte.
Den vielgehörten Hohnruf, dass es der Band nicht möglich sei, ihre differenzierte Klangwelt live darzubeiten, kann ich nur bei jenen Stücken gelten lassen, die das Geräusch als gleichberechtigten Parameter integriert haben. Denn bei einer Live-Performance ist die von den Zuschauern verursachte Geräuschkulisse derart hoch, dass auch der Einsatz einer Emulators (ein Gerat, das z. B. Umweltgeräusche natürlich wiedergibt) keine grosse Hilfe bietet. In dieser Hinsicht (wie auch von der Instrumentierung her gesehen) etwas verunglückt schien mir die Interpretation von «Shame».
Mit seiner etwas unbeholfenen, aber sympathisch wirkenden Gestik markierte Martin Gore den sensiblen Songwriter der für fast alle Kompositionen verantwortlich zeichnet. In fahlem Scheinwerferblau, begleitet nur vom Klavier, intonierte er die neoromantische Liebesballade «Somebody», die beim Publikum auf starkes Gefallen stiess. Mit «Everything Counts» beschlossen «Depeche Mode» ein insgesamt hervorragendes Konzert das wegen anhaltender phonstarker Ovationen mit drei Zugaben ergänzt wurde.
Marjo Scherren

[Translation by me:]

In the St. Jakob Halle, Basel
Excellent "Depeche Mode".
Already on the way to the main station, in the Zurich tram, there was the talk of the upcoming concert of English techno formation "Depeche Mode," who completed in front of 6000 listeners (-inside) at Basel's St. Jakob Halle on Friday evening their only appearance on Swiss soil. And then also in the train, where for once the monotonous grey of the scintillating manifoldness of "short-lived fashion" had to make way. Zurich - so it seems - is a stronghold of "Depeche Mode"-followers.
After a failed half-hour show of soul/disco-singer Matt Fretton - he was accompanied by music from tape - "Depeche Mode" began their set amid rapturous applause from the audience. Of course it is not a coincidence that they opened the concert with a track from their latest LP, "Some Great Reward", which bears the profound title "Is There Something To Do". The sound sounded remarkably transparent (for as far as this at all possible in a venue that can accommodate 12,000 people). In any case, their show was never boring, eventhough three of the four members were hiding behind the synthetic sound sources, which Dave Gahan, the powerful baritone of the group, more than made up for with his lively, care-free flexibility.
The often-heard mocking shouts which claim that it's not possible for the band to perform their differentiated sounds live well, I can only apply to those pieces that have integrated the noises as equal parameters. For a live performance, the noise caused by the audience is so high that even the use of an emulator (a device that reproduces, for example, environmental noise, naturally) is not helped by it greatly. In this respect (again, seen from the instrumentation) the interpretation of "Shame" seemed a bit unfortunate, to me.
With his slightly awkward, but likeable gestures Martin Gore marked himself as the sensitive songwriter who is responsible for almost all compositions. In the pale blue headlights, accompanied only by piano, he intoned the neo-romantic love ballad "Somebody", which worked in their favour with the public. With "Everything Counts", "Depeche Mode" ended a eventually excellent concert, which has been extended with three encores because of the persistent, loud ovation.
Marjo Scherren
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:38:09
1984-12-xx - Unknown (Sweden) - Depeche Mode

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:38:20
1984-12-xx - Rock Show (Japan) - We've got all this luck

[Photos found on eBay.]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:38:34
1984-12-xx - Music Life (Japan) - Some Great Reward Review

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:38:47
1984-12-xx - Rocket #3 (Sweden) - Unga veteraner

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:39:06
1984-12-xx - Rockstar (Italy) - Review

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:39:18
1984-12-xx - Poppis n.5 (Sweden) - vi vill göra enkel rock

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:39:30
1984-xx-xx - Joepie (Belgium) - Depeche Mode begs for a vacation

Depeche Mode begs for a vacation.
David and Martin exhausted.

"Somewhere in Germany, I got off the stage, and the roadies had to carry me backstage to the dressing room" says Dave Gahan. "I never thought touring could be so exhausting. But we continue. The way to the absolute top is open now." The fights, the obstacles and the girlfriends: a conversation...

"The songwriting, okay", laughs David a little while later, "but I'm not at all prepared for the physical work. I never did any sports when I was young. When Depeche Mode started to become a little more popular, I collapsed immediately after the first few gigs. Now I can handle it, luckily for me. Whenever I have a day off, you can find me at the gym. There I train myself into exhaustion. Shadowboxing, weightlifting. After my German adventure I realised how difficult the life of a rockgroup can be." "The doctor keeps on nagging I should take a rest, but that's out of the question at this moment. Martin and I have to fight the exhaustion. We are about to bring out a new album which will be followed by a European tour."

In England there has already been enough publicity in advance for the new Depeche Mode album "Some Great Reward". The single "Blasphemous Rumours" from that album was considered too anti-religious to air every day by the BBC. "Conservative attitude, ha, that radio of ours. I'm, by the way, not anti-religious at all! I only oppose a certain kind of religion that was forced upon me when I was young. My mother was in the Salvation Army. So she sent me to church every Sunday till my 18th birthday. Together with my sister, we usually went for a ride on our bikes and told mom afterwards how lovely the 'homily' was. The song only wants to say that no one should let someone force anything upon him. Whether it's politics or something else, that doesn't matter. You have to choose yourself what you wanna do with your life. And dare to take risks. That's what Depeche Mode did too and everything turned out quite well for us, didn't it", laughs Dave. "After the tour I wanna go on a long holiday", Dave concludes. "Last year I wasn't even at home during Christmas! And I can't do that to my mother twice, whether she's in the Salvation Army or not!"
HIT: "Master and Servant"
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:39:42
1984-xx-xx - Speaking Only CD - Interview

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:39:55
1984-xx-xx - Unknown (US) - Blasphemous Rumours

[I found this on Sadly it didn't say from which newspaper this was, but whichever it was, it sounds very... American. ;)]

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HOLLYWOOD - "Blasphemous Rumors", a song by the avant garde English band Depeche Mode, makes many people furious. It bulldozes through sacred ground, boldly questioning the existence of God.
Utter blasphemy, charge outraged critics of the band. Nevertheless, Depeche Mode has attracted a cult following of young music fans. They find tawdry appeal in the abrasive cynicism of songs on the band's "Some Great Reward" album on Sire-Warner Bros. Records.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:40:06
1984-xx-xx - Popcorn (Germany) - Neue Töne von der Berliner Mauer

[Thanks to strange-pimpf (;u=801) for sending a photo of this article for this forum!]

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Depeche Mode
neue Töne von der Berliner Mauer
Im November startet die Tour

"Wo habt ihr denn da Eure Lupe gehabt?" schmunzelt Alan Wilder und schwenkt zur Begrüßung die Nummer 6. "Da, wo mein Name steht, ist Andys bild. Und die beiden da unten das bin jeweils ich, nicht David und Andy." Daß Sänger Dave bei unseren Gruppenporträt ganz fehlt, nehmen die vier von Depeche Mode ganz gelassen auf. Dave: "Ist ja auch nicht so wichtig. Hauptsache ist, die Musik stimmt", meint er, "man darf nicht immer alles so eng sehen." Und das sagen ausgerechnet die vier, die auf ihr besonders cooles Image bedacht sind. Sie haben als doch Sinn und Humor, die Jungs von Depeche Mode. Dave, Andy, Martin und Alan machten sogar einen sehr fröhlichen Eindruck, obwohl sie die ganze Nacht im Studio verbrachten, um ihre neueste Scheibe in den Kasten zu kriegen. "Es ist ganz dufte geworden", schwärmt Dave, der Sänger der Gruppe. "Wir haben lange überlegt und daran gearbeitet, um wirklich das Beste draus zu machen. Wenn du mal einen Nummer-1-hit hattest wie wir mit 'People Are People', dann willst du natürlich noch einen. Das Hansa-Studio in Berlin bietet die besten Möglichkeiten, wirklich gute Arbeit machen zu können. Die technischen Voraussetzungen sind optimal."
Die Kulteband der britischen Synthi-Szene hat ihre Liebe zu Berlin bekanntlich schon vor längerem entdeckt. Und für Martin Gore, den Spezialisten am Synthesizer, ist eine private Leidenschaft draus geworden: Der Blondschopf mit den lustigen Zahnlücken und Locken lebt schon seit einiger Zeit mit einer Berlinerin zusammen. "Ich will Christine soweit wie Móglich aus dem Rummel raushalten, das Mädchen ist meine Privatangelegenheit", meint er und verweigert strikt jedes Foto. Für die 24jährige Fremdsprachenstudentin will der junge Engländer ganz nach Deutschland ziehen. "Es war für meine Freundin zu Hause sehr schlimm, als ich ihr eröffnet habe, daß ich ein andere Mädchen getroffen habe, das ich sehr gern habe. Aber ich habe es ihr gleich gesagt, sie nicht erst mal betrogen. Im Moment hat sie sehr gelitten. Ich hoffe, daß sie sich wieder besser fühlt jetzt, denn ich habe sie schließlich auch mal sehr gemöcht. Ich will nicht daß sie immer noch um mich weint."
Martin, der in der Schule Deutsch als Lieblingsfach halte, spricht schon ganz flott. Die anderen drei Jungs bemühen sich, wenigstens eine Sätze zu lernen. Alan, der als letzter zu der Band stieß, hat die musikalische Richtung entscheidend beeinflußt. Auch er ist ein Synthesizer-Spezialist und zudem der Background-Sänger. Alan tut sich besonders schwer, für ein Foto zu lächeln. "Ich kann nicht einfach mal grinsen, wenn mir gar nicht danach zumute ist. Da kriegen die Fans auch ein falsches Bild von mir. Ich will das nicht." Zusammen mit seinem Band Kollegen Martin sorgt er für ungewohnte Klangfarben in der Musik. Ohne den Kompositionen, die meistens von Martin stammen, ihre ursprüngliche Leichtigkeit zu nehmen, lügen Depeche Mode all möglichen Umweltgeräusche dazu: Maschinen- und Verkehrlärm, einen S-Bahn-Zug in einem Tunnel oder im Freien aufgenommene menschliche Stimmen. Das "Synclavier" bereitet diese Töne musikalisch auf, versetzt sie in verschiedene Tonlagen. Fachleute sind sich einig, daß diese vier aus England mit ihrer Technik anderen Gruppen um Lichtjahre voraus sind.
Ihre neueste Single-Platte, die sie am 20. September im ARD-Musikladen vorstellen werden, trägt den Titel "Master and Servant" was zu deutsch "Herr und Diener" bedeutet. Es geht darin um die persönliche Unterdrückung des Menschen: "You treat me like a dog, get me down on my knees" - du behandelst mich wie einen Hund, zwingst mich in die die Knie. Martin Gore: "In unserem Text ist "Master and Servant" ein Spiel, in dem wir satirisch die Gleichgültigkeit und Brutalität im Umgang miteinander aufzeigen."
Das neue, vierte Album soll pünktlich zur Tournee erschienen: Im November starten Depeche Mode nun endlich zu ihrer ersten großen Reise durch die europäischen Konzertsäle. Allein in Deutschland plant das Quartett etwa 15 Auftritte.
Fanpost nehmen die vier übrigens sehr ernst. Daves Freundin Joanne bearbeitet alles eigenhändig. Autogramme unterschrieben sie grundsätzlich selbst, von vorgedrucken Faksimile-Karten halten sie nichts. Dave, der Mädchenliebling, zu POPCORN: "Das hat keiner verdient. Schließlich haben wir unseren Erfolg all denen zu verdanken, die uns schreiben und unsere Schallplatte gekauft haben. Und wir würden uns natürlich freuen, wenn "People Are People" nicht unser einziger Nummer-1 Song gewesen wäre. Dafür muß man auch was tun. Und das wollen wir."
Die Mauer, die unmittelbar vor der Haustür des Hansa-Studios entlang geht, sagt den vier Engländern wenig. Dave: "Es ist furchtbar, so ein steriles Ding durch eine Stadt zu ziehen. Ich finde die Graffities darauf unheimlich gut. Je länger wir jedoch hier in Berlin sind, um so mehr beschäftigt uns die Mauer. Vielleicht werden wir unsere Eindrucke darüber mal in Musik fassen."

[Translation by me:]

Depeche Mode
new sounds from the Berlin Wall
The tour starts in November

"Where was your magnifying glass?" Alan Wilder smiles and waves as a way of greeting our sixth issue. "There, where my name is, is Andy's photo. And these two below, those are both me, and not David and Andy." The four of Depeche Mode are not being difficult about the fact that singer Dave is completely absent in our group portrait. Dave: "It isn't really important, the main thing is that the music is right", he says, "you can not always make everything so precisely." So are the words of the foursome who are protective of their very cool image. They are eager and have humor, these guys from Depeche Mode. Dave, Andy, Martin and Alan even left a very cheerful impression, eventhough they have spent all night in the studio finishing their latest record. "It has become quite neat", says Dave, the singer of the group. "We thought about it for a long time and worked on it to really make the best of it. Once you have had a number 1 hit like we've had with 'People Are People', then you of course want another one. The Hansa Studio in Berlin offers the best ways to really do proper work. The technical conditions are optimal there."
The cultband of the British synth-scene has discovered their love for Berlin some time ago, as is already known. And for Martin Gore, the synthesizer-specialist, a private passion has come out of it: The blond boy with funny hair and teeth gaps has been living with a Berliner for some time. "I want to have Christine stay out of the hustle and bustle as much as possible, the girl is a private matter", he says, and strictly denies any photo. For the 24 year old language student, the young Englishman wants to move all the way to Germany. "It was very sad for my girlfriend at home when I revealed to her that I met another girl whom I really liked. But I told her that immediately, so I hadn’t cheated on her yet. She really suffered at the time. I hope that now she feels better, because, after all, I had really liked her as well. I don’t want her to still be crying over me."
Martin, whose favorite subject in school was German, speaks quite fluently. The other three guys try to learn at least one sentence. Alan, who joined the band the last, has definitely influenced their musical direction. He also is a synthesizer-specialist and is also the backing vocalist. For Alan it is particularly difficult to smile for a photo. "I can not just grin all the time if I don't feel like it. So, the fans must have a wrong impression of me. I do not want that." Along with his bandmate Martin, he takes care of unusual sounds in the music. Without taking the original lightness from the compositions, which mostly come from Martin, Depeche Mode put all kinds of environmental sounds in them: Machinery and traffic alarms, an S-Bahn train recorded in a tunnel, or human voices recorded outdoors. The "Synclavier" arranges these notes musically, and puts them in different pitches. Experts agree that these four from England are light years ahead of other groups with their technology.
Their latest vinyl single which they Will present on the 20th of September at ARD's "Musikladen", bears the title "Master and Servant" which means "Herr und Diener" in German. It's about the personal oppression of humans: "You treat me like a dog, get me down on my knees". Martin Gore: "Our text in "Master and Servant" is a game in which we satirically showcase the indifferent and brutal way of dealing with one another."
The new, fourth album will be released right in time for the tour: In November, Depeche Mode finally start their first major tour in the European concert venues. In Germany alone, the quartet is planning to do about 15 gigs.
The four take fanmail very seriously. Dave's girlfriend Joanne is working on everything by hand. They sign autographs themselves out of principle, they don't want anything to do with pre-printed facsimile cards. Dave, the girls' favourite says to POPCORN: "Nobody deserves that. After all, we owe our success to all those who write to us and bought our records. And we would be happy if "People Are People" were not to become our only number 1 song. But to have that, you must do something. And we want to do something for that."
The Berlin wall, which is just outside the front door of the Hansa Studios, doesn't mean a lot to the four Englishmen. Dave: "It is terrible to create such a sterile thing through a city. I find the graffiti on it incredibly nice. The longer we are here in Berlin, the more we care about the wall. Maybe we will put our impressions of the wall into our music."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:40:29
1984-xx-xx - Popcorn (Germany) - Depeche Mode Live

[Thanks to Milik (;u=13) for offering to send in this scan!]

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Depeche Mode live

Dave mit seinem typischen Tanzstil
Effekte durch Rauch und Farben
Sänger Dave: Heiße Show mit coolem Sound
Nüchterne Bühnenkulisse zum Synthi-Sound
Ab Ende November live bei uns
Martin Gore singt das sanfte "Somebody"

Die Stimmung in Oxford ist phantastisch, die Fans skandieren in Sprechchören: "Depeche, Depeche!" Auch zu Hause in England ist nun das absolute Fieber um die Jungs aus Basildon ausgebrochen. Dave Gahan, Alan Wilder, Martin Gore und Andy Fletcher spannen ihre Anhänger nicht unnötig lange auf die Folter. Sie sind pünktlich und diszipliniert, keine Typen, die Glanz und Glitzer brauchen. Die Bühne der Synthi-Supergruppe sieht eher nüchtern aus: Computer, elektronische Anlagen und riesige Lichtbatterien stehen da funktionell geordnet. Ganz im Stil der Gruppe.
Während Andy, Martin und Alan cool hinter ihren Synthesizern sitzen oder stehen, ist Sänger Dave als Frontmann voll in seinem Element. Der quirligste der Band ist auch der Liebling der Mädchen. Immer und immer wieder versuchen sie nach ihm zu greifen, rufen seinen Namen. Dave reagiert mit einem beinahe schüchternen Lächeln. Er hat gewonnen hier in Oxford. Die etwa 3000 Menschen, überwiegend Mädchen, sind schon bei der zweiten Nummer aus dem Häuschen.
Bei "Something to do", einer Liebeserklärung an ihre Heimatstadt Basildon, ziehen Rauchwolken auf der Bühne auf. Dave erzählt, wie sehr die vier Depeches die Kleinstadt in Mittelengland immer noch mögen - und wie hart für sie das Leben dort vor den großen Erfolgen war.
Die Fans jubeln: Denn plötzlich taucht vorne, ganz links, ein ferngesteuerter Roboter auf. Verantwortlich dafür, daß der auch den richtigen Weg geht, ist Chefkonstrukteurin Jane Spears [sic]. Sie hat dieses Modell entworfen und gebaut, und sie ist auf dieser Tournee für die Depeches absolut unentbehrlich.
Bei "Somebody" verschwinden Andy und Dave von der Bühne. Nur Martin - er hat übrigens bis auf einen einzigen alle Songs der Show geschrieben - bleibt mit Alan da. Er singt diese Ballade selbst, währen ihn Alan auf den Klavier begleitet. Dieser Titel fällt völlig aus dem Rahmen der üblichen Depeche-Mode-Synthipop-Musik, denn außer dem Piano ist weder ein Synthesizer noch sonsts ein Instrument zu hören.
Die einzige Nummer, die nicht von Martin stammt, hat Alan Wilder geschrieben. "If you want" heißt sie, und Alan singt sie zusammen mit Dave. Andy ist dabei voll beschäftigt, sein elektisches Schlagzeug zu bedienen.
Doch nicht nur Lieder aus der neuesten LP von Depeche Mode "Some Great Reward" (siehe LP-Tips) stehen auf dem Programm, die Gruppe bietet einem Querschnitt aus allen vier Alben, die sie bisher gemacht haben. Natürlich fehlt "People are People" ebenso, wenig wie der aktuelle Hit "Master and Servant". Bei letzterem toben die Fans in Oxford. Die Lichteffekte während der Show sind gigantisch - schon allein deswegen lohnt sich ein Konzertbesuch.
Mit einer dreißigköpfigen Crew, drei Trucks mit dem Equipment und zwei Bussen sind die vier Jungs zum ersten Mal auf einer großen Europa-Tournee. Mit dabei ist auch ein eigener Koch, der die Band rund um die Uhr, je nach Wunsch mit Mahlzeiten versorgt. Vor allem Martin und Alan sind froh, daß er dabei ist, weil sie Vegetarier sind und so genau das bestellen können, was in ihren Eßplan paßt.
Ab Ende November sind die Jungs auch in Deutschland unterwegs. Dave Gahan zu POPCORN: "Wir freuen uns schon besonders auf Germany, weil wir ja dort unsere zweite Heimat haben. In Berlin nehmen wir fast alle unsere Platten auf, und dort haben wir auch immer gute Chartplätze gehabt. Daß wir heute so weit sind, haben wir in erster Linie den deutschen Fans zu verdanken. Das vergessen wir nie."

[Translation by me:]

Depeche Mode live

Dave with his typical dancestyle
Effects by smoke and colours
Singer Dave: Hot show with cool sound
A sober backdrop of the stage to the synth sound
Live with us starting from the end of November
Martin Gore sings the gentle "Somebody"

The mood in Oxford is fantastic, the fans are chanting in chorus: "Depeche, Depeche!" Also at home in England an absolute fever has erupted because of the boys from Basildon. Dave Gahan, Alan Wilder, Martin Gore and Andy Fletcher don't hold their fans in suspense unnecessarily long. They are punctual and disciplined, not the type that needs shine and glitter. The stage of the synth supergroup looks quite sober: computers, electronic equipment and huge light batteries are organised functionally. Completely in the style of the group.
While Andy, Martin and Alan sit or stand coolly behind their synthesisers, singer Dave is in his element as the front man. The liveliest one of the band is also the favourite with the girls. Again and again they try to reach for him, calling his name. Dave responds with an almost shy smile. He has won, here in Oxford. The approximately 3,000 people, mostly girls, are already going beserk during the second song.
In "Something to do", a love letter to their hometown of Basildon, smoke crawls up on stage. Dave talks about how much the Depêches still like the small town in central England - and how hard life was before the big successes.
The fans cheer: Because suddenly at the front, at the far left, a remote-controlled robot appears. Responsible for ensuring that it goes in the right direction is chief design engineer Jane Spears [sic]. She has designed and built this model, and is for the Depeches on this tour absolutely indispensable.
For "Somebody", Andy and Dave disappear from the stage. Only Martin - by the way, he has written all the songs but one of the show - is there with Alan. He sings this ballad himself, as Alan guides him on the piano. This tracks falls completely out of the ordinary course of Depeche Mode's synthpop music, because apart from the piano, not a synthesizer or even an instrument can be heard.
The only song that is not from Martin, is written by Alan Wilder. "If you want" it is called, and he sings with Dave Alan. Andy is fully occupied using his electronic drums.
But not only songs from the latest album by Depeche Mode, "Some Great Reward" (see LP-tips) are on the programme, the group offers a cross section from all of the four albums which they have done so far. Of course, "People are People" is present as well, a bit like their current hit "Master and Servant". With the latter, the fans at Oxford are raging. The lighting effects during the show are enormous - for that reason alone the concert is worth it.
With a crew of thirty people, three trucks with the equipment and two buses, the four boys are on a major European tour for the first time. Also included is a private chef who supplies the band as desired with meals around the clock. Especially Martin and Alan are pleased that he is present, because they are vegetarians and can order exactly that what fits into their eating plan.
From the end of November onwards, the boys will be in Germany. Dave Gahan says to POPCORN: "We are looking forward to Germany in particular, because we have a second home there. In Berlin, we record almost all of our records, and there we also have always done well in the charts. The fact that we are doing so well today, we can thank the German fans in the first place for that. We will never forget that."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:48:13
1984-xx-xx - Biggi (Germany) - Some Great Rewards

[Article taken from the now-defunct website Thanks to strange-pimpf (;u=801) for sending a photo of the poster for this forum!]

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Sie kommen ganz schön cool daher, die Jungs von Depeche Mode
Sie sind es, sie haben es
Some Great Rewards
Master and Servant
People Are People

Bei ihnen gibt's keinen Krampf, keinen Schnickschnack, sie verstekken ihre Segelohren nicht. Vince, Andrew, Martin und Dave sind Weltstars zum Anfassen, ihre Superhits sind Lieder zum Anfassen. Die kannst Du wie Deinen eigenen Puls.
Weil sie ganz sachlich daherkommen, gehen ihre Songs unter die Haut. Überall in der Welt, besonders in Germany. Und Depêche Mode mag Germany, besonders Berlin. Dort haben die Jungs aus Basildon bei London ihre Langspielplatte "Some Great Rewards" aufgenommen. Und sie mögen 'Schrippen' (Brötchen), Sauerkraut und Bier.
"Berlin ist ein irre Stadt, und ganz tolle Typen laufen hier rum. Und wir mittendrin. Da schwimmst Du mit wie ein Fisch und fühlst dich richtig!"
Depêche Mode leistet sich auch schon mal schlechte Laune. Das nimmt man übel. Wieso??? Von diesen lächelden Dauerfrohnaturen gibt's genug. Aber Depêche Mode, die sind einmalig! Das beweisen die Konzerte, die von den Fans zu großen Feten gemacht werden. Da kannst Du untertauchen, da bist Du people unter people.
Depêche Mode wird zur Insel zurückkehren. Rund um die Welt touren. Aber ihr Versprechen steht: WIR KOMMEN WIEDER!

[Translation by me:]

They come across as being really cool, the guys from Depeche Mode
They are it, they have it
Some Great Rewards
Master and Servant
People are People

They have no quirks, no frills, they do not hide their protruding ears. Vince, Andrew, Martin and Dave are approachable world stars, their super hits are approacable songs. You known them like you know your own pulse.
Even though they come across as being quite formal, their songs crawl under your skin. Everywhere in the world, particularly in Germany. And Depeche Mode like Germany, particularly Berlin. There, the boys from Basildon near London have recorded their LP "Some Great Rewards". And they like 'bread rolls', sauerkraut and beer.
"Berlin is a crazy city, and all kinds of great guys are walking around here. You swim like a fish among them and you feel right!"
Depeche Mode also affords to have bad moods. People call this a bad thing. Why??? There's plenty of these perpetually smiling, happy faces already. But Depeche Mode, they are unique! The concerts add proof to this, which are turned into huge parties by fans. There, you can submerge, there, you are people among people.
Depeche Mode will return to their 'island'. They will tour around the world. But they will keep their promise: WE WILL COME BACK!

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:48:38
1984-xx-xx - Rip it Up (New Zealand) - Album Review

"This is a difficult record. Its qualities are sometimes too subtle and its mistakes painfully obvious. It can have you hating it one minute and begging for more the next. Essentially it is fine modern music. I say modern because Depeche Mode have no influences. Something that can't be said for today's endless array of 60s regurgitators. I'm going to sell a lot of my records soon, this will be one I keep."
Mark Phillips, Rip It Up
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:49:04
1984-xx-xx - Suzy/Tops (UK) - Peter Powell's Scrapbook

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[Transcribed using OCR:]

Peter Powell’s scrapbook
Hi there!
Your “Suzy/Tops” centre spread pin-up this week features Depeche Mode, a band who’ve come a long way since they were first formed by three Basildon lads who met while they were still at school and itching to make music.
Andy Fletcher, Martin Gore and Vince Clarke were the trio, soon to be joined by Dave Gahan on vocals. They chose the name Depeche Mode after flicking through a French clothing magazine. It means “fast fashion.” Originally two of the band played guitars and one a synthesiser, but the strings were ditched when they decided they could do more with three synths.
This development paid off and Depeche Mode eventually found themselves with a recording contract, although their first single, “Dreaming Of Me,” only reached No. 59 in the charts. A second single, “New Life,” rose to No. 11, however, and the third Depeche Mode release, “Just Can’t Get Enough,” cracked the Top Ten, making it to No. 8.
A successful album and European tour followed before the band suffered a major setback when Vince Clarke left to form Yazoo with Alison Moyet. Martin, Andy and Dave refused to let Depeche Mode fall apart, recording yet another Top Ten hit, “See You,” then recruiting Alan Wilder to replace Vince and setting off for a series of American concerts.
Since then Depeche Mode have gone from strength to strength, building up a huge and dedicated army of fans with their distinctive style of electronic music. After shows the lads used to like to stay behind, signing autographs to show their fans how much they appreciated their support, but dealing with an energetic crowd can become a bit of a night. mare, as Dave found out to his cost. During one autograph session the enthusiastic crowd surged forward and Dave was knocked to the ground. Only the speedy intervention of the band’s roadies prevented him from being trampled underfoot!
When they’re not hard at work, Depeche Mode are never short of things to do. They make no secret of the fact that they all enjoy going out to nightclubs and watching other bands perform, but when he has time Dave likes to get away from the music scene altogether. One of his favourite ways of relaxing is by spending a quiet day fishing.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:49:15
1984-xx-xx - Super Star Poster (Germany) - Depeche Mode

This poster-folder seems to be some sort of promotional teaser of a biographical magazine issue from the same company, which is listed here:
Thanks to strange-pimpf (;u=801) for sending photos of this poster for this forum!]

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[I typed out the text:]

Depeche Mode
Nun legen sie wieder los!!!
Frisch aus dem Urlaub, im Gepäck die neue Single "Master und Servant" und das Album "Some Great Rewards", wieder abegemischt in den Berliner Hansa-Studios, treten DEPECHE MODE zur großen Herbst-Tournee an. Und genauso überraschend wie viele der neue Songs, wird auch die Live-Show werden. Martin verrät uns, daß das Equipment gewachsen ist, daß die Light-Show verbessert haben und daß es eine Menge Überraschungen geben wird.
DEPECHE MODE haben sich weiterentwickelt. Ihre Musik ist härter, aber gleichzeitig auch melodischer geworden. Andrew: "Wir haben eine Menge ausprobiert. Martin und ich haben in London in einem Spielwarenladen haufenweise Spielzeug-Instrumente gekauft. Spielzeug-Pianos, Saxophone und so ein Krams. Die Dinge haben wir dann mit einem Synthesizer verfremdet. Wir benutzen viel mehr als früher Soundcollagen, also mehr künstlich erzeugte Töne, als unbedingt klassische Instrumente."
Und so bieten Depeche Mode nicht nur die bekannten Tanz-Hits mit dem unverwechselbaren harten Sound, sondern auch schöne, melancholische Liebeslieder.
Ihr seid nun schon so lange im Geschäft, habt ihr nicht die Nase voll?
Martin: "Im Gegenteil. Jetzt geht es richtig los! Die neuen Songs sind ein erheblicher Schritt in eine musikalische Richtung, die noch viel weiter auszubauen ist, eigentlich fangen wir jetzt erst richtig an. Obwohl es stimmt, daß die ganze Sache dich manchmal so schlaucht, daß du am liebsten die Brocken hinschmeißen möchtest. Aber dann reißen wir uns immer wieder zusammen und geht besser als je zuvor. Es ist verrückt, aber manchmal brauchen wir diesen Streß und den ganzen Nerv, um unsere Sache besonders gut zu machen. Es ist ein sehr guter Ansporn."
Jede Menge Fernsehtermine stehen an. Ein Interviewtermin jagt den anderen, Foto-Sessions, Autogramme. "Hey Martin, morgen ist noch ein Interview-Termin bei so einer Jugendsendung im Radio. Ich hole euch dann um 12 Uhr ab." So geht es den ganzen Tag.
Eine England-Tournee steht noch auf dem Terminplan und danach sollen Auftritte in Japan folgen. USA wahrscheinlich, Kanada eventuell.
Anfang des nächstes jahres werden Depeche Mode dann endlich einen langgehegten Wunsch in die Tat umsetzen: Sie wollen eine Video-Compilation drehen, einem Spielfilm ähnlich, wahrscheinlich je ein Video-Clip zu jedem der Songs auf der neuen LP. Martin kann inzwischen fast perfekt deutsch. Die Besucher der Gigs in Deutschland werden es mit Freude feststellen können. Aufgeregende Zeiten also im Herbst. Für die Band genauso wie für alle Fans.
Lassen wir uns überraschen.

Super Star Poster erscheint bei:
Moderne Media Verlags GmbH
Alle Fotos mit freundlicher Genehmigung der Intercord und Mute. Besonderer Dank gilt Daniel Miller.

[Translation by me:]

Depeche Mode
Now they are getting started again!
Fresh from their holiday, having packed the new single "Master and Servant" and the album "Some Great Rewards", again mixed at Berlin's Hansa Studios, DEPECHE MODE are going on a big autumn tour. And the live show will be as surprising as many of the new songs. Martin tells us that the equipment has grown, that the light show has improved, and that there will be a lot of surprises.
DEPECHE MODE have evolved. Their music has become harder, but at the same time also more melodic. Andrew: "We tried a lot. Martin and I bought lots of toy instruments in a toy store in London. Toy pianos, saxophones and stuff like that. These things we then distorted with the use of a synthesizer. We use many more sound collages than before, i.e. artificially generated sounds, than just the classic instruments."
And so, Depeche Mode offer not just the known dance hits that have their distinctive heavy sound, but also beautiful, melancholic love songs.
You are now in the business for such a long time already, haven't you had enough?
Martin. "On the contrary. Now the fun begins! The new songs are a significant step in a musical direction that can be expanded much further, so actually we are just really getting started. Although it is true that sometimes the whole thing is so exhausting that you'd just want to chuck the whole business. But then we pull ourselves together again and it is going better than ever. It's crazy, but sometimes we need this stress and all this nerve to do our work particularly well. It is a very good incentive."
Lots of TV events have been scheduled. One interview appointment follows the other, photo sessions, autographs. "Hey Martin, tomorrow there is another interview appointment at one of those youth radio programmes. So I'll pick you up at 12 o'clock." And so it goes throughout the day.
An England tour is still on the schedule followed by performances in Japan. USA probably, possibly Canada.
In the beginning of next year, Depeche Mode will finally realise a long cherished dream to reality: They want to shoot a video compilation, similar to a movie, probably something like a video clip to each of the songs from the new album. Martin now speaks almost fluent German. People attending the gigs in Germany can joyfully attest to this fact. So, exciting times, in autumn. For the band, as well as for all of the fans.
Let's be surprised.

Superstar Posters will appear at:
Moderne Media Verlags GmbH
All photos courtesy of Intercord and Mute. Special thanks to Daniel Miller.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:49:26
1984-xx-xx - Popcorn (Germany) - 30 intime Fragen an Depeche Mode

[Thanks to strangepimpf (;u=733) for supplying photos of this article!]

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[I typed out the text:]

Ganz privat
30 intime Fragen an Depeche Mode

Name: Gahan
Vorname: David
Geburtsdatum: 9.5-62
Geburtsort: Epping
Größe: 5, 11" (1,80m)
Haarfarbe: Blonde (Blond)
Augenfarbe: brown & green
Tierkreisseichen: Stier
Schulbildung/Beruf: comprehensive, Southend college, Jobs = plenty (Barstable Gesamtschule, Southend College, Berufe: sehr viele)
1. Womit hast Du als Kind am liebsten gespielt?   Action-Man-Puppen und Legosteine
2. Wer war das Idol Deiner Teenagerzeit?   Slade, David Vainian, David Bowie
3. Dein Lieblingstier?   Füchse, Hunde und Pferde
4. Dein Lieblingspeise?   Indische Currys, Wimpy, Pizzaland, Chinesische Frühlingsrollen
5. Dein Lieblingsgetränk?   Lagerbier, Brandy, Wasser, Gin
6. Welche drei Dinge oder Personen würdest Du auf eine einsame Insel mitnehmen? (Nahrung ist vorhanden)?   Record player & records, TV & Video + Videos, lots of foxy chicks! (Plattenspieler und Platten, Fernsehen mit Video und Cassetten, jede Menge heiße Mädchen)
7. Wo möchtest Du leben?   In meinem Haus in England oder irgendwo in Berlin
8. Dein schönster Urlaubsort?   Irgendwo, wo's warm und einsam ist!
9. Was sammelst Du?   Schallplatten, Kleider aus aller Welt
10. Die erste und letzte selbstgekaufte Schallplatte?   1. Wahrscheinlich Slade oder Bowie, 2. "Soft Parade" / The Doors
11. Welche Musik hörst Du privat?   The Doors, Lou Reed, Echo & The Bunnymen, The Simple Minds, David Bowie
12. Wieviel Geld hast Du im Augenblick in der Tasche?   Ungefähr 160 Mark
13. Welche lebende Person würdest Du gerne kennenlernen?   Al Pacino, Bowie
14. Welche historische Figur bewunderst Du?   Jim Morrison (The Doors)
15. Bei welchem Ereignis wärst Du gerne dabeigewesen?   Als die Doors im "Round-house" (London) spielten
16. Welche menschliche Leistung imponiert Dir am meisten?   Ein Mann, der fünfmal hintereinander kann!
17. Welche Eigenschaft verabscheust Du besonders?   Engstirnigkeit und Dummheit
18. Welche Eigenschaft bewunderderst Du besonders?   Aufgeschlossene Menschen und Leute mit außer gewöhnlicher Persönlichkeit und Aussehen
19. Welche Kunstfertigkeit möchtest Du gerne beherrschen?   Sehr gut Gitarre spielen zu können
20. Welches Statussymbol gibt Dir etwas?   Keines!
21. Warst Du schon einmal dem Tod nahe? (Wann?, wie?, wo?)   Ja, bei einem Zusammenstoß mit dem Auto, Mai 1984 in England
22. Glaubst Du an Gott?   Ich glaube, daß es jemanden gibt, der unheimlich viel Macht hat! Aber ich weiß nicht, wer das ist...
23. Gibt es eine Liebesgeschichte in Literatur oder Film, die Dir sehr nahegegangen ist ist?   Nein
24. Wie lange dauerte Deine bisher kürzeste/längste Liebesaffäre?   4 Jahre / 1 Tag
25. Liebe ist... I don't know!   (Ich weiß es nicht!)
26. Mit welcher Person aus Dallas oder Dynasty kannst Du Dich am ehesten identifizieren?   Mit keiner. Ich hasse sie!
27. Die ideale Wohnung/Haus?   Mein Hause in England
28. Was magst Du gar nicht an Dir?   Ich rege leicht auf, werde zu oft krank
29. Was gefällt Dir an Dir am besten?   Ich weiß es nicht - vielleicht meine Personlichkeit (manchmal)
30. Worüber kannst Du lachen?   über alles (und das Leben im allgemeinen)
Gibt es einen Lieblingswitz/-Spruch?   Life in General (deutsch: Das Leben im allgemeinen)

Name: Wilder
Vorname: Alan
Geburtsdatum: 1st June 59
Geburtsort: London
Größe: 6, 00" (1,83m)
Haarfarbe: Brown
Augenfarbe: Grey/Blue
Tierkreisseichen: Gemini
Schulbildung/Beruf: Recording engineer (Ton-Ingenieur)
1. Womit hast Du als Kind am liebsten gespielt?   Eisenbahn
2. Wer war das Idol Deiner Teenagerzeit?   Niemand
3. Dein Lieblingstier?   Katzen
4. Dein Lieblingspeise?   Indisches Essen
5. Dein Lieblingsgetränk?   Tequila
6. Welche drei Dinge oder Personen würdest Du auf eine einsame Insel mitnehmen? (Nahrung ist vorhanden)?   Music system, my girlfriend + video (Stereoanlage, meine Freundin, Video)
7. Wo möchtest Du leben?   Weiß ich nicht
8. Dein schönster Urlaubsort?   Irgendwo, wo's warm ist
9. Was sammelst Du?   Schallplatten, Berichte über uns, Fotos
10. Die erste und letzte selbstgekaufte Schallplatte?   Grandmaster Flash
11. Welche Musik hörst Du privat?   Jede
12. Wieviel Geld hast Du im Augenblick in der Tasche?   170 Mark
13. Welche lebende Person würdest Du gerne kennenlernen?   Nobody, it's always dissapointing (Niemandem. Sowas ist immer sehr enttäuschend!)
14. Welche historische Figur bewunderst Du?   Galilei Galilei
15. Bei welchem Ereignis wärst Du gerne dabeigewesen?   1966 World cup final (1966 beim Weltmeisterschafts-Finale)
16. Welche menschliche Leistung imponiert Dir am meisten?   Menschen, die sich durch geistige Konzentration selbst erleuchten können
17. Welche Eigenschaft verabscheust Du besonders?   Selbstsucht. Unehrlichkeit. Männlichkeitswahn
18. Welche Eigenschaft bewunderderst Du besonders?   Ehrlichkeit. Humor
19. Welche Kunstfertigkeit möchtest Du gerne beherrschen?   Das Talent, gute Texte zu schreiben
20. Welches Statussymbol gibt Dir etwas?   Ich mag keine Statussymbole
21. Warst Du schon einmal dem Tod nahe? (Wann?, wie?, wo?)   Eigentlich nicht
22. Glaubst Du an Gott?   Yes, but not necessarily in the conventional sense (Ja, aber nicht unbedingt im konventioneilen Sinn)
23. Gibt es eine Liebesgeschichte in Literatur oder Film, die Dir sehr nahegegangen ist ist?   -------
24. Wie lange dauerte Deine bisher kürzeste/längste Liebesaffäre?   Längste: 4 Jahre, kürzeste: 1 Nacht
25. Liebe ist... all you need (alles, was man braucht) 
26. Mit welcher Person aus Dallas oder Dynasty kannst Du Dich am ehesten identifizieren?   Mit keiner
27. Die ideale Wohnung/Haus?   Weiß ich nicht
28. Was magst Du gar nicht an Dir?   -------
29. Was gefällt Dir an Dir am besten?   Charme, Intelligenz, Geist, gutes Aussehen, eigentlich alles
30. Worüber kannst Du lachen?   über Fletch (gemeint: Andy Fletcher)
Gibt es einen Lieblingswitz/-Spruch?   Eigentlich nicht

Name: Fletcher
Vorname: Andy
Geburtsdatum: 08/07/61
Geburtsort: Notingham
Größe: 1,91
Haarfarbe: Strawberryblonde (Rotblond)
Augenfarbe: Blue
Tierkreisseichen: Cancer (Krebs)
Schulbildung/Beruf: Nicholas comp / various (Nicholas-Gesamtschule/Verschiedene)
1. Womit hast Du als Kind am liebsten gespielt?   Spielzeug-Soldaten
2. Wer war das Idol Deiner Teenagerzeit?   Marc Bolan
3. Dein Lieblingstier?   Hund
4. Dein Lieblingspeise?   Indisches Essen
5. Dein Lieblingsgetränk?   Lager (engl. Bier)
6. Welche drei Dinge oder Personen würdest Du auf eine einsame Insel mitnehmen? (Nahrung ist vorhanden)?   Myself, my bird + my dog (Mich, meine Freundin, meinen Hund)
7. Wo möchtest Du leben?   Ich habe keine besondere Vorliebe
8. Dein schönster Urlaubsort?   Southend
9. Was sammelst Du?   Wrinkles (Falten)
10. Die erste und letzte selbstgekaufte Schallplatte?   Die erste: England World Cup 1970. An die letzte kann ich mich nicht mehr erinnern
11. Welche Musik hörst Du privat?   Das ist ganz verschieden
12. Wieviel Geld hast Du im Augenblick in der Tasche?   100 Mark und 5 Pfennige
13. Welche lebende Person würdest Du gerne kennenlernen?   Niemand bestimmten
14. Welche historische Figur bewunderst Du?   Robin Hood
15. Bei welchem Ereignis wärst Du gerne dabeigewesen?   Waterloo
16. Welche menschliche Leistung imponiert Dir am meisten?   Hillary climbing Everest (Die Besteigung des Everest von Hillary)
17. Welche Eigenschaft verabscheust Du besonders?   Unpünktlichkeit
18. Welche Eigenschaft bewunderderst Du besonders?   Klugheit
19. Welche Kunstfertigkeit möchtest Du gerne beherrschen?   speed (Schnelligkeit)
20. Welches Statussymbol gibt Dir etwas?   Eine Dauerkarte beim Fußballclub Chelsea
21. Warst Du schon einmal dem Tod nahe? (Wann?, wie?, wo?)   Ich glaube nicht
22. Glaubst Du an Gott?   Ja
23. Gibt es eine Liebesgeschichte in Literatur oder Film, die Dir sehr nahegegangen ist ist?   "White Christmas"
24. Wie lange dauerte Deine bisher kürzeste/längste Liebesaffäre?   Shortest 3 day, longest 3 years (Längste: 3 Jahre, kürzeste: 3 Tage)
25. Liebe ist... Stupid! (Dumm!)
26. Mit welcher Person aus Dallas oder Dynasty kannst Du Dich am ehesten identifizieren?   Bobby
27. Die ideale Wohnung/Haus?   Buckingham Palast
28. Was magst Du gar nicht an Dir?   Kleider und Röcke
29. Was gefällt Dir an Dir am besten?   Nylon-Trikot
30. Worüber kannst Du lachen?   Wenn ich mich selbst im Spiegel sehe
Gibt es einen Lieblingswitz/-Spruch?   Nein

Name: Gore
Vorname: Martin
Geburtsdatum: 23.7.61
Geburtsort: London
Größe: 1,74
Haarfarbe: Fair (Blond)
Augenfarbe: Green
Tierkreisseichen: Leo (Löwe)
Schulbildung/Beruf: ------
1. Womit hast Du als Kind am liebsten gespielt?   Spielzeug-Laster
2. Wer war das Idol Deiner Teenagerzeit?   Gary Glitter / Bryan Ferry
3. Dein Lieblingstier?   Hund
4. Dein Lieblingspeise?   Indisches Essen
5. Dein Lieblingsgetränk?   Jede Art von Alkohol
6. Welche drei Dinge oder Personen würdest Du auf eine einsame Insel mitnehmen? (Nahrung ist vorhanden)?   Record player, records, dog, guitar (Plattenspieler und Platten, Hund, Gitarre)
7. Wo möchtest Du leben? ------
8. Dein schönster Urlaubsort?   Southend
9. Was sammelst Du?   Nichts
10. Die erste und letzte selbstgekaufte Schallplatte?   Erste: "Donna" - 10CC, letzte: "The Boy who came back" - Marc Almond
11. Welche Musik hörst Du privat?   Jede Musik
12. Wieviel Geld hast Du im Augenblick in der Tasche?   183 Mark, 20 Pfennige
13. Welche lebende Person würdest Du gerne kennenlernen?   Jonathan Richman
14. Welche historische Figur bewunderst Du?   Richard Löwenherz
15. Bei welchem Ereignis wärst Du gerne dabeigewesen?   Bei der Unterzeichung der Magna Carta
16. Welche menschliche Leistung imponiert Dir am meisten?   Eating 90 sausages in a short time (90 Würstchen in kürzester Zeit zu essen)
17. Welche Eigenschaft verabscheust Du besonders?   Ich liebe alles
18. Welche Eigenschaft bewunderderst Du besonders?   Itelligenz und Humor
19. Welche Kunstfertigkeit möchtest Du gerne beherrschen?   Eine perfekte Stimme zu haben
20. Welches Statussymbol gibt Dir etwas?   Having a tasty chick etwas? Having a tasty chick on your arm (Ein süßes Mädchen im Arm zu haben)
21. Warst Du schon einmal dem Tod nahe? (Wann?, wie?, wo?)   Nein
22. Glaubst Du an Gott?   Ja/nein
23. Gibt es eine Liebesgeschichte in Literatur oder Film, die Dir sehr nahegegangen ist ist?   G.I. Blues
24. Wie lange dauerte Deine bisher kürzeste/längste Liebesaffäre?   Longest 3 years, shortest 2 days (Längste: 3 Jahre, kürzest 2 Tage)
25. Liebe ist... Love (Liebe)
26. Mit welcher Person aus Dallas oder Dynasty kannst Du Dich am ehesten identifizieren?   Ich schaue mir keine der beiden Serien an.
27. Die ideale Wohnung/Haus?   Weiß ich nicht genau
28. Was magst Du gar nicht an Dir?   I don't have any bad points (Ich habe keine Fehler)
29. Was gefällt Dir an Dir am besten?   Geduld
30. Worüber kannst Du lachen?   Über dumme Witze
Gibt es einen Lieblingswitz/-Spruch?   keinen besonderen

[Translation by me:]

Talk show
Totally private
30 Intimate Questions to Depeche Mode

Name: Gahan
First name: David
Date of birth: 9.5-62
Birthplace: Epping
Size: 5, 11" (1.80 m)
Hair colour: Blonde
Eye Colour: brown & green
Sign: Taurus
Education / Profession: comprehensive, Southend college, jobs = plenty
1. With what did you play the most as a child?   Action Man dolls and Legos
2. Who was your idol during your teenage years?   Slade, David Vainian, David Bowie
3. Your favourite animal?   Foxes, dogs and horses
4. Your favourite food?   Indian curry, Wimpy Pizza Land, Chinese spring rolls
5. Your favourite drink?   Lager beer, brandy, water, gin
6. What three things or people would you take to a deserted island? (Food is available)?   Record player & records, TV & video + videos, lots of foxy chicks!
7. Where would you like to live? In my house in England or somewhere in Berlin
8. Your most beautiful holiday destination?   Somewhere where it's warm and lonely!
9. What do you collect?   Records, clothes from around the world
10. The first and last record bought yourself?   1. Probably Slade or Bowie, 2. "Soft Parade" / The Doors
11. What music do you listen to personally?   The Doors, Lou Reed, Echo & The Bunnymen, The Simple Minds, David Bowie
12. How much money do you have right now in your pocket?   About 160 Mark
13. Which living person would you like to meet?   Al Pacino, Bowie
14. Which historical figure do you admire?   Jim Morrison (The Doors)
15. Which event you have liked to attend?   When the Doors played at the "round-house" (London)
16. Which human performance impressed you the most?   A man who can do it five times a row!
17. What trait do you despise the most?   Bigotry and stupidity
18. What trait do you admire the most?   Open-minded people and people with non-ordinary personality and appearance
19. Which skill you want to master?   to be able to play guitar very well
20. Which status symbol gives you something?   None!
21. Have you ever been close to death? (When?, How?, Where?)   Yes, a car collision in England May 1984
22. Do you believe in God?   I believe that there is someone who has an awful lot of power! But I do not know who that is...
23. Is there a love story in literature or film that stayed with you?   No
24. How long were your shortest and longest love affairs as of yet?   4 years / 1 day
25. Love is...   I do not know!
26. Which person from Dallas or Dynasty can you identify yourself with the most?   With none. I hate them!
27. The ideal apartment / house?   My home in England
28. What do not you like about you?   I get too easily encouraged, become ill too often
29. What do you like best about you?   I do not know - maybe my personality (sometimes)
30. What makes you laugh?   everything (and life in general)
Do you have a favourite joke / saying?   Life in General

Name: Wilder
First name: Alan
Date of Birth: 1st June 59
Place of birth: London
Size: 6, 00" (1.83m)
Hair Colour: Brown
Eye Colour: Grey / Blue
Sign: Gemini
Education / Profession: Recording engineer
1. With what did you play the most as a child?   Train
2. Who was your idol during your teenage years?   Nobody
3. Your favourite animal?   Cats
4. Your favourite food?   Indian food
5. Your favourite drink?   Tequila
6. What three things or people would you take to a deserted island? (Food is available)?   Music system, my girlfriend + video
7. Where would you like to live? I do not know
8. Your most beautiful holiday destination?   Somewhere, where it's warm
9. What do you collect?   Records, reports about us, photos
10. The first and last record bought yourself?   Grandmaster Flash
11. What music do you listen to personally?   everything
12. How much money do you have right now in your pocket?   170 Mark
13. Which living person would you like to meet?   Nobody, it's always dissapointing
14. Which historical figure do you admire?   Galileo Galilei
15. Which event you have liked to attend?   1966 World cup final
16. Which human performance impressed you the most?  People, who can enlighten themselves through mental concentration
17. What trait do you despise the most?   Selfishness. Dishonesty. Machismo
18. What trait do you admire the most?   Honesty. Humour
19. Which skill you want to master?   The talent to write good lyrics
20. Which status symbol gives you something?   I do not like status symbols
21. Have you ever been close to death? (When?, How?, Where?)   Not really
22. Do you believe in God?   Yes, but not necessarily in the conventional sense
23. Is there a love story in literature or film that stayed with you?   -------
24. How long were your shortest and longest love affairs as of yet?   Longest: 4 years, shortest: 1 night
25. Love is...   all you need
26. Which person from Dallas or Dynasty can you identify yourself with the most?   With none
27. The ideal apartment / house?   I do not know
28. What do not you like about you?   -------
29. What do you like best about you?   Charm, intelligence, mind, good looks, everything actually
30. What makes you laugh?   about Fletch (meaning: Andy Fletcher)
Do you have a favourite joke / saying?   Not really

Name: Fletcher
First name: Andy
Date of Birth: 08/07/61
Place of birth: Notingham
Height: 1.91
Hair Colour: Strawberry Blonde
Eye Colour: Blue
Sign: Cancer
Education / Profession: Nicholas comp / various
1. With what did you play the most as a child?   Toy soldiers
2. Who was your idol during your teenage years?   Marc Bolan
3. Your favourite animal?   dog
4. Your favourite food?   Indian food
5. Your favourite drink?   Lager
6. What three things or people would you take to a deserted island? (Food is available)?   Myself, my bird + my dog
7. Where would you like to live?  I have no special preference
8. Your most beautiful holiday destination?   Southend
9. What do you collect?   Wrinkles
10. The first and last record bought yourself?   The first: England World Cup 1970. The last I cannot remember
11. What music do you listen to personally?   it varies a lot
12. How much money do you have right now in your pocket?   100 marks and 5 pennies
13. Which living person would you like to meet?   No one in particular
14. Which historical figure do you admire?   Robin Hood
15. Which event you have liked to attend?   Waterloo
16. Which human performance impressed you the most?  Hillary climbing Everest
17. What trait do you despise the most?   Tardiness
18. What trait do you admire the most?   Wisdom
19. Which skill you want to master?   speed
20. Which status symbol gives you something?   A season ticket at Chelsea Football Club
21. Have you ever been close to death? (When?, How?, Where?)   I don't think so
22. Do you believe in God?   Yes
23. Is there a love story in literature or film that stayed with you?   "White Christmas"
24. How long were your shortest and longest love affairs as of yet?   shortest: 3 days, longest: 3 years
25. Love is...   Stupid!
26. Which person from Dallas or Dynasty can you identify yourself with the most?   Bobby
27. The ideal apartment / house?   Buckingham Palace
28. What do not you like about you?   dresses and skirts
29. What do you like best about you?   nylon tricot
30. What makes you laugh?   When I see myself in the mirror
Do you have a favourite joke / saying?   No

Name: Gore
First name: Martin
Date of Birth: 23/07/61
Place of birth: London
Height: 1.74
Hair Colour: Fair (Blonde)
Eye Colour: Green
Sign: Leo
Education / Profession: ------
1. With what did you play the most as a child?   Toy trucks
2. Who was your idol during your teenage years?   Gary Glitter / Bryan Ferry
3. Your favourite animal?   Dog
4. Your favourite food?   Indian food
5. Your favourite drink?   Any type of alcohol
6. What three things or people would you take to a deserted island? (Food is available)?   Record player, records, dog, guitar
7. Where would you like to live?   ------
8. Your most beautiful holiday destination?   Southend
9. What do you collect?   Nothing
10. The first and last record bought yourself?   First: "Donna" - 10CC, last: "The Boy Who Came Back" - Marc Almond
11. What music do you listen to personally?   All music
12. How much money do you have right now in your pocket?   183 Mark, 20 pennies
13. Which living person would you like to meet?   Jonathan Richman
14. Which historical figure do you admire?   Richard the Lionheart
15. Which event you have liked to attend?   the signing of the Magna Carta
16. Which human performance impressed you the most?  Eating 90 sausages in a short time
17. What trait do you despise the most?   I love everything
18. What trait do you admire the most?   Itelligence and humour
19. Which skill you want to master?   To have a perfect voice
20. Which status symbol gives you something?   Having a tasty chick on your arm
21. Have you ever been close to death? (When?, How?, Where?)   No
22. Do you believe in God?   Yes / no
23. Is there a love story in literature or film that stayed with you?   G.I. Blues
24. How long were your shortest and longest love affairs as of yet?   longest: 3 years, shortest: 2 days
25. Love is...   Love
26. Which person from Dallas or Dynasty can you identify yourself with the most?   I don't watch any of the two series.
27. The ideal apartment / house?   I do not know exactly
28. What do not you like about you?   I do not have any bad points
29. What do you like best about you?   Patience
30. What makes you laugh?   stupid jokes
Do you have a favourite joke / saying?   nothing in particular
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:49:40
1984-xx-xx - Stjärnor (Sweden) - Depeche Mode

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:50:00
1984-xx-xx - Popcorn (Germany) - Galaxy-Show

[Thanks to strangepimpf (;u=733) for supplying a picture of this article!]

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Die schönsten Live-Szenen von Depeche Mode
Galaxo Show
Space-Shuttle zur Zukunft des Rock. Jede Eintrittskarte zur ersten großen Bühnenshow von Depeche Mode war ein Ticket in die Sphärenszene musikalischer Science Fiction. Was die vier Neutöner aus England bei ihrer Europa-Tournee boten, war kein billiger "Star Wars"-Zauber (der Kurzauftritt eines Roboters wurde schnell aus dem Programm gestrichen). Was Sänger Dave Gahan und seine drei Synthi-Spezialisten vorführten, war eine solide gegossene Neuform von musikalischer und optischer Bühnenpräsentation. Keine Frage: Aus dem Riesenangebot neuer Technologie haben Depeche Mode ihre Neuklötzchen am besten zusammengesetzt.
Es gibt keinen Vorhang, die Bühne ist völlig dunkel, Rauchschwaden steigen nach oben und langsam kommt Licht dazu. Ganz hell wird es während der gesamten Show nicht, die Beleuchtung wird nach Art von Planetarien sehr dezent gehalten. Pünktlich um 8.45 Uhr kommen die vier auf der Bühne und beginnen mit "Something to do" vom neuen Album. Während der 90minütigen Show, bei der Depeche Mode 19 Songs spielen, verausgabt sich Dave Gahan vorne an der Bühnenfront am meisten. Er ist neben Alan der absolute Anmacher der Gruppe. Die Fans tanzen regelrecht nach seiner Pfeife, wenn er "Come on" brüllt und seine Luftsprünge macht, hüpfen die Fans wie Gummibälle.
Nach dem kühlen Anfang wird es schnell heiß. "Two Minute Warning" folgt, bei dem die Bühne ganz in orangenes und rotes Licht getaucht wird. Depeche haben eine riesige Beleuchtungs-Batterie über der Bühne hangen, die seitlich rechts und links neben den Keyboards durch je eine Lichtsäule ergänzt wird. Beim 3. Song "Puppets" kommt dann der Knüller der Show: Was als schräge Rampen auf der Bühne liegt, sind tatsächlich bewegliche Beleuchtungsarme, die sich zu einem überdimensional W erheben und mit den in der Unterseite versteckten Scheinwerfen die Bühne anstrahlen. Martin Gore wird auf seinem Podest in der Mitte von den Traversen regelrecht eingerahmt. Das Publikum kreischt begeistert auf, denn Martin ist der heimliche Liebling der Mädchen. In dieser Szenerie folgen die Titel "People are People", "Live in Silence" [sic], "New Life" und "Shame" - dann verlassen Dave und Andy die Bühne, während Martin schüchtern und leise nach vorne ans Mikrofon kommt. Er trägt schwarze Lederhosen mit einem Miniröckchen drüber. Handschellen am Gürtel und ein kleines schwarzes Leibschen, bei dem er die Träger fallen läßt und so seine Brust freilegt. Die Mädchen flippen an dieser Stelle der Show regelmäßig aus - wie ein kleiner Chirknabe singt er die Ballade "Somebody", während ihm alle Hände und Herze zugfliegen. Begleitet wird er nur von Alan am Synthesizer.
Danach kommen noch einige stiller Synthi-Songs, bis Alan seine Luftsprünge macht. Er tanzt und wirbelt über die Bühne, daß ihm der Schweiß vom Gesicht fließt. Sein blaues Hemd ist schon völlig naß, doch das macht ihm nichts aus - er bringt Action in die synthetische Musik. Es folgen "Ice Machine", "Lie to me", und die neue Single "Blasphemous Rumours", dann "Told you so", "Master and Servant", "Photografic" [sic] und "Everything Counts". Jeder Titel besticht durch den hypnotischen Beat, die raffinierten Melodiebögen, die verführerischen Elektronik-Riffs und vor allem natürlich durch die live äußerst starke Stimme Dave Gahans. Kaum eine andere Band schafft es, eine solche Bandbreite an Stimmungen zu bieten - von esoterischen Momenten bis zu fröhlichen Mitklatsch-Orgien.
Bei den Zugaben "Shout", "See you" und "Just Can't Get Enough", passiert dann alles auf der Bühne, was die Elektronik und die Lightshow hergeben: Galaxo-Show mit Rauch und Lichtblitzen. Die Fans toben, kreischen, stampfen und beweisen so, daß nicht nur Rock'n'Roll so richtig schön einheizen kann...

[Translation by me:]

The nicest live scenes of Depeche Mode
Galactic Show
Space Shuttle on the future of rock. Each ticket to the first big stage show of Depeche Mode was a ticket in the atmospherical stage of musical science fiction. That what the four modern players from England offered at their European tour was no cheap "Star Wars"-magic (the brief appearance of a robot was quickly withdrawn from the programme). What singer Dave Gahan and his three synth specialists showed was a solidly cast new form of a musical and visual stage presentation. No question about it: From the great selection of new technology, Depeche Mode have put together their modern building blocks in the best possible way.
There is no curtain, the stage is completely dark, billowing smoke is rising upwards and slowly the light appears. It is not very bright throughout the show, the lighting is very low key as a manner being in a planetarium. Punctually at 8.45 o'clock, the four go on stage and start with "Something to do" from the new album. During the 90-minute show, during which Depeche Mode play 19 songs, Dave Gahan spends most time at the front of the stage. Besides Alan he is the absolute exciter of the group. The fans are literally dancing as he orders, and when he yells "Come on" and makes air jumps, the fans bounce like rubber balls.
After the cool start it quickly becomes hot. "Two Minute Warning" follows, during which the platform is completely immersed in orange and red light. Depeche have hung a huge battery of lights above the stage, which is profiled at the right and left side of the keyboards by a light-column. Then at the 3rd Song, "Puppets", comes the hit of the show: That was first sloping ramps lying on the stage, are actually portable lighting arms which rise into a colossal W, and the hidden from below spotlights illuminate the stage. Martin Gore is completely surrounded by the crossbars while on his pedestal. The audience screams excitedly because Martin is secretly the girls's favourite. In this scene, the tracks "People are People", "Live In Silence" [sic], "New Life" and "Shame" follow - Dave and Andy then leave the stage, while Martin shyly and quietly comes forward towards the microphone. He wears black leather pants with a mini skirt on top of it. Handcuffs on his belt and a little black camisole, of which he has dropped a strap and thus exposes his chest. The girls freak out extremely during this moment of the show - like a small choirboy he sings the ballad "Somebody", while all hands and hearts are being thrown at him. He is guided by Alan on synthesiser.
After that come some more quiet synth songs, and then Alan starts making jumps in the air. He dances and twirls across the stage, until sweat flows down his face. His blue shirt is completely wet already, but that does not matter to him - he put action in the synthetic music. Then follows "Ice Machine," "Lie to Me" and the new single "Blasphemous Rumours", then "Told you so", "Master and Servant", "Photografic" [sic] and "Everything Counts". Each track delivers a hypnotic Beat, refined melodies, enticing electronic riffs and most of all the extremely strong live voice of Dave Gahan. Few bands manage to offer such a wide range of moods - from esoteric moments up to cheerful hand-clapping singalongs.
For the encores "Shout," "See You" and "Just Can not Get Enough", everything as being presented by the electronics and the light show happens on stage: a galactic show with smoke and flashes of light. The fans rave, scream, stomp and thus prove that not only can not only rock 'n' roll can really make things this hot...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:50:11
1984-xx-xx - Smash Hits (Australia) - Review

"The pleasant surprise of the year as former electropop prettyboys grow up. "Some Great Reward" has songs that are sentimental with the right touch of cynicism, it's Depeche Mode with some new maturity in lyrics. The music itself is a little harder too - an almost industrial, metallic sound now comes through. The real standout is "Somebody", the most unlike Depeche track on the album. It's a voice and piano piece which is the best summing up of the perfect person everyone wants in their life. The two top dance singles "People Are People" and "Master And Servant" are included. A couple of throwbacks to the early 80's Depeche sound just stop the record from being perfect." (9 out of 10)
Ross Clelland, Smash Hits
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:50:32
1984-xx-xx - Poprocky (Germany) - Ihre Stärken, ihre Schwächen!

[Thanks to strangepimpf (;u=733) for supplying a picture of this article!]

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[I typed out the text:]

So sind Andy, Martin, Dave und Alan!
Depeche Mode
Ihre Stärken - Ihre Schwächen!

Martin über Martin: "Wenn ich irgendwo lesen muss, welche Unterhosen ich bevorzuge, platzt mir der Kragen!"
Dave über Dave: "Ich bin sehr eitel und unausgeglichen!"
Alan über Alan: "Ich bin kein Aufreisser! Meine Freundin Jerry würde mir die Ohren abschneiden!"

People Are People - Depeche Mode haben mit ihrer neuen Single erneut einen Riesenhit gelandet: Platz eins in der Hitparade! Doch während Hundertauschende von Rock-Fans die Musik von Depeche Mode auswendig kennen - wer die Depeche Mode-Musiker Andy Fletcher, Martin Gore, Dave Gahan und Alan Wilder sind, weiss kaum einer. Privat lässt sich das englische Elektro-Quartett nämlich kaum in die Karten schauen, POP/Rocky verrät Euch, wie Alan, Martin, Dave, und Andy sind...

Andy Fletcher - Der sympatische Faulpelz!
Andy Fletcher, der von seinen Kumpels auch "der grosse Blonde mit den langen Füssen" genannt wird, ist durch sein sympatisches Auftreten Gruppensprecher geworden. Andy ist sehr freundlich und intelligent, wirkt aber oft etwas linkisch und vergesslich. Deshalb machen sich Martin, Dave und Alan oft einen Spass daraus, Andys Brieftasche zu verstecken. "Solche Scherzchen lassen mich jedoch völlig kalt! Viele Bewundern meine Gelassenheit. Was die Leute nicht wissen: ich bin manchmal stinkfaul", grinst Andy schelmisch.
Zum Träumen bleibt Andy freilich nicht viel Zeit! Seine Freundin, eine Biologie-Studentin, sein Lieblings-Fussball-Team FC Liverpool und die Fanpost, über die sich Andy wie ein Kind freuen kann, halten "Fletch" meistens auf Trab!

Martin Gore - Der stille Chefdenker!
Martin komponiert und textet die meisten Songs von Depeche Mode. Er ist der Ruhigste der Gruppe. Auch der kessesten Sprüche - Martin wird von seinen Kumpels öfter wegen seiner Schmink- und Lederticks auf die Schippe genommen - prallen an ihm ab! Wützend wird Martin erst, wenn er in Zeitschriften als Teenie-Star hochgejubelt wird! "Wenn ich irgendwo lesen muss, welche Unterhosen ich bevorzuge, platzt mir schon der Kragen! Ich arbeite schliesslich Tag und Nacht an meinen Texten und möchte ernstgenommen!" Wen wundert's, dass Martin Gruppen wie KajaGooGoo und Duran Duran auf den Tod nicht ausstehen kann! Am liebsten verbringt Martin seine Freizeit mit seiner Berliner Freundin Christiane, die er des öfteren ins Kino verführt!

Dave Gahan - Der Mädchenschwarm!
Der hübsche Dave hat bei den Girls die meisten Chancen! Doch von  einem ausschweifelden Liebesleben kann keine Rede sein. Dave ist nämlich in festen Händen und wird auf allen Konzerttourneen von seiner Freundin begleitet! Nach dem Auftrit verzieht sich der Sunnyboy früh ins Bett und lässt Mitmusiker und Crew allein weiterfeiern. "Ich bin sehr eitel und unausgeglichen", verrät der Schwerarbeiter der Gruppe, der nach jedem Konzert 2kg leichter ist. Manchmal wird Dave fast aggressiv: "Ich muss mich oft beherrschen, dass ich gewissen Reportern nich eins auf die Rübe donnere! Kaum zu glauben, was manchmal in den Zeitungen steht! Ich lasse mir deshalb auch die ausländischen Berichte über übersetzen", erzählt Dave, der sich kürzlich eine Tätowierung um linken Unterarm entfernen liess.

Alan Wilder - Der Katzenfan!
"Es ist unser grosser Charmeur", witzeln die Depeche Mode-Boys über ihnen Kumpel Alan Wilder. Alan winkt energisch ab: "Ich bin kein Aufreisser-Typ! Meine Freundin Jerry würde mir die Ohren abschneiden, wenn sie erfahren müsste, dass ich mich auf Tourneen mit anderen Girls rumschlage!" Denn in der Tat lebt Alan in London mit seiner Freundin Jerry und deren Sohn zusammen. In seiner Freizeit - Alan muss sich auch öfter um seinen eigenen Musikverlag kümmern - spielt der Depeche Mode-Organist am liebsten mit seinen Katzen. "Das sind faszinierende Tiers! Obwohl sie sehr anschmiegsam sind, beharren die Katzen auf ihrer Freiheit", schwärt Alan über seine Lieblingstiere.

Die Zukunft von Depeche Mode: Am 2. Juni spielen sie zusammen mit Elton John in Ludwighafen, im September erscheint ihre neue LP, und im November steht ihre nächste Deutschland-Tournee an.

[Translation by me:]

This is what Andy, Martin, Dave and Alan are like!
Depeche Mode
Their strengths - their weaknesses!

Martin about Martin: "When I read somewhere which type of underwear I prefer, I burst with anger!"
Dave about Dave: "I'm very vain and unbalanced!"
Alan about Alan: "I am not a ladies' man! My girlfriend Jerry would cut my head off!"

People Are People - Depeche Mode have once again landed a huge hit with their new single: number one in the charts! But while hundreds of thousands of rock fans know the music of Depeche Mode by heart - hardly anyone knows who musicians Andy Fletcher of Depeche Mode, Martin Gore, Dave Gahan and Alan Wilder are. In private, the english boys are almost never to be spotted. POP/Rocky tells you what Alan Martin, Dave and Andy are like...

Andy Fletcher - The sympathetic slacker!
Andy Fletcher, who is known by his friends as "the big blond with the long feet", has become because of sympathetic appearance the spokesman of the group. Andy is very friendly and intelligent, but often seems a bit clumsy and forgetful. Therefore, Martin, Dave and Alan often make the trick of hiding Andy's wallet. "Such jokes do not bother me in the slightest! Many admire my composure. What people do not know: Sometimes I'm bonelazy", Andy grins mischievously.
Andy does not have much time to dream! His girlfriend, a biology student, his favourite football team FC Liverpool and fan mail, which excites Andy like a child, keep "Fletch" busy the most!

Martin Gore - The silent mastermind!
Martin writes the lyrics and composes most of the songs of Depeche Mode. He is the calmest of the group. Even the most cheeky banter - Martin is often teased by his buddies because of his make-up and leather ticks - bounces off him! Martin becomes only angry when he is being hyped up in magazines like Teenie-Star. "When I have to read somewhere what type of underwear I prefer, I'm bursting in anger! I'm spending day and night on my writing and would like to be taken seriously!" It's no surprise that Martin cannot stand groups like KajaGooGoo and Duran Duran at all! Martin prefers to spend his free time with his Berliner girlfriend Christiane, whom he often takes to the cinema!

Dave Gahan - The heartthrob!
The cute Dave has the most likeability among the girls! But there is no talk of a wild love life. Dave is in fact going steady and is accompanied by his girlfriend on all concert tours! After each performance, the sunny boy goes to bed early while the other musicians and crew continue to celebrate without him. "I'm very vain and unbalanced", reveals the heavy worker of the group, who is 2 kilos lighter after each concert. Sometimes Dave is almost aggressive: "I often have to contain myself from not punching some reporters in the face! Hard to believe what is printed in the newspapers sometimes! Therefore I let the foreign reports be translated also", says Dave, who recently had a tattoo removed on his left forearm.

Alan Wilder - The cat fan!
"He is our great charmer," quip the Depeche Mode boys about their buddy Alan Wilder. Alan waved vigorously: "I am not a ladies' man! My girlfriend Jerry would cut my head off if she were to find out that I sleep with other girls on tours!" Indeed, Alan lives together with his girlfriend Jerry and their son in London. In his spare time - Alan also often has to take care of his own music publishing company - the Depeche Mode player likes to play with his cats. "These are fascinating animals! Although they are very cuddly, the cats insist on their freedom", Alan claims about his favourite animals.

The future of Depeche Mode: On June 2nd, they play together with Elton John in Ludwigshafen, in September their new album appears, and in November starts their next Germany-tour.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:50:43
1984-xx-xx - Unknown (France or Belgium) - De prêt-a-porter a la haute couture

[Thanks to ericdm (;u=804) for scanning this article for this forum!]

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[Transcribed using OCR:]

Quatre garçons dans le vent… d’Est.

Le but de cet article? Tenter d’expliquer pourquoi étiquette « minets-popinats » ne colle plus du tout à Depeche Mode. Vous en êtes déjà convaincus ? C’est que « Construction time Again » a dû passer au moins une fois sous le diamant de votre platine.
Il faut pourtant bien avouer qu’il y a trois ans, bien peu de gens auraient osé parier sur l’avenir des quatre Anglais. Sauf peut-être Daniel Miller. Un nom inconnu de l’auditeur moyen et qui réclame un petit retour en arrière.
Nous sommes en 1980. Quatre jeunes habitants de Basildon — la banlieue sud de Londres — tripotent synthés et influences électroniques. Vers la fin de l’année, ils accouchent de leurs premières dèmos, mais se trouvent plutôt embarrassés au moment de les envoyer eux firmes de disques. La question est de savoir qui cela peut bien intéresser. Bien sûr, Stevo (alors âgé de dix-sept ans!) leur a annoncé son intention d’inclure un de leurs morceaux sur une compilation Some Bizzare (tiens, tiens), mais l’Insupportable est trop occupé par Soft Cell, et Depeche Mode a envie d’un vrai contrat. En digne fan de Fad Gadget et de The Normal, le groupe décide finalement d’envoyer les fameuses démos à Daniel Miller (nous y sommes), le patron de Mute Records. Non seulement il est immédiatement séduit par la fraîcheur et le charme des compositions, mais il flaire aussi en ces quatre gamins (la moyenne d’âge de Depeche Mode est alors de dix-huit, dix-neuf ans) le groupe dans lequel les benjamins du public d’Outre-Manche pourront se reconnaître; et puis, un peu de senteur piquante et acidulée ne peut faire que du bien parmi les parfums lourds et chyprés des poseurs de la vague néo-romantique.
M. Miller a vu juste et grâce aux charmants bambins. Mute va connaître un essor inattendu pour un label qui, jusqu’alors, avait toujours été typiquement « alternatif ». L’ascension est fulgurante; Dreaming of Me: premier single et premier hit New Life; le coup d’accélérateur décisif. Nous sommes fin ‘81 et le groupe termine une série de concerts marqués par le signe de l’inexpérience: une maladresse générale due principalement au fait que Dave Gahan, Martin L. Gore, Andrew Fletcher et Vincent Clarke ne comprennent pas vraiment ce qui leur arrive. Le succès remporté par Just Can’t Get Enough et la sortie de « Speak And Spell », leur premier album, n’aident en rien à ramener le calme.
C’est dans cette atmosphère d’excitation que Depeche Mode va connaître la plus important coup de théâtre de sa carrière. Vincent Clarke, le compositeur principal, annonce son intention de quitter le groupe. On le retrouvera deux mois plus tard (en mars ’82) aux côtés d’une corpulente personne, la chanteuse Alf Moyet ; Yazoo est né. Cet abandon laisse les trois orphelins dans le désarroi le plus total. Ils décident de se reprendre, et Martin L. Gore se lance à fond dans la composition de nouveaux morceaux. Un défi qui se révèle concluant puisque les hit-parades donnant raison à la persévérance du frêle Martin. See You et Meaning of Love se vendent plus qu’honorablement mais la recette s’essouffle et le public commence déjà à chercher autre chose; l’album « Broken Frame »est un demi-échec. De son côté, Vincent Clarke — alors en plain triomphe — n’échappera pas non plus au syndrome. La superficialité des chansons ne motiva plus vraiment une audience de plus en plus gâtée et qui se lasse rapidement de tout ce qui ne contient pas un minimum de sentiment, de profondeur.
Alors que Yazoo glisse doucement sur la pante, Depeche Mode commence à montrer les premiers signs d’évolution. Lors de la tournée qui suit « Broken Frame », on sent une certaine confiance en soi s’esquisser. Dave Gahan est toujours aussi trémoussant face au micro, mais fait preuve à présent de beaucoup d’ironie quand il répond aux attaques du public. Cette fermeté sa traduira musicalement vers la fin de l’année dernière é travers « Construction Time Again ». Beaucoup de changements vont s’opérer pour la conception de cet album. D’abord, l’arrivée d’un nouveau membre, Alan Wilder, qui va d’ailleurs signer deux compositions de l’elpee. Ensuite, un rapprochement vers l’Allemagne qui va se révéler bénéfique. Pas l’Allemagne de Nena ou des amateurs de BJH, mais celle des studios de Berlin, de Kraftwerk, DAF et Einsturzende Neubauten. Ce sont ces derniers qu’évoque la pochette de « Construction Time Again » martèlements et ciel d’acier. Rien à voir (ouf !) avec la « musique » des cogneurs fous; seul - l’aspect métallique est resté et confère à l’album un son juste assez froid pour faire oublier les sucreries d’autre fois.
Aujourd’hui, le groupe semble arrivé à maturité; l’équilibre entre le sautillement des synthés et la rigueur des compositions est enfin trouvé, tendis que People Are People (le dernier single) et sa vidéo laissent présager les meilleures choses pour Depeche Mode. Mais en doutiez-vous?

[Translation by me :]

Four trendy boys... in the East.

The purpose of this article? Trying to explain why the label "sissy pop-boys" does not apply at all to Depeche Mode. You are already convinced? Then it’s because the "Construction time Again" album on your turntable has gone platinum at least once.
But we must admit that three years ago, very few people have dared to bet on the future of the four English boys. Except maybe Daniel Miller. An unknown name to the average listener and who could use a little bit of a background information.
We are in 1980. Four young people of Basildon - the southern suburbs of London - fiddle with synths and electronic influences. Towards the end of the year, they give birth to their first demos, but are rather embarrassed when sending them to record companies. The question is about knowing who may be interested. And then, Stevo (then aged seventeen) has announced his intention to include one of their songs on a compilation called Some Bizzare (well, well), but he is too occupied by Soft Cell, and Depeche Mode wants a real contract. Being a big fan of Fad Gadget and The Normal, the group finally decide to send the famous demos to Daniel Miller (there we are), the boss of Mute Records. Not only is immediately impressed by the freshness and charm of compositions, but also in those four kids (the average age of Depeche Mode is then eighteen, nineteen), a group with which the youngest of the audience across the Channel will be able to identify, and, a little bit of a spicy and tangy scent can do nothing but good among heavy the chypre perfumes of the posers of the new-romantic wave.
Mr. Miller was right about and thankful for the charming toddlers. Mute have experienced an unexpected development with their label, which until then had always been typed as "alternative". The ascent is rapid, the first single Dreaming of Me and the first hit New Life, are the head of the definite accelerators. We are now at late '81 and the group ended a series of concerts marked by the signs of inexperience and general clumsiness, due mainly to the fact that Dave Gahan, Martin L. Gore, Andrew Fletcher and Vincent Clarke do not really understand what is happening to them. The success of Just Can’t Get Enough and the release of "Speak And Spell", their first album, do not help restoring to serenity.
It is in this atmosphere of excitement that Depeche Mode will be acquainted with the most important turn of events in their career. Vincent Clarke, the main songwriter, has announced his intention to leave the group. We'll find him two months later (in March '82) alongside a big person, the singer Alf Moyet: Yazoo was born. This abandonment leaves three orphans in most disarray. They decide to regroup themselves, and Martin L. Gore puts himself fully into the composition of new songs. A challenge that proves to be conclusive since the charts give in to the perseverance of little Martin. See You and Meaning of Love sell more than honorably but the recipe is failing and the audience is already starting to look for something else, the album "Broken Frame" is a semi-failure. Vincent Clarke’s side - then plenty of triumph - will not escape the syndrome either. The superficiality of the songs do not really motive the audience anymore who are increasingly spoiled and get tired quickly of all that does not contain a minimal sense of depth.
While Yazoo glides gently downwards, Depeche Mode begins to show the first signs of evolution. During the subsequent tour "Broken Frame", you feel that a certain confidence is displayed. Dave Gahan is still fluttering in front of the microphone, but there is now much evidence of irony when he responds to attacks from the public. The confidence leads at the end of last year musically towards "Construction Time Again". Many changes will take place for the design of this album. First, the arrival of a new member, Alan Wilder, who will also write two compositions for the record. Then, moving closer to Germany, which will be beneficial. Not the Germany Nena or BJH fans, but the Germany of the Berlin studios of Kraftwerk, DAF and Einsturzende Neubauten. It is the latter who evoke the cover of "Construction Time Again", hammers with a cold sky. Nothing to do (phew!) with the "music" of the crazy sluggers – the aspect of metallics makes the album just cold enough to forget about the older goodies.
Today, the group seems to have matured, the balance between the jittering of synthesizers and rigorous compositions is finally found, exemplified by the fact that People Are People ( the latest single) and video suggest the best things to Depeche Mode. But do you have any doubts?
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:53:55
1984-xx-xx - Schweizer Jugend (Switzerland) - Elektronikspezialisten

[Many thanks to Sabu (;u=750) for sending in this scan!]

( (

[Transcribed using OCR:]

Elektronik-Spezialisten Depeche Mode
Die vier Engländer sind in ihrer Heimat und in Deutschland längst ein Begriff. Bei uns sind ihre letzten beiden Hits «Everything Counts» und «People Are People» ebenfalls kein Geheimtip mehr.
Das Matterhorn auf der Plattenhülle
Der Sänger von Depeche Mode war gerade l6jährig, als sich die Band auf die Bühne traute und bald darauf in den englischen Hitlisten auftauchte. Inzwischen haben sich die Burschen längst etabliert - mit drei LPs und einer Reihe Hits.
Die Hülle der dritten Platte bot sogar für uns Schweizer einen geradezu heimeligen Anblick: Das Matterhorn, unser wohl berühmtestes Wahrzeichen, ragt aus dem Morgengrauen, und ein muskulöser Arbeiter holt mit einem grossen Hammer zum weiten Schlag aus. «Construction Time Again» («Wieder Zeit für den Aufbau») heisst dieses Werk gewichtig. Doch hört man sich die Musik an, tönt alles bedeutend leichter verdaulich.
Eingängiges vom Synthesizer
Depeche Mode haben sich seit ihrer Gründung darauf spezialisiert, eingängige Melodien zu schreiben, die ausschliesslich von einem Instrument gespielt werden: dem Synthesizer. Drei der Band stehen am Synthie, der vierte singt. Zu Beginn war es Vince Clarke, der alle Songs schrieb. Als er ausstieg und «Yazoo» gründete («Don‘t Go»), stand die Gruppe vor der Auflösung. Doch Martin Gore fasste sich ein Herz und begann zu arbeiten, wie er sich das wohl zuvor in seinem jugendlichen Alter kaum zugetraut hätte: Er trat an die Stelle von Clarke. Und siehe da, Depeche Mode stellte bald die ersten eigenen Erfolge in den Schatten. Auch die letzten beiden Hits, die bei uns zu hören waren, stammen von Gore: «Everything Counts» und, noch neuer, «People Are People». Dass die Gruppe bei uns noch nicht ein Begriff ist wie in England oder Deutschland, mag damit zusammenhängen, dass sie noch nie in der Schweiz zu sehen war - noch nicht einmal in Fernsehprogrammen. Eine Ausnahme bilden die ausgezeichneten Video-Clips.

Das erste Schweizer Interview
Wer ein Interview mit den begehrten Engländern ergattern will, muss ihnen nachreisen. Also machte ich mich auf an ein Konzert in Mailand und erfuhr im persönlichen Gespräch, dass ich bisher der erste und einzige Schweizer Journalist war, der einen Interviewtermin belegte.
Euren neusten Hit «People Are People» habt Ihr nicht gespielt. Welche Vorbereitungen haben noch gefehlt?
Martin: An einem Konzert spielen wir nicht alle Töne, die das Publikum hört. Wir spielen Schlagzeugtöne und ganze Melodien ab Band. Und diese Bänder, die wir vorher aufnehmen müssen, haben hier noch gefehlt.
Ist es nicht langweilig, nur hinter einem Synthesizer zu stehen und Programme abzurufen?
Andi (ein bisschen wütend): Weshalb stellt Ihr Journalisten ewig diese Frage? Wir machen nicht einfach nichts, wenn wir auf der Bühne stehen. Man braucht nicht zu schwitzen, um gute Musik zu machen! Und auf der Platte tönt’s anders als am Konzert. Darauf kommt es an!
Weshalb habt Ihr für die Plattenhülle das Matterhorn als Motiv gewählt?
Martin: Wir brauchen gerne Symbole. Stein bearbeiten kann bedeuten, dass man etwas schaffen will, was lange hält. Aber wir waren noch nie in der Schweiz. Unser Fotograf hat das Matterhorn ausgesucht.
Martin, war es für Dich nicht schwierig, von einem Tag auf den anderen der Kopf der Gruppe zu sein, der die Songs komponiert?
Martin: Doch, zu Beginn schon. Aber ich bin inzwischen selbstbewusster geworden. Hätte Vince uns nicht verlassen, hätte ich weiterhin ein bis zwei Lieder im Jahr geschrieben. So aber wurde ich gezwungen, zu produzieren - und das war gut.
Zuerst wart Ihr ein niedlicher Modegag. Jetzt seid Ihr anerkannt. Hat sich auch das Publikum geändert?
Andi: Ja. Es ist breiter geworden. Am Anfang hat es an unseren Konzerten fast nur Mädchen zwischen 13 und 16 gehabt. Jetzt sind genau so viele Burschen da. Zudem hat’s auch immer mehr «Erwachsene», die unsere Platten kaufen. Aber es ist schon ein wenig seltsam: Als wir nur das junge Publikum hatten, wollten wir auch die älteren. Wenn wir in acht Jahren dreissig sind, werden wir uns wohl Mühe geben müssen, auch bei den «neuen» Jugendlichen noch anzukommen.
Bildbericht: Thomas Küng

[Translation by me:]

Electronic specialists Depeche Mode
The four Englishmen are, at home and in Germany, well-known since a long time. For us, their last two hits, "Everything Counts" and "People Are People", are also not a secret anymore.
The Matterhorn on the record sleeve
The singer of Depeche Mode was just 16 years old, as the band dared to go on stage and soon thereafter emerged in the British charts. Meanwhile, the boys have established themselves for a long time - with three LPs and a number of hits.
The sleeve of the third record even offered for us Swiss fans an almost homely sight: The Matterhorn, probably our most famous landmark, rises from the dawn, and a muscular worker raises a big hammer to make a strike. "Construction Time Again" is the heavily weight name of this record. But when listening to the music, it all sounds much easier to digest.
Intuitive with synthesiser
Depeche Mode have since their foundation specialised on writing catchy melodies which are played exclusively on one instrument: the synthesiser. Three of the band are on the synth, the fourth sings. At the beginning it was Vince Clarke who wrote all the songs. When he got out and founded "Yazoo" ("Don't Go"), the group faced resolution. But Martin Gore grabbed his heart and began to work, as he would probably have been hardly have expected during his teenage years: He took the place of Clarke. And lo and behold, soon came the first Depeche Mode's successes in sight. Also, the last two hits which we have also heard, come from Gore: "Everything Counts" and the even more recent "People Are People". That the group is not yet a household name with us, like in England or Germany, may be due to the fact that they have never been seen in Switzerland - not even on television programs. An exception is the excellent video clips.

Switzerland's first interview
Those who want to snag an interview with the much desired British lads, must follow them. So I went to a concert in Milan and was told in a personal conversation that I had been the first and only Swiss journalist who conducted an interview with them.
You haven't played your latest hit, "People Are People". What preparations have been lacking?
Martin: At a concert we are not playing every sound that the audience hears. We play the percussion sounds and melodies all from tape. And these tapes that we have recorded beforehand were absent.
Is not it boring to just stand behind a synthesiser and retrieve programs?
Andi (a bit angry): Why are journalists always asking this question? We aren't doing nothing when we are on stage. You do not need to sweat in order to make good music! And the record sounds different from the concert. That's what matters!
Why have you chosen the Matterhorn as a symbol for the album cover?
Martin: We like to use symbols. Processing stone can mean that you want to create something that lasts for a long time. But we were never in Switzerland. Our photographer has picked the Matterhorn.
Martin, was it not difficult for you to be from one day to the next the head of the group who writes the songs?
Martin: Yes, at the beginning. But I am now more confident. If Vince hadn't left us, I would still have been writing one or two songs a year. As it turned out, I was forced to write - and that was good.
First, you were a cute trend. And now you are acknowledged. Has the audience changed?
Andi: Yes. It has become wider. At the beginning there were almost only girls from ages 13 to 16 at our concerts. Now there are just as many guys. In addition, there are also more "adults" who buy our records. But it's a little weird: when we only had the young audience, we also wanted the older ones. When we will be thirty years old eight years from now, it will probably be difficult for us to reach the "new" young audience.
Picture Report: Thomas Küng
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:54:18
1984-xx-xx - Melody Maker (UK) - Album Review

[Thanks to meldepeche (;u=799) for this article.]

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Handsome Reward
Depeche Mode 'Some Great Reward' (Mute STUMM 19)
Depeche Mode, bless their little cotton socks, have always created pop of the highest quality. Catchy tunes, beautifully produced, that had you singing along in minutes - and as likely as not, forgotten in months. 'Photographic' is still a classic, but they never seemed to re-achieve that peak.
Now, along comes 'Master And Servant' and after initial nose turn-ups (metal backing and domination metaphors not quite going with the sharp creases in the trousers), it's not been off the office turntable since.
'Some Great Reward' proves to be made of the same stuff. Depeche Mode come of age, Martin Gore comes clean and the result is an addictive an album as you'll hear all year.
A week's continual playing later and I'm still singing the boppy 'Something To Do' on the bus every morning and STILL going funny when Dave Gahan's voice goes all flat and butch.
The last two singles ('People Are People' and 'Master And Servant') combine with new songs like the slow and sad 'Blasphemous Rumour' [sic] to produce an album that's just full of really good sounds. Depeche Mode make your spine tingle and your foot tap, and they'll probably cure your acne too. 4 stars
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 03:54:34
1984-xx-xx - Daily Mirror (UK) - Call Of The Wall

[Thanks to meldepeche (;u=799) for this article.]

( (

[I typed out the text:]

Call of the Wall
Picture: Mike Maloney
Words: Robin Eggar

From the balcony of their recording studio in Berlin, Depeche Mode can see where East meets West.
Checkpoint Charlie lurks a grenade's throw away. The olf Nazi SS headquarters broods overhead, still topped by live machine-gun nests.
At night the deserted ground on the other side of the Wall is bathed in floodlight. It could be the track at an evening athletics meeting... except that it is mined, guarded and extremely dangerous.
Even so, Depeche Mode, the hit band who dumped guitars for synthesisers, enjoy recording their songs in West Berlin.
Chief songwriter Martin Gore has a flat - and a girl - here. And this capitalist enclave in the heart of East Germany has given the band an edge they would never have achieved in their native Basildon, Essex.
West Berlin has other attractions for them, too.

Depeche Mode so relish anonymity that they don't even put their picture on record sleeves. And in this divided city they can walk the streets unmolested, for Berliners are so cool that they would ignore Boy George on a giraffe.
It's all a long way from life in Basildon, where adolescents are rather seen than heard.
Which was why Depeche Mode got into synthesisers in the first place.
"The reason was simple," says Andy Fletcher, 23. "We could rehearse in a garage using the synths and headphones without annoying our parents."
But even then they still got complaints about Dave Gahan's singing.
Early on, Depeche Mode rejected large sums of money - and even larger promises - and signed themselves to Mute, a small independent record company run by eccentric electronics wizard Daniel Miller.
Their second single was a smash hit.
Says Martin Gore: "We were all about 19 when we appeared on Top of the Pops. We came out at the same time as Duran Duran and Spandau Ballet. In those days we used to dress up, too.
"We felt very uncomfortable."
But they escaped the frills and make-up of the New Romantic era when Vince Clarke walked out to find greater success in Yazoo with Alison "Alf" Moyet.
North Londoner Alan wilder replaced him and the band survived. "We never thought of quitting," says Andy Fletcher. "It was too early. We had only just given up our day jobs."

By their third album, construction Time Again, Depeche Mode were radically different in sound and content.
Gone were the pretty boys singing pretty songs. Instead they tackled social and political issues.
In concert they attacked sheets of metal with sledgehammers, and the fans loved it, dancing right to the back of the balconies.
In recording they have completely dispensed with synthesisers. Pride of place in Berlin's Hansa Studio is taken up by a Synclavier - a £30,000 musical computer.
Their new single, Master and Servant, contains no conventional instruments. Sounds are "sampled" by hitting something with a hammer and recording the result, which is then played back on a keyboard.
Says Dave Gahan: "We've got a whip, an air compressor from a builder's nail gun, a water drop, a toy piano and we bang on a builder's hoist, a concrete slab and a rubbish skip.
"And right at the end, you can hear Andy being spanked by Martin."
Master and Servant is rising fast up the charts, and could be Depeche Mode's biggest hit.
All four are relatively well off, but neither Andy nor Dave can yet bring themselves to follow Martin Gore and leave Basildon.

The secret of Depeche Mode's success is that while their music is instantly recognisable they remain private people.
They continue to walk the streets unrecognised and unmolested.
Well, almost...
For as we turned away from the Berlin Wall, there was a movement in the Eastern watchtower.
In a different word, and unknown hand was waving goodbye.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 02 March 2013 - 05:25:10
1984-xx-xx - Bravo (Germany) - DM am Bravo-Telefon

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Am BRAVO-Telefon
Depeche Mode
Wenn Ihr diese Nummer anruft, kommt die englische Gruppe Depeche Mode im Original-Ton vom Tonband. Für diejenigen, die nicht so gut Englisch verstehen, wird das Ganze am Bandende übersetzt. Bitte verwählt Euch nicht, sonst kriegen wir Ärger.
Wählt München 0 89/67/90/40

On BRAVO-Telephone
Depeche Mode
If you call this number, a tape recording of the English group Depeche Mode can be heard in its original format. For those who do not understand English very well, the tape will be translated at the end. Please don't make an error in dialing, otherwise we'll be in trouble.
Dial Munich 089679040

1984-xx-xx - PopRocky (Germany) - "Wir schwimmen nicht im Geld"

( (

[Transcribed/translated by me.]

Depeche Mode-Boy Andy Fletcher:
"Wir schwimmen nicht im Geld"

Depeche Mode (Poster in der Heftmitte) setzen voll auf Deutschland. Nach dem Grosserfolg ihrer "Master And Servant"-Single erscheint in diesen Tagen das neue Album "Some Great Reward". Doch damit nicht genug: Zur grossen Freude ihrer Fans startet die Gruppe am 20. November in Essen ihre 14 Konzerte umfassende Deutschland-Tournee! Pop/Rocky traf in England Depeche Mode-Sprecher Andy Fletcher und stellte ihm einige unbequeme Fragen!

Pop/Rocky: Ihr seid in Deutschland sehr erfolgreich. In eurer Heimat England lauft's aber weniger gut. Ärgert euch das?
Andy Fletcher: Überhaupt nicht. Unsere letzten zehn Singles konnten sich immer in der englischen Hitliste "Top 20" plazieren. Wisst ihr weshalb unsere Single "Master And Servant" in England kein Nummer ein-Hit wurde? Weil die Fernsehleute zu jener Zeit [?], konnte dieses Lied in der [?] TV-Musiksendung "Top Of The Pops" nicht ausgestrahlt werden. Dass nennt man Künstlerpech!
P/R: Wie hoch waren die Produktionskosten für eurer "Master And Servant"-Video?
Andy: Da mussten wir ganz sichtig in die Tasche greifen. Wir haben für diesen Film ca. 70.000 D-Mark hinblättern müssen.
P/R: Seid ihr in der Zwischenzeit reiche Leute geworden?
Andy: Sagen wir mal so, wir können heute nach Lust und Laune leben. Das heisst aber noch lange nicht, dass wir uns teure Luxusautos oder Häuser leisten könnten.
P/R: Im Gegensatz zu Boy George oder Duran Duran seid Ihr in Amerika noch unbekannte Musiker. Warum?
Andy: Unsere Musik ist für amerikanischen Fans vermutlich zu ausgefallen. Wir sehen aber nicht ein, dass wir deswegen unseren Stil ändern sollten. Zudem mögen wir dieses Land nicht. Dort besteht alles aus Plastik!


Depeche Mode boy Andy Fletcher:
"We're not rolling around in money"

Depeche Mode (centrefold poster in this magazine) take a complete hold of Germany. After the great success of their single "Master And Servant", the new album "Some Great Reward" is to be released any day now. But that's not all: to the great delight of their fans, the group will start their 14-concert-long German tour on November 20 in Essen! Pop/Rocky met Depeche Mode's spokesman Andy Fletcher in England and asked him some hard questions!

Pop/Rocky: You are very successful in Germany. But you're not doing so well in your homeland England. Does that annoy you?
Andy Fletcher: Not at all. Our last ten singles were always positioned in the English "Top 20" charts. Do you know why our single "Master And Servant" wasn't a number one hit in the UK? Because the television guys at the time [?], so the song could not be aired on the [?] TV music show "Top Of The Pops". That is called hard luck!
P/R: What were the production costs for your "Master And Servant" video?
Andy: We had to dig in our pockets very deeply. We had to shell out about 70,000 D-Mark for this clip.
P/R: Have you become rich people by now?
Andy: Let's put it this way, we can live according to our own choosing. But that does not mean that we can afford expensive luxury cars or houses.
P/R: Unlike Boy George or Duran Duran, you guys are yet unknown musicians in America. Why?
Andy: Our music is probably too unusual for American fans. But we do not see a reason to change our style for that. Furthermore, we do not like the country. Everything there is made of plastic!
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 11 March 2013 - 07:04:41
1984-xx-xx - Some Great Reward Tour Tourbook

For scans of the tourbook, go here:

[No text.]

( (
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:55:12
1984-xx-xx - Sire Records (US) - People Are People sleevenotes

( (

[I typed out the text:]

The American release of People Are People, the fourth album from Depeche Mode, brought together for the first time a string of hit singles from one of Britain's most innovative groups. For U.S. audiences, the Depeche Mode story began in 1984 with their smash alternative radio hit "People Are People". For English fans, the story began almost four years before.
In 1980 a group of fledging musicians from Basildon, Essex, got together under the moniker of Depeche Mode, a French term taken from a fashion magazine, meaning "fast fashion". The group's first album, 1981's Speak & Spekk, reached the Top 10 on U.K. charts and yielded two smash signles. After the departure of founding member Vince Clarke, Depeche Mode continued with its original line-up - Andy Fletcher (guitar, vocals), Martin Gore (guitar, vocals), and Dave Gahan (vocals) - and recruited Alan Wilder (keyboard, vocals) in time to cut their second album, Broken Frame, in late 1982. Tours of America and the Far East followed. The group returned to European charts in 1983 with Construction Time Again.
With the release of People Are People in 1984, American audiences discovered what their Continental counterparts had known for some time. Depeche Mode's alluring blend of state-of-the-art musical technology, dancable rhythms and emotionally resonant songwriting put them in a category all their own. "People Are People", the single, was the band's first stateside success, while this album served as an introduction to Depeche Mode's previous history of hits.
Aside from a handful of dazzling new originals, People Are People contained British chart toppers "Get The Balance Right" and "Leave In Silence" from the Broken Frame album and "Love In Itself" and "Everything Counts" from Construction Time Again.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:55:30
1984-xx-xx - Mädchen (Germany) - Auf dem Höhepunkt ihrer Karriere zeigen DM...

[Many thanks to Sabu (;u=750) for sending in this scan!]

( ( (

[Transcribed using OCR:]

Depeche Mode

Depeche Mode unterbrachten ihre Welttournee, um in Berlin eine neue Single aufzunehmen. Mädchen sprach mit Alan, Martin, Dave und Andy...

Streß im Studio: In nur drei Tage mußte die neue Platte im Berliner Hansa-Studio fertig werden.

Drei Tonband-Kassetten hat Alan Wilder während der Europa-Tournee mit „Schnappschüssen“ gesammelt: Der scheppernde Ventilator im Hamburger Hotel, das Stakkato eines Friedensmarsches in Amsterdam, der Preßlufthammer aus Mailand — all diese Geräusche könnten, in verfremdeter Form natürlich, auf der nächsten Single von Depeche Mode zu hören sein, die noch im April erscheinen wird.
Depeche Mode gehören heute zweifellos zu den wenigen Trendsettern der Elektronikabteilung, die mit jeder Platte neue Ideen liefern. So fanden auf ihrem letzten Album zum Beispiel das Husten Martin Gores, ein klappernder Kochlöffel und die Ansage einer Lufthansa-Stewardeß Verwendung.
„Musik ist überall“, meint Alan Wilder, „man muß die Mosaiksteinchen nur erkennen und einfangen.“ Depeche Mode, die in Deutschland den Durchbruch schafften und von den britischen Journalisten lange als „Pop-Leichtgewichte ohne Bartansatz“ (Melody Maker) veräppelt wurden, werden seit ihrer triumphalen Europa-Tournee erstmals auch in der Heimat ernst genommen. Sounds schrieb: „Niemand verkörpert den Zeitgeist so perfekt wie diese vier Jungs aus Basildon.“
Das Lob aus der Heimat tut ihnen gut, aber am Herzen liegt ihnen jetzt etwas ganz anderes: Sie wollen Resonanz auf ihre Texte, die sozial und politisch recht aggressiv sind. „Leider läßt unser Tanzrhythmus bei vielen Zuhörern den Text nur vorbeirauschen“, meint Martin Gore, „dabei haben gerade wir, die wir aus untersten sozialen Schichten kommen, in jedem Song eine ganz gezielte Aussage.“
Wer es nicht mitbekommen hat: Das gesamte Album „Construction Time Again“ propagiert mehr oder weniger offenkundig militanten Sozialismus, die Hitsingle „Master and Servant“ handelt die Unterdrückungsmechanismen zwischen Mann und Frau in Sex und Gesellschaft ab und ihre jüngste Platte „Blasphemous Rumours“ geht aggressiv mit Gott ins Gericht. Textzitat: „Gott muß ziemlich krank im Kopf sein.“
Depeche Mode geben zu, daß sie ihr Engagement erst in letzter Zeit so klar dokumentieren. Sänger Dave Gahan verrät: „Am Anfang war für uns nur wichtig, Erfolg zu haben. Denn die Karriere im Showbusineß war für uns die einzige Chance, aus den Hinterhöfen der Gesellschaft rauszukommen. Erst jetzt finde ich den Mut, zuzugeben, daß ich schon mit 17 dreimal vor dem Jugendrichter stand. Ich habe damals Wände besprüht, Autos angezündet und ein Moped geklaut. Und das tat ich nicht, weil ich kriminelle Anlagen habe, sondern weil ich ein Ventil für meine Hoffnungslosigkeit brauchte. Ich habe als l6jähriger in nur sechs Monaten zwanzig Jobs durchlaufen und wurde überall wieder auf die Straße gesetzt. Mir war klar, daß ich auf normalen Weg nie überleben kann. Depeche Mode war meine Rettung.“
Auch wenn Depeche Mode heute ein Rockstar-Leben der 1. Klasse führen, in den besten Hotels wohnen und auf dem Bankkonto sechsstellige Summen verzeichnen können, so haben sie sich doch ein gutes Gefühl für die Realität bewahrt.
Dave Gahan erzählt von den Erlebnissen der Gruppe bei ihrem jüngsten Besuch in Thailand: „Wir wohnten in einem Superhotel, wo es alles gab, was man sich nur wünschen konnte. Und kaum gingen wir um die nächste Straßenecke, da sahen wir diese ausgemergelten Kinder in den zerfetzten Kleidern, die um ein paar Groschen bettelten. Das war um ein Vielfaches schlimmer und hoffnungsloser als unsere eigene Jugendsituation — danach haben wir die ganze Nacht lang im Hotel diskutiert und beschlossen, unser soziales Engagement noch weiter zu verstärken. Wir werden in Zukunft versuchen, unsere Musik und Texte so eindeutig zu gestalten, daß keine Botschaft ungehört bleibt, daß keiner davor Augen und Ohren verschließen kann. — Hoffentlich können wir’s ändern.“

[Translation by me:]

Depeche Mode

Depeche Mode interrupted their world tour to record a new single in Berlin. Mädchen spoke with Alan, Martin, Dave and Andy...

Stress in the studio: In just three days, the new album had to be finished at Berlin's Hansa studio.

Three audio tapes Alan Wilder has collected during the European tour with "snapshots": The rattling fan at a Hamburg hotel, the staccato of a peace march in Amsterdam, a jackhammer from Milan - all these noises could, of course in altered form, be heard on the next single from Depeche Mode, which will be released in April.
Depeche Mode are now undoubtedly one of the few trendsetters in the electronics department, who come up with new ideas with each record. On their last album was could be found the use of a coughing Martin Gore, a clattering cooking spoon and the announcement of a Lufthansa air hostess.
"Music is everywhere," says Alan Wilder, "you just have to recognise and capture the mosaic pieces." Depeche Mode, who had a breakthrough in Germany and who have always been mocked by British journalists as "pop lightweights with no ability to grow a beard" (Melody Maker), have since their triumphant tour in Europe been taken seriously for the first time at home. Sounds wrote: "No one embodies the zeitgeist as perfectly as these four lads from Basildon."
The praise from home is good for them, but at heart they are now focused on something completely different: They want a response to their texts that are socially and politically quite aggressive. "Unfortunately, the dance rhythm in our songs causes many listeners to ignore the text", says Martin Gore, "with those texts, we, who come from the lowest social stratus, have in every song a very specific statement."
For those who haven't noticed: The entire album "Construction Time Again" propagates more or less obvious militant socialism, the hit single "Master and Servant" is about the suppression mechanisms between man and woman in sex and society and their latest record "Blasphemous Rumours" is aggressively into judgment with God. Text quote: "God must be pretty sick in the head."
Depeche Mode admit that they so clearly document their social commitment lately. Singer Dave Gahan says: "In the beginning it was just important for us to have success. Because a career in show business was for us the only chance to get out of the bottom of the ladder. Only now do I find the courage to admit that I was already three times before juvenile court at age 17. I graffitied walls, burned vehicles and stole a moped. And I did not do those things because I am inclined to be a criminal, but because I needed an outlet for my hopelessness. I have run through twenty jobs at age 16 in just six months and was put on the streets again. I knew that I could never survive on a normal route. Depeche Mode was my salvation."
Although Depeche Mode now have a rock star life in the top class, and stay in the best hotels and can count six-figure sums in their bank account, they have still retained a good sense of reality.
Dave Gahan talks of the experience of the group during their recent visit to Thailand: "We stayed in a great hotel, where there was everything you could possibly want. And as soon as we went around the next street corner, we saw these emaciated children in shredded clothes, begging for a few pennies. This was by far worse and more hopeless than our own youth situation - then we have discussed the whole night at the hotel and decided to strengthen our social commitment even further. In the future we will try to make our music and lyrics so obvious that no message remains unheard, that no one can close their eyes and ears. - Hopefully we can change things."
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:55:44
1984-xx-xx - Unknown (Unknown) - Dave Phone Interview

Sadly, we don't have this radio interview. It used to be hosted on Depechemode.TV.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:56:00
1984-xx-xx - Depeche Mode - People are People


People Are People
Video Released: 1984
Video Director: Clive Richardson

clip 1 - The first clip is the Single Version. This was shown on television.
clip 2 - The second clip is the 12" Version. It was included on the home video release of "Some Great Videos".
Appears on the album:
Some Great Reward
Appears on the home video(s):
clip 1 - Promotional only music video - not commercially available
clip 2 - Some Great Videos home video
Some Great Videos 81>85 home video (U.K.)

People Are People - (7" Version) (running time: 3:41)
People Are People - (12" Version) (running time: 7:17)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:56:12
1984-xx-xx - Depeche Mode - Somebody


Video Released: 1984
Video Director: Clive Richardson

Appears on the album:
Some Great Reward
Appears on the home video(s):
Some Great Videos home video
Some Great Videos 81>85 home video (U.K.)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:56:37
1984-xx-xx - Unknown (??) - P.P. show: Alan (10 min)

[We don't have this audio interview.]
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:56:52
1984-xx-xx - Płomyk magazyn (Poland) - Spiewane Depesze

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[This one is big enough to read:]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 22 July 2013 - 07:57:14
1984-xx-xx - Unknown (UK) - Construction Time Again (20 Facts about Depeche Mode)

[Thanks to meldepeche (;u=799) for scanning this article for this forum.]

( (

[I typed out the text:]

Everything Counts... from one to twenty, we count up the facts and the figures concerning Depeche Mode.

What have Depeche Mode got in common with Frankie Goes To Hollywood? Well, O.K., so they're both known to indulge in the odd bit of leather leisure wear.
But, more than that, Depeche Mode's 'Master and Servant' almost achieved the supreme accolade, previously attained by only a select few records such as Pink Floyd's 'Arnold Layne'. The Sex Pistols' 'God Save The Queen', and of course Frankie's 'Relax', of being banned (or should I say, 'removed from they playlist'?) by the BBC.
The Beeb sent for a copy of the song's lyrics to check them. Only one BBC official considered them obscene but, since he was away on holiday at the time of the decision, he was overruled and the song was passed as being suitable for public listening.

Martin Gore likes to strip down his music to the bare essentials. In order to get that special raw quality on the song, 'Somebody', Martin apparently went into the cellar of the record studio, took off all his clothes, grabbed the mike and started singing. The whole thing came to an abruopt end when the other members of the group sent down a girl tape op' to check Martin's connections (electrical connections, that is...) - the next thing that was heard was a piercing shriek from Martin as he tried to cover his embarrassment.

The man behind Depeche Mode and their record label, Mute, is the producer Daniel Miller. Rumour has it that Daniel Miller was formerly a monk at a monastery in Zermatt.

Dave Gahan has one great passion in life - bananas. Some days he gets through as many as thre whole bunches of them.

Mode birth dates are:
David Gahan - June 9th, 1962
Martin Gore - June 23rd, 1961
Andy Fletcher - July 9th, 1961
Alan Wilder - June 1st, 1959

Prior to Depeche Mode, Martin, Andy and Vince Clarke (of Yazoo, Assembly and early Mode) formed an acoustic group featuring bass, guitar and drums, under the name Composition Of Sound.

When Alan Wilder joined the group after the departure of Vince Clarke, one of the points in his favour was that he was not a fan of Depeche Mode. According to Dave, the band approved a fresh outlook, although they also had some doubts about Alan which is why they kept him under 'continuous assessment' for some time before taking him on as a full-time group member at the time of 'Broken Frame'. "I mean, he wasn't even from Basildon" comments the highly partisan Dave. "You don't know what he might have picked up."

Dave used to get  sick of being asked about the stud in his nose. The worst culprits were French journalists who seemd to have an obsession with the nasal decoration. Finally, Dave took the stud out for the last time last year. The latest news is that the stud-hole has now healed over.

The group try to employ ideas picked up from all manner of different styles of music. Amongst their improbable influences are the American avant-garde composers Steve Reich and Philip Glass, as well as Gamelan drumming music from Java and Bali.

Dave's mother's family has always been involved with the Salvation Army. This led to Dave's first ever public performance - singing carols with the Sally Army at the tender age of eight.

The first Depeche Mode public venue was a church in their home town of Basildon.

In the early days, the group became well-known for their static stage performances. At the beginning of a gig, they'd come on, Dave would put the pre-recorded drumming tape on, the four of them would stand by their synths and start playing. They wouldn't move at all until the end of a gig, when they would walk off stage again. Some people took this approach to represent sheer pretension. But according to Dave there was quite a different reason - "Not so much the Gary Numan syndrome," he says, "as pure stage fright."

Why do they keep on with the pre-recorded electronic drumming? What's wrong with a 'real' drummer, after all?
"We're aware of the limitations of using a backing tape but we can't see ourselves playing with a live drummer at this stage", says Dave. "Nobody could play precisely enough of give us all the sounds we've used in the studio."

If bananas are his passion, then garlic is Dave's greatest loathing.
Commenting on a slap-up nosh with the record company in France, he says, " it was horrible. The soup was like water, then there were snails and lots of garlic. I kept telling them I didn't like garlic but they kept putting loads of it on everything anyway, including the six bananas I had for sweet."

Ever wondered what that strange instrument was in the 'Everything Counts' video? Then I'll tell you. It was a shawm ("Oh yes, I thought it looked a bit like one." scream all our clever-dick readers). Well, just in case, lurking out there somewhere, we have at least one honest reader prepared to admit to have never having heard of a shawm, I'll even be so generous as to explain what one is. It is a kind of Chinese oboe. I bet you're now really impressed that Depeche Mode can play Chinese oboes. Sorry to disappoint you, but they can't. They were, in fact, miming, to electronic sounds.
"Some people wrote to us to say they felt cheated that we hadn't spent three months learning to play a shawm, but I don't see that at all", Dave casually dismisses any objections.

The group's first single was called 'Dreaming Of Me'. It was recorded at the Blackwing studio in South London in February 1981, was released on Mute and distributed through Rough Trade. It got into the Charts, but only just, because it went no higher than No. 52. Was this a disappointment?
Far from it, in fact, it was an achievement, that exceeded their wildest dreams. After all, at that time, they were an unknown band on a tiny, independent label which was distributed not through one of the multi-million dollar international mega-corporations such as EMI or RCA, but through a relatively small, independent company.

Daniel Miller never lets his producer's ear be deceived by the impressive sounds issuing from the studio amplification. He has a gadget called 'Ear Opener' which exactly reproduces the compression and re-equalisation of the new sounds that would be heard when the record is transmitted over the radio. In this way, he can tell from the outset whether or not some clever mix on a single will actually sound any good when heard on a grotty tranny.

The Mode have been at the sharp end of savage criticisms enough times to have become hardened against it. On one occasion, a critical reviewer admitted to them that he had listened to the album he attacked in print at four o'clock in the morning and that, since then, he had played the record again and had grown to like it. But, as Dave says, "By then the damage had been done... when you've spent three months recording an album, that sort of thing is really disgusting."

How did they get the whipping effects on 'Master and Servant'? Daniel Miller is the man responsible. No he wasn't standing over the group lashing their firm young bodies with a cat o'nine tails. There's a far more prosaic explanation, I'm afraid. He just hissed and spat into a microphone and the sounds were then electronically sampled and disorted into the whipping sounds.

The name of the group has never ceased to cause them problems. Originally, it was pinched from a title in a French fashion magazine. Literally it means, 'hurried fashion'. Although there's no accent over the finale 'e' of Depeche, the group insist that the name should be pronounced 'Deypeshey' Mode. This causes problems when they visit France - because French people insist that the word should be pronounced 'Deypesh'. The Mode are sticking to their guns, however.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 30 July 2013 - 23:11:48
1984-xx-xx - Unknown (UK) - News

[Thanks to meldepeche (;u=799) for this article. Probably from Sounds or Record Mirror.]

( (

DEPECHE MODE release no less than three different versions of their single 'Somebody' on October 29.
The first version version is double A-sided single featuring the title track and 'Blasphemous Rumours'. The second version is a 12 incher featuring 'Blasphemous Rumours' on the A-side with four live tracks - 'Somebody', 'Two Minute Warning', 'Ice Machine' and 'Everything Counts' - recorded live at the Liverpool Empire in September. The thir version is a four track sever inch single with remixed version of 'Somebody', a live version of 'Everything Counts', a live version of 'Told You so', and the album version of 'Blasphemous Rumours'.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:02:31
1984-xx-xx - Unknown (UK) - Building Bricks & Wooden Sticks

[Thanks to meldepeche (;u=799) for scanning this article for this forum. Probably from Sounds or Record Mirror.]

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Building Bricks & Wooden Sticks

Air compressors, concrete slabs and rubbish tips aren't the sort of instrument you'd normally associate with hit records. But Depeche Mode can't get enough of them. All these and more are featured on the hit singles, 'People are People' and 'Master and Servant'. And that's just the beginning.
Apparently they'll leave a bash at anything they can lay their hands on, just to see what they sound like. So the toy piano you could have sworn you heard on 'Master and Servant' is just that!
Well, it's certainly a step in a different direction for the Modes which seems to have paid off. Somehow they've managed to switch from producing 'pretty pop' to 'metal music' without losing fans - not bad for a band who lifted their name from a French fashion magazine!
'Some Great Reward' the new Depeche Mode album is out in the shops now - lovers of strange noises need look no further.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:02:54
1984-xx-xx - Unknown (UK) - Depeche Toi!

[Thanks to meldepeche (;u=799) for this article.]

( ( (

The boys from Basildon hurry along...
Mode Depeche?
Depeche Toi!

Watching Depeche Mode on the TV the other night I found it ironical that the translation of their name from the French is "fast fashion" or "the latest thing". After all, it's now nearly four years since I heard John Peel's dulcet tones introducing the best ever version of 'Photographic', a shadow of which was later to appear on the first album. Of course the "fast fashion" joke has worn a little thin now, but unless you're a Spizz you can't change your name in midfame. Depeches toi, on the other hand, also has a good ring to it, despite meaning "hurry up", perhaps an even more inappropiate sentiment.

And in these years Depeche Mode have notched up a now lengthy string of hits, from New Life and Just Can't Get Enough to the third single from the current album, Blasphemous Rumours. Hot on the heels of People are People and Master and Servant, it's the reason I saw these still fresh faced lads popping along on Top Of The...
And compared to some of earlier instant pop Blasphemous Rumours takes a lot more getting used to. What saves it perhaps from being ignored on the radio is that it has that most vital of properties of today's chartbound songs, the singalong chorus, 'I think that God's got a sick sense of humour' is fast becoming the best post-Frankie controversy on the market.
It's just a question of keeping ahead. but then Depeche Mode were lucky enough gto start ahead of a lot of the competition; they had the backing of the chaps at Mute, which gave them good forward production for the time, as well as the talents of people like the legendary Daniel Miller, who still sits at the controls even now.
What they also had in those early years were the songwriting skills of Vince Clarke, who was to depart after just three singles, in search of Yazoo.
At the time the climate of opinion was that Vince's departure would kill Depeche Mode, which just goes to show how wrong the weather forecast can be. As it happened, the shakeout brought the sensitive songwriter of Martin Gore to the fore. He now writes virtually all of the songs, contributing all but one of the Some Great Reward collection. It is a combination of his lyrical aptitude and the impeccable production which make Depeche Mode so distinctive and, in these pop filled days, attractive.
Once upon a long time ago I went to see Depeche Mode play. It was a drab affair; possibly the first band I'd seen where there wasn't a guitar or drum kit in sight. And, let's face it, there's not much to see when there's only a tape whizzing round and three young men standing behind synthesizers. Nevertheless, it made enough of an impression for me to go and talk to them. And their bright infectious conversation tipped the scales in their favour: I was hooked.
I've kept an objective eye on them ever since, and it's been a good slice of the success for which they have worked so hard. And their stage set has improved a lot now too, with a hundred little diversions from the synth 'n' tape melange we got so used to. Did you see the bicycle wheel on TOTP?
Go and see them at Chrismas.

Piers Letcher
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:03:19
1984-xx-xx - Unknown magazine (Germany) - Wir singen, was wir denken

[Many thanks to Sabu (;u=750) for sending in this scan!]

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Depeche Mode: Wir singen, was wir denken!

Die vier sind jung. Sie sehen gut aus. Aber wenn sie sich in ihrem Reisemobil einigeln, wirken sie gar nicht wie Weltstars. Die Boys von DEPECHE MODE scheinen eher scheu...
Basildon in der englischen Grafschaft Essex ist ein verträumtes Kleinstädtchen, dem man nicht anmerkt, daß es nur wenige Kilometer östlich der Metropole London liegt. Dave Gahan, Martin Gore, Alan Wilder und Andrew Fletcher stammen aus Basildon, und die ländliche Stille ihrer Heimatstadt scheint auf sie abgefärbt zu haben. Doch so einfach ist es für die vier nicht mehr, ihre Ruhe zubekommen. Spätestens seit dem Superhit „People Are People“, der in aller Welt die Hitparaden bis ganz nach oben stürmte, sind Depeche Mode von Autogrammjägern umlagert, wo immer sie sich blicken lassen. Ihr melodiöser Synthi-Pop kommt an: Bei aller Begeisterung für elektronische Musik bleiben ihre Songs doch immer echte Ohrwürmer. Abgehobene Experimente sind bei Depeche Mode nicht drin.
Alan und vor allem Martin schreiben die Stücke, auf fremde Autoren sind die Boys nicht angewiesen. Wichtig, wenn man ein Ziel hat wie Alan: „Wir wollen den Alltag der Menschen in Musik kleiden. Wenn wir etwa von der Liebe singen, dann gleichzeitig auch von der Nähe zum Wahnsinn, der bei der Liebe immer mit im Spiel ist.“
Mit „People Are People“ wollten die vier für Frieden und die Gleichheit aller Mensche eintreten. Aber das Video, das auf allen TV-Kanälen zu sehen war, zeigte mächtige Schlachtenkreuzer in aufgewühlter See, die wie feuerspuckende Drachen gewaltige Breitseiten abfeuerten. Wie verträgt sich so ein Video mit dem Anspruch des Songs? „Die Bilder sollten das Böse, das ein Krieg mit sich bringt, noch unterstreichen“, meint Sänger Dave. „Krieg ist absurd, wir brauchen Frieden... und ich glaube, das ist auch ‚rübergekommen‘!
Und wie geht’s weiter mit Depeche Mode? Die Boys wollen ernsthafte Musik für ein anspruchsvolles Publikum machen. „Wir sind keine Rambozambo-Band“ sagt Dave, „unsere Musik soll stets ein Stückchen mehr sein als pure Unterhaltung! Wir singen, was wir denken — ein bißchen Tralala, nur um einen Hit zu landen, das ist nichts für uns!“

[Translation by me:]

Depeche Mode: We sing what we think!

The four are young. They look good. But when they retreat into their tourbus, they do not act like superstars. The Boys of DEPECHE MODE seem rather shy ...
Basildon, in the English county of Essex, is a dreammy little town, about which you cannot even tell that it's just a few kilometers east of the city of London. Dave Gahan, Martin Gore, Alan Wilder and Andrew Fletcher come from Basildon, and the rural silence of their hometown seems to have rubbed off on them. But it is not so easy for the four anymore to get their rest. Ever since their smash hit "People Are People", which stormed up the charts all around the world, Depeche Mode are besieged by autograph hunters wherever they show their faces. Their melodic synth-pop works: for all enthusiasts for electronic music their songs always remain earworms. Vague experiments are not Depeche Mode's game.
Alan and especially Martin write the pieces, the boys do not need other authors. That's important when you have a goal like Alan does: "We want to dress everyday life of people into music. When we sing about love, then at the same time also madness is mentioned, which is always involved when it comes to love."
With "People Are People" the four wanted to adress peace and equality for all humans. But the video, which was shown on all TV channels, showed mighty battles in troubled waters, who fired like fire-breathing dragons tremendous broadsides. How is the video compatible with the statement of the song? "The images is supposed to underline the evil that comes with war brings" says singer Dave. "War is absurd, we need peace... and I think that 'came across'!
And what's next for Depeche Mode? The boys want to make serious music for a discerning audience. "We are not a Rambozambo band" Dave says,"Our music is supposed to always be a bit more than pure entertainment! We sing what we think - a bit of tralala just to get a hit is not not our thing!"
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:03:34
1984-xx-xx - Depeche Mode - Master & Servant


Master And Servant
Video Released: 1984
Video Director: Clive Richardson

Appears on the album:
Some Great Reward
Appears on the home video(s):
Some Great Videos home video
Some Great Videos 81>85 home video (U.K.)
The Best Of Depeche Mode, Volume 1 (CD + DVD) home video
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:04:06
1984-xx-xx - Melody Maker (UK) - Blackmail

( (

[I typed out the text:]


When they come to write, as they surely will, the history of pop's most enduring singers, they might just overlook this fresh-faced youngster, who over the years has given us more pleasure than just about anything else in the whole world. Renowned in the last few years for his innovative use of the Stylophone, his career was in fact launched into action way back in the Fifties when he could often be seen in the company of Cliff Richard, Adam Faith, Johnny Ray and David Jacobs. He was just plain Dave Plink Plume De Ma Tante then, but now... well that would be telling. Who can it be? Sam King? One of Boys Wonder? All we're saying is that we just can't get enough and we'll have to leave in silence. People are people when you come to think about it.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 August 2013 - 02:04:26
1984-xx-xx - Moderne Media Verlags GmbH (Germany) - Depeche Mode Popspecial

[Thanks very much to Strange-pimpf (;u=801) for taking photos of this magazine and having uploaded it in the Facebook group Depeche Mode Classic Photos and Videos (! This magazine and a lot of its photos have NEVER been uploaded before and so it has been decided to place a watermark in the corner of the pages. Please DO NOT remove the watermark; be glad that we DID NOT place the watermark in the MIDDLE of each photo, as some sites do. PLEASE BE COURTEOUS ENOUGH to credit this forum and especially "Strange Pimpf" if you MUST copy these photos on your fansite, ESPECIALLY WHEN you crop the photo in such a way that the watermark disappears. PLEASE RESPECT the work done by our contributors. If some of you CONTINUE to remove our watermark, even when it's at the expense of the quality of the photos, then we will have to resort to placing a bigger watermark in the middle of the photos, and nobody wants that.]

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[Typed out by me:]

Depeche Mode
Eine Biographie
von Michael Bork-Prahm und Lukas von Saint George

Spätsommer 1980
In den britischen Single-Charts tummeln sich in diesen Wochen Interpreten wie Abba, Kate Bush, David Bowie, The Jam und Cliff Richards an der Spitze. Die Lp-Charts werden beherrscht von Gary Numan, Roxy Music, Kate Bush, David Bowie und Police.
In diesem Zeitraum fällt auch die Geburtsstunde einer Band aus einem kleinen Städtchen in der Nähe von London.
Basildon. Ein kleines, friedliches Städtchen in der Grafschaft Essex. Drei junge Männer beschließen, dem tristen Landleben ein Ende zu setzen und gründen eine Band.
Vince Clarke, Der Älteste des Trios, hatte zuvor in einem Folk-Duo Gitarre gezupft, Martin Gore hatte sich einen kleinen Synthesizer von seinen schmalen Einkünften abgespart und Andrew Fletcher war im Besitz einer Baßgittare. Die Drei kannten sich schon seit Schulzeiten und Vince und Andrew hatten gar gemeinsam im Kirchenchor der Gemeinde gesungen. Dennoch: ein guter Sänger muß her. David Gahan, ein Heißporn aus der Nachbarschaft, ist es schließlich, der die Band kompletiert.
Ein französiches Modemagazin muß als Namensgeber herhalten:
Martin dazu - 4 Jahre später -
"Es ist manchmal zum Verrücktwerden mit den Journalisten. Nach all den Jahren fragen sie dich allen Ernstes, WIE man Depeche Mode ausspricht! Stell dir vor! Als würde es irgendjemanden wirklich interessieren, WIE um alles in der Welt man nun Depeche Mode aussprechen muß!"
Die ersten musikalischen Gehversuche gehen in die Richtung konventioneller Pop-Musik. Aber schon sehr bald haben die Vier die Nase voll von den Möglichkeiten, die ihnen ihr Equipment bietet und so fassen sie einen entscheidenden Entschluß:
Elektronik ist das Zauberwort und Synthi-Pop die musikalische Devise.

Aber die ersten Demos der damals sehr jungen Kids aus Basildon beeindrucken niemanden in den Chefetagen der Großen Plattenfirmen. Es folgt Absage aus Absage. Depeche Mode's große Stunde schlägt erst anläßlich eine Gigs im Bridge House von Canning Town, als es ihnen gelingt, im Vorprogramm des Elektronik-Zauberers Fad Gadget unterzukommen. Das Publikum war überrascht und ganz besonders ein Mann ist an jenem Abend begeistert. Dessen Begeisterung wird für die Band von entscheidender Bedeutung sein.

Daniel Miller, Elektronik-Tüfftler, Produzent, Müsli-Fan und Chef des kleinen aber feinen Labels Mute Records engagiert Depeche Mode vom Fleck weg. Ein beiderseitiger Glucksgriff, wie sich schon sehr bald herausstellen wird. Denn die erste Single - von Daniel produziert - "Dreaming Of Me" wird kein Erfolg. An der Ladenkasse und bei den Kritikern. Die zweite Single "New Life" kann sogar noch eine Steigerung bringen und mit "Just Can't Get Enough" ist der Bann endgültig gebrochen.
Martin erinnert sich:
"Es kam fast von heute auf morgen. All der Rummel. Wir haben fast jeden Tag irgendwelchen Leuten irgendwelchen Interviews gegeben, ganz gleich, ob es gut für uns war oder nicht. Wir waren sehr jung damals und in vielerlei Hinsicht naiv."

Das Debut-Album "Speak And Spell" erscheint im November und befreit die Band endgültig von dem Vorwurf der Synthi-Pop-Eintagsfliege. Vince Clarke hat sich als musikalischer Kopf etabliert und wird von vielen Journalisten als eine der ganz großen Hoffnungen der Pop-Musik bezeichnet.
Doch ein Gerücht hielt sich hartnäckig:
Depeche Mode seien eigentlich Daniel Miller!
Martin dazu:
"Man hat uns das immer wieder vorgehalten. Als seie wir nur die Darsteller gewesen, die Daniel für seinen musikalischen Ideen benutzt hätte, so eine Art Schaufensterpuppen. Aber ich sage dir, das stimmt nicht. Er ist Soundspezialist, er ist unser Produzent, also hat er natürlich Einfluß auf unsere Musik. Er ist unser Ratgeber, wenn wir in der Sackgasse stecken. Aber wir sind nicht abhangig von ihm. Wir könnten jederzeit zu einer großen Plattenfirma gehen, wenn wir es wollten. Aber das ist derzeit nicht akut. Die Zusammenarbeit läuft bestens. Warum sollten wir etwas ändern, was nicht verändert werden muß?"
Depeche Mode sind live eine Band, die zu beeindrucken weiß, sehr lebendige, tanzbare Pop-Musik, jeder Song eine kleine Perle. Dave ist eine fantastischer Front-man, der eine mitreißender Show abliefert. So nimmt es kein Wunder, daß die ersten Gigs in Deutschland und Frankreich der Band eine große Zahl an Fans bescheren.

Alles deutet darauf hin, daß Depeche Mode kurz vor dem Durchbruch steht, da steigt Vince von heute auf morgen aus. Es ist kein guter Start ins Jahr '82. Der Rummel, die schnelle Popularität der Band, der Tour-Streß, all das hängt dem eher eigenbröderischen Vince zum Hals heraus. Vince: "Ich ziehe es vor, in aller Ruhe im Studio zu arbeiten, mein eigener Herr zu sein, allein arbeiten zu können..."
Die Wetten stehen schlecht für die Zukunft der übrigen Drei. Die Geschichte scheint zu Ende, bevor sie richtig begonnen hat. Aber schon sehr bald beweisen Depeche Mode, daß sie auch ohne Vince bestehen können. Martin, der schon auf dem Debutalbum stellenweise seine Songwriter-Qualitäten erkennen ließ, verschafft der Band mit der ersten gänzlich aus seiner Feder stammenden Single "See You" einen Riesen-Hit. Vinces Worte schienen sich bewahrheitet zu haben: "Martin ist ein genialer Songschreiber. Nur weiß er es gar nicht." Spätestes weiß es Martin, er und Depeche Mode klingen auch nach Vince Weggang wie Depeche Mode.
Musikalische Differenzen waren ja wohl nicht der Grund, daß Vince sich von euch getrennt hat. Depeche Mode klingt heute nicht viel anders, und auch Vince will ähnlich weitermachen...
David: "Warscheinlich hatte er Angst, zu sehr von der Öffentlichkeit eingenommen zu werden. Die Leute achten oft mehr auf unsere Gesichter und Kleidung als auf die Musik. Das hat ihm keinen Spaß mehr gemacht... Er hat gerade eine Single aufgenommen, ein Mädchen singt und er macht die Electronics..."
Martin: "Er hat's auch gemacht, weil er alleine arbeiten wollte. Er wollte eine Solo-Karriere."
War das ein schwerer Schlag für die Band?
Martin: "Wir waren besorgt."
David: "Nicht wegen Martin's neuer Rolle als Songwriter, das hat mich nicht gesorgt. Aber die Presse verzerrt die Dinge gerne. Die konnten einfach schreiben: "Ja, ganz nett, aber wo sind die Vince-Clarke-Songs?" Für das Radio ist das nicht so wichtig; die wissen wahrscheinlich sowieso nicht, wer was schreibt. Aber die Presse... sie kann das Image der Band verderben."
Meint ihr, daß Depeche Mode heute besser sind als früher?
Martin: "Oh ja sicher, wir sind viel mehr Gruppe als früher, als wir vieles einfach Vince überlassen habben. Er war der Typ, der Sachen anpackt, wenn wir nicht weiter wußten, insofern hat uns sein Ausstieg mehr Gutes als Schlechtes gebracht. Im Studio kennen wir uns jetzt besser aus, die Songs können wir optimaler umsetzen, wir sind einfach erfahrener geworden."

Smash Hits, eine englische Popzeitschrift weiß zu berichten: "Eines Abends machte sich vince auf, um seine ehemaligen Kollegen einmal live aunzuschauen. Er sagte später, daß es ein sehr merkwürdiges Gefühl gewesen sei, denn dabei sei ihm zum erstenmale richtig klar geworden, WIE Depeche Mode klingen. Er war beeindruckt, richtig beeindruckt, von der Show, die ihm und all den begeisterten Kids geboten wurden."

Das zweite Album "A Broken Frame" zeigt die Band im Übergangsstadium: viele gute Ideen bleiben lediglich angedeutet, manches bleibt Entwurf.
Dave: "Wenn ich mir heute unsere ganz frühen Songs anhören, dann denke ich oft, daß sie irgendwo leer klingen. Sie sind okay, nur es scheint mir immer etwas zu fehlen."
Martin: "Er war eine schwierige Zeit. Eigentlich hat kaum jemand ernsthaft damit gerechnet, daß wir es schaffen würden. Und ganz ehrlich: wir waren auf schlechte Kritiken vorbereitet. Wir haben es einfach versucht, irgendjemand mußte ja etwas unternehmen und so habe ich das Ruder übernommen. Wir haben einfach weitergemacht, weil wir es wollten. Nach dem Motto: mal sehen, wie weit wir kommen. wir haben immer damit gerechnet, daß es sehr schnell vorbei sein kann. Da haben uns manche Äußerungen doch sehr hart getroffen. Wir haben damals sehr an unserem Image, daß uns die Medien verpaßt hatten, geklebt. Eine schwere Last. Also mußten wir neue Richtungen ausprobieren."

Ein vierter Musiker wird hinzugezogen. Anfängich nur als Begleitmusiker für Tourneen gedacht, entwickelt er sich sehr schnell zum vollwertigen Gruppenmitglied. Mehr noch: seine Ideen und seine musikalischen Kenntnisse nehmen nachhaltig Einfluß auf den Sound der Band.
Alan Wilder, der von Journalisten gern als der "ewige Musiker" bezeichnet wird, hat schon als 8jähriger eine klassische Klavierausbildung über sich ergehen lassen müssen. Mit 17 beginnt er als Tontechniker in einem Londener Aufnahmestudio zu jobben und sammelt viele Erfahrungen. Es folgen recht erfolglose Gastspiele in diversen lokalen Bands, bis er schließlich über eine Annonce auf Depeche Mode trifft.
Schon auf der sehr bald folgenden US-Tour machen sich Alans Qualitäten sehr positiv bemerkbar und auch auf der England-Tour, wobei es im Londoner Hammersmith Odeon zwei total ausverkaufte Konzerte gibt, zeigt Alan, daß er mehr ist, als nur ein Vince-Clarke-Ersatz.
Das Jahr bringt für Depeche Mode weitere Erfolge anläßlich einer ausgedehnten Europatournee von Schweden bis nach Frankreich.

Die Singles "Leave In Silence" und vor allem "Get The Balance Right" - Martin: "Das vielleicht beste und wohl schwierigste Stück, das wir je aufgenommen haben..." - leiten für Depeche Mode ein sehr erfolgreiches Jahr 1983 ein. Eine US- und Kanada-Tournee wird mit großem Erfolg abgeschlossen.
Und schließlich erfüllen sie sich einen großen Traum:
Eine Einladung zu Live-Auftritten und Fernseh-Show im fernen Osten! DEPECHE MODE sind völlig überrascht, als sie auf dem Kai Tak Flughafen in Hongkong landen und sich Hunderte von Fans schon Stunden vorher eingefunden hatten, um ihre Lieblinge frenetisch zu begrüßen. Alle Konzerte waren vollständig ausverkauft.

Der weitere Weg scheint festgelegt. Synthi-Pop, Tanzmusik, melodisch, nett aber dennoch unverbindlich und harmlos. Die liebenswerten Synthi-Popper. Und genau in diesem Moment reißen die Vier das Ruder herum. In den Berliner Hansa Studios wird erstmalig mit einer 56-Spur-Maschine abgemischt. Es entsteht das 3. Album "Construction Time Again".
Harte, rauhe Töne werden angeschlagen. Fremdartige Soundcollagen prägen von nun an die Musik, überlagernde Rythmen und wunderschöne Melodien. Eine abrupte Standortbestimmung, ein vehementer Kurswechsel.
Das Cover-Motiv, das einen hammerschwingenden Arbeiter zeigt, in einer gigantischen Bergkulisse, Themen wie Umweltzerstörung, Arbeitslosigkeit, Kriegsgefahr, lassen die Band in die Nähe des "Sozialismus" rücken. Waren aus den Poppern gar Politagitatoren geworden? Sollte wirklich erneuert und aufgebaut werden?
Alan sagt dazu: "Wir sind absolut keine Polit-Band! Auch wenn uns so manche Zeitschrift den Stempel der "Sozialismus-Popper" aufdrücken wollte. Es ist richtig, daß wir heute erwachsener geworden sind und daher manche Illusion verloren haben. Dadurch ist auch automatisch die Musik härter geworden und auch die Aussagen. Wir beschäftigen uns mit den Dingen, die in der Welt geschehen, und wir sagen unsere Meinung. Aber es ist nicht so, daß wir EINE politische Richtung vertreten. Wir sind nicht einmal in irgendwelchen Parteien engagiert."
Und Martin fügt hinzu: "Wir schreiben keine Polit-Songs in diesem Sinn. Alles was wir wollen, ist, daß die Leute mal über das eine oder andere in der Welt nachdenken. Ich habe die Illusion nie gehabt, daß Popmusik politisch etwas verändern kann. Wir wollen, daß die Leute zwar angestoßen werden, aber eine eigene Meinung müssen sie sich schon selbst bilden. Ich schreibe sehr persönliche Texte, keine Polit-Parolen. Unsere Message ist, keine Message zu haben. Sieh es einfach so!" Die ausgekoppelte Single "People are People" bringt vor allem in Deutschland den langerwarteten großen Erfolg.
Martin: "Es war unser wichtigstes Album. Zum erstenmal waren wir in der Situation, wirklich das zu machen, was uns schon sehr lange vorgeschwebt hatte. Wir haben nicht mehr gekleckert sondern geklotzt. Das Feinste vom Feinen. Ich denke, es hat sich ausgezahlt."
"Everything Counts" und "People Are People" sind ohne Zweifel herausragende Songs der Popkultur. Und als "People Are People" die Nummer 1 in Deutschland ist, nehmen Dave und Andrew sehr stolz den verdienten Lob für ihre Arbeit entgegen: Peter Illmann überreicht den beiden einen Teil der heißbegehrten Isetta der Fernsehsendung FORMEL EINS!

Andy wird von den übrigen Bandmitglieden und der Crew auch liebevoll "Fletch" genannt. Wäre er nicht bei Depeche Mode gelandet, hätte er wohl Geschichte studiert, denn sein größtes Interesse gilt der Beschäftigung mit der geschichtlichen Entwicklung seit 1945. Andrew verschlingt absolut jedes Buch, das ihm zu diesem Thema in die Finger kommt. Mit seiner Freundin verbringt er die meiste Zeit indem sie über gesichtliche Themen diskutieren. Das ist nicht allzu ernst zu nehmen. Andy wohnt noch zuhause. Er sagt, er sei zu faul, eine eigene Wohnung sauberzuhalten. Und so ist Nichtstun auch seine drittliebste Beschäftigung nach Geschichte und Musik.
Er plant eine Weltreise, vorausgesetzt, es ist endlich einmal die Zeit dazu da. Dann würde er sich mit seiner Freudin die bedeutensten Schauplätze des Zweiten Weltkrieges anschauen.
Andrew hat früher einmal zusammen mit Vince im Basildoner Kirchenchor gesungen und hat eine Kaufmannslehre als Versicherungskaufmann absolviert. Eine Zeit, an die er sich im Nachhinein nur sehr ungern erinnert.
So ausgelassen und wild er sich auf der Bühne gibt, so freundlich und ruhig ist er privat.

Martin ist der musikalische Kopf der Band. Er schreibt die meisten Songs und steckt mit seinem Ehrgeiz alle an. Seine Liebe zu Berlin ist bekannt und nachdem er sich nun mit seiner Freundin eine kleine Wohnung eingericht hat, häufen sich die Gerüchte, daß er ganz nach Berlin übersiedeln wird.
Martin ist strenger Vegetarier, geht für sein Leben gern tanzen und ins Kino und seine größte Leidenschaft sind Computer-Spiele. Wo immer er einen dieser Apparate erwischt, ist er nicht mehr zu bremsen.
Martin hat eine Banklehre absolviert, bevor es mit Depeche Mode richtig losging. Heute ist er heilfroh, daß er nicht dort versauern mußte.
Seine Lieblingsfarbe ist schwarz, schwarz und schwarz. Sein bester Freund ist Andrew, mit dem er dauernd zusammenhockt und Späße treibt. Sie verbringen in Basildon auch die meiste Zeit miteinander.

Berlin, Hansa-Studios. Inmitten einer Szenerie, die den Background für einen Film über eine atomare Katastrophe abgeben könnte. Im 3. Stock des schmucklosen Gebaudes herrscht reger Betrieb. Eine Journalistin vom Sender Freies Berlin schwirrt umher und hofft auf ein Interview. Überall sind Instrumente verstreut. Ständig laufen irgendwelche "wichtigen" Personen kreuz und quer. Über die Lautsprecher donnert die neue Single der Band. die Maxi-version im Rough Mix. Höllisch laut, mit sensationellen Soundeffekten.
Sichtlich zufrieden lummelt Dave in einer Ecke des Studios in einem Ledersessel und nickt und nickt. Lässig und in aller Ruhe eine Apfel verspeisend, lehnt hinter ihm Daniel Miller. Ach er ist zufrieden. Ein bartiger Herr kommt in den Raum. "Bitte kommt doch nochmal raus den Balkon! Die wollen die Fotosession endlich beenden." Also trabt David mit verzogener Miene hinaus auf den Balkon, wo ihn der lausige Sommer dieses Jahr erwartet.
Nach drei oder vier Shots hat die Band allerdings die Nase voll, auch wenn die Fotografin hinter ihnen herstürmt und versucht, ihnen klarzumachen , daß sie JETZT aber noch die absolut sensationellen Fotos machen will.
"Mal muß Schluß sein", grummelt Martin, Andrew setzt sich in den Vorraum und hantiert mit zwei Hanteln herum. "I like sports", erwidert er der ratlosen Fotografin.
Interview-Termin. Also geht es ein Stockwerk tiefer. Alan und David kommen nicht mit. Sie wollen den mix noch einmal mit Daniel durchgehen.
Eine gemütliche Sofa-Ecke ist der Schauplatz des folgenden Gesprächs mit Martin und Andy.
Wieso nehmt ihr die neue LP wieder in Berlin auf?
Martin: "Es ist ein sehr sehr gutes Studio. Und du weißt, ich liebe Berlin. Es herrscht hier eine Atmosphäre, die sich optimal auf unseren Sound niederschlägt. Unsere Musik ist härter geworden, nenn es aggressiv, wenn du willst. Das heißt nicht, daß wir keinen Wert auf schöne Melodien mehr legen, im Gegenteil. Nur: der Kontrast ist uns wichtig."
Andy: "Die Stücke entstehen ja schon in England, die Demos und die Grundmuster. Martin schreibt die Songs bevor wir ins Studio gehen. Hier in Berlin wird im Grunde genommen nur noch abgemischt. Wir haben sehr gute Erfahrungen gemacht mit diesem Studio. Es hat uns Glück gebracht. Warum also nicht ein zweites Mal?"
Es stand zu lesen, daß ihr das Image der Teenager-Band leid seid?
Martin: "Das ist totaler Quatsch. Wir lieben unsere jungen Fans! Und ganz besonders die deutschen Fans. Sie sind fantastisch. wir haben uns nur dagegen gewehrt, daß UNS viele Leute behandeln, als seien wir grüne kleine Jungs, mit denen man alles machen kann. Das spielen wir nicht mehr mit. Wer uns nicht ernst nimmt, wird sehr schnell merken, wie wir darauf reagieren."
Wie fühlt man sich als Popstar?
Andy: "Ich weiß nicht. Eigentlich ist es ein zweispaltiges Gefühl. Es ist ein enormer Druck, permanent in der Öffentlichkeit zu stehen. Du wirst beobachtet und darfst nichts falsch machen. Jeder meint, unsere Privatangelegenheiten mißbrauchen zu dürfen. Das ist nicht okay. Auf der anderen Seite brauchen wir den Erfolg. Wir brauchen die Plattenverkäufe, weil sonst die Räder nicht mehr rollen. Diese Maschinerie kostet viel Geld. Also mußt du weitermachen, um eben dieses Geld zu erwirtschaften."
Martin: "Wir haben schon manchmal darüber nachgedacht, warum wir das alles machen. Da gibt es auch mal 'nen Punkt, wo alles zuviel ist. Aber ganz ehrlich: aufhören kann eigentlich keiner mehr.
Was können Eure Fans bei der Tournee erwarten...
Martin: "Haha. Es wird sagenhaft. Viel härter, pure Tanzmusik. Die Leute werden es lieben. Wir haben uns viele tolle Überraschungen ausgedacht. Wer diese Konzerte verpaßt, hat wirklich etwas verpaßt. Haha im Ernst: Es wird toll, aber mehr verraten wir nicht."
Andy: "Nach der Deutschland-Tour geht es erst mal in den fernen Osten zu einer ausgedehnten Tournee. Wir wollten das schon lange mal wieder machen. Es ist ein irres Erlebnis."
Martin: "Dann wird Urlaub gemacht. Wir wollen uns nicht verheizen lassen. Und danach werden wir ein einstündiges Video aufnehmen. Einzelne Clips, die eine zusammenhängende Geschichte erzählen. Eine spannende Sache."
Euer Privatleben muß im Moment ziemlich leiden?
Martin: "Unser Privatleben ist unsere Sache. Stell bitte keine Fragen. Wir haben die Nase voll. Es geht niemanden etwas an. Ich bin oft sehr froh, wenn ich in Berlin mal ausgehe und werde nicht angequatscht. Nicht, daß ich das nicht will, wenn mich Fans ansprechen. Aber so dann und wann geht es ziemlich auf die Nerven."
David kommt herein und murmelt etwas von "Interview-Termin morgen früh bei so 'ner Radio-Sendung."
Daniel drängelt. Die Aufnahmen sollen endlich beendet werden. Also verabschieden sich die sehr höflich und verschwinden mit der Bemerkung: "Okay, Master and Servant part 45!"
Es ist nicht zu überhören und zu übersehen, daß Depeche Mode sich verändert haben. Die Band wollte das neue Album risikoreicher gestalten, neue Wege im Sound einschlagen, was ihnen ja auch in brillianter Weise gelungen ist.
Martin: "Vielleicht sind einige Leute enttäuscht. Das müssen wir aber in Kauf nehmen. Wir wollen niemand vor den Kopf stoßen. Aber wir sind jetzt schon so lange im geschäft und wir weigern uns, immer dieselbe musikalische Formel anzuwenden, immer dasselbe Strickmuster zu benutzen, nur weil es garantiert Erfolg bringt. So etwas wird sehr schnell langweilig. Die Fans bemerken das und dann ist das oft der schnelle Tod für eine Band."
Alan: "Wir sind keine Anziehpuppen, die den ganzen Tag lachen können. Schon gar nicht vor der Kamera. Niemand kann sagen, daß wir absichtlich unfreundlich sind. Aber es ist unser Job, gute Musik zu machen. Es wird von uns erwartet. Da mußt du dich konzentrieren, es ist oft hart. Wir sind so, wie wir sind, und sind es leid, uns nach einem bestimmten Image zu richten."
Martin: "Wir können der Press keine Skandale bieten. Keine Drogen oder Groupie-Geschichte. Keine Schlägereien, keine Krisen. Hahaha. Wir sind richtige Spielverderber!"
Seid ihr reich?
Andy: "Sehr! Jede Menge Geld und Juwelen. Ich weiß nicht genau, wie viele Millionen ich im Moment auf dem Konto habe. Aber jemand sollte sich mal genau erkundigen."
Euer größter Wunsch?
Martin: "Urlaub, Urlaub, Urlaub. Um in Ruhe über einige Sachen nachdenken zu können. Und dann eine fantastische Tournee hinzulegen."
Was hört ihr im Moment für Musik?
Andy: "Depeche Mode. Unser Lieblings-Band."
Wie lange wird es Depeche Mode noch geben?
Martin: "Solange es unsere Fans gibt. Ich glaube 100 Jahre. Es geht jetzt erst richtig los, glaube ich manchmal. Nach all den Jahren ist es immer noch aufregend. Mehr kannst du nicht verlangen."

Andrew: "Wir haben kein Image mehr. Wir sind nicht mehr festgelegt auf eine bestimmte Richtung. Wir haben keine bestimmte Botschaft. Das ist unsere Botschaft, denke ich. Früher wurden wir sehr oft fehlinterpretiert. Das ist schlimm, denn es kann dafür sorgen, daß deine Ansichten völlig durcheinandergeraten."

Martin: "Wir brauchen den Erfolg. Wir müssen Platten verkaufen, davon leben wir schließlich und die ganz Maschinerie kostet viel Geld, sie muß am Leben erhalten werden. Ich denke aber nicht, daß uns der Erfolg besonders verändert hat. Wir sind eben keine Super-Stars wie Elton John oder David Bowie. Wir sehen es eher gelassen."

Andrew: "Manchmal frage ich mich schon... wir verdienen all das Geld und du siehst all das Elend, wie vielen Arbeitslosen, aber was kannst du tun? Ich lade oft Bekannte ein, auf einen Drink, aber sie sagen ab, weil sie das Geld nicht haben..."
Alan: "Es ist ein Job. Wenn du versagst, bekommst du von niemandem etwas. Wenn du gut bist, dann wirst du auch prachtig bezahlt. Es ist fair, denn es ist ein sehr harter Job."

Andrew: "Ich mag keine Interviews. Ich mag keine Fotos von mir. Ich bin unfotogen."
Dave: "Am Anfang war es ganz schlimm, da haben wir uns alles zu Herzen genommen. Weißt du, all den Rummel, es gehört dazu. Es ist ein Spiel mit bestimmten Spielregeln. Ein ewiger Kompromiß. Es ist notwendig, also spielen wir mit."
Alan: "Wir lassen uns jetzt nicht mehr alles gefallen. In Belgien war beispielsweise so ein besch... Rundfunkmensch, der nur Mist gefragt hat. Wir haben ihm einfach die Kassette aus dem Rekorder genommen. Er wurde richtig handgreiflich, aber immer noch besser solch ein Ärger, als ein total mieses Interview im Radio..."

Dave: "Wir lieben unsere Fans. Aber manchmal frage ich mich... einige geben ihres letztes Geld aus, um uns hinterherzureisen, unsere Platten zu kaufen... ich verstehe es oft nicht. Ich denke, daß man einen Menschen gar nicht so sehr bewundern kann, daß man solche Sachen machen kann. Es ist eine riesige Verantwortung für uns."
Martin: "Bei jeder neuen veröffentlichung fragen wir uns, ob die Fans noch hinter uns stehen. Weißt du, all die anderen Bands, es gibt fantastische Sachen zur Zeit... da fragst du dich schon, ob deine alten Fans nicht inzwischen zu anderen Gruppen übergelaufen sind..."
Anläßlich eines Interviews mit der englischen Musikzeitung SOUNDS kam es zu folgender Situation: Die Band und der Fotograf begannen sich gerade auf die Aufnahmen vor einer Häuserfront vorzubereiten, da wurden sie von drei kleinen gackernden und kirchernden Mädchen erheblich gestört. Dave beschloß, dem ein Ende zu setzen und fragte die drei, was sie denn nun wollten. Darauf antwortete das eine Mädchen, daß sie für ihr Leben gern ein Autogramm von ihm hätte. Dave tat ihr den Gefallen und fragte sie scherzeshalber, ob sie denn wisse, wer sie überhaupt seien. Darauf antwortete das Mädchen in selbstsicherem Ton: "Natürlich weiß ich, wer ihr seid. Ihr seid Kajagoogoo."

Andrews Brille.
Der gute Andy ist derart kurzsichtig, daß er auf der Bühne oft das Publikum gar nicht sehen kann.
Andy: "Das ist nicht weiter schlimm. Nur in London, wenn Freunde ganz vorne an der Bühne stehen, bei Konzerten und sie winken wie die Wilden und ich kann sie nicht sehen... da hat schon mancher angenommen, ich sei furchtbar arrogant."
Andys Brille zu verstecken ist also der beliebteste Joke. Oder sie gegen Daniels Brille auszutauschen. Es gibt unzählige Variationen. Anekdoten...

David wohnt ebenfalls noch zuhause. Er ist leidenschaftlicher Angler. Allerdings läßt er sein Hobby nicht an den Fischen aus, denn seine Fänge wirft er meist zurück in die Fluten. David hat eine Ausbildung als Designer hinter sich und würde heute sicher irre Klamotten entwerfen (am liebsten für Popstars und zwar ganz in Leder!).
Nach drei Jahren Ausbildung wurde er mit Auszeichnung entlassen. David mag keine Videos und bevorzugt Kino-Action. James Bond und Sciene Fiction-Streifen stehen ganz oben auf der Hitlist. Seine Freundin Joanne Fox leitet übrigens unermüdlich und unentgeltlich den Depeche Mode-Fan Club. "Rund um die Uhr!" erzählt David. Sein Bruder Peter hat vom Ruhm des Bruders erhebliche Vorteile. Er tauscht in der Schule Autogramme des Popstars gegen Hausaufgaben...

Alan ist der alteste in der Band und wird von den übrigen Bandmitgliedern oft als Ratgeber und Beichtvater akzeptiert. Er wohnt als einziger in London zusammen mit seiner Freundin Jen und deren Sohn Jason. Alan ist ein stiller Typ, der mit seinen vielen musikalischen Erfahrungen sehr wertvoll für die Band war und noch immer ist. Gleich nach der Schule - mit 17 - jobbte er einige Zeit in verschiedenen Aufnahmestudios als Tontechniker und hatte, bevor er bei Depeche Mode einstieg, schon in diversen Bands recht erfolglos musiziert.
Alan hat schon mit 8 Jahren auf Druck seines Vaters Klavierunterricht nehmen müssen. Was sich heute bezahlt macht.
Sein größtes Hobby neben der Leidenschaft für die Musik ist die Fotografie. Mehrere dicke Fotoalben hat er schon in seiner Wohnung. Der Inhalt: Depeche Mode in allen Lebenslagen.
Der Tiernarr Alan kann sich nur schwer etwas anderes als Beruf vorstellen als Musik zu machen. "Eigentlich habe ich das schon immer gemacht und möchte as auch noch viele Jahre lang tun."

Was wurde eigentlich aus vince?
Der 1.62 cm große Soundtuftler Vince Clarke war nach seinem Austritt aus der Band kein Kind von Traurigkeit und machte sich sofort daran, seine eigenen musikalischen Ideen umzusetzen. Er traf über die Annonce auf seine alte Freundin aus musikschultagen Alison Genevieve Moyet, genannt Alf, und beschloß mit ihr zusammen als Duo zu arbeiten. Der Name der Band: YAZOO, benannt nach einem alten Mississippi-Blues-Label.
Im Studio von Eric Radcliffe wurden die ersten Aufnahmen gemacht. "Only You" hieß die erste Single und wurde auf Anhieb ein Riesen-Hit. Als "Ike und Tina Turner Of The New Pop" wurden die beiden bezeichnet und es hagelte Lob. Auch das Album "Upstairs at Eric's" war sehr erfolgreich und so waren Yazoo sehr schnell zu viel Geld gekommen und wurden als die größte Hoffnung des Pop bezeichnet. Aber vielleicht war Vince zu eigenbröderisch. Nach weiteren Single-Veröffentlichungen und einer zweiten LP trennten sich die Wege von Alf, die jetzt Solo weitermacht (und fantastisch ist!) und dem guten Vince. Er beschloß, in Zukunft mit Eric Radcliffe zusammenzuarbeiten. Ein eigenes Label wurde gegründet mit dem Namen "Reset", was soviel bedeutet als "Erneuerung".
Vince hatte es endgültig satt, an ein festes Schema gebunden zu sein und so sollten die neuen Projekte jeweils mit einem anderen Gast-Sänger oder Gast-Musiker entstehen. Feargal Sharkey, der Sänger der Undertones, war bekanntlich der erste, der auserkoren wurde. Die Debutsingle "Never, Never" bekamt zwar gute Kritiken, der große Erfolg blieb allerdings aus. Der Name des musikalischen Projekts/Konzepts ist "The Assembly".
Vince produzierte als nächstes die Single "The Face Of Dorian Gray", die sein Freund Robert Marlowe, ebenfalls aus Basildon, kürzlich veröffentlicht. Zur Zeit sitzen Eric und Vince wieder in ihrem Studio und tüfteln ein neues Album aus.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 06 August 2013 - 04:34:07
[This item is continued from the post above. Translation by me:]

Depeche Mode
A Biography
by Michael Bork-Prahm and Luke of Saint George

Late summer of 1980
In the UK singles chart of around this time, artists like Abba, Kate Bush, David Bowie, The Jam and Cliff Richards frequent at the top. The LP-charts are dominated by Gary Numan, Roxy Music, Kate Bush, David Bowie and Police.
This period also saw the birth of a band from a small town near London.
Basildon. A small, peaceful town in the county of Essex. Three young men decide to put an end to the dreary country life, and start a band.
Vince Clarke, the eldest of the trio, had previously plucked a guitar in a folk duo, Martin Gore had saved up money out of his small income for a small synthesizer, and Andrew Fletcher was in possession of a Bass guitar. The three had known each other since school, and Vince and Andrew had even sung together in the church choir. Nevertheless, a good singer had to be found. David Gahan, a hotspur from the neighborhood, has finally completed the band.
A french fashion magazine must be used as an eponym:
Martin with regards to that - 4 years later -
"It is sometimes irritating with journalists. After all these years they ask you in all seriousness, HOW to pronounce Depeche Mode! Imagine! As if out of everything in the world everyone only really cares about HOW we must pronounce Depeche Mode!"
The first musical steps go in the direction of conventional pop music. But very soon, the four are fed up of the opportunities offered to them by their equipment and so they take a crucial decision:
Electronics is the magic word and synth-pop is the musical motto.

But the first demos of the then very young kids from Basildon impress no one in the boardrooms of the big record companies. Cancellation follows cancellation. Depeche Mode's first big opportunity takes place during the occasion of a gig at the Bridge House in Canning Town, as they are able to take the spot of opening act of the electronics wizard Fad Gadget. The audience was surprised and a very particular man is thrilled that evening. That man's enthusiasm will be crucial for the band.

Daniel Miller, electronics engineer, producer, a cereal fan and head of the small but fine label Mute Records, hires Depeche Mode on the spot. A mutual lucky choice, as it turns out very soon. Because, the first single - produced by Daniel - "Dreaming Of Me", is not a success. Neither at the checkout nor with the critics. The second single "New Life " can bring a escalation, and "Just Can't Get Enough" the spell is finally broken.
Martin recalls:
"It came almost overnight. All the hype. We gave interviews to anyone almost every day, regardless of whether it was good for us or not. We were very young then and naive in many ways."

The debut album "Speak And Spell" comes out in November and freed the band finally from the accusation of being a synth-pop one-hit wonder. Vince Clarke has established himself as a musical brain and is considered by many journalists as one of the great hopes of pop music.
However, a rumour persisted:
Depeche Mode were actually Daniel Miller!
Martin says:
"They kept telling us again and again. As if we were merely the performers that Daniel used for his musical ideas, some kind of puppet. But I tell ya, that's not true. He is a sound specialist, he is our producer, so of course he has influence on our music. He is our guide whenever we are stuck in a dead end. But we are not dependent on him. We could always go to a major record label, if we wanted to. But this is currently not needed. The cooperation is going well. Why should we change something that does not need to be changed?"
Depeche Mode are a live band that knows to impress, very lively , danceable pop music, every song is a little gem. Dave is a fantastic frontman, who delivers a rousing show. So it is no wonder that the band's first gigs in Germany and France bring a large number of fans.

The evidence suggests that Depeche Mode is close to having their breakthrough, and then one day Vince leaves the group. This is not a good start to the year of '82 . The hype, the increasing popularity of the band, the tour-stress, it all becomes too much for the opinionated Vince. Vince: "I prefer working in the studio in peace and quiet, and being my own boss, and being able to work alone..."
The bets are bad for the future of the remaining three. The story seems to end before it has even begun. But very soon, Depeche Mode prove they can also exist without Vince. Martin, who had already showcased his songwriting qualities on some of the songs on the debut album, provides the band the single "See You", the first entirely derived from his pen, a huge hit. Vince's words seem to have become true: "Martin is a great songwriter. Martin just doesn't know it yet." And now Martin knows, he and Depeche Mode sound like Depeche Mode even after Vince's departure.
Musical differences were probably not the reason that Vince broke up with you. Depeche Mode sounds not much different nowadays, and Vince wants to continue in similar fields...
David: "Probably he was afraid to be too much occupied by the public. People often pay more attention to our faces and clothes than to the music. That didn't appeal to him... He has just recorded a single, a girl sings and he does the electronics..."
Martin: "He also did it because he wanted to work alone. He wanted a solo career."
Was that a serious blow to the band?
Martin: "We were worried."
David: "Not because of Martin's new role as a songwriter, that has not worried me. But the press likes to distort things. They could simply write: "Yes, very nice, but where are the Vince Clarke songs?" For the radio that's not so important; they probably do not know anyway who writes what... But the press can spoil the image of the band."
Do you think that Depeche Mode are better today than in the past?
Martin: "Oh yeah certainly, we are much more of a group than before whenever we did not know what to do. So his exit has done us more good than bad in the in the end. We now know better how to work in the studio, we can get the most out of songs, we have just become more experienced."

Smash Hits, an English pop magazine, was able to report: "One evening went vince on to watch his former colleagues live. He later said that it was a very strange feeling, because for the first time it had become clear to him what Depeche Mode REALLY sound like. He was impressed, really impressed, by the show that was given before him and all the raving kids."

The second album "A Broken Frame" shows the band in transition: many good ideas remain merely indicated, some remain design.
Dave: "When I listen to it today, our very early songs, I often think that they sound somewhat empty. They are okay, but it always seems to me that something is missing."
Martin: "It was a difficult time. Actually, hardly anyone was seriously expecting that we would make it. And quite honestly: We were prepared for bad reviews. We have simply tried it, someone had to do something and so I took over the helm. We just carried on because we wanted to. Like the motto: Let's see how far we get. We always expected that it can be over very quickly. Some of the reviews have hit us very hard. Back then we were very glued to our image that the media had given us. A heavy load. So we had to try new directions."

A fourth musician is pulled in. Initially intended only as a sideman for the tours, he is developing very fast into a full-fledged member of the group. Moreover, his ideas and his musical knowledge have a lasting influence on the band's sound.
Alan Wilder, who is often referred to by journalists as the "eternal musician", has already put up with classical piano training since age 8. At 17, he starts out as a sound engineer doing casual work in a London recording studio and gathers a lot of experience. He has quite unsuccessful guest appearances in various local bands until he finally meets Depeche Mode through an ad.
Already during the very soon following U.S. tour, Alan's qualities have a very positive effect, and also on the England tour, which has two completely sold-out concerts at London's Hammersmith Odeon, Alan shows that he is more than just a Vince Clarke replacement.
This year brings more success for Depeche Mode on the occasion of an extended European tour from Sweden to France.

The singles "Leave In Silence" and especially "Get The Balance Right" - Martin: "Perhaps the best and most difficult piece that we have ever recorded..." - result in a very successful 1983 for Depeche Mode. A U.S. and Canada tour will be completed with great success.
And finally, they fulfill a big dream:
An invitation to live performances and television shows in the Far East! DEPECHE MODE are completely surprised when they arrive at the Kai Tak airport in Hong Kong and hundreds of fans have gathered hours before already to freneticly greet their favourites. All concerts were completely sold out.

The way forward seems set. Synthpop, dance music, melodic, nice but not complex, and harmless. The lovable synth-poppies. And precisely at this moment, the four turn around the rudder. At Berlin's Hansa Studios, there are songs being mixed with a 56-track machine for the first time. The result is the third Album "Construction Time Again".
Hard, rough tones are being played. Strange sound collages shape from now on the music, overlapping rhythms and beautiful melodies. An abrupt destination, a vehement change of course.
The cover, showing a hammerwielding worker on a gigantic mountain as a backdrop, and issues such as environmental destruction, unemployment, threat of war, bring the band in the category "socialism". Have the Poppies become political agitators? Should we really renew and rebuild?
Alan says: "We are absolutely not a political band! Even when so many magazine want to categorise us as such! It is true that we have now become more mature and have therefore lost some illusions. This is also why the music and also our statements have automatically become harder. We occupy ourselves with the things that happen in the world, and we speak our minds. But it is not true that we represent A political direction. We are not even involved in any parties."
And Martin adds: "We write no political songs in this sense, all we want is that people will sometimes think about things happening in the world. I have never had the illusion that pop music can make a difference politically. We want that the people indeed become engaged, but they have to make their own opinions. I write very personal texts, no political slogans. Our message is to have no message. It's just like that!" The released single "People are People" brings the long-awaited big success in Germany especially.
Martin: "It was our most important album. For the first time we were in the situation to really do that what had hovered us a very long time. We didn't take any half-measures. I think it has paid off."
"Everything Counts" and "People Are People" are no doubt outstanding songs of pop culture. And when "People Are People" is number 1 in Germany, Dave and Andrew very proudly accept praise for their work: Peter Illman handed a part of the coveted Isetta of the TV show FORMULA ONE to both of them!

Andy is also affectionately known by the rest of the bandmembers and the crew as "Fletch". If he had not ended up with Depeche Mode, he would have studied history, because his biggest interest lies in the historical development since 1945. Andrew completely devour any book on this subject that comes in his hands. With his girlfriend he spends most of his time discussing history topics. That's not to be taken too seriously. Andy still lives at home. He says he is too lazy to own apartment that needs to be kept clean. And so, doing nothing is his third favourite hobby after history and music.
He is planning a trip around the world, provided it is finally the time to do so. Then he would want to see the most important places of World War II with his girlfriend.
Andrew has once sung along with Vince in the Basildonian church choir and has completed a commercial apprenticeship as an insurance salesman. A period, which he in retrospect recalls very reluctantly.
As boisterous and wild as he is on stage, as friendly and calm he is in private.

Martin is the musical leader of the band. He writes most of the songs and puts all his ambition into it. His love for Berlin is wellknown and after he has been renting a small apartment with his girlfriend, the rumours that he is moving to Berlin completely are accumulating.
Martin is a strict vegetarian, likes to go dancing and to the movies, and his greatest passion are computer games. Whenever he caught one of those gadgets, he is unstoppable.
Martin has completed a bank clerk study before it really went off with Depeche Mode. Today, he is glad that he did not have to go bitter there.
His favorite colour is black, black and black. His best friend is Andrew, with whom he constantly sits together and cracks jokes. They spend most of their time with each other in Basildon.

Berlin, Hansa Studios. Amidst a scene that could make the background for a movie about a nuclear catastrophe. On the 3rd floor of the unadorned building is a brisk operation occurring. A journalist from Radio Free Berlin is buzzing around and hoping for an interview. All instruments are scattered around. Constantly some "important" people are running criss-cross. From the speakers thunders the new single of the band. The maxi-version as a rough mix. Hellishly loud, with sensational sound effects.
Visibly happy, Dave lounges in a leather chair in a corner of the studio and nods and nods. Casual and calmly eating an apple, is Daniel Miller leaning behind him. He is also happy. A bearded gentleman comes into the room. "Let's go to the balcony again please! They want to finish the photo session finally." So David trots with a contorted face out onto the balcony, where the lousy summer of this year awaits him.
After three or four shots, the band, however, is fed up, even when the photographer runs behind them and tries to tell them that she NOW still wants to make absolutely sensational photos.
"One has to stop sometime", grumbles Martin, Andrew walks to the hallway and is fooling around with two dumbbells. "I like sports", he says to the helpless photographer.
Interview date. So it's one floor down. Alan and David did not come with. They want to go through the mix once again with Daniel.
A cozy sofa corner is the location of the next meeting with Martin and Andy.
Why do you record the new LP in Berlin?
Martin: "It's a very very good studio. And you know, I love Berlin. There is an atmosphere here that perfectly reflects our sound. Our music has become tougher, call it aggressive if you want. That does not mean that we do not value melodies anymore, on the contrary in fact. But contrast is important."
Andy: "The tracks were already created in England, the demos and the basic patterns. Martin writes the songs before we go into the studio. Here in Berlin we basically only mix. We have had some very good experiences with this studio, it brought us luck. So why not go here a second time?"
It could be read that you regret having the image of a teenage band?
Martin: "This is total nonsense. We love our young fans! And especially the German fans. They are fantastic. We have only fought against the fact that many people treat US as little innocent boys with whom you can do anything. We do not play along to that anymore. Anyone who does not take us seriously will realise very quickly how we respond to that."
How does it feel to be a pop star?
Andy: "I do not know. It's actually a double-faced feeling. There is an enormous pressure to be permanently in the public eye. You are being watched and not allowed to do anything bad. Everyone thinks that they can abuse our private affairs. This is not okay. On the other hand, we need success. We need record sales, because otherwise the wheels are no longer turning. This machinery costs a lot of money. So you have to go on, just to make this money."
Martin: "We have sometimes thought about why we do it all, since there is also a point where everything becomes too much. But in all honesty: We can't stop anymore...
What can your fans expect of the tour...
Martin: "Haha. It will be fabulous. A lot tougher, pure dance music. The people will love it. We have come up with many great surprises. People who miss these concerts, will really miss something. Haha, seriously:  It will be great, but we won't reveal more than that."
Andy: "After the tour in Germany we will first go to the Far East for an extended tour. We have been wanting to do that again for a long time. It's is an incredible experience."
Martin: "Then will be time for a holiday. We do not want to burn out. And after that we will record a one hour video. Some videos that together tell a coherent story. It's is an exciting thing."
Your private life probably suffers quite a bit at the moment?
Martin: "Our private life is our business. Please don't ask any questions. We are fed up with it. It's no one's business. I am often very happy when I'm in Berlin and I go out and no one will talk to me. Not that I do not want fans talking to me. But now and then it does get on my nerves quite a lot."
David comes in and mumbles something about "interview appointment tomorrow morning at a certain radio show."
Daniel jostles. The recordings are to be finally completed. So they say goodbye very politely and disappear with the remark: "Okay, Master and Servant part 45!"
It is hard to ignore and overlook the fact that Depeche Mode have changed. The band wanted to make the new album riskier, conquer new territory in terms of sound, something in which they really succeeded in a brilliant way.
Martin: "Maybe some people are disappointed. But we'll have to accept that. We do not want to offend anyone, but we have been in the business for so long now and we refuse to always use the same musical formula, to always use the same patterns, just because it brings guaranteed success. Such a thing is very boring. The fans notice that and that is often the quick death for a band."
Alan: "We are not dress up dolls that can smile all day. Especially not in front of the camera. No one can say that we are intentionally rude. But it's our job to make good music, it is expected of us. You've got to focus, it is often tough. We are what we are, and we are tired to abide by a certain image."
Martin: "We can offer no scandals to the press. No Drugs or Groupie stories. No fights, no crises. Hahaha. We are a real killjoy!"
Are you rich?
Andy: "Very! Lots of money and jewels. I do not know exactly how many millions I have at the bank at the moment, someone should ask sometime soon!"
Your biggest wish?
Martin: " Holiday, holiday, holiday. In order to be able to think in peace and quiet about some things. And then do a fantastic tour."
What music are you listening to at the moment?
Andy: "Depeche Mode. Our ​​favourite band."
How long will there be Depeche Mode?
Martin: "For as long as there are fans. I think for a 100 years. Things are really starting to get going, I think sometimes. After all these years, it is still exciting. You cannot ask for more."

Andrew: "We have no longer an image. We are no longer fixated on a certain direction, we have no particular message. That is our message, I think. In the past we were very often misinterpreted. That's bad, because it can result in your views becoming completely messed up."

Martin: "We need success to sell records, of which we live in the end, and the whole machinery costs a lot of money, it must be kept alive. But I do not think that our success has changed us significantly. we are no superstars like Elton John or David Bowie. We are relaxed about it."

Andrew: "Sometimes I ask myself... we earn all this money, and you see all this misery, like many unemployed people, but what you can do? I invite friends over, for a drink, but they cancel, because they don't have the money for it..."
Alan: "It is a job. If you fail, you won't get anything from anyone. If you're good, you will also be paid gratuitously. It is fair, because it is a very tough job."

Andrew: "I do not like interviews. I do not like pictures of me. I'm unphotogenic."
Dave: "At first it was really bad because we took everything to heart. You know, all the hype, it is part of it. It's a game with certain rules. A perpetual compromise. It is necessary, and so we play along."
Alan: "We no longer agree to everything. In Belgium, for example, there was this ass... radio man, who asked nothing but crap. We simply took the cassette out of the recorder. He was really violent, but it's still better to go through such trouble than to have such a completely lousy interview on the radio..."

Dave: "We love our fans, but sometimes I wonder... Some of them give their every penny to us, to follow us around, to buy our records... I often do not get it. I think that you cannot admire a person so much that you can do things like that. It's a huge responsibility for us."
Martin: "With each new release, we wonder if the fans are still behind us. You know, with all the other bands, there are amazing things being put out at the moment... So you wonder if your old fans have not deserted to another band..."
The occasion of an interview with the British music newspaper SOUNDS led to the following situation: the band and the photographer began preparing to shoot in front of a row of houses, when they were greatly disturbed by three little shrieking and squealing girls. Dave decided to put an end to it and asked the three what they wanted. Then one of those girls said that they would love to have an autograph from him. Dave did her a favour and he asked half jokingly, if she knew who they even were. The girl replied in self-confident manner: "Of course I know who you are. You are Kajagoogoo."

Andrew's glasses.
Nice Andy is so nearsighted that he often cannot see the audience on stage.
Andy: "That's not a bad thing. Only in London, when friends are at the very front of the stage at the concerts and waving like crazy and I cannot see them... There have been some people who assumed that I was terribly arrogant."
And so hiding Andy's glasses is the most popular joke. Or to switch it with Daniel's glasses. There are countless variations. Anecdotes...

David also still lives at home. He is a passionate fisherman. However, it's not about the fish, because he throws most of the the fish that he caught back into the water. David has a background as a designer and would certainly not mind designing crazy clothes (preferably pop stars and pretty much completely in leather!).
After three years of training, he passed with honors. David does not like videos and prefers the cinema. James Bond and science fiction comics are high on his list. By the way, his girlfriend Joanne Fox runs the Depeche Mode Fan Club tirelessly and for free. "Around the Clock!" says David. His brother Peter has substantially benefitted from the fame of his brother. In school, he trades autographs of the pop star for homework...

Alan is the oldest one in the band and is often seen by the other band members as a counselor and confessor. He is the only one living in London, with his girlfriend Jen and her son Jason. Alan is a quiet guy who has been very valuable to the band with his many musical experiences, and still is. Right after school - at 17 - he worked for some time at various recording studios as a sound engineer and had, before joining in Depeche Mode, already made music in several bands very unsuccessfully.
Alan was pressured by his father to take piano lessons since the age of 8. Soemthing that pays off today.
His biggest hobby besides his passion for music is photography. He already has several thick photo albums in his apartment. The content: Depeche Mode in all kinds of situations.
The animal lover Alan finds it hard to imagine himself as doing anything else than making music as a career. "Actually, I have always done it and I want to continue doing it for many years."

What has actually become of vince?
The 1.62cm tall sound engineer Vince Clarke was after his exit from the band not a child of sadness, and immediately began putting out his own musical ideas. He met through an ad his old friend from music school days, Alison Moyet Genevieve, called Alf, and decided to work as a duo with her. The name of the band: YAZOO, named after an old Mississippi blues label.
In the studio of Eric Radcliffe, the first recordings were made. "Only You" was the first single and it was immediately a huge hit. They were called the "Ike and Tina Turner Of The New Pop" and they were showered with praise. The album "Upstairs at Eric's" was very successful and subsequently Yazoo had earned lot of money very quickly and were considered the best hope of Pop. But maybe Vince was egocentric. After a further single releases and a second LP, Alf, who now makes further solo records (and which are fantastic!), and good old Vince, part ways. He decides to cooperate from now on with Eric Radcliffe. A private label was founded with the name "reset".
Vince has finally had enough of being tied to a fixed scheme, and so the new projects should emerge with different guest artists or guest musicians. Feargal Sharkey, the singer of the Undertones, was the first to be chosen. While the debut single "Never, Never" got good reviews, there was never a big success, however. The name of the musical project/concept is "The Assembly".
Vince produced the next single "The Face Of Dorian Gray" that his friend Robert Marlowe, also from Basildon, recently released. Currently Eric and Vince are sitting in their studio and are working on a new album.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 06 August 2013 - 05:18:31
1984-xx-xx - Smash Hits magazine (UK) - Sticker Album

[This sticker album was printed in Italy, and probably released not only in the UK under the name Smash Hits, but also in other countries. Thanks to ericdm (;u=804) for scanning the French version for this forum! I typed out the text.]

( (

Martin Gore: born 23/7/61. Former bank clerk, was first in Basildon band to buy synthesizer and helped pioneer pop use of said instrument. Contributed to writing in original line-up and took over as chief writer on departure of Vince Clarke. Quiet (apart from deafening laugh) and introverted, but definite views.

Dave Gahan: born 9/5/62. Asked to leave college, worked as window-dresser but never lasted more than a couple of weeks in any job. Joined unknown threesome of Andy Fletcher, Martin Gore and Vince Clarke after singing Bowie's "Heroes" in jam session. Argumentative and a bit of a worrier.

Andy Fletcher: born 8/7/61. A former insurance clerk, played originally in a gospel folk-duo with Vince Clarke before abandoning bass for synthesiser because of its ability to produce more interesting sounds. Name Depeche Mode was taken from French fashion magazine because it sounded good.

Alan Wilder: born 1/6/59. A Londoner, Alan cut his musical teeth in pop-rock band The Hitmen before being recruited into Depeche Mode via music paper advert as replacement keyboard player for Vince Clarke. Now contributes to band's writing. Snooker player, list maker and a bit of a charmer.

[French version:]

( (

Martin Gore: né le 23/7/61. D'abord employé de banque, il débuta avec Basildon pour s'acheter un synthétiseur et promouvoir son utilisation dans la pop. Composa avec la formation d'origine et succéda à Vince Clarke comme principal auteur. Calme (à part un rire à vous rendre sourd), avec des opinions introverties, mais bien tranchées.

Dave Gahan: né le 9/5/62. Renvoyé du collège, il travailla comme étalagiste main n'a jamais exercé un métier plus de deux semaines. Entra dans le trio inconnu formé de Andy Fletcher, Martin Gore et Vince Clarke après avoir chanté "Heroes" de Bowie au course d'une jam-session. Amateur de polémiques, il est plutöt du genre anxieux.

Andy Fletcher: né le 8/7/61. Ex-employé d'une compagnie d'assurances, il joua dans un duo folk et gospel avec Vince Clarke avant de délaisser la base pour le synthétiseur à cause de sa capacité à produire des sons plus intéressants. Le nom Depeche Mode fut emprunté au magazine de mode français parce qu'il sonnait bien.

Alan Wilder: Né le 1/6/59, ce Londonien se fit les dents dans la musique avec le groupe pop-rock The Hitmen avant d'être recruté par Depeche Mode à l'aide d'une petite annonce dans un journal de musique. A remplacé Vince Clarke aux claviers. Il compose aujourd'hui avec le group. Joueur de billard, il écrit des partitions et il est du style charmeur.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 19 August 2013 - 03:31:33
1985-01-03 - Bravo (Germany) - Gas-Bombe explodierte

[Thanks to Milik (;u=13) for offering to send in this scan!]

( (
( (
( (

47 Verletzte beim Depêche-Mode-Konzert in Böblingen
Gas-Bombe explodierte
Tränengas löste Panik aus

Kaum hatten Depeche Mode ihre Zugabe "See you" begonnen, detonierte die Tränengas-Bombe. In panischer Angst flüchteten 6000 Fans durch die Notausgänge.
Auch die Depeches erwischte das ätzende Rauchgas auf der Bühne. Dave schrie: "Nichts wie raus!"
Jakob (20) erlitt bei der Massenflucht eine Gehirnerschütterung und mehrere Rippenquetschungen.
Sabine (16) wurde niedergetrampelt und mußte ins Krankenhaus eingeliefert wurden.

Die 6000 Depeche-Mode-Fans in der Böblinger Sporthall. sind fatal aus dem Häuschen. Gerade haben die vier englischen Synthi-Stars ihre Hit „People are People“ und „Master and Servant“ gebracht und lassen jetzt von dem johlenden Publikum noch einmal für eine Zugabe auf die Bühne holen. Es ist kurz vor 22 Uhr.
Die bunten Spots färben den dichten Kunstnebel auf der Bühne in den tollsten Farben, aber auch rechts neben den Boxen steigt auf einmal ein, dicke Rauchsäule auf.
Plötzlich fangen die Leute dort an zu husten, Tränen steigen Ihnen in die Augen, und viele müssen sich übergeben.
Eine furchtbare Panik bricht aus. Was ist passiert? Wie die Polizei später feststellt, hat ein Verrückter aus dem Publikum eine sogenannte CS-Gasbombe gezündet, die normalerweise nur von der Polizei gegen randalierende Demonstranten eingesetzt wird.
In Sekundenschnelle breitet sich das Gas in der ganzen Halle aus. Ängstliche Schreie gellen durch den riesigen Raum. Jeder versucht, sich so schnell wie möglich durch die Notausgänge zu retten. Depeche Mode brechen ihren gerade begonnenen Sang „See you“ ab.
Dave schreit ins Mikro: „Ich glaube, da ist eine Bombe. Nichts wie raus!“
Auch die vier auf der Bühne hat es erwischt: Verzweifelt halten sie sich die Hände vors Gesicht, Ordner bringen sie im Eiltempo in die Garderobe. Inzwischen spielen sich an den Ausgängen dramatische Szenen ab. Einige der fliehenden Fans stürzen, andere trampeln in Panik über sie hinweg. Schülerin Sabine (16) erwischt, es besonders schwer: „Ich bin am Ausgang auf der Treppe hingefallen. Als die Leute über mich drübertrampelten, hatte ich wahnsinnige Angst, totgetreten zu werden.“ Dann wurde sie ohnmächtig. Mit unzähligen Prellungen, einem ausgekugelten Arm und einem blauen Auge wurde sie sofort ins Krankenhaus eingeliefert.
Zudem muß sie jetzt eine Haiskrause aus Gips tragen, um ihr verstauchtes Genick zu schützen.
Im Nebenzimmer liegt Rainer Jakob (20). Er hat eine Gehirnerschütterung und einige gequetschte Rippen abbekommen. Andere Fans haben Platzwunden am Kopf; einem Mädchen wurde ein Zahn ausgeschlagen und fast alle mußten sich übergeben.
Insgesamt sieben Schwerverletzte wurden mit dem Notarztwagen abtransportiert, 40 andere vom Roten Kreuz gleich vor der Halle versorgt. „Auch ich war mitten in der Menge, und habe geglaubt, ich komme da nie heil raus“, berichtet Christa (15).
Noch immer ist für die Kriminalpolizei ungeklärt, wie die Bombe von der Größe einer Cola-Dose in die Halle geschmuggelt werden konnte.
Später im Hotel sind Depeche Mode total geknickt und todunglücklich über den furchtbaren Vorfall. Martin: „Daß ausgerechnet uns so was passieren muß“, stöhnt er. „Wir fürchten, daß viele Eltern uns die Schuld geben und unsere Fans nicht mehr zu den Konzerten lassen. Wir möchten uns trotzdem dafür entschuldigen...“
Marco Quinzio

Depeche Mode
Andy Fletcher (22), Martin Gore (23), Dave Gahan (22), und Alan Wilder (25), die vier Sound-Schmiede von Depeche Mode, stiegen tierisch in der Gunst der BRAVO-Leser. Waren sie bei der Otto-Wahl '83 noch nicht mal unter den ersten 10, so landeten die Depeche-Boys 1984 beim Wettstreit der Rockgruppen auf einem hervorragenden ersten Platz...

[Translation by me:]

47 injured at them Depeche Mode concert in Böblingen
Gas bomb exploded
Tear gas triggered panic

Depeche Mode had just begun their encore "See you", when a tear gas bomb detonated. 6000 fans fled through the emergency exits in panic.
Also, the Depeches caught the corrosive flue gas on stage. Dave shouted: "Get out!"
Jacob (20) suffered from a concussion from the massive flight and bruised several ribs.
Sabine (16) was trampled and had been hospitalised.

The 6000 Depeche Mode fans in the Böblinger Sports Hall are completely thrilled. The four English synth-Stars have just performed their hits "People are People" and "Master and Servant" and are now brought back on stage again because of the cheering crowd for an encore. It is almost 22 o'clock.
The colourful lights stain the dense, artificial fog on stage in the most amazing colours, but also on the right of the boxes enters suddenly a thick column of smoke.
Suddenly the people there start to cough, get tears in their eyes, and a lot of them have to vomit.
A terrible panic breaks loose. What happened? The police later finds out that a madman threw from the audience a so-called CS gas bomb, which is normally only used by the police against rioting demonstrators.
Within seconds, the gas spreads out across the venue. Anxious cries echo through the big space. Everyone is trying to save themselves through the emergency exits as soon as possible. Depeche Mode cancel continuing their song "See you".
Dave screams into the microphone: "I think there's a bomb. Get out!"
It has reached the four on the stage: they desperately hold their hands over their faces, guards bring them to the dressing room in a rush. Meanwhile, at the exists, dramatic scenes take place. Some of the fleeing fans fall down, and others panickingly trample over them. for student Sabine (16) it was particularly difficult: "I fell at the exit on the stairs. When the people trampled on me, I was terribly afraid of being trampled to death." Then she fainted. With countless bruises, a dislocated arm and a black eye she was immediately hospitalised.
In addition, she must now carry around a plastic collar to protect her sprained neck.
In the next room is Rainer Jakob (20). He has gotten a concussion and some bruised ribs. Other fans have lacerations on the heads, a girl was knocked out a tooth, and almost all had to vomit.
A total of seven seriously injured were transported by the ambulance, 40 others were being taken care of by the Red Cross right in front of the venue. "I was also in the middle of the crowd, and I thought I'll never get out there safely", says Christa (15).
It is still unclear to the police how the bomb could be smuggled into the venue having the size of a can of Coke.
Later on at the hotel, Depeche Mode are completely depressed and miserable about the terrible incident. Martin: "That out of a people, something like this had to happen to us", he moans. "We fear that many parents blame us and not let our fans go to our concerts. We apologise for it anyway... "
Marco Quinzio

Depeche Mode
Andy Fletcher (22), Martin Gore (23), Dave Gahan (22), and Alan Wilder (25), the four sound smiths of Depeche Mode, increased strongly in the favours of the BRAVO readers. In the '83 Otto awards they weren't even in the top 10, but in 1984 the Depeche boys landed on an excellent first place at the competition of rock bands...
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:40:06
1985-01-19 - No.1 (uk) - boys keep swinging

[Taken from the now-defunct website]

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[No. 1, 19th January 1985. Words: Max Bell. Pictures: John Stoddart.]
" Martin’s writing style is refreshingly sexy without being sexist. I told him I thought his approach was more feminine than masculine and he didn’t hit me. "
Summary: Untaxing article with large contributions from Martin and Dave looking mainly at how Martin's lifestyle changes have subtly affected his outlook and seeped into the songs. Engaging without being too deep, and remarkable mainly for some stunning photography, including one of Martin in the nude. [1583 words]

    Pop groups come and go, but Depeche Mode keep on getting bigger and better. Max Bell joined them on tour in Germany – and if you thought they were just quiet lads from Basildon, you must’ve been listening to some blasphemous rumours…
    On an autobahn outside Dusseldorf, in the heartland of industrial Germany, Depeche Mode clamber onto their luxury coach and stake out their territory.
    After 16 weeks of living in each other’s pockets, travelling from one side of Western Europe to the other, the four have a silent agreement about who sits where.
    Alan Wilder, last to join the group and only a fully fledged Modey a year after Vince Clarke’s departure, sits at the back. Dave Gahan’s place is in the middle.
    “Dave won’t like it if you sit there,” Andy Fletcher warns me before settling into his own nest upfront where he can annoy the driver.
    Only Martin Gore flits around, laughing a lot at nothing in particular while keeping his gaze fixed firmly on the middle distance of the Germany countryside.
    Four months riding high in the saddle could drive a man to drink from sheer nervous exhaustion – though in the Modeys’ case tea and Stollen, the local cake, is the usual tipple. Dave Gahan muses over a mug on the side effects of Depeche Mode’s roadbound lifestyle.
    “By the end of this tour I reckon I’ll have lost a stone and a half. It’s a very unhealthy way to live.
    “I get ill anyway so now I travel with a full medicine bag – anti-biotics, blood cell restorers, glycerine, vitamins, the works.
    “Thing is, the hours are so dodgy. The concerts are great but the rest of the time is essentially wasted. You’re getting no exercise and not eating properly. After the shows you’re so wired up you stay awake until all hours.
    “When it’s over and I go home I’m totally disorientated. I find myself rushing around the house feeling really speedy. It takes weeks to adjust to a normal routine like doing the washing, paying bills, buying stuff for the place.
    “When I moved into a new house in Basildon I got some weights. They didn’t help for long…”
    But Depeche Mode are used to this now. Since 1979 the group has evolved from New Age Romantic chic, surviving a long period of critical disapproval, to emerge as the only outfit still waving the electronic pop banner in the chart marketplace.
    They’ve managed to do that while producing their best work in “Construction Time Again” and “Some Great Reward”, a credit to their unassuming intelligence.
    Depeche’s consistent success is a result of a hardcore following who have stuck by them regardless of fashion. That trust hasn’t been abused.
    The simplicity of Depeche Mode’s approach shouldn’t be confused with naivety, as recent singles like “People Are People”, “Everything Counts” and the wickedly intriguing “Master And Servant” prove.
    Martin Gore, the main lyricist, has watched them creep up to challenge the biggest groups with gentle satisfaction.
    “I’ve got a theory that if you don’t over-expose yourself you stick around longer. Generally we don’t have a lot to say – as far as interviews go we’re quite boring. I’m not interested in any social limelight either.
    “When we started we got a lot of flak because we had such a terrible image, very sickly. Even I thought we were wimps. Gradually we’ve changed that around.
    “It’s been a challenge.”
    The change matches the growing up of the group. The departure of Clarke gave them “the kick up the arse we needed to make our own decisions, though without Vince we’d never have been successful,” says Gore.
    It made four quite different people pull together.

    Dave Gahan was the extrovert youth who went to juvenile court three times and got through twenty jobs in six months before going to Southend Art College.
    “I was a real wide boy with a chip on my shoulder. I got done for nicking cars and motorbikes, setting cars alight, spraying walls, vandalism – a real yob.”
    Punk and art calmed Dave down a bit but he still bears the scars of backstreet tattoos on his arms. Now he gets his kicks on stage.
    “It’s a very sexual feeling, a sense of immense power. The more people in the crowd the better.
    “Our live shows are so different to the records, far more aggressive, and I take responsibility on my shoulders. Telling nine thousand people what to do is like being on another planet.”
    In Germany Depeche regularly thrill large audiences. They’ve had No. 1 hits in the biggest market in Europe, selling over three million records in a country where the top act isn’t Frankie or Duran but old fogey Roger Whittaker!

    Germany is of obvious importance to them. Martin Gore recently went to live in Berlin and they’ve recorded all their best material there.
    Gore, by his own admission, used to be a quiet respectable lad, totally lacking in self-confidence and without the motivation to make even the half hour train journey to London until he got a job working as a clerk for the NatWest bank on leaving school.
    His transformation has been subtle but complete. Now he walks around dressed from head to toe in leather, bristling with German cop badges, handcuffs and an array of metallic objects that fit the sado-masochistic mood of “Master And Servant” like a glove.
    Out of his shell Mr Gore is quite happy swapping clothes with his German girlfriend Christina or wearing a black leather zip-up mini. And why not?
    “I bought the skirt in Kensington Market,” Martin recalls.
    “It’s a size 12 I think. There were even a couple of girl fans in there at the time. I think it looks good, not poofy at all.”
    This fetching ensemble is set off on stage by a lacey bodice worn off the shoulder. Would he consider wearing it without the trousers?
    “Well, err, I might.”
    At the end of the tour party Martin lives up to his promise that he “goes mad on a few drinks”, and does a raunchy strip. Depeche Mode are full of little surprises.
    According to Gore: “After a few nice little pop singles you’re allowed a bit of perversion. In fact the working title of “Some Great Reward” was “Perversions” but we didn’t think that mums would buy it for their daughters.”

    Martin’s writing style is refreshingly sexy without being sexist. I told him I thought his approach was more feminine than masculine and he didn’t hit me.
    “Even in Master And Servant” no sex is mentioned and it doesn’t put women down. If you interpret it as a heterosexual relationship the woman is the master. In “Somebody” I’m saying this is what I want and these are my terms but still presenting it on an equal basis.”
    Depeche Mode haven’t courted controversy but their last single “Blasphemous Rumours” was more or less banned by the BBC, claim the band. They say they were told that they wouldn’t get on TOTP even if the single went up, as the reference to God’s “sick sense of humour” and the subject matter, a 16-year-old girl slashing her wrists, was considered too shocking for the public.
    At first Andy Fletcher, who comes from a church and Boys Brigade background, hated the song but he gradually realised it was a valid social comment.
    “Blasphemous Rumours” is partly based on a girl Martin once knew, while his own interest in religion stems from going to church with Fletch and Vince at 17 “as an observer. I was never a Christian but I wanted to see what motivated those people who were.
    “I am quite a pessimist and happy to be one. Sometimes I paint things too black but even when we’re doing well I tend to notice bad things.
    “Conventional humour bores me. Still, I wish a few people could see some of the humour in what we do.”
    Dave Gahan, who has to step into Martin’s strange shoes to interpret the songs, reckons he “puts a lot of emotion into his writing. Sometimes he reveals too much.
    “It was good for him to move to Berlin and a different culture because he’d been wanting to do that for ages.”
    While Dave and Fletch are still happy to live in Basildon, Martin wrote “Something To Do” as an expression of the boredom he felt in the suburban new town. Alan Wilder simply hates the place and lives in West London.
    This doesn’t mean there is a split. All four members agree they can produce better things without planning too much, just doing what comes naturally.
    Dave has no desire for Depeche Mode to become hip.
    “To us, to Mute Records and Daniel Miller, those things aren’t important. We control our destiny and we don’t need aggressive marketing.
    “We’ve got an image but it’s a crossover from a teen sex appeal, which is mostly girls, to beer boys ready to have a go and a laugh. When we play now it’s to more of a roar than a scream – chanting and that. Reminds me of Chelsea.
    “None of us analyses our future much because it’s too frightening.
    “It’s simple. Success is down to having good songs, and we’ve always had those.”
    For Depeche Mode, sticking to their electronic pop principles has paid off. The European men are still there, riding the Fashion Despatch from Basildon to Berlin…
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:40:41
1985-01-25 - FR3 (France) - Cadence 3 (Master And Servant)

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:41:00
1985-01-26 - Veronica (Netherlands) - Succes is een kwestie van geluk!

[Source: Transcribed/translated by me.]

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Depeche Mode: succes is een kwestie van geluk!

Toen Depeche Mode vier jaar geleden nog louter voor de gein bestond, verstuurden de jongens demo's naar platenmaatschappijen om te kijken of er misschien iemand iets voor hun muziek voelde. Maar helemaal niemand bleek het jonge viermans-bandje te zien zitten. Op één man na, bleek een paar maanden later, die hun beste platendeal ter wereld bood. Ze maakten een betere afspraak dan wie ook, bijvoorbeeld Paul McCartney, als we de boys zelf mogen geloven...

Dankzij hitgevoelige nummers als "See You", "Get The Balance Right", "Everything Counts" en "Master & Servants" [sic] liep Nederland langzaam maar zeker warm voor de groep Depeche Mode. Klappers als "People Are People", "Somebody" en "Blasphemous Rumours" zorgden voor de rest. Dat was duidelijk te merken tijdens het concert dat de band onlangs in den lande gaf. Het publiek, in de uitverkochte Rotterdamse Doelen, was vanaf de eerste tonen volkomen door het dolle heen en weigerde resoluut te blijven zitten. Werkelijk iedereen stond te swingen of het een lieve lust was en bleef aan het einde maar schreeuwen om méér.
Wat dat betreft is het met het succes van de jongens in vaderland Engeland wel even anders gesteld. Daar kunnen ze al sinds ze bestaan, 1981 om precies te zijn, niets verkeerds meer doen: iedere single die de groep uitbracht, belandde daar onmiddelijk in de top tien.

Verschrikkelijke naam
We spraken de jongens tijdens een informele, erg gezellige lunch in het sfeervolle Rotterdamse Parkhotel. Andy Fletcher, Martin Gore en Alan Wilder (zanger David Gahan laat het wegens ziekte afweten) blijken aangenaam gezelschap. Ze vinden het helemaal niet erg om tijdens de heerlijke maaltijd wat mensen van de pers te woord te staan.
Na de soep, steekt Andy Fletcher van wal: "Het is moeilijk er achter te komen waarom Nederland ons zo laat ontdekt heeft. Hoewel aardig wat singles het niet slecht gedaan hebben hier. Trouwens, om nou meteen succes te hebben, wat in Engeland het geval was, is ook niet alles. Dat vonden we niet zo leuk eerlijk gezegd. Hoe raar dat ook mag klinken. Maar we willen nog zo veel langer mee. Snap je?"
Terwijl er verschillende salades geserveerd worden, vertelt hij: "Martin Gore, Vince Clarke en ik hebben de groep opgericht in 1981 in Basildon, Engeland, waar we vandaan komen. We gebruikten twee gitaren en een synthesizer en hadden een verschrikkelijke naam voor onszelf bedacht, die ik je dan ook niet zal noemen. Nee, je hoeft niet aan te dringen, ik vertel het je toch niet. We hadden gewone baantjes, ik was bijvoorbeeld verzekeringsagent, Martin kende men als bankbediende en Vince was toevallig werkloos. Muziek was onze hobby. We leerden Dave kennen, die toen nog bij een andere band "Vermin" genaamd speelde. Hij kwam met onze naam (naar een Frans modeblad, letterlijke vertaling: snelle mode) op de proppen. Vanaf dat moment hebben we de gitaren ook laten vallen en zijn we alleen met synthesizers doorgegaan. We speelden twee avonden per week en maakten voor de grap een demo. Maar geen enkele platenmaatschappij bleek in ons geïnteresseerd, dus zijn we in clubs met het bandje gaan lobbyen, die langzamerhand warm voor ons liepen. Toen de platenmaatschappijen eenmaal op ons afkwamen, vertrouwden we er geen eentje meer. Alleen Daniel Miller, van het Mute-label, zagen we zitten. Hij was tenminste eerlijk, zag ons een keer optreden en was meteen verkocht. We hebben geen contract, niets, we kunnen morgen bij een ander aankloppen. Maar dat doen we denk ik niet. Nu gebeurt alles op fifty-fifty basis en dat bevalt ons prima. Het percentage dat we van onze platen krijgen is bijvoorbeeld meer dan Paul McCartney krijgt, en dat wil nogal wat zeggen, denk ik. Mede dankzij ons is Mute groot geworden en kunnen ze andere, kleinere groepen een kans blijven geven. Zoals bijvoorbeeld Fad Gadget en The Birthday Party."

"Toen Vince wegging, had platenmaatschappij Mute al aardig wat bereikt. Vince verliet na de elpee "Speak & Spell" de groep. Hij houdt niet van toeren, zit liever in de studio en heeft een bloedhekel aan promotie-werk. Toen heeft hij samen met zijn oude schoolvriendin Alison Moyet "Yazoo" opgericht. Nu is hij echter weer alleen, hij heeft op de een of andere manier een hekel aan sleur en succes. Vince vond Martin altijd al een betere songschrijver, maar voor ons was het best vervelend allemaal. Hij is een van onze beste vrienden en heeft mede onze sound bepaald. We hebben zoveel meegemaakt samen. Gelukkig zien we hem nog wel regelmatig. Hij heeft een single met Feargal Sharkey gemaakt en is nu driftig op zoek naar een freelance-zanger. Hij heeft namelijk totaal geen vertrouwen in zijn eigen stem. Misschien dat wij in de toekomst nog eens met hem zullen werken. Wat dat betreft weet je het maar nooit met Vince."
Over Dave's afwezigheid tijdens de lunch zegt Andy: "Het klinkt wellicht raar, maar eigenlijk is onze zanger altijd een beetje ziek als we op toernee zijn. Hij is overbezorgd voor zijn stem, is als de dood dat deze het tijdens optredens begeeft en spaart hem dan ook zoveel mogelijk. Daarnaast heeft hij vaak last van allergie en van gezwollen voeten (van het dansen en springen, heb je hem wel eens tekeer zien gaan op het toneel?). Als we onderweg zijn, rust er een ongelooflijke druk op hem. Hij zou het zichzelf nooit vergeven als we een concert zouden moeten afgelasten omdat zijn stem het laat afweten."

Te Europees
"Ons tweede album "A Broken Frame" was eigenlijk een zooitje. Het waren nou niet bepaald nummers die bij elkaar pasten, die over een lange periode geschreven zijn. Alan kwam erbij om Vince te vervangen, hij bleek gelukkig een briljant muzikant tijdens concerten.
In Amerika hebben we inderdaad geen succes, alleen aan de westkust en in Canada een beetje. Maar dat is onze eigen schuld, hadden we er maar vaker naartoe moeten gaan. Trouwens, onze muziek is te Europees voor Amerikanen. En we hebben het hier goed genoeg. We hoeven niet zo nodig ook nog eens in Amerika beroemd te worden. Ze zijn ook tegen een aantal van onze teksten en dat vinden we een beetje bekrompen eerlijk gezegd."
De derde elpee "Construction Time Again" en nummer vier "Some Great Reward" zijn in Berlijn opgenomen. Met een speciale reden? Andy: "Nou nee. Gareth Jones (de technicus die aan onze eerste elpee meegesleuteld heeft) woont in Berlijn en stelde de Hansa-studio's voor. Die zijn echt fantastisch, de Stones gaan er volgend jaar ook opnemen. Het is een groot complex en niet duur. Het wordt de studio van Europa als je het mij vraagt.
We zijn een echte synthesizer-band, wat ons vaak verweten wordt. Ik begrijp niet waarom, want je hebt er zoveel mogelijkheden mee. Nu met de opkomst van de computer helemaal. Groepen als Ultravox zijn toch weer gitaren gaan gebruiken, omdat ze er met synthesizers niet meer uitkwamen. Nou, dat zal ons niet overkomen. We staan erom bekend warme muziek te maken en geen kil computer-geluid te produceren. Ik zeg niet dat we nooit andere instrumenten zullen gebruiken, maar het lijkt me van niet. We zitten nog steeds barstenvol ideeën wat die apparaten betreft.
We blijven bij Daniel van Mute hangen, zolang we goed met hem overweg kunnen. Hij produceert onze platen en is een goede vriend, waar we mee kunnen lezen en schrijven. Als het zo blijft, zijn wij niet weg te branden daar.
Je hebt wel een beetje gelijk, hij is mede verantwoordelijk voor ons succes. We zijn hem ook dankbaar. We hebben ontzettend veel mazzel gehad dat hij tegen ons opliep. Veel bands blijven het hun hele leven proberen, maar krijgen noot een echte kans. Zoals wij. Want succes is ook wel degelijk een kwestie van geluk!"

Tekst: Mirjam Bos
Fotografie: VIP


Depeche Mode: success is a matter of luck!

When Depeche Mode was just formed for kicks four years ago, the guys sent the demoes to record companies to see if anyone liked their music. But no one seemed interested in the young fourpiece band. Except for one guy, as it appeared a few months later, who offered them their best record deal. They made a better agreement than anyone else, even Paul McCartney, if we can believe the boys for ourselves...

Thanks to hit-prone songs like "See You", "Get The Balance Right", "Everything Counts" and "Master & Servants" [sic], the Netherlands slowly but surely heated up for group Depeche Mode. Bangers like "People Are People", "Somebody" and "Blasphemous Rumours" took care of the rest. This was apparent during the concert that the band gave in our country recently. The crowd in the sold-out Doelen in Rotterdam was completely mad right from the first tones and absolutely refused to sit still. Truly everybody was swinging like mad men and kept screaming towards the end for more.
As far as that's concerned, the boys' success in homeland England is on a different level. Since their existence, in 1981 to be exact, they can do nothing wroing over there: every single that the group put out has landed into the top ten.

Horrible name
We met the boys during an informal, cosy lunch in the attractive Parkhotel in Rotterdam. Andy Fletcher, Martin Gore and Alan Wilder (singer Dave Gahan cancelled due to illness) prove to be pleasant company. They really don't mind to talk to some press people during a wonderful meal.
After soup, Andy Fletcher opens the conversation: "It is hard to find out why the Netherlands have discovered us so late. Although quite some singles didn't do so bad over here. By the way, it's not so great either. We didn't really like that, to be honest. Even if that may sound weird. But we would like to last so much longer. You know?"
As different salads are being served, he explains: "Martin Gore, Vince Clarke and I have founded the group in 1981 in Basildon, England, where we come from. We used two guitars and a synthesizer and had come up with a different name for ourselves, which I won't tell you. No, no need to push, I won't tell you anyway. We had average jobs, for example I was an insurance agent, Martin was a bank clerk and Vince happened to be on the dole. Music was our hobby. We got to know Dave, who happened to be playing in another band called "Vermin". He suggested our name (after a French fashion magazine, literal translation: fast fashion) to us. From that moment onwards, we ditched the guitars and only continued with synthesisers. He were playing two nights a week and made a demo for laughs. But no record company seemed interested in us, so we promoted our little tape in clubs, who were easing into us. Once record companies started approaching us, we no longer trusted any of them. Except Daniel Miller, from Mute Records, whom we digged. At least he was honest, he saw us performing one night and got hooked right away. We don't have a contract or anything, we could knock on another door tomorrow. But we won't, I think. Everything is happening now on a fifty-fifty basis and we like it that way. The percentage that we get from our records is for instance more than what Paul McCartney gets, and that says a lot, I think. Partially thanks to us, Mute became big and now they can give other, smaller groups a chance. Like for example Fad Gadget and The Birthday Party."

Once Vince left, record company Mute had achieved quite a lot alrady. Vince left the group after the LP "Speak & Spell". He doesn't like touring, and rather sits in the studio and absolutely hates promotional work. Then he started "Yazoo" with his former school friend Alison Moyet. Now he's alone, however, he seems to hate drag and success. Vince has always thought that Martin was a better song writer, but for us it was quite nuisance. He's one of our best friends and is partially responsible for determining our sound. We've been through so much together. Luckily we still see him regularly. We has made a single with Feargal Sharkey and is now desperately looking for a freelance singer. Because he really isn't confident about his own voice. Maybe we will work with him one day in the future. As far as that's concerned, you never know with Vince."
About Dave's absence during lunch, Andy says: "This might sound weird, but our singer is actually always slightly ill when we're on tour. He's extremely worried about his voice, and is terrified that it will shut down during performances and so he spares it as much as possible. Moreover, he suffers from allergies a lot and swollen feet (from dancing and jumping, have you ever seen him go about on stage?). When we're on the road, there's an enormous pressure on him. He would never forgive himself if we had to cancel a concert because his voice bailed on him."

Too European
"Our second album "A Broken Frame" was actually a mess. The songs didn't exactly fit together, being written over a long period. Alan joined to replace Vince, and luckily turned out to be a brillian musician during concerts.
We indeed don't have any success in America, just on the west coast and a bit in Canada. But that's our own fault, we should have gone to there more often. By the way, our music is too European for Americans. We have enough [success] over here. We don't really need to become famous in America as well. They also oppose to some of our lyrics and we find that a bit narrow-minded, to be honest."
The third LP "Construction Time Again" and the fourth "Some Great Reward" have been recorded in Berlin. For a special reason? Andy: "Well, no. Gareth Jones (the technician who worked on our first LP) lives in Berlin and suggested the Hansa studios. They are truly fantastic, the Stones will be recording there next year. It's a big building complex and not expensive. It will be the studio of Europe, if you ask me.
We are a true synthesiser band, which we are often criticized by. I don't understand why, because you have so many possibilities with it. Especially now with the rise of the computer. Groups like Ultravox have started using guitars again, because synthesizers didn't cut it anymore. Well, that won't happen to us. We're known for making warm music and not producing cold computer sounds. I'm not saying that we will never use other instruments, but it doesn't seem likely. We're still full of ideas regarding those devices.
We are sticking with Daniel from Mute, for as long as we can agree with him. We produces our records and is a good friend, with whom we can see eye to eye. If it continues to be this way, you won't get us away from there.
You're somewhat right, he is partially responsible for our success. We're therefore grateful to him. We're been extremely lucky that he ran into us. Many bands will keep trying their entire lives, but never get a real chance. Like us. Because success is also most definitely a matter of luck!"

Text: Mirjam Bos
Photography: VIP
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:41:12
1985-01-xx - Neues Leben (Germany) - Depeche Mode

[Found on]

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[I typed out the text:]

Alan Wilder (keyb), geb. am 1. 6. 1969, 1.80m groß, 2 Geschwister, wöhnt in London, arbeitete zuvor als Tontechniker. Hobby: Fotografie
David (Dave) Gahan (voc), geb. am 9. 5. 1962, 1.80m groß, 3 Geschwister, wohnt in Basildon, studierte 3 Jahre an einem Design College. Hobbys: angeln, schwimmen.
Martin Gore (keyb, auch g und voc) geb. am 23. 7. 1961, 1.73m groß, 2 Geschwister, wohnt in Basildon, gründete 1980 mit einem Schulfreund Depêche Mode, war vor her Banklehrling. Hobby: Songs schrieben.
Andrew (Andy) Fletcher (keyb, auch g und voc) geb am 8. 7. 1962 , 1.90m groß. 3 Geschwister, wohnt in Basildon, begann eine kaufmännsische, lesen.

Irgendwie haben sie ihren Namen längst überdauert, denn mittlerweile reiten die vier von Depêche Mode (Schnelle Mode) bereits das fünfte Jahr auf der Synthi-Pop-Welle. Und das mit zunehmenden Erfolg. Liegen die vier Engländer doch in den westeuropaïschen Hitlisten immer mit irgendeinem ihrer Songs ganz vorn, und ihr Ende des vergangenen Jahres erschienes Album "Some great Reward" (irgendeine große Belohnung) war bereits ihr fünftes (nach "Speak & Spell" - 1981; "A Broken Frame"- 1982; "Get The Balance" - 1983 und "Construction Time Again" - 1983).
Martin Gore, der erklärte Mädchenliebling der Band (zu erkennen an seinem Lederkäppi), hatte Depêche Mode 1980 mit seinem Schulfreund Vince Clarke (für ihm kam 1981 Alan Wilder) gegründet. Bald danach stiegen Andy und Dave ein, die ebenfalls in Basildon (Essex) wohnten. Alle vier begeisterten sich für Songs im Synthesizer-Sound, den sie im Laufe der Jahre bis zur Perfektion ausbauteten. Heute arbeiten sie mit komplizierten Computerprogrammen für Sound und Rhythmus, riesigen Lichtbatterien und -effekten (Sound und Programmier-Experte ist Alan, der auch einige Text geschrieben hat).
Immer wieder tüffeln die vier an neuen, ungewohten Klangeffekten (diese Experimentierfreude kommt besonders auf ihrer LP "Construction Time Again" zum Ausdruck). Auch von den überwiegend sozialkritischen Texten hier scheint dieses Album an interessantesten Depêche Mode meint: Wir mögen keine ausgeflippten Fans, sondern solche, die sich 'nen Kopf machen. Zum Beispiel über Umweltfragen, Gewalt und Terror und soziales Elend. Der Ruf, eine "politisches Band" zu sein, gefiel ihnen indes weniger. Und so sind die Lieder ihrer 5. LP auch wieder im privaten Bereich angesiedelt.
Ingebörg Dittmann

[Translation by me:]

Alan Wilder (keyb), born on 1-6-1969, 1.80m, 2 sisters, lives in London, previously worked as a sound engineer. Hobbies: Photography
David (Dave) Gahan (vocals), born on 9-5-1962, 1.80m, 3 siblings, lives in Basildon, studied three years at a design college. Hobbies: fishing, swimming.
Martin Gore (keyb, voc and also g) born on 23 7 1961, 1.73m tall, 2 siblings, lives in Basildon, founded in 1980 with a school friend Depeche Mode, was her bank apprentice before. Hobbies: writing songs.
Andrew (Andy) Fletcher (keyb, voc and also g) born on 8 7 1962 1.90m tall. 3 siblings, lives in Basildon, began a kaufmännsische read.

Somehow they have outlived their name a long time ago already, because now the four of Depeche Mode (Fast Fashion) are riding for the fifth year in a row on the synth-pop wave. And with increasing success. The four Englishmen are always at the top of the West European hit lists with some of their songs, and the album that came out late last year, "Some great reward"  was already their fifth (after "Speak & Spell" - 1981; "A Broken Frame"- 1982"; "Get The Balance"- 1983 and "Construction Time Again"- 1983).
Martin Gore, who is known as the girls' favourite (to be identified by his leather cap) had founded Depeche Mode in 1980 with his schoolbuddy Vince Clarke (who was replaced in 1981 Alan Wilder). Soon after, Andy and Dave entered, who also lived in Basildon (Essex). All four were fans of songs with the synth sound and they ended building up experience over the years, into perfection. Today they work with complex computer programmes for sound and rhythm, huge light batteries and effects (sound and programming expert is Alan, who has also written some lyrics).
Again and again the four fiddle with new unusual sound effects (this experimentation is particularly notable on their album "Construction Time Again"). This album also seems most interesting for for the socially critical lyrics here: We do not like crazy fans, but those that have a opinion. For example, on environmental issues, violence and terror, and social misery. The call to be a "political band", however, they liked not as much. And so the songs on their fifth LP also going back again to private matters.
Ingebörg Dittmann
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:41:44
1985-01-xx - Musikexpress (Germany) - Gastkritiker Martin Gore

[Thanks to 'Personal Jesus' from the German DM forum for uploading this.]

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[I typed out the text:]

Gastkritiker Martin Gore

Kollegen-Schelte ist gerade unter Musikern nicht sonderlich beliebt. Es sei denn, man besteht auf seinem Geschmack und nimmt - wie MÜV-Gastkritiker Martin Gore - in seinen Kommentaren kein Blatt vor den Mund. Depeche Modes blondgelockter Songwriter, Gitarrist und Tastenmann in einer Person, jedenfalls ließ sich trotz Tour-Streß die Chance nicht entgehen, einigen Kandidaten gehörig die Leviten zu lesen...
Ashford & Simpson: "Bei dieser Musik würde man normalerweise gleich einschlafen, wäre sie nicht so uafdringlich und penetrant. Völlig belanglos." (2)
Kool And The Gang: "Ich kann mir nicht helfen, doch ich habe nun mal eine Schwäche für Kool And The Gang. Sie schreiben gute Funk-Pop Songs, aber diese LP ist nicht mein Bier." (3)
Gino Vanelli: "Auch dies trifft nicht unbedingt meinen Geschmack - obwohl man zugeben muß, daß das Album innerhalb dieser Musikrichtung sehr gut ist, auch die gesamte Produktion." (3)
Tom Browne: "Der Mangel an echten Songs ist nicht zu überhören." (2)
Orange Juice: "Ich hatte schon immer eine Schwäche für Edwyns Gesang und ihre Songs." (3)
The Pogues: "Sehr lustig, doch auf Dauer ein wenig langweilig." (3)
Tracey Ullman: "Meiner Meinung nach hat Tracy Ullman keinerlei musikalisches Talent." (1)
Art Of Noise: "Ich habe mich anfangs dagegen gewehrt, dieses Album zu mögen. Doch es ist weit besser, als ich anfangs gedacht hatte. Manchmal klingt es fast wie eine Platte voller Sound-Effekte - insgesamt aber sehr interessant. (4)
Visage: Eine leblose Stimme, die Songs singt, die überhaupt nicht aufhören wollen." (2)
Dalis Car: "Ich habe mir dieses Album öfter angehört als all die anderen, um es überhaupt zu verstehen. Doch ich fürchte, ich habe's nicht geschafft." (2)
Ebenso individuell wie die Expertisen fielen auch die Angaben zu seiner Person aus:

Erste Single/LP, die Du gekauft hast: "Donna" von 10CC (Single)
Bestes Konzert (von anderen Bands): Jonathan Richman
Musikalische Einflüsse: Kraftwerk
Schriftsteller: George Orwell
Bücher: To Kill A Mocking Bird
Film: All Quiet On The Western Front ("Im Westen nichts Neues")
Regisseur: Alan Wilder
Schauspieler: John Hurt
Zeitschriften: Kerrang!
Berufe: Bank-Angestellter
Hobbies: Video-Spiele, Lesen, Trinken
Sex-Symbole: Madonna
Was treibt Dich zur Weißglut? Lärmende Leute, besonders wenn sie Amerikaner sind
Was bringt Dich in Schwung? Leder
Größte Angst? Andy Fletchers Ohrenschmalz
Inspiration: Die Welt, in der wir leben, und das Leben im Allgemeinen
Zeitgenossen, die Du gerne treffen würdest: Jonathan Richman
Entscheidendes Erlebnis mit Musik: Als ich zum ersten Mal Gary Glitter gesehen habe
Schlüsselerlebnis: Christina (Freundin) kennenzulernen
Autos: Ich hasse sie
Lieblingstier: Ben und Jody - meine Hunde
Worüber kannst Du lachen? Über fast alles
Wen würdest du zu einem (intimen) Souper einladen: a) Divine, b) Maggie Thatcher, c) Bo Derek, d)... Divine und Clint Eastwood
Zukunftspläne: Unsere Europa-Tour zu beenden und dann in Urlaub zu gehen

[Translation by me:]

Guest critic Martin Gore

Insulting colleagues is not very popular among musicians especially. Unless, you insist on your taste and - as demonstrated by guest critic Martin Gore - therefore have you heart on your sleeve. Depeche Mode's fair-haired songwriter, guitarist and keyboardist in a nutshell, certainly did not miss the opportunity despite tour-stress, to read some candidates the riot act...
Ashford & Simpson: "With this music you would normally fall asleep, if it wasn't so pushy and penetrating. Completely irrelevant.." (2)
Kool And The Gang. "I can not help it, but I have a soft spot for Kool And The Gang. They write good funk pop songs, but this LP is not my taste." (3)
Gino Vanelli: "This, too, is not really my taste - although it must be admitted that the album fits very good in its genre, even the entire production." (3)
Tom Browne: "The lack of real songs cannot to be missed." (2)
Orange Juice: "I've always had a soft spot for Edwyns singing and their songs." (3)
The Pogues: "Very funny, but a little bit boring in the long run." (3)
Tracey Ullman: "In my opinion, Tracy Ullman has no musical talent whatsoever." (1)
Art Of Noise: "I have fought against it at first to like this album. But it is far better than I had initially thought. Sometimes it almost sounds like a record full of sound effects - but overall it's very interesting." (4)
Visage: "A lifeless voice that sings songs that will never stop." (2).
Dalis Car: "I've listened to this album more often than all of the others in order to understand it at all, but I'm afraid I haven't succeeded to do so." (2)
the details of himself appeared to be as individualistic as his opinions as an expert:

First single/record you've bought: "Donna" by 10CC (single)
Best concert (from other bands): Jonathan Richman
Musical influences: Kraftwerk
Writer: George Orwell
Book: To Kill A Mocking Bird
Movie: All Quiet On The Western Front
Director: Alan Wilder
Actor: John Hurt
Magazine: Kerrang!
Profession: Bank employee
Hobbies: Video games, reading, drinking
Sex symbol: Madonna
What drives you insane? Noisy people, especially if they are American
What turns you on? Leather
Greatest fear? Andy Fletcher's earwax
Inspiration: The world in which we live, and life in general
Contemporaries who would you like to meet: Jonathan Richman
Ultimate experience with music: When I saw Gary Glitter for the first time
Key experience: to meet Christina (girlfriend)
Cars: I hate them
Favourite animal: Ben and Jody - My dogs
What can you laugh about? About almost anything
Who would you like to invite to a (intimate) dinner: a) Divine, b) Maggie Thatcher, c) Bo Derek, d)... Divine and Clint Eastwood
Future plans: to finish our tour in Europe and then to go on a holiday
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:42:04
1985-01-xx - Poppis (Sweden) - Depeche Mode

[Thanks to Rome (;u=870) for sending a photo of this article!]

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1985-01-xx - Music Life (Japan) - Depeche Mode

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:42:35
1985-01-xx - Poprocky (Germany) - Lichtorgie elektrisierte Deutschland!

[Thanks to strange-pimpf (;u=801) for sending photos of this article for this forum!]

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[I typed out the text:]

Depeche-Mode-Lichtorgie "elektrisierte" Deutschland!
Ausverkaufte Hallen! Ausgeflippte Fans! Affengeile Show!

Licht, Licht, Licht... wohin das Auge blickt! Depeche Mode überraschen auf ihrer sensationellen Deutschland-Tournee mit einer gigantischen Licht-Show.
Freundin Grony wich während der Depeche-Mode-Tournee nicht von Alans Seit. Ob wohl schon bald die Hochzeitsglocken läuten?

"Alle Hallen waren bumsvoll, die Fans sind total ausgeflippt. Depeche Mode waren super!" schwärmt ein Konzertveranstalter nach der irren Deutschland-Tournee von Depeche Mode. Bereits bei ihrem ersten Konzert in Essen legten die vier Mode-Jungs höllisch los. Keine Spur von Warmspielen, sondern gleich Dampfhammeraktion. Bei geschlossenem Vorhang kündigt der harte Sound der Drum-Maschine den Konzertbeginn an. Die Menge ist bereits jetzt kaum mehr zu halten. Als dann Dave auf die Bühne springt, verwandelt sich die Grugahalle in einen Hexenkessel. Dann geht's Schlag auf Schlag: Mit ihren Knüller-Hits "People Are People" und "Master And Servant" reissen Martin Gore & Co auch die ärgsten Tanzmuffel von ihren Stühlen und sorgen für Super-Tanzstimmung. Die heisse Bühnenshow und die umwerfende Lichtorgie - eine völlig neue Licht-Show mit schwenkbaren Metallstegen - begen dem Publikum den Rest. Während die Fans ihre Lieblinge am Schluss enthusiastisch verabschieden, beginnt für Depeche Mode jetzt der eigentliche Tourstress: Auf dem Weg zum ultramodernen Tourbus, der neben Toilette, Schlafkojen und einer kompletten Küche auch mit einer Videoanlage ausgerüstet ist, müssen unzählige Autogramme verteilt werden. Im Hotel ist nichts ans Schlafen zu denken, denn überall warten Scharen von Journalisten.

Jeder Depeche Mode kriegt seine Leibspeise!
"Wir spielen unheimlich gerne für unsere deutschen Fans, aber so eine Monster-Tournee ist doch verdammt stressig! Wenig schlaf, überall fremde Leute, unregelmässige Mahlzeiten - all das müssen wir in Kauf nehmen!" erzählte Dave. "Aber wir haben vorgesorgt: Zwei Privatköche versorgen Martin und Alan mit vegetarischen Menüs. Für Andy, mich und den Rest der Crew hauen sie ordentliche Steaks in die Pfanne. Diese Lösung ist ideal, denn wir hatten den üblichen Tourneefrass einfach satt!"

Stunk zwischen Martin und Andy
Auf die Frage, ob's auf ihrer Europa-Tournee Zwischenfälle gab, antwortet Martin: "Ja, zweimal. In London wäre unsere Lichtlady Jane Spiers, die grossen Anteil an unserer tollen Lichtshow hat, beinahe vom Gerüst gefallen. Doch es ging gerade nochmal gut. Dann gab's mal fast eine Keilerei zwischen Andy und mir! Andy fling beim Essen eine Fliege und fragte mich provozierend, ob die Fliege mit einem Flügel wohl noch fliegen könne. Ich fand das gemein von Andy, denn er wollte sich bloss über mein Vegetariertum lustig machen. Aber wir haben uns schnell wieder vertragen." Übliche Querelen, die in jeder Gruppe passieren, auch bei einer so verschworenen "Familie" wie Depeche Mode.

[Translation by me:]

Depeche Mode's lightorgy "electrified" Germany!
Sold out shows! Crazy fans! Super awesome show!

Light, light, light... everywhere you look! Depeche Mode surprise us on their sensational Germany-tour with a gigantic light show.
Girlfriend Grony did not leave Alan's side during the Depeche Mode tou. I wonder if the wedding bells are ringing soon?

"All the venues were really full, the fans were totally freaking out. Depeche Mode were great!" A concert promoter says after the crazy tour in Germany of Depeche Mode. Even at their first concert in Essen the Mode guys went crazy like hell. No trace of first needing to warm up, there is immediately steamy action. With a closed curtain, the hard sound of the drum machine announces the start of the concert. The crowd can hardly keep themselves together. When Dave then jumps onto the stage, the Grugahalle transforms into a cauldron. Then it's a blow after blow: With their blockbuster hits "People Are People" and "Master And Servant", Martin Gore & Co also get the worst grumpy people out of their chairs and ensure an impeccable dance mood. The hot stage show and the dazzling lightorgy - a completely new lightshow with pivoting metal bars - deny the audience any rest. While fans say goodbye to their idols at the end enthusiasticly, for Depeche Mode now begins the actual tour stress: On the way to the ultra-modern tour bus, which has besides a toilet and sleep cabins and an entire kitchen also a video system, countless autographs have to be signed. In the hotel there is no chance of sleeping, because throngs of journalists are waiting everywhere.

Each Depeche Mode gets their favourite food!
"We really love to play for our German fans, but such a monstrous tour is darn stressful! Barely no sleep, strangers everywhere, meals at irregular times - all that we have to accept!" Dave says. "But we have it covered: Two private chefs provide Martin and Alan with vegetarian menus. For Andy, me and the rest of the crew they cook proper steaks in the pan. This solution is perfect, because we were tired of the usual tour-junk!"

Row between Martin and Andy
When asked whether there have been incidents on their European tour, Martin replies: "Yes, twice. In London, our lightlady Jane Spiers, who manages a large proportion of our great light show, nearly fell from the scaffolding, but it barely turned out good. Then there was once almost a brawl between Andy and me! Andy caught while eating a fly and asked provocatively whether the fly could probably still fly without a wing. I felt that Andy was being mean, because he wanted to simply make fun of my vegetarianism. But we got along again quickly." Usual quarrels that happen in any group, even in such a close-knit "family" like Depeche Mode.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:42:51
1985-01-xx - Best (France) - Collections d'Hiver

[Thanks to KFDM (;u=940) from for uploading this on their site.]

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Collection d'Hiver
Some Great Reward (Mute - Dist. Vogue)

Face 1 : Something to Do - Lie to Me - People Are People - It Doesn't Matter - Stories of Old
Face 2 : Somebody - Master and Servant - If You Want To - Blasphemous Rumours
Produit par Daniel Miller, Depeche Mode et Gareth Jones.

Gérard Bar-David

Raz de marée sur Depeche Mode ou autocritique d'un critique rock. Aujourd'hui les p'tits DM nous font un Zenith sold out transféré in extremis au Palais Omnisports de Bercy, bouleversant ainsi toutes mes prévisions. Je m'étonne. Depeche Mode était un de ces groupes gentillets, incapable de remuer des vagues hors des charts anglaises; de la chair à teeny bopper un peu facile, trop tendre pour être convaincante. Je n'aurais pas parié un diamant usagé sur les possibilités hexagonales de ces jeunes gens synthético-minimalistes-pop.
Mea Culpa, mea maxima culpa, Depeche Mode apparait comme LA surprise de l'hiver. Sans pub, sans papier, sans chronique, sans énormes passages radio, Some Great Reward est directement plébiscité par les kids et j'ai la désagréable sensation de sauter dans un TGV en marche.
Pour analyser ce revirement, il faut remonter aux sources de Depeche Mode, à ce premier LP millésimé 1981, Speak and Spell, où tous les hits, y compris le superbe Just Can't Get Enough, étaient signés du chanteur leader Vince Clarke. Or Vince a quitté ses petits camarades après cette première galette pour former Yazoo avec Alf Moyet. Privé de sa principale force créatrice, Depeche Mode n'était plus qu'une coquille vide. En Angleterre, le groupe se maintint à flots avec des mini-hits comme The Meaning of Love sous la direction du blondinet Martin Gore. Mais en France qui aurait encore osé miser sur Depeche Mode?
Publié fin 83 le troisième LP intitulé Construction Time Again porte admirablement bien son patronyme. Il correspond à un renouveau du groupe. A un concert de Depeche Mode à l'Hammersmith Odeon, je rencontre quelques kids de chez nous bien accros au nouvel album. Durant le gig, je les vois sauter, bouger dans tous les sens et surtout chanter tous les vocaux en même temps que nos synthétiques british. Fans jusqu'au boutistes, ils achètent les 12inch en import et filent se les faire dédicacer à la fin du show. Incroyable!
Mais Martin Gore et ses petits camarades restent le prototype de la formation niaise et stéréotypée, du synthé iceberg comme les Anglais savent en produire à la chaîne, et bla bla bla...
Vous vous fichez pas mal des états d'âme de Bar-David et vous avez sans doute raison. Le monde est plein de ces critiques égomaniaques, la plume acerbe, les oreilles bétonnées, qui n'ont pour seule objectivité que leur vision minimale.
Si je me suis planté sur Depeche Mode, je veux au moins en connaître les raisons. Le problème est simple, que contient ce Some Great Reward, quelle étrange formule Martin Gore a-t-il utilisée pour m'alpaguer? En écoutant l'album pour la première fois, j'ai compris que le quatuor de Basildon (Essex) avait réussi à catalyser le succès, un "je ne sais quoi" qui vous arrête et qui vous force à poser le disque au-dessus des autres sur la pile. Sans même y songer, je me suis surpris à passer le LP de plus en plus souvent tel un pingouin somnambule.
Déchiré, séquencé, plutôt violent, j'avais déjà découvert le 45 tours, People are People. La voix de David Gahan et la production de Miller, les effets techniques et l'alchimie ambiants y étaient assez sidérants. People are People était sans conteste un single de choc, une surprise élogieuse pour un groupe que j'avais trop vite enterré. En tous cas, depuis le départ de Vince Clarke c'était la toute première fois, bon sang, que ces coincés de Depeche Mode parvenaient à me remuer les tripes.
Bis repetita : Master and Servant, son successeur, est aussi réussi. Remix, écho-tonnerre à la Trevor Horn, des voix qui partent dans tous les sens, bref, le parfait prototype du techno-funk, une superbe machine à danser fuselée pour la fm des années 80. Depuis Frankie Goes To Hollywood et les néo-pédés électroniques, on n'avait jamais vu ça: Sado et Mado reviennent en force, Depeche Mode joue à Cruising en sortant le cuir et les chaînes et moi qui suis loin d'être un adepte du genre, je me laisse convaincre. Bravo les Modes et dépêchons-nous!
Some Great Reward vaut bien mieux que ses deux simples. La naïveté et l'enfance ont toujours été un atout pour ce groupe, Depeche Mode a su les conserver et les modeler en romantisme pop. Ecoutez " Somebody ", ses vocaux à la Queen et ce piano spleené qui me rappelle Jackson Browne ou Elton John. A la fin du morceau on entend battre un coeur. Les androides de Depeche Mode ont su redécouvrir le sang et les larmes, ces damnées machines se révèlent aussi humaines que vous et moi.
La pop triste n'est plus triste et moi j'en perds ma logique critique qui aurait exigé que je descende cet album. Some Great Reward mérite ses lauriers, n'en déplaise à ses détracteurs.
Janvier 85, la tendance mode s'écrit MODE, c'est le triomphe de la logique.

[Translation by me:]

Winter Collection
Some Great Reward (Mute - Dist. Vogue)

Side 1: Something to Do - Lie to Me - People Are People - It Does not Matter - Stories of Old
Side 2: Somebody - Master and Servant - If You Want To - Blasphemous Rumours
Produced by Daniel Miller, Depeche Mode and Gareth Jones.

Gérard Bar-David

Tsunami wave of Depeche Mode or automatic criticism of a rock critic. Today, the little Depeches that sold out Zenith have been transferred in extremes to the Palais Omnisports de Bercy, against all my expectations. I am surprised. Depeche Mode was one of those fragile little groups, unable to move out of the waves of the British charts, the flesh of small, easy teeny bopper, too soft to be convincing. I would not have bet a diamond on the possibility of these young people using synthético-minimalist-pop having success in France.
Mea culpa, mea maxima culpa, Depeche Mode seems to be THE surprise of this winter. No ads, no paper, no chronic, without huge airplay, Some Great Reward is directly a favourite among the kids and I feel like jumping into a motioning train.
To analyse this change, we must go back to the roots of Depeche Mode, to the first vintage LP in 1981, Speak and Spell, on which everything was a hit, including the superb Just Can't Get Enough, written by lead singer Vince Clarke. But Vince has left his comrades after the first project to form Yazoo with Alf Moyet. Deprived of its main creative force, Depeche Mode was an empty shell. In England, the group kept afloat with mini-hits like The Meaning of Love under the direction of the blond Martin Gore. But who in France would have dared to bet on Depeche Mode?
Published in late 83, the third LP entitled Construction Time Again wore its name admirably. It signals a renewal of the group. At a Depeche Mode concert at the Hammersmith Odeon, I met some kids who were crazy about the new album. During the gig, I see them jump, move in all directions and especially singing to all of the vocals all at the same time of our synthetic british lads. Fans to diehards buy the imported 12inch and try to have them autographed at the end of the show. Incredible!
But Martin Gore and his groupmates are still the prototype of being foolish and stereotype, of the synth iceberg that the English know to create so abundantly, and blah blah blah...
You weren't kidding about the bad moods of Bar-David and you're probably right. The world is full of these egomaniacal critics, the acerbic pen, the concrete ears, who have as their objective to have only minimal vision.
If I were to be wrong about Depeche Mode, I would want to at least know why. The problem is simple, regarding Some Great Reward, what strange formula did Martin Gore use to hook me? Listening to the album for the first time, I understood that the quartet from Basildon (Essex) managed to catalyse success, having a "je ne sais quoi" that stops you and forces you to put the disc above the others on the stack. Without even thinking about it, I was surprised to move the LP increasingly like a sleepwalking penguin.
Torn, sequenced, rather violent, I had already discovered the 45er, People are People. David Gahan's voice and the production of Miller, the technical effects and ambient alchemy were quite staggering. People are People was unquestionably a single shock, a complimentary surprise for a group that I had doomed too quickly. In any case, since the departure of Vince Clarke it was the first time, dammit, that the works of Depeche Mode managed to stir my guts.
Ahead of the curve: Master and Servant, its successor, was also successful. Remix, thunder echos à la Trevor Horn, voices that go in all directions, in short, the perfect prototype of techno-funk, a superb dance machine catered to '80s' radio stations. This had not been seen since Frankie Goes To Hollywood and those new electronic wussies: S&M made a comeback, Depeche Mode plays cruising, taking out the leather and chains, and me, who is not an expert in this field, lets myself be persuaded. Bravo, Modes, and let us hurry!
Some Great Reward is much better than the two previous ones. The naivety and childhood have always been an asset to this group, Depeche Mode was able to keep these aspects and mold them into pop romanticism. Listen to "Somebody", the voice à la Queen and the soft piano and reminds me of Jackson Browne and Elton John. At the end of the song a heart beats. The Depeche Mode androids have been able to rediscover the blood and tears, these damned machines also reveal to be as human as you and me.
The pathetic pop is no longer pathetic and I am losing my critical logic that would have required me to debunk this album. Some Great Reward deserves its laurels, no offence to the critics.
January 85, the fashion trend writes MODE, it is the triumph of logic.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 September 2013 - 07:43:12
1985-02-01 - Unknown (France) - Cote D'Amour


Blasphemous Rumours:
Master and Servant:

Interviewer: I saw you at Bercy, I had the impression of almost, like, being at a James Brown concert or something, the mass hysteria. Is that what white kids do?
Dave: No, there was black kids as well. If you looked around.
Alan: Actually, there weren't many, were there?
Dave: Well, no.
Alan: It was a good - very good concert. We thought it was one of the best on our whole European tour. We were very pleased with it.
Dave: Sort of 'top of the tour' really, we had virtually finished up in Paris, and so the concert was really good. You know, we didn't know what to expect, we hadn't played in France for a long while. And it was a great suprise to us, to see how the fans-
Alan: -The last time we played in France, we probably played to 500 people or something, you know.
Dave: It's a bit of a difference, from 500 to 16,000. (laughs)
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 25 September 2013 - 01:06:44
1985-02-02 - Okej (Sweden) - Nu vill de erövre USA-publiken!

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 03 October 2013 - 02:46:11
1985-02-02 - Hitkrant (Netherlands) - Zenuwen Gieren Depeche Mode Door De Keel

[Scanned by me, and converted into text using OCR. Unless some of you stop editing out our watermarks or replacing them with the watermarks of your fansites, I see no other choice than to put watermarks in each of the article's photos, unfortunately. This article was also published in Belgian magazine Joepie the next day.]

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IJsberen, scheldpartijen, en liters koffie
“Vóór een optreden weten we vaak met onze zenuwen geen blijf”, vertelt Depeche Mode’s Andy Fletcher. “We ijsberen heen en weer in de kleedkamer, schelden elkaar en de jongens van de technische ploeg de huid vol en drinken liters koffie. Toch loopt het wat het konsert betreft meestal van een leien dakje.” Engeland’s populairste elektropopviertal onthult hoe zij de spanningen te lijf gaan.
Rots in de branding
“We kunnen het niet helpen dat we zo zenuwachtig zijn”, vertelt Andy Fletcher. “In het schooltje in Basildon waren Martin en ik ook al de meest onrustige leerlingen. We konden gewoon niet stil zitten. De leraren rukten zich voortdurend de haren uit het hoofd, maar ze zijn er nooit in geslaagd om ons klein te krijgen.”
Toen Martin, Andy en het later Yazoo- en The Assembly-brein Vince Clarke zanger Dave Gahan in de groep opnamen dachten ze eindelijk een rustgevende figuur gevonden te hebben “Dave was een schuchtere kerel” herinnert Martin zich. “Aanvankelijk maakten we inderdaad minder ruzie, maar toen het voor Depeche Mode echt menens werd bleken ook zijn zenuwen nauwelijks tegen de stress van het showbizleven bestand te zijn.”
Het werd pas rustiger binnen de groep toen Vince Clarke in 1982 vervangen werd door Alan Wilder. “Londenaars zijn veel flegmatieker dan de andere Britten”, legt Depeche Mode’s oudste groepslid zelf uit. “In een drukke stad moet je jezelf voortdurend in de hand hebben. Anders ga je er langzaam aan kapot. Dat verklaart waarschijnlijk waarom ik kort na mijn komst al beschouwd werd als de rots in de branding.”
Vóór ieder konsert is het ondanks Alan’s inbreng’ nog altijd een regelrechte heksenketel in de Depeche Mode-kleedkamer. “Ik begrijp niet hoe ze zich zo kunnen opwinden”, lacht Alan. “Toch ben ik er trots op dat ik erin geslaagd ben om mijn groepsgenoten enigszins rustig naar een optreden te laten toeleven.” “Vroeger waren we al uren vóór het konsert in de zaal aanwezig”, gaat Alan verder. “Dat was iedere keer weer een zenuwslopende bedoening. Nu blijven we zo lang mogelijk in het hotel. Ook in de bus die ons naar de hal overbrengt trachten we zo weinig mogelijk aan het optreden te denken. Een spelletje scrabble is bijvoorbeeld ideaal. “
Ook tussen de geluidstest en het optreden in doen de Depeche Mode-boys tegenwoordig alles om aan de spanning te ontsnappen. “Met vier walkie-talkies staan we voortdurend in verbinding met de roadies op het podium”, zegt Alan. “Op die manier hoeven we ons geen zorgen te maken of onze synthesizers het niet op het allerlaatste moment laten afweten.”
“Andy en Martin brengen de laatste ogenblikken vóór de show meestal op hun home-trainers door”, vertelt Alan tot slot. “Als ze enkele minuten op die fietsen tekeer gaan zijn ze op slag alle zenuwen kwijt. Dave heeft ook eindelijk begrepen dat al dat koffie drinken het alleen maar erger maakt. Hij houdt het tegenwoordig bij limonade. Als nu ook nog de anderen zijn voorbeeld volgen zijn we die vervelende stress binnenkort helemaal kwijt.”

“Vroeger waren we uren vóór het optreden al in de zaal aanwezig”, vertelt Alan. “Nu blijven we zo lang mogelijk in het hotel. ”
Met walkie-talkies staan de Depeche Mode-boys in verbinding met de technische ploeg op het podium.
Dave heeft het koffie drinken afgezworen. Nu houdt hij het bij limonade.
Martin en Andy op hun home-trainers. “Zo raken we de zenuwen kwijt”, lachen ze.
In de toerbus. Een spelletje scrabble om de stress te vergeten.

Translation, by me:

Pacing back and forth, arguments , and tons of coffee
“Right before a performance we don’t know what to do with our nerves,” says Depeche Mode's Andy Fletcher. “We’re pacing back and forth in the dressing room, curse on each other and the boys of the technical crew, and drink gallons of coffee. And yet, the actual concert goes smoothly.” England's most popular electro pop foursome reveals how to beat any stress.
Tower of strength
“We can’t help being nervous,” says Andy Fletcher . “Even during primary school in Basildon, Martin and I were the most troubled pupils. We just could not sit still. The teachers were constantly pulling their hair out, but they never managed to break us.”
When Martin, Andy and future Yazoo and The Assembly-brain Vince Clarke embraced singer Dave Gahan into the group, they thought they finally had found a soothing figure. “Dave was a timid guy” recalls Martin. “Initially there was indeed less of a struggle, but when it became really serious for Depeche Mode, he was also struggling to keep his nerves restrained because of the life in showbiz.”
It became calmer in the group when Vince Clarke was replaced by Alan Wilder in 1982. “Londoners are much more phlegmatic than the other Brits," explains Depeche Mode’s oldest group member. “In a busy city you have to keep yourself constantly in control. Otherwise it will slowly bring you down. That probably explains why already shortly after my arrival I was considered to be the pillar of strength.”
Rat’s Nest
The hours in Depeche Mode’s dressing room before each concert are, despite Alan’s presence, still an outright pandemonium. “I do not understand how they can make such a fuss,” laughs Alan. “But I am proud to say that I’ve succeeded in making my colleagues somewhat more calmy as the show approaches.” “Before, we were already present at the venue hours before the concert”, Alan continues. “That was always a nerve-racking affair. Now we stay for as long as possible at the hotel. Also, on the bus that takes us to the venue, we try to think as less as possible about the concert. A game of Scrabble is an perfect solution for that.”
Also between the soundcheck and the show, the Depeche Mode boys will now do anything to escape from stress. “With four walkie-talkies, we are in constant contact with the roadies on stage,” Alan says. “That way, we do not have to worry whether our synthesizers won’t let us fail at the last minute.”
“Andy and Martin usually spend the last moments before the show on their home trainers,” concludes Alan. “When they’re on those bicycles for a few minutes, they instantly lose all nerves. Dave has also finally understood that drinking all that coffee makes it worse. He now sticks to lemonade. If only the others were to follow his example, then we’d soon get rid of that annoying stress.”

Photo descriptions:
“Before, we were already present at the venue hours before the concert,” says Alan. "Now we stay for as long as possible at the hotel.”
With walkie-talkies, the Depeche Mode boys are connected to the technical crew on stage.
Dave has quit drinking coffee. Now he sticks with drinking lemonade.
Martin and Andy on their home trainers. “This is how we lose any nerves,” they laugh.
On the tour bus. A game of scrabble to forget any stress.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 21 November 2013 - 05:50:23
1985-02-16 - Okej #7 (Sweden) - Indochine vs. Depeche Mode

[Thanks to Rome (;u=870) for sending a photo of this article!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 05 December 2013 - 07:33:23
1985-02-16 - Unknown (France) - Platine 45

Master and Servant:

Title: Re: 1984: Some Great Reward
Post by: Angelinda on 05 December 2013 - 07:33:44
1985-02-25 - Hey (Turkey) - Martin Gore

[Thanks to ScannedPress (;u=938) from ( for scanning this!]

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Title: Re: 1984: Some Great Reward
Post by: Angelinda on 17 January 2014 - 07:47:16
1985-02-xx - The face (uk) - coming up smiling

[Taken from the now-defunct website]

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[The Face, February 1985. Words: Sheryl Garratt. Pictures: Steve Pyke.]
" When I remarked that I liked their last album, "Some Great Reward", many of my friends fell about laughing; when I said I was going to Italy to interview them, they thought I was being deliberately perverse. People, it seems, find it hard to take this group seriously. "
Summary: An outstanding and independently-minded article catching Depeche Mode on the knife-edge of being taken seriously. The author discusses the difficulties they have faced due to popular misconception and all but cries out for them to be given at least a second glance. I had to check the date on the magazine because both the writing and the photography seem to have come from four or five years later: this will restore your faith in the music press. [2507 words]

    Martin Gore is reading out a letter by a fan who somehow acquired a pair of his zipped leather undies and has now decided to send them back. She is anxious because she couldn't wash them first, and explains that her mother wouldn't let her hang them out on the line for fear of what the neighbours might think. "I enjoyed having them next to my bed," she writes. "It's probably the closest I'll ever get to you."
    Does it ever get embarrassing? I wonder.
    "Oooh no!" he grins. "I love it!"
    Or another story...
    In a hotel lobby in Bologna, Italy, a presenter sits between the Depeche boys, wearing a cap tilted at a rakish angle, a suitably thin 'New Wave' style tie, and the manic, false smile that seems to settle on anyone who sits in front of a TV camera regularly. "Right!" he exclaims breezily, pointing to a bored-looking Alan Wilder. "We'll start with you, Vince Clarke..."
    Old ghosts linger on, and Depeche Mode are also victims of an assumption that pretty equals vacant, a pop group who are underestimated because they have huge adam's apples, spotless skin, and look as if they've never seen a razor blade, let alone used one. Yet apart from a few odd underwear fetishists, their audiences are remarkably free of screamers, although the preconceptions remain.
    When I remarked that I liked their last album, "Some Great Reward", many of my friends fell about laughing; when I said I was going to Italy to interview them, they thought I was being deliberately perverse. People, it seems, find it hard to take this group seriously.
    "What's credibility anyway?" ponders singer Dave Gahan, pulling his scarf a little tighter round a swollen throat. "Credibility is usually lost when any band enters the Top Fifty, so for us that went out of the window five years ago. But there's a certain credibility you have to retain in yourself - you've got to know that what you're doing is valid. Not whether it makes people think or whether it changes things - this business is about entertainment, and it's whether you're just travelling along. I don't think we are, I think we're a very unconventional band."
    And that, I'd submit, is the case for Depeche Mode.
    In the late Seventies they were one of the first to reclaim the synthesizer from the Futurists, the Manic Depressives, Numanoids and Art School Boys, and to successfully use it instead as a pure pop instrument. The group have slipped in and out of the charts ever since with a series of inventive, intelligent, and unpretentious singles, although few will admit publicly to actually buying them.
    Part of the problem is that Depeche Mode are such inarticulate spokesmen for their own cause. Some would say they need a Morley to turn "Master And Servant" into a "Relax", but Depeche aren't as malleable as Frankie: they manage themselves, they release records on the independent Mute label (with whom they have never signed so much as a formal contract), and in spite of his inability to offer an advertising budget or any great hype, they seem quite happy to go on making money for label head Daniel Miller to finance his more esoteric projects, and for themselves.
    "This is the best job I've ever had," says Gahan, simply.
    "It started in Basildon, Essex, a town built to house the spillover from London's East End. The synthesizers came first as a convenience - they were easy to carry to gigs on trains, and could be plugged directly into the PA, saving money on amps. It was, they claim, six months before Martin even changed the sound on his first keyboard, because he hadn't realised that you could.
    "We were that naïve."
    Yet when the big companies came down waving cheque books, they were unimpressed.
    "We were told all this stuff about how we were going to be Top Ten in a week and megastars within the month, and we just didn't believe it," explains Gahan.
    Then, Daniel came along and offered them, frankly, nothing. They took it. "At least he was honest."
    The first single on Mute went into the Top Fifty [1], favourable articles appeared in the music press and a debut album was recorded before the first bombshell hit: Vince Clarke, the main writer and generally considered the brain behind the group, announced that he wished to leave.
    "It was a shock," recalls Gahan, "Like losing a part, having something taken from you. At first, I couldn't understand why - we'd only been together a year, and things were just starting to happen. It took me a long while to see how he felt. He could have been trapped into something he didn't want to spend the rest of his life doing."
    Shy, retiring, and more interested in making music than all the work that goes with promoting it, Vince subsequently squirmed out of Yazoo for similar reasons, according to Alison Moyet. The Depeche split was fairly amicable: he continued working with them for some time after announcing his departure, and when the first single recorded without him was a success, the trio were optimistic. Then came their second shock.
    The follow up - "The Meaning Of Love", a catchy tune they had expected to do well - was a flop, and their second album was trashed in the press. Previously only a sporadic writer, Martin Gore was finding his new role a strain, and although "A Broken Frame" sold respectably to the loyal, Depeche Mode's credibility had, it seemed, disappeared along with the unkempt Clarke.
    "All that we need at the start is universal revolution (that's all)"
   "And Then"
    The group quickly dismiss any suggestion that the militant socialism of the next LP, "Construction Time Again", was a deliberate attempt to grow up.
    "The first album was very young and twee, and ever since then people have been saying we were trying to grow up," sighs Gore. "Even by the second album, we were sick of the phrase. It's nothing you attempt to do - it just happens."
    They credit their new awareness instead to a tour of the East that taught them there were worse places to live than even Basildon. But this in itself is not enough - The Police slummed it in India with no noticeable changes, so why did a short stay in Thailand affect the Depeche boys so?
    "I think it's the way we've all been brought up," explains Gahan. "I had a bad juvenile background, I got into trouble with the police and mixed with a lot of people who got into trouble - all petty things, silly little things you do all the time. Then at school, I decided I didn't like the way I was treated, so I hardly turned up at all in the last year. From the age of about ten, I can remember things quite vividly that just didn't seem right, and I think we've all had that sort of general working-class upbringing.
    "Then when you see things that are poorer than you've ever seen, when we saw people begging and little kids coming up to us with disgusting, dirty clothes hanging off them, showing themselves or holding their hands out for food... When you experience that, you begin to understand what a lucky position all of us here are in. We were in this really expensive hotel full of businessmen, but as soon as you went outside the gates, it was a totally different world.
[1] - Not quite: "Dreaming Of Me" peaked at No. 57. [continue]

    "None of us would have seen that if it wasn't for the band. I was 17 when we started, and obviously I've grown up a lot in that time anyway, but I've matured a lot quicker than if I'd been working in Sainsbury's for the last five years."
    Unlike many who wake up one morning with a social conscience, the group did not change overnight into urban commandos, nor were they seized with an uncontrollable urge to step out in Doc Martens and donkey jackets. They didn't change their tune, they just changed the words a little.
    Suddenly everyone was humming the annoyingly catchy chorus of "Everything Counts" (basic message: Capitalism Is Not Very Nice), and after the bluster of the Clash clones or the Spandau manifesto that a depression needs hedonism and politics into pleasure don't go, these earnest, almost painfully sincere and simple discoveries were welcome. I believed Depeche Mode in a way that I've never been convinced by a Heaven 17 or ABC: theirs is a cosmetic socialism for the leisured classes, a Daily Mirror and a video in every home. And though the Basildon boys may not be so self-consciously clever, in the end they write better tunes.
    Depeche Mode like sampling things, taping noises and converting them into rhythm tracks or notes, The last album featured amongst other things Martin coughing, a saucepan lid being thrown downstairs, and an air hostess making a mess of the customary safety announcement. They became, they say, a little obsessed with it all, working for days on single sounds, and have little patience with the idea that such techniques can verge on piracy. One of the most popular drum sounds on the Fairlight computer, for instance - the machine used by Trevor Horn to create many of Frankie's sounds - is that of Led Zeppelin...
    Alan Wilder: "We nicked..."
    Andy Fletcher: "Shhh!"
    "No, I don't mind admitting it. We nicked a beat off one of Frankie's records and stuck it on our 12-inch. But I mean the actual sound, not the idea. It's not a drum sound that sells a record anyway, it's the whole song and the musical ideas. We'd be quite happy for people to nick our sounds and sample them. I don't think you can stand in the way of technology - you've just got to have the ideas and the imagination to put it to original use.
    "We had this guy in while we were recording the album, and we wanted him just to play a beat on all these different percussion instruments. He'd got a big collection, and we were sampling them for later use. We said that we hoped he didn't feel raped by all this, and there's no doubt that he understood what we were doing. Then he sent us a bill for sampling fee, consultancy fee, God knows what else - he'd been talking to the MU who had obviously convinced him that what we were doing was totally immoral, and he'd charged us six times the amount we'd agreed."
    "The trouble was, he'd been studying for years and knew all these master strokes or whatever, but all we wanted was one slap on the drum, and any one of us could have done that," adds Gore mischievously. "We should have just borrowed his drums!"
    "I don't want to start any blasphemous rumours but I think God's got a sick sense of humour."
"Blasphemous Rumours"
    Parents buy their children Depeche Mode records for Christmas, and no-one would consider such fresh-faced, sweet-looking boys as unwholesome or subversive. They are under no illusions as to the effect lyrics will have, but they relish the fact that their image allows them a few more risks. [1] The explicit analogies between sex and society in "Master And Servant" crept by in the shadow of "Relax", but their appearance on TOTP with "Blasphemous Rumours", a melodramatic tale that suggested God may be a little sick in the head, caused - they claim - a barrage of complaints and a reprimand for producer Michael Hurll.
    "There was probably a war film or something on afterwards, or someone having their head blown off on the news before, but that's not the point," observes Gahan cynically.
    On the way back to the hotel late one evening, Andy Fletcher admits that he still prays every night "which is a bit hypocritical really, isn't it?" Andy enjoys confessions, mostly about naff pop songs. He will admit in conspiratorial tones that he loves the latest Limahl / Julian Lennon / Shakatak single, and will them spend the next twenty minutes singing or analysing it, presumably as a penance. I meant to ask him if he was brought up a Catholic, but we got into a long discussion on public schools instead...
    "My little girl won't you come with me... I'm going crazy with boredom... I'd put your leather boots on / I'd put your pretty dress on"
"Something To Do"
    Martin Gore has a theory that in a place as tedious as Basildon, there are only two ways to go: "You can become what we call a total spam, which is like a real beer boy, out every night drinking, Cockney accent develops, all that. Or basically you start wearing women's clothing - it's all you can turn to."
    Quite where this leaves the rest of the band is open to debate. Although they don't seem to drink much and they all share a peculiar aversion to Cockney, in public at least, they all wear trousers.
    Onstage, Martin's current outfit is usually an off-the-nipple black lace slip he found hanging on their tour bus one night, leather trousers adorned with handcuffs, and a leather mini-skirt, as seen on the cover of Smash Hits. Gore now lives in Berlin, he speaks fair French and German and seems to read continually, yet his lyrics read more like the diary of an angst-ridden adolescent.
    "I expect a lot of blokes in the audience think I'm a poof," he laughs.
    "But it's how I feel happy. I've always admired Boy George a bit, and anyone who takes that stance to an extreme. We are in a position where we can influence to a certain extent - not to get everyone wearing a skirt, but it does open people up to that sort of thing slightly, especially if their some of the macho types who like our music. But then, so much more is acceptable as far as image goes within a pop group."
    "A lot of the blokes in the audience won't even think about the fact that Martin's wearing a skirt or whatever," adds Wilder. "In a different situation, they'd kick the shit out of him, but when it's onstage they love it. It's not as scary, it's more acceptable on a stage."
    Fletcher weighs in with an example. "If Pat Nevin, for instance, walked into Chelsea with a leather skirt on, then he'd probably get a bad reception..."
    The man is a master of the understatement.
    During "Somebody", a wimpish and, the group insist, a more honest love song, the roadies at the side of the stage mime screaming guitar solos while Martin sings.
    I'm fond of men who provoke such insecurity in the terminally macho, and in the end perhaps that's why I like Depeche Mode. It may also be why they are so often underestimated.
    If Joe Strummer started dressing in frocks and dealing with emotions other than anger openly without shouting and without the protection of a guitar swinging round his crotch, would you take him seriously?
    Think about it...
[1] - According to Jonathan Miller in the Depeche Mode biography Stripped, "Some Great Reward" was very nearly called "Perversions" instead, the clincher being the thought that mums wouldn't buy it for their children with a name like that.
Title: Re: 1984: Some Great Reward
Post by: Angelinda on 17 January 2014 - 07:48:22
1985-02-xx - Fachblatt (Germany) - Technischer Überraschungs-Verein

[Thanks to spirit (;u=7) for submitting this scan to this forum. Transcribed using OCR and translated by me.]

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Technischer Überraschungs-Verein

Die Sache steht unter keinem guten Stern zunächst. Morgens um acht schellt das Telefon - im Schwabenland ist man halt etwas früher auf den Beinen als die meisten Journalisten - und die Stuttgarter Plattenfirma sagt das vereinbarte Interview in Essen ab. Grund: Keine Zeit, Streß am ersten Tag der Deutschlandtournee. Das Konzert will ich mir trotzdem ansehen, wer weiß, vielleicht gibt es ja doch noch eine Chance. Da heißt es erstmal, Meinungen und Erwartungen zu korrigieren, die aus meiner über zwei Jahre zurückliegenden ersten Begegnung mit Depeche Mode (siehe Fachblatt 3/1983) gewachsen sind. Damals waren sie vier nette Jungs, die allein durch ihre pure Anwesenheit auf der Bühne die Teenies in Entzücken versetzten.
Live noch relativ unerfahren, konnten sie weder durch nennenswerte musikalische Darbietungen noch durch eine interessante Präsentation überzeugen - sie standen halt da und spielten zu reichlich Playback ihre Hits. Heute ist alles ganz anders: die Grugahalle ist zum Bersten gefüllt, der Bühnenaufbau ist riesig, zumindest, was das Licht angeht. Die vordere Hälfte der Bühne ist nämlich völlig leer, während sich im Hintergrund auf drei Ebenen die Keyboards von Mastermind Martin Gore, Andy Fletcher und Alan Wilder befinden. „Leer" ist allerdings nur so lange das richtige Wort, bis David Gahan sich „breitmacht". Mit einem Bewegungspensum, das an Hochleistungssport grenzt, rast er über die Bühne. Aus dem schüchternen Jüngling im karierten Flanellhemd ist ein echter Showman geworden. Schwarzes Leder, Tätowierung auf dem Oberarm, der richtige Hüftschwung an der richtigen Stelle, um den Teenies, die immer noch zahlenmäßig überlegen sind, feuchte Träume zu bringen. Die Power, die da über die Bühne kommt, läßt völlig vergessen, daß es sich nach wie vor um eine rein elektronische Band handelt, bei der die Playbacks keinen allzu großen musikalischen Freiraum lassen. Von allen Synthie-Bands, die ich je gesehen habe, bietet Depeche Mode heute mit Abstand die beste Bühnenperformance, und ihre LPs stehen diesem Eindruck ja auch in nichts nach. Die Fans wissen es zu schatzen, lassen sich anstecken und tanzen, was das Zeug hält - eine ganze Halle, die großte Disco, die ich je gesehen habe, und wer nicht schweißnaß nach Hause geht, ist selbst schuld. Aus dem Interview wird zunachst natürlich doch nichts, dafür treffen wir uns zwei Tage spater in Siegen. Aber auch das sah zunachst nach einer mittelgroßen Pleite aus. „Zehn Minuten", kam es ungerührt aus dem Mund des Managers, „die Jungs haben keine Zeit." Und dafür 300 km gefahren? Achselzukken... Blinder Alarm, gottseidank, denn als Alan Wilder kommt, den ich damals auch vor dem Mikro hatte, ist er in seinem Mitteilungsbedürfnis gar nicht mehr zu bremsen. Auch er ist offensichtlich froh, mal über etwas anderes zu reden als über seine Lieblingsfarbe und das Leib- und Magengericht. Später kommt noch David dazu, freut sich auch über die alten Fotos aus dem Fachblatt-Artikel, aber ihn habe ich hier nicht mehr zu Wort kommen lassen, sonst hatte die Story eindeutig den Rahmen des Heftes gesprengt.

Fachblatt: Als ich euch vor zwei Jahren das letzte Mal gesehen habe, wart ihr vier liebe Jungs, die brav und ein bißchen verloren auf der Bühne herumstanden. Heute tobt zumindest David wie ein Berserker herum, du sitzt mir in schwarzem Leder gegenüber, was ist da passiert; das kann ja nicht nur mehr Erfahrung sein.
Alan: Das war eine ziemlich klare Entscheidung. Wir haben die Tour, die du ansprichst, mit Video gefilmt, und was wir dann hinterher gesehen haben, war einfach furchtbar. Mag sein, daß es den Leuten gefiel, aber für uns war das nicht länger akzeptabel. Da haben wir beschlossen, einen harteren Kurs zu fahren, und das hat sich nicht nur in der Musik, sondern auch in der Show und in unserem Aussehen niedergeschlagen.
Fachblatt: Diese Zäsur ist vermutlich zwischen „A Broken Frame" und „Construction Time Again" anzusetzen?
Alan: Ja.
Fachblatt: Aber so nüchtern-kalkuliert, wie du das hier darstellst, kann ich es mir eigentlich nicht vorstellen. Da muß sich doch auch eure innere Einstellung geandert haben.
Alan: Nein, so wie du dir das vorstellst, ist es wohl nicht. Ich glaube, daß wir innerlich keine anderen geworden sind als früher. Natürlich sind wir ein paar Jahre älter, haben mehr Ahnung von Musik, von Plattenaufnahmen, vom ganzen Business. Bei David ist es vielleicht etwas auffalliger. Er geht viel mehr aus sich heraus, sowohl als Sanger wie auch als optischer Mittelpunkt.
Fachblatt: Früher war die Bühne ja „demokratischer" aufgeteilt: Ihr standet alle nebeneinander und hattet gleichviel Platz. Heute hat David die komplette vordere Bühnenhalfte für sich, während ihr auf verschiedenen Ebenen hinter euren Keyboards fast verschwindet. Warum eine so klare Umverteilung der Gewichte?
Alan: Wir haben uns nicht hingesetzt und gesagt: "David, du gehst jetzt nach vorn und machst die Show allein." Es war ein langer Prozeß, in dem er immer mehr Selbstvertrauen und Mut bekommen hat, so einen breiten Raum - wortlich und im übertragenen Sinn - auch auszufüllen. Früher hatte er einfach Schiß, sich zu bewegen und war unheimlich nervos. Leider finde ich, daß er inzwischen etwas zu weit geht. Manchmal dreht er wirklich durch und brüllt nur noch rum. Aber die Leute fahren natürlich tierisch darauf ab.
Fachblatt: Wo liegt der Grund fur dein Unbehagen? Eifersucht, daß er die ganze Aufmerksamkeit abbekommt?
Alan: Nein, ich meine, wir drei könnten das gar nicht, weil wir an unsere Instrumente gebunden sind. Wir haben da einfach eine Menge Arbeit. Wir konnten nur hinter den Keyboards vorkommen, wenn alles vom Band karne. Nein, tauschen wollen wir nicht. Man muß schon zie