Depeche Mode Bong 12 (1991-01) 'Dreaming Of Me' 10th Anniversary Issue
Bong 12 (January 1991)
Articles:
A Decade of Depeche Mode by Jo Bailey
Ten Years On... by Jo Bailey
Over the Channel and Back (fanclub trip review) by Jo Bailey
Post Violation (tour recollections) by Daryl Bamonte
1990 - A Mode Year in Retrospect by Dennis Lim
Pictures:
page 1 page 2 page 3 page 4 page 5 page 6 live and backstage pictures
Articles:
A Decade of Depeche Mode by Jo Bailey
Ten Years On... by Jo Bailey
Over the Channel and Back (fanclub trip review) by Jo Bailey
Post Violation (tour recollections) by Daryl Bamonte
1990 - A Mode Year in Retrospect by Dennis Lim
Pictures:
page 1 page 2 page 3 page 4 page 5 page 6 live and backstage pictures
Attachments
A DECADE OF DEPECHE MODE
[From Bong 12, January 1991. Words: Jo Bailey.]
February 20th 1991 sees the tenth anniversary of the release of Depeche Mode’s debut single ‘Dreaming Of Me’. Backed by the track ‘Ice Machine’, it was available on 7” format only – 12”s not being such a popular medium in the early ’80s.
February ’81 also saw the release of the ‘Some Bizzare’ album, which featured an early version of ‘Photographic’. In a review of this LP, Chris Bohn of the NME (7.2.81 issue) said of Depeche’s contribution: “(Photographic) features some very assured, neatly structured and entwined synth melodies, which are partially marred by the 30’s futuristic lyrics, but saved by the persistent quiver of a rhythm line.” He also referred to the song as “one of the LP’s mainstream highlights” (the other being Blancmange’s ‘Sad Day’)
Philip Hall of ‘Record Mirror’ described ‘Dreaming Of Me’ as “Floppy fringe music, as predictable and well crafted as any Ultravox song.” At the time, DM would rather have referred to it as “a pop song”. Vince Clarke was quoted as saying “I think the word ‘pop’ is really good…….. It’s a nice word” The reviews were fairly good for a debut single:-
“Bright propulsion, a pert tune and understanding synths just about redeem this one; it suffers from affected vocals that nearly become overbearing. The spoken words at the end are particularly effective, surrounded by tinkling sounds that evoke the dreamy atmosphere of the subject” Carol Clerk, Melody Maker 7.3.81.
“Despite the narcissistic title, ‘Dreaming Of Me’ is as sweetly unassuming a slice of electronic whimsy as anything by early OMD. Deadpan vocals, programmed rhythm rejoinders and a candyfloss melody make for a pleasant three minutes. Live, they look great, make comfortable background noises, but don’t really sustain attention for much longer than that” Chris Bohn, NME 28.2.81.
“Boys keep swinging. Depeche are among the best of the new breed of techno poppers and this wistful, melodic, soft ditty, verging on (eek!) electro-folk is destined (cross fingers) for Silicon Teens – style success. Romantic and dreamy right down to the reflective ‘ooh la la las’ bringing up the rear. Refreshing for its total lack of anything deep, meaningful, heavy or arty. [1] Very much an instant, Now sound” Betty Page, Sounds 21.2.81. (one of the ‘Singles Of The Week’)
‘Dreaming Of Me’ took almost two months to chart and eventually peaked at no.57. It remained in the chart for only four weeks and, according to Daniel Miller, who produced the single, instigated the flow of ‘Indie’ releases into the so-called ‘pop’ mainstream.
The top-selling records during the UK [sic] the week ‘Dreaming Of Me’ was released were; no.1 in the singles chart, ‘Shaddup Your Face’ by Joe Dolce, and no.1 in the album chart, ‘Kings Of The Wild Frontier’ by Adam & The Ants.
In a 1985 interview with ‘No.1’ magazine, Dave said “(Making records) wasn’t taken seriously at all, we weren’t thinking about getting into the charts at all, we just wanted to make a record.” Martin told ‘No.1’ “After the surprise success of ‘Dreaming Of Me’ we thought that this game wasn’t too difficult after all…… We all earnt a hundred quid so we thought ‘Blimey, we’re laughing’”.
Ironically, it was due mainly to Radio 1 that DM’s success really took off. Amazing really, when you think that in May ’88, ‘Little 15’ was released in the UK on import only due to DM’s “disillusionment with British Radio.”
In the ensuing ten years, Depeche Mode have gone from strength to strength, from the Canning Town Bridgehouse to the Pasadena Rose Bowl, leaving the majority of their musical peers behind. Their world-wide success has brought their fan following up from a few friends in 1981 to millions worldwide in 1991… What next?…
[From Bong 12, January 1991. Words: Jo Bailey.]
February 20th 1991 sees the tenth anniversary of the release of Depeche Mode’s debut single ‘Dreaming Of Me’. Backed by the track ‘Ice Machine’, it was available on 7” format only – 12”s not being such a popular medium in the early ’80s.
February ’81 also saw the release of the ‘Some Bizzare’ album, which featured an early version of ‘Photographic’. In a review of this LP, Chris Bohn of the NME (7.2.81 issue) said of Depeche’s contribution: “(Photographic) features some very assured, neatly structured and entwined synth melodies, which are partially marred by the 30’s futuristic lyrics, but saved by the persistent quiver of a rhythm line.” He also referred to the song as “one of the LP’s mainstream highlights” (the other being Blancmange’s ‘Sad Day’)
Philip Hall of ‘Record Mirror’ described ‘Dreaming Of Me’ as “Floppy fringe music, as predictable and well crafted as any Ultravox song.” At the time, DM would rather have referred to it as “a pop song”. Vince Clarke was quoted as saying “I think the word ‘pop’ is really good…….. It’s a nice word” The reviews were fairly good for a debut single:-
“Bright propulsion, a pert tune and understanding synths just about redeem this one; it suffers from affected vocals that nearly become overbearing. The spoken words at the end are particularly effective, surrounded by tinkling sounds that evoke the dreamy atmosphere of the subject” Carol Clerk, Melody Maker 7.3.81.
“Despite the narcissistic title, ‘Dreaming Of Me’ is as sweetly unassuming a slice of electronic whimsy as anything by early OMD. Deadpan vocals, programmed rhythm rejoinders and a candyfloss melody make for a pleasant three minutes. Live, they look great, make comfortable background noises, but don’t really sustain attention for much longer than that” Chris Bohn, NME 28.2.81.
“Boys keep swinging. Depeche are among the best of the new breed of techno poppers and this wistful, melodic, soft ditty, verging on (eek!) electro-folk is destined (cross fingers) for Silicon Teens – style success. Romantic and dreamy right down to the reflective ‘ooh la la las’ bringing up the rear. Refreshing for its total lack of anything deep, meaningful, heavy or arty. [1] Very much an instant, Now sound” Betty Page, Sounds 21.2.81. (one of the ‘Singles Of The Week’)
‘Dreaming Of Me’ took almost two months to chart and eventually peaked at no.57. It remained in the chart for only four weeks and, according to Daniel Miller, who produced the single, instigated the flow of ‘Indie’ releases into the so-called ‘pop’ mainstream.
The top-selling records during the UK [sic] the week ‘Dreaming Of Me’ was released were; no.1 in the singles chart, ‘Shaddup Your Face’ by Joe Dolce, and no.1 in the album chart, ‘Kings Of The Wild Frontier’ by Adam & The Ants.
In a 1985 interview with ‘No.1’ magazine, Dave said “(Making records) wasn’t taken seriously at all, we weren’t thinking about getting into the charts at all, we just wanted to make a record.” Martin told ‘No.1’ “After the surprise success of ‘Dreaming Of Me’ we thought that this game wasn’t too difficult after all…… We all earnt a hundred quid so we thought ‘Blimey, we’re laughing’”.
Ironically, it was due mainly to Radio 1 that DM’s success really took off. Amazing really, when you think that in May ’88, ‘Little 15’ was released in the UK on import only due to DM’s “disillusionment with British Radio.”
In the ensuing ten years, Depeche Mode have gone from strength to strength, from the Canning Town Bridgehouse to the Pasadena Rose Bowl, leaving the majority of their musical peers behind. Their world-wide success has brought their fan following up from a few friends in 1981 to millions worldwide in 1991… What next?…
TEN YEARS ON....
[From Bong 12, January 1991. Words: Jo Bailey.]
Alan doesn’t really remember much about the release of ‘Dreaming Of Me’ as, obviously he wasn’t a member of DM at that time. However, there is a (very tenuous) link between DM and ‘The Hitmen’, the band that Alan was in at the time, who were on a UK tour in January of 1981, and played at the Islington Hope & Anchor on January 22nd (admission ?1:00) and Depeche Mode played there on the following night with a band called ‘Naked Lunch’ (admission ?1:50). Some of the many other bands that Alan has been in are ‘Daphne & The Tenderspots’ who brought out a single called ‘Disco Hell’ in 1978, and ‘Real To Real’ (an LP entitled ‘Tightrope Walkers’). ‘The Hitmen’ released a single called ‘Bates Motel’ in 1980. Alan also played on the single ‘If I Had You’ by ‘The Korgis’.
* * *
I asked Dave what he remembered about this time ten years ago:
“When ‘Dreaming Of Me’ was released I remember it well, I remember the reviews, half good, half bad (nothing changes) I remember a really good write-up in ‘Smash Hits’ with a picture of Vince that made him look like one of the fish from ‘Stingray’. I also remember feeling the hair stand up on the back of my neck when first hearing the song on the radio. We performed a gig supporting ‘Ultravox’ at The Rainbow on Feb. 14th (it was Daniel Miller’s birthday – we bought him a Chelsea football scarf and an M&S jumper, no expense spared).
I couldn’t have imagined how successful we were going to be, or that we would still be together in ten years’ time. As for the next ten, it’s the start of new changes in my life, and I hope in ten years’ time, I’ll feel as good as I do now.”
* * *
“May 1980: Most kids were taking their ‘O’ Levels and I was dossing around St. Nicholas’ Comprehensive waiting to be “discharged”. Then Depeche Mode happened.
Catching a lift and helping move amps (yes, amps) around turned into a job. Within a year vinyl was released and within a further year DM were touring the world and I was there with them.
I’ve never really questioned the band’s continued success and have definitely never analysed it. I believe, subconsciously, I have always known they would get bigger and bigger, almost to the point of taking it for granted.
These days, almost eleven years later, I’m still enjoying working for these four great men. The travelling’s not so exciting, but at least the pay’s better.” DARYL BAMONTE, JANUARY 1991
[From Bong 12, January 1991. Words: Jo Bailey.]
Alan doesn’t really remember much about the release of ‘Dreaming Of Me’ as, obviously he wasn’t a member of DM at that time. However, there is a (very tenuous) link between DM and ‘The Hitmen’, the band that Alan was in at the time, who were on a UK tour in January of 1981, and played at the Islington Hope & Anchor on January 22nd (admission ?1:00) and Depeche Mode played there on the following night with a band called ‘Naked Lunch’ (admission ?1:50). Some of the many other bands that Alan has been in are ‘Daphne & The Tenderspots’ who brought out a single called ‘Disco Hell’ in 1978, and ‘Real To Real’ (an LP entitled ‘Tightrope Walkers’). ‘The Hitmen’ released a single called ‘Bates Motel’ in 1980. Alan also played on the single ‘If I Had You’ by ‘The Korgis’.
* * *
I asked Dave what he remembered about this time ten years ago:
“When ‘Dreaming Of Me’ was released I remember it well, I remember the reviews, half good, half bad (nothing changes) I remember a really good write-up in ‘Smash Hits’ with a picture of Vince that made him look like one of the fish from ‘Stingray’. I also remember feeling the hair stand up on the back of my neck when first hearing the song on the radio. We performed a gig supporting ‘Ultravox’ at The Rainbow on Feb. 14th (it was Daniel Miller’s birthday – we bought him a Chelsea football scarf and an M&S jumper, no expense spared).
I couldn’t have imagined how successful we were going to be, or that we would still be together in ten years’ time. As for the next ten, it’s the start of new changes in my life, and I hope in ten years’ time, I’ll feel as good as I do now.”
* * *
“May 1980: Most kids were taking their ‘O’ Levels and I was dossing around St. Nicholas’ Comprehensive waiting to be “discharged”. Then Depeche Mode happened.
Catching a lift and helping move amps (yes, amps) around turned into a job. Within a year vinyl was released and within a further year DM were touring the world and I was there with them.
I’ve never really questioned the band’s continued success and have definitely never analysed it. I believe, subconsciously, I have always known they would get bigger and bigger, almost to the point of taking it for granted.
These days, almost eleven years later, I’m still enjoying working for these four great men. The travelling’s not so exciting, but at least the pay’s better.” DARYL BAMONTE, JANUARY 1991
OVER THE CHANNEL AND BACK
[From Bong 12, January 1991. Words: Jo Bailey.]
When I asked if anyone would be interested in a fanclub trip to see Depeche Mode in Paris, I didn’t realise what a response there’d be! Eventually, there were 150 of us, crammed into three coaches, heading down the A2 towards Dover. Two coachloads of us met up at Marble Arch in London (the third coach having picked up people in Manchester and then Birmingham) You couldn’t miss us – a seething mass of black leather and suitcases!
The coaches were equipped with tape machines and videos, so no guesses what we were watching / listening to all the way. I’d managed to get hold of an advance copy of ‘Strange Too’ and it was being passed from coach to coach on various stages of the journey.
The people on ‘my’ coach were fairly rowdy – singing and messing around until the need for some sleep finally caught up with us. (I was terrified to fall asleep, as some people were threatening to take blackmail photos of me) We eventually arrived in Paris at around 6.30am, when Mike, our courier, treated us to a sightseeing trip around the city. One of our number excelled himself by getting lost at every stop on the tour, and having to be dragged back to the coach. It seemed at one point that Paris was made up entirely of extensions to the Louvre! We stopped at Notre Dame for some (very welcome) breakfast, and to plan our day, as we’d been told that we couldn’t check into our hotel until 2pm.
It appeared that most people wanted to get to Bercy (the venue for that night’s concert) as early as possible, so that they could secure a place close to the stage.
My sister Ali, on the other hand, wanted to sleep! When we were eventually able to check into our hotel, we discovered that the lock on the dour was dodgy and only Houdini and the Desk Clerk were able to open it. While Ali snored the afternoon away, I managed to catch up with some friends who’d travelled independently to Paris, and together we cruised the coffee bars and went window-shopping. Everywhere I went there were people in Depeche Mode T-Shirts, carrying scarves and banners, heading for the Bercy.
The gig itself was manic. Before DM had even hit the stage, there were people being stretchered away. Whether it was the heat, excitement or a mixture of the two I’m not sure, but the expectancy in the air was amazing. Just as Depeche were about to make their entrance, there was a slight rumpus behind us, and a few French people seated around us started staring. A local singing celebrity was taking her seat in the row behind, and we were politely asked to sit down as she couldn’t see the stage. We managed to remain seated for about half the set, but then the urge to enjoy ourselves and dance took over.
After the show, some of the fanclub members (who’d been pre-selected by the trust ‘eyes closed and pick someone with a pen’ system) came backstage to meet the band. Many photos and autographs later, we all shuffled back to our respective hotels. The night was still young, however, and despite the protestations of ‘Monsieur Grumpy’, the night porter, Ali and I decided to go ‘clubbing’. When we finally got back to our hotel, we only had a couple of hours until we were to head for home. How we managed to get up, shower and pack in time for a 9am departure is an unexplained phenomenon. With Clive (our driver) ‘Behind The Wheel’ we set off, discussing the night before, singing and nursing headaches. The ‘Paris Posse’ (Larmarman, Gav, Kate, Claire and many others) excelled themselves with versions of ‘Never Let Me Down’ and ‘Personal Jesus’ complete with arm aerobics and lighting effects. It was most moving (or was that the after-effects of the ferry journey?)
I hope we can do it all again next time!
[From Bong 12, January 1991. Words: Jo Bailey.]
When I asked if anyone would be interested in a fanclub trip to see Depeche Mode in Paris, I didn’t realise what a response there’d be! Eventually, there were 150 of us, crammed into three coaches, heading down the A2 towards Dover. Two coachloads of us met up at Marble Arch in London (the third coach having picked up people in Manchester and then Birmingham) You couldn’t miss us – a seething mass of black leather and suitcases!
The coaches were equipped with tape machines and videos, so no guesses what we were watching / listening to all the way. I’d managed to get hold of an advance copy of ‘Strange Too’ and it was being passed from coach to coach on various stages of the journey.
The people on ‘my’ coach were fairly rowdy – singing and messing around until the need for some sleep finally caught up with us. (I was terrified to fall asleep, as some people were threatening to take blackmail photos of me) We eventually arrived in Paris at around 6.30am, when Mike, our courier, treated us to a sightseeing trip around the city. One of our number excelled himself by getting lost at every stop on the tour, and having to be dragged back to the coach. It seemed at one point that Paris was made up entirely of extensions to the Louvre! We stopped at Notre Dame for some (very welcome) breakfast, and to plan our day, as we’d been told that we couldn’t check into our hotel until 2pm.
It appeared that most people wanted to get to Bercy (the venue for that night’s concert) as early as possible, so that they could secure a place close to the stage.
My sister Ali, on the other hand, wanted to sleep! When we were eventually able to check into our hotel, we discovered that the lock on the dour was dodgy and only Houdini and the Desk Clerk were able to open it. While Ali snored the afternoon away, I managed to catch up with some friends who’d travelled independently to Paris, and together we cruised the coffee bars and went window-shopping. Everywhere I went there were people in Depeche Mode T-Shirts, carrying scarves and banners, heading for the Bercy.
The gig itself was manic. Before DM had even hit the stage, there were people being stretchered away. Whether it was the heat, excitement or a mixture of the two I’m not sure, but the expectancy in the air was amazing. Just as Depeche were about to make their entrance, there was a slight rumpus behind us, and a few French people seated around us started staring. A local singing celebrity was taking her seat in the row behind, and we were politely asked to sit down as she couldn’t see the stage. We managed to remain seated for about half the set, but then the urge to enjoy ourselves and dance took over.
After the show, some of the fanclub members (who’d been pre-selected by the trust ‘eyes closed and pick someone with a pen’ system) came backstage to meet the band. Many photos and autographs later, we all shuffled back to our respective hotels. The night was still young, however, and despite the protestations of ‘Monsieur Grumpy’, the night porter, Ali and I decided to go ‘clubbing’. When we finally got back to our hotel, we only had a couple of hours until we were to head for home. How we managed to get up, shower and pack in time for a 9am departure is an unexplained phenomenon. With Clive (our driver) ‘Behind The Wheel’ we set off, discussing the night before, singing and nursing headaches. The ‘Paris Posse’ (Larmarman, Gav, Kate, Claire and many others) excelled themselves with versions of ‘Never Let Me Down’ and ‘Personal Jesus’ complete with arm aerobics and lighting effects. It was most moving (or was that the after-effects of the ferry journey?)
I hope we can do it all again next time!
POST VIOLATION
[From Bong 12, January 1991. Words: Daryl Bamonte.]
So, 27th November at the Birmingham NEC marked the finale of “World Violation” bringing to a close the third and final leg of the tour.
What were the highlights of this nine wee European (yes, we are in the EEC) jaunt?
The football? The parties? The riots? The gigs? Oh yes, the gigs.
It’s very easy when you’re part of a big touring party to put the more repetitive parts of the job to the back of your mind. But to the 16,000 people packed into the Bercy in Paris, “World Violation” was far from repetitive. Even if they did go to all three nights (all sold out of course). In fact, to make things more interesting there was a transport strike in Paris on the weekend of the shows. Andy Franks had to travel to the Bercy on a motorbike! (riding pillion of course)
While we’re on the subject of France, the gig in Lyon had to be the biggest indoor attendance for a European concert (23,000 people) Wembley Stadium? Cardiff Arms Park? Look for a roof next time you’re there.
From France we headed west and then sort of south a bit and ended up in Barcelona, 20,000 people, brand new gig, chaos. At the eleventh hour, the promoter decided to sell 200 more tickets and Mark Aurelio (assistant tour accountant) is deemed fit to sell them outside from a kind of ‘Punch & Judy” stand. Naturally, the local touts get the hump and inform irate fans that the tickets are fake. A fight ensues, the “Box Office” is uprooted and for some reason Mark is the one who is arrested (?) A one-off? The fans in Madrid queued from 7am and then decided to enter the gig through the windows (which they had previously smashed). Even so, an invaluable source described the gig as “mental”. Next stop was Italy where we see yet more “Latin intensity” and the now proverbial “Police Escorts” everywhere.
The majority of shows on the European tour were played in Germany. The gigs in Frankfurt were particularly good, especially as tennis “goddess” Steffi Graf showed up and danced, out of time, on the side of the stage.
Frankfurt also saw a rare appearance of the “DM 11” football team against the promoters team (full of ex-pros, incidentally). We were being stuffed 6-1 at half-time until Willie Whitelaw, merchandiser, turned on the charm and the final score was 10-9 (to them I think).
The biggest party of the tour was of course in Hamburg where the band saw fit to spend “loadsamoney” just because one of their crew was one year older (?) – It was my 27th birthday and after being ushered from a bar and then a restaurant for being too loud, we turn up at the club “Subeto” for a surprise birthday that I knew nothing about (even though Franksy told me the night before in Rotterdam). Highlights of the evening were an appearance by legendary rapper “Dazzy B” (work it out) and Ginger Barwick “snogging” with my blow-up doll (aptly named Gina).
Well, there you have it. I could go on forever. Fletch being assaulted by a security man for doing something with a bucket backstage at Hannover? But that’s another story………
So, as we find ourselves in a state of “post violation” transit (no, not the Ford, Franksy) we can only look forward in anticipation to many more “Violators” and many more “World Violations”.
STRANGE, BUT TRUE………
[From Bong 12, January 1991. Words: Daryl Bamonte.]
So, 27th November at the Birmingham NEC marked the finale of “World Violation” bringing to a close the third and final leg of the tour.
What were the highlights of this nine wee European (yes, we are in the EEC) jaunt?
The football? The parties? The riots? The gigs? Oh yes, the gigs.
It’s very easy when you’re part of a big touring party to put the more repetitive parts of the job to the back of your mind. But to the 16,000 people packed into the Bercy in Paris, “World Violation” was far from repetitive. Even if they did go to all three nights (all sold out of course). In fact, to make things more interesting there was a transport strike in Paris on the weekend of the shows. Andy Franks had to travel to the Bercy on a motorbike! (riding pillion of course)
While we’re on the subject of France, the gig in Lyon had to be the biggest indoor attendance for a European concert (23,000 people) Wembley Stadium? Cardiff Arms Park? Look for a roof next time you’re there.
From France we headed west and then sort of south a bit and ended up in Barcelona, 20,000 people, brand new gig, chaos. At the eleventh hour, the promoter decided to sell 200 more tickets and Mark Aurelio (assistant tour accountant) is deemed fit to sell them outside from a kind of ‘Punch & Judy” stand. Naturally, the local touts get the hump and inform irate fans that the tickets are fake. A fight ensues, the “Box Office” is uprooted and for some reason Mark is the one who is arrested (?) A one-off? The fans in Madrid queued from 7am and then decided to enter the gig through the windows (which they had previously smashed). Even so, an invaluable source described the gig as “mental”. Next stop was Italy where we see yet more “Latin intensity” and the now proverbial “Police Escorts” everywhere.
The majority of shows on the European tour were played in Germany. The gigs in Frankfurt were particularly good, especially as tennis “goddess” Steffi Graf showed up and danced, out of time, on the side of the stage.
Frankfurt also saw a rare appearance of the “DM 11” football team against the promoters team (full of ex-pros, incidentally). We were being stuffed 6-1 at half-time until Willie Whitelaw, merchandiser, turned on the charm and the final score was 10-9 (to them I think).
The biggest party of the tour was of course in Hamburg where the band saw fit to spend “loadsamoney” just because one of their crew was one year older (?) – It was my 27th birthday and after being ushered from a bar and then a restaurant for being too loud, we turn up at the club “Subeto” for a surprise birthday that I knew nothing about (even though Franksy told me the night before in Rotterdam). Highlights of the evening were an appearance by legendary rapper “Dazzy B” (work it out) and Ginger Barwick “snogging” with my blow-up doll (aptly named Gina).
Well, there you have it. I could go on forever. Fletch being assaulted by a security man for doing something with a bucket backstage at Hannover? But that’s another story………
So, as we find ourselves in a state of “post violation” transit (no, not the Ford, Franksy) we can only look forward in anticipation to many more “Violators” and many more “World Violations”.
STRANGE, BUT TRUE………
1990 - A MODE YEAR IN RETROSPECT
[From Bong 12, January 1991. Words: Dennis Lim.]
I seriously doubt if the exact turning point in Depeche Mode’s illustrious career has ever been established. Many, myself included, believed it to be the emergence of Martin as main songwriter and the much-needed inclusion of Alan which contributed to the development of the Mode sound which we now know. However, as often seems to be the case with DM, I was proven pleasantly wrong – in this case, by the events of 1990 – a landmark year not only for the band, but also for their fans the world over. As the 80’s drew to a close, Depeche Mode reinforced their standing as a musical force to be reckoned with in the coming decade with the release of the classic ‘Personal Jesus’. Perhaps the more perceptive among us might have taken that to be an indication of the heights DM’s career would soar to in 1990 – a year which saw the Mode’s metamorphosis from underground favourites to million-selling stadium-fillers in the States and their reinstatement as musical trend-setters on dancefloors just about everywhere.
Admittedly, Depeche Mode had already been massive for a very long time, but their success was largely confined to Europe with mainstream success in the largest record-buying market – the US – seeming inexplicably to elude them. Prior to 1990, their sole American top 40 hit was ‘People Are People’, but the past year has seen Depeche Mode amass four more – including two gold singles. ‘Violator’ – an LP which exceeded even the highest expectations with its remarkable effective sparsity and gripping lyrical themes – went on to sell millions worldwide.
In DM’s case, the cliche, ‘overnight success’ does not apply – in fact, it couldn’t be further from the truth. DM’s success has been hard-earned and gradual – their following growing slowly but surely. Ironically, DM haven’t made radical changes in their style for radio playlists – as I heard Martin being quoted over the radio – it’s radio playlists which are being changed to accommodate Depeche Mode. After all these years, DM’s success can now be termed ‘worldwide’ – while many of their contemporaries have either disbanded or faded inconspicuously, DM’s career is beginning to take on a whole new perspective.
For me though, what remains most outstanding about DM’s epic past year hasn’t been the gold singles or the platinum LPs or the sell-out gigs – It’s been Depeche Mode themselves. It’s been Alan, Fletch, Dave and Martin remaining as unaffected as is humanly possible by their overwhelming success. Their bank accounts may have swelled, but their egos haven’t. Despite the adulation and adoration heaped upon them, they have remained – as reflected by interviews and especially by last year’s movie 101 – four unassuming and unpretentious young men, relatively low-profiled superstars (a contradiction in terms?)
Their achievements of the past year have been so outstanding that even DM may appear hard-pressed to surpass them, but we all know better than to underestimate Depeche Mode. So then, what’s next in line for the boys who took the world by storm in 1990? World Violation?
World Domination, I feel, would be more apt.
[From Bong 12, January 1991. Words: Dennis Lim.]
I seriously doubt if the exact turning point in Depeche Mode’s illustrious career has ever been established. Many, myself included, believed it to be the emergence of Martin as main songwriter and the much-needed inclusion of Alan which contributed to the development of the Mode sound which we now know. However, as often seems to be the case with DM, I was proven pleasantly wrong – in this case, by the events of 1990 – a landmark year not only for the band, but also for their fans the world over. As the 80’s drew to a close, Depeche Mode reinforced their standing as a musical force to be reckoned with in the coming decade with the release of the classic ‘Personal Jesus’. Perhaps the more perceptive among us might have taken that to be an indication of the heights DM’s career would soar to in 1990 – a year which saw the Mode’s metamorphosis from underground favourites to million-selling stadium-fillers in the States and their reinstatement as musical trend-setters on dancefloors just about everywhere.
Admittedly, Depeche Mode had already been massive for a very long time, but their success was largely confined to Europe with mainstream success in the largest record-buying market – the US – seeming inexplicably to elude them. Prior to 1990, their sole American top 40 hit was ‘People Are People’, but the past year has seen Depeche Mode amass four more – including two gold singles. ‘Violator’ – an LP which exceeded even the highest expectations with its remarkable effective sparsity and gripping lyrical themes – went on to sell millions worldwide.
In DM’s case, the cliche, ‘overnight success’ does not apply – in fact, it couldn’t be further from the truth. DM’s success has been hard-earned and gradual – their following growing slowly but surely. Ironically, DM haven’t made radical changes in their style for radio playlists – as I heard Martin being quoted over the radio – it’s radio playlists which are being changed to accommodate Depeche Mode. After all these years, DM’s success can now be termed ‘worldwide’ – while many of their contemporaries have either disbanded or faded inconspicuously, DM’s career is beginning to take on a whole new perspective.
For me though, what remains most outstanding about DM’s epic past year hasn’t been the gold singles or the platinum LPs or the sell-out gigs – It’s been Depeche Mode themselves. It’s been Alan, Fletch, Dave and Martin remaining as unaffected as is humanly possible by their overwhelming success. Their bank accounts may have swelled, but their egos haven’t. Despite the adulation and adoration heaped upon them, they have remained – as reflected by interviews and especially by last year’s movie 101 – four unassuming and unpretentious young men, relatively low-profiled superstars (a contradiction in terms?)
Their achievements of the past year have been so outstanding that even DM may appear hard-pressed to surpass them, but we all know better than to underestimate Depeche Mode. So then, what’s next in line for the boys who took the world by storm in 1990? World Violation?
World Domination, I feel, would be more apt.