Bong 20 (April 1994)
Articles:
Get Flight With Me (concert review) by Paul A. Inwood
Spreading the News Around the World (band biography) by Brian Do
Pictures:
page 1 Martin live
page 2 Dave live
page 3 the band in 1987
page 4 Dave live
Articles:
Get Flight With Me (concert review) by Paul A. Inwood
Spreading the News Around the World (band biography) by Brian Do
Pictures:
page 1 Martin live
page 2 Dave live
page 3 the band in 1987
page 4 Dave live
Attachments
Last edited:
GET FLIGHT WITH ME
[From Bong 20, April 1994. Words: Paul A. Inwood.]
Depeche Mode have just re-taken the stage to the sort of reception usually reserved for the entrance of FA cup final teams – it is late September and we are Madison Square Garden, one of the best concert venues I have ever visited. We are also a long way from home, 3,500 miles in fact, although DM’s now familiar set provides a welcome re-assurance in this alien city. Why have we travelled so far to enjoy a show that could be viewed much closer to home?
It is grey and sombre, not one of John Major’s suits but a dank morning on the outskirts of London. A cluster of people have started to gather inside the entrance to terminal 3 at Heathrow airport, at first inspection and at some distance it looks like a funeral party, but as you approach it is obvious that the frequency of black attire means only one thing – BONG members in close proximity! Familiar faces from Rotterdam, Paris, Crystal Palace, some fans yet to see DM live, the ‘bank at lunchtime’ length queue provides ample opportunity to acquaint and discuss our venture. It is also at this stage that the anxiety about travelling on Air India arises. I find it hard to accept stories about goats tethered in the aisle are true, and look forward to a hot madras meal instead, having reserved my seat at the rear of the plane.
Day 1 is spent recovering from the previous night’s excesses at Greenwich Village’s various bars, and exploring the 5th Avenue shopping area. We are based in a hotel adjacent to 5th Ave., and have discovered our ‘spiritual home’ a handy Irish bar opposite our hotel, who seem happy to serve drinks at any hour. Evening approaches, and with it DM’s first night at MSG, an impressive venue with steeply banked seating at side and rear, containing 18,000 fans, anxiously awaiting the band’s arrival. We are seated centre stage, approx. 10 rows from the front, and therefore have an ideal view. DM play their now familiar ‘Devotional’ set, although there is a different atmosphere or sense of occasion at this show, and I think this may partly explain our presence here.
Crowd reaction is an important part of any gig, particularly at a DM show, where a strong bond appears to exist between band and crowds. At U.K. shows I have often found myself willing the crowd to become bigger, louder and more fanatical (particularly after viewing ‘101’) and have long wanted to experience such an event. Having spoken to several of our party I believe this is true of many British fans.
Depeche Mode have constantly evolved their back catalogue of songs to play live, notably on this occasion “Behind The Wheel” with slicker backbeat, and “World In My Eyes” with its improved introduction, although Martin’s final solo on “Everything Counts” is sadly missed. Songs of the show include “Walking In My Shoes” with its ‘grunge’ finale, the atmospheric “In Your Room”, but most notably “Enjoy The Silence”, a tower of glory perfectly matched by Anton Corbijn’s visuals and Martin’s guitar performance.
In most of the reviews to date no recognition has been given to DM’s visual display, so I will address that now. DM are now visually stronger than ever before, and this must be due to Anton Corbijn’s brilliant stage and visual design. Baffling at times, totally appropriate at others, DM’s visuals provide a stunning backdrop to their set, a vast improvement on pre-World Violation tours. Crowd involvement in these shows is total – right from “Higher Love” through DM’s set. The crowd seem to draw their energy from the band, and the band from the crowd. The synchronised hand-clapping outdoes anything witnessed on the North bank at Highbury, the crowd’s response to Martin’s ‘moves’ during his excursion around stage with guitar are both encouraging and stimulating.
One way of measuring the strength of DM’s set is to look at the songs NOT included. Most of our group mourn the absence of “Shake The Disease”, “Black Celebration” and “A Question Of Time”, although all agree that they have just seen their best concert ever. Set variations on night 2 include “Death’s Door” and “Get Right With Me”, the sing along at the end of “Everything Counts” is more protracted, the crowd reluctant to leave.
Night 3 takes us to the Nassau Coliseum, Brooklyn. I am delayed for 10 minutes by an over-friendly hot-dog seller trying to fathom why I would wish to travel from London to Brooklyn to see DM. After promising to send her a copy of Bong she lets me go and I can take my seat. The Nassau Coliseum is a venue not unlike Wembley Arena, inside, and the acoustics are also similar. DM’s set is similar to Night 1 at MSG. I realise that this is the 5th show I have seen and different songs have affected me at various points, but the shows do not lose value with repetition.
Dave sings “In Your Room” with particular feeling tonight, I am filled with a sense of sadness that I must wait 3 months until the U.K. shows, this is also expressed by others in our group. To add to our sorrow we are soaked on our return to NYC, having spent 40 minutes waiting for a bus that is not scheduled. After putting on dry clothes we manage to find a late bar with a CD juke-box that has SOFAD on it. The barman is becoming increasingly concerned not at our behaviour but at the fact that we are showing no sign of leaving his bar, (it’s 4:00 a.m.!) and also the frequency of various DM tracks emanating from his CD juke-box. After informing us of his reluctance to lose his licence, we retreat to our hotel to lose consciousness prior to our journey home, which was spent making contacts, reflecting on our trip and trying to sleep on aviation’s answer to the Burma Railway (Air India again!).
Adjusting to the normal routine of life after such a trip is hard, although the memories live on, and I understand more trips are planned, so – ROCK HARD!!!
[From Bong 20, April 1994. Words: Paul A. Inwood.]
Depeche Mode have just re-taken the stage to the sort of reception usually reserved for the entrance of FA cup final teams – it is late September and we are Madison Square Garden, one of the best concert venues I have ever visited. We are also a long way from home, 3,500 miles in fact, although DM’s now familiar set provides a welcome re-assurance in this alien city. Why have we travelled so far to enjoy a show that could be viewed much closer to home?
It is grey and sombre, not one of John Major’s suits but a dank morning on the outskirts of London. A cluster of people have started to gather inside the entrance to terminal 3 at Heathrow airport, at first inspection and at some distance it looks like a funeral party, but as you approach it is obvious that the frequency of black attire means only one thing – BONG members in close proximity! Familiar faces from Rotterdam, Paris, Crystal Palace, some fans yet to see DM live, the ‘bank at lunchtime’ length queue provides ample opportunity to acquaint and discuss our venture. It is also at this stage that the anxiety about travelling on Air India arises. I find it hard to accept stories about goats tethered in the aisle are true, and look forward to a hot madras meal instead, having reserved my seat at the rear of the plane.
Day 1 is spent recovering from the previous night’s excesses at Greenwich Village’s various bars, and exploring the 5th Avenue shopping area. We are based in a hotel adjacent to 5th Ave., and have discovered our ‘spiritual home’ a handy Irish bar opposite our hotel, who seem happy to serve drinks at any hour. Evening approaches, and with it DM’s first night at MSG, an impressive venue with steeply banked seating at side and rear, containing 18,000 fans, anxiously awaiting the band’s arrival. We are seated centre stage, approx. 10 rows from the front, and therefore have an ideal view. DM play their now familiar ‘Devotional’ set, although there is a different atmosphere or sense of occasion at this show, and I think this may partly explain our presence here.
Crowd reaction is an important part of any gig, particularly at a DM show, where a strong bond appears to exist between band and crowds. At U.K. shows I have often found myself willing the crowd to become bigger, louder and more fanatical (particularly after viewing ‘101’) and have long wanted to experience such an event. Having spoken to several of our party I believe this is true of many British fans.
Depeche Mode have constantly evolved their back catalogue of songs to play live, notably on this occasion “Behind The Wheel” with slicker backbeat, and “World In My Eyes” with its improved introduction, although Martin’s final solo on “Everything Counts” is sadly missed. Songs of the show include “Walking In My Shoes” with its ‘grunge’ finale, the atmospheric “In Your Room”, but most notably “Enjoy The Silence”, a tower of glory perfectly matched by Anton Corbijn’s visuals and Martin’s guitar performance.
In most of the reviews to date no recognition has been given to DM’s visual display, so I will address that now. DM are now visually stronger than ever before, and this must be due to Anton Corbijn’s brilliant stage and visual design. Baffling at times, totally appropriate at others, DM’s visuals provide a stunning backdrop to their set, a vast improvement on pre-World Violation tours. Crowd involvement in these shows is total – right from “Higher Love” through DM’s set. The crowd seem to draw their energy from the band, and the band from the crowd. The synchronised hand-clapping outdoes anything witnessed on the North bank at Highbury, the crowd’s response to Martin’s ‘moves’ during his excursion around stage with guitar are both encouraging and stimulating.
One way of measuring the strength of DM’s set is to look at the songs NOT included. Most of our group mourn the absence of “Shake The Disease”, “Black Celebration” and “A Question Of Time”, although all agree that they have just seen their best concert ever. Set variations on night 2 include “Death’s Door” and “Get Right With Me”, the sing along at the end of “Everything Counts” is more protracted, the crowd reluctant to leave.
Night 3 takes us to the Nassau Coliseum, Brooklyn. I am delayed for 10 minutes by an over-friendly hot-dog seller trying to fathom why I would wish to travel from London to Brooklyn to see DM. After promising to send her a copy of Bong she lets me go and I can take my seat. The Nassau Coliseum is a venue not unlike Wembley Arena, inside, and the acoustics are also similar. DM’s set is similar to Night 1 at MSG. I realise that this is the 5th show I have seen and different songs have affected me at various points, but the shows do not lose value with repetition.
Dave sings “In Your Room” with particular feeling tonight, I am filled with a sense of sadness that I must wait 3 months until the U.K. shows, this is also expressed by others in our group. To add to our sorrow we are soaked on our return to NYC, having spent 40 minutes waiting for a bus that is not scheduled. After putting on dry clothes we manage to find a late bar with a CD juke-box that has SOFAD on it. The barman is becoming increasingly concerned not at our behaviour but at the fact that we are showing no sign of leaving his bar, (it’s 4:00 a.m.!) and also the frequency of various DM tracks emanating from his CD juke-box. After informing us of his reluctance to lose his licence, we retreat to our hotel to lose consciousness prior to our journey home, which was spent making contacts, reflecting on our trip and trying to sleep on aviation’s answer to the Burma Railway (Air India again!).
Adjusting to the normal routine of life after such a trip is hard, although the memories live on, and I understand more trips are planned, so – ROCK HARD!!!
SPREADING THE NEWS AROUND THE WORLD
[From Bong 20, April 1994. Words: Brian Do.]
The fans who have been members of Bong for some time now know that there was a retrospective story looking at DM’s career from their early days and followed the band’s success, record releases and tours. The first part appeared in BONG 14 and the story continued in every other issue until BONG 16 where the biography concluded with the release of “Black Celebration” in 1986. We thought it would be a shame not to complete and up-date it and miss out on some of the most important events that transpired with Depeche Mode after 1986. So, without further delay, the story continues… Enjoy!
1. Appealing To The Masses
After taking a few months’ break from their Black Celebration tour which ended in August 1986, Depeche Mode returned to the recording studios late that year to begin work on their next album titled “Music For The Masses”.
After recording sessions began at Studio Guillaume Tell, Paris and finishing up at Konk, London, “Strangelove” was the result of extensive work with mixing help from David Bascombe at Puk Studios, Denmark.
“Strangelove”, released to the public ear on April 13, 1987, went to No. 16, confirming that Depeche Mode were once again asserting their role as one of the giants of Modern Rock. The first single became an immediate favourite among music goers, yet it was only a taste of what was to come. The track hinted at the celebration of masochism, a theme that is all too familiar for songwriter, Martin Gore. With the vocals of David Gahan, it portrayed a marvellous marriage of voice and material.
Several months later on September 28, saw the highly anticipated release of “Music For The Masses”, which immediately went platinum worldwide and continued to mount in sales as Depeche Mode made preparations to launch another world tour that would be even more extensive than the previous. The album took the band to new heights and musical wizardry with its meaningful lyrics and pounding rhythms. Never before had the group’s material been so consistent and focused. It spoke of pain and salvation, love and despair; the familiar theme of Martin’s lyrics, yet even further defined. Sometimes there would seem to be a hazy line between whether the group questioned faith or inspired it. “I’m a firm believer and a warm receiver / And I’ve made my decision / This is religion there’s no doubt, I’m one of the devout”. The album reached No. 10 on the U.K. charts and definitely appealed to the masses as sales climbed past the 3 million mark.
The second single, “Never Let Me Down Again” greeted music stores late that summer (August 24) and continued the hype as it reached a modest No. 22. David Hiltbrand of Rolling Stone commented, “This is the band’s most lifelike effort to date, and a compelling dance number”. Compelling it was as Martin described, “We’re flying high / We’re watching the world pass us by / Never want to come down / Never want to put my feet back down on the ground”.
2. Depeche Mode Never Lets The World Down
Beginning their world tour in Madrid, Spain, the group travelled the globe selling out stadiums and concert halls wherever they stopped. The “Concert For The Masses” tour as it was called, brought the foursome together on stage to deliver their passion and soul. Every stage introduction began with “Pimpf”, a classically orchestrated instrumental that chanted the surprising words “cold beer” in its sinister background. [1] Alan Wilder’s uncontested knowledge and sampling techniques combined for an astonishing show.
While the tour was underway, the next single “Behind The Wheel” was released on December 28, 1987 and was added to the list of top 20 hits. The track was undeniably alluring as it became a dance favourite when combined with their remake of Robert Troup Jr.’s classic “Route 66”.
The three singles from “Music For The Masses” then went on to appear in every major top 100 radio countdown list of 1988. Quite a remarkable achievement considering they had some of their older tracks already on the lists! The band had proven once again that they could craft music of throbbing power and deliver it with powerful emotions.
As Depeche Mode returned for their last stop at the Pasadena Rose Bowl Stadium on June 18, 1988. The historical event was recorded and filmed for the later to be released documentary album and movie bearing the name “Depeche Mode 101”, appropriately titled for the 101st show performed during the tour. With the release of “Strange” video compilation, the group were back into show business. Nothing was out of reach as material continued to be released by the group.
3. Behind Depeche Mode’s Wheel
Just a month before the tour ended, Mute Records released yet another track from the “Music For The Masses” album on May 16, 1988. The “Little 15” e.p. became a popular piece among the band’s ballads. Martin’s powerful lyrics pierce the soul with heartfelt emotions: “You could drive her away / To a happier place / To a happier day / That exists in your mind / And in your smile / She could escape there / Just for a while, Little 15”.
A re-issued single of the encore favourite “Everything Counts” kept fans happy even long after the tour was over as it was released the following year on February 13, 1989 and contained some live cuts from the Pasadena Rose Bowl performance as well as new remixes for “Everything Counts” and “Strangelove”.
Just when everyone thought that they had heard and seen everything, the double compilation album “101” was released on March 13 which showcased the group’s entire performance at the Pasadena Rose Bowl Stadium. This would be the first time that a complete live concert of the group would be commercially available through their record company. The 20-track compilation featured two hours of Depeche Mode at their finest.
Another highlight coming after the tour was the opening of “101”, a two hour documentary which opened at theatres all over the world the month of March 1989. The film, directed by rockumentarist D. A. Pennebaker, concentrated on eight teenage fans who after winning a radio contest, were allowed to follow the group on tour bus during the band’s North America tour. The contest, held by the Long Island, N.Y. radio station WDRE, was devised by Pennebaker and the band as an idea to explore the elements of pop culture and as a means for less concentration on performance footage of the group. The fans trailed the group on tour across the United States all the way up to the waiting audience of nearly 80,000 greeting the band at the start of their last show in Pasadena, California. [2]
There would not be any more material released by the band for quite some time after, but Alan and Martin were busy working on side projects of their own. Alan finished a solo project under the name of Recoil and released his “Hydrology and 1+2” tracks at the end of 1988. Meanwhile, Martin began work on his solo e.p. that was eventually released in 1989 titled, “Counterfeit”.
The Music For The Masses era definitely broke open wider doors for Depeche Mode and further established them as leading pioneers of Modern Rock. The album, the singles, the tour – all of which led way to their appeal of the masses. Depeche Mode spoke – the world listened.
[From Bong 20, April 1994. Words: Brian Do.]
The fans who have been members of Bong for some time now know that there was a retrospective story looking at DM’s career from their early days and followed the band’s success, record releases and tours. The first part appeared in BONG 14 and the story continued in every other issue until BONG 16 where the biography concluded with the release of “Black Celebration” in 1986. We thought it would be a shame not to complete and up-date it and miss out on some of the most important events that transpired with Depeche Mode after 1986. So, without further delay, the story continues… Enjoy!
1. Appealing To The Masses
After taking a few months’ break from their Black Celebration tour which ended in August 1986, Depeche Mode returned to the recording studios late that year to begin work on their next album titled “Music For The Masses”.
After recording sessions began at Studio Guillaume Tell, Paris and finishing up at Konk, London, “Strangelove” was the result of extensive work with mixing help from David Bascombe at Puk Studios, Denmark.
“Strangelove”, released to the public ear on April 13, 1987, went to No. 16, confirming that Depeche Mode were once again asserting their role as one of the giants of Modern Rock. The first single became an immediate favourite among music goers, yet it was only a taste of what was to come. The track hinted at the celebration of masochism, a theme that is all too familiar for songwriter, Martin Gore. With the vocals of David Gahan, it portrayed a marvellous marriage of voice and material.
Several months later on September 28, saw the highly anticipated release of “Music For The Masses”, which immediately went platinum worldwide and continued to mount in sales as Depeche Mode made preparations to launch another world tour that would be even more extensive than the previous. The album took the band to new heights and musical wizardry with its meaningful lyrics and pounding rhythms. Never before had the group’s material been so consistent and focused. It spoke of pain and salvation, love and despair; the familiar theme of Martin’s lyrics, yet even further defined. Sometimes there would seem to be a hazy line between whether the group questioned faith or inspired it. “I’m a firm believer and a warm receiver / And I’ve made my decision / This is religion there’s no doubt, I’m one of the devout”. The album reached No. 10 on the U.K. charts and definitely appealed to the masses as sales climbed past the 3 million mark.
The second single, “Never Let Me Down Again” greeted music stores late that summer (August 24) and continued the hype as it reached a modest No. 22. David Hiltbrand of Rolling Stone commented, “This is the band’s most lifelike effort to date, and a compelling dance number”. Compelling it was as Martin described, “We’re flying high / We’re watching the world pass us by / Never want to come down / Never want to put my feet back down on the ground”.
2. Depeche Mode Never Lets The World Down
Beginning their world tour in Madrid, Spain, the group travelled the globe selling out stadiums and concert halls wherever they stopped. The “Concert For The Masses” tour as it was called, brought the foursome together on stage to deliver their passion and soul. Every stage introduction began with “Pimpf”, a classically orchestrated instrumental that chanted the surprising words “cold beer” in its sinister background. [1] Alan Wilder’s uncontested knowledge and sampling techniques combined for an astonishing show.
While the tour was underway, the next single “Behind The Wheel” was released on December 28, 1987 and was added to the list of top 20 hits. The track was undeniably alluring as it became a dance favourite when combined with their remake of Robert Troup Jr.’s classic “Route 66”.
The three singles from “Music For The Masses” then went on to appear in every major top 100 radio countdown list of 1988. Quite a remarkable achievement considering they had some of their older tracks already on the lists! The band had proven once again that they could craft music of throbbing power and deliver it with powerful emotions.
As Depeche Mode returned for their last stop at the Pasadena Rose Bowl Stadium on June 18, 1988. The historical event was recorded and filmed for the later to be released documentary album and movie bearing the name “Depeche Mode 101”, appropriately titled for the 101st show performed during the tour. With the release of “Strange” video compilation, the group were back into show business. Nothing was out of reach as material continued to be released by the group.
3. Behind Depeche Mode’s Wheel
Just a month before the tour ended, Mute Records released yet another track from the “Music For The Masses” album on May 16, 1988. The “Little 15” e.p. became a popular piece among the band’s ballads. Martin’s powerful lyrics pierce the soul with heartfelt emotions: “You could drive her away / To a happier place / To a happier day / That exists in your mind / And in your smile / She could escape there / Just for a while, Little 15”.
A re-issued single of the encore favourite “Everything Counts” kept fans happy even long after the tour was over as it was released the following year on February 13, 1989 and contained some live cuts from the Pasadena Rose Bowl performance as well as new remixes for “Everything Counts” and “Strangelove”.
Just when everyone thought that they had heard and seen everything, the double compilation album “101” was released on March 13 which showcased the group’s entire performance at the Pasadena Rose Bowl Stadium. This would be the first time that a complete live concert of the group would be commercially available through their record company. The 20-track compilation featured two hours of Depeche Mode at their finest.
Another highlight coming after the tour was the opening of “101”, a two hour documentary which opened at theatres all over the world the month of March 1989. The film, directed by rockumentarist D. A. Pennebaker, concentrated on eight teenage fans who after winning a radio contest, were allowed to follow the group on tour bus during the band’s North America tour. The contest, held by the Long Island, N.Y. radio station WDRE, was devised by Pennebaker and the band as an idea to explore the elements of pop culture and as a means for less concentration on performance footage of the group. The fans trailed the group on tour across the United States all the way up to the waiting audience of nearly 80,000 greeting the band at the start of their last show in Pasadena, California. [2]
There would not be any more material released by the band for quite some time after, but Alan and Martin were busy working on side projects of their own. Alan finished a solo project under the name of Recoil and released his “Hydrology and 1+2” tracks at the end of 1988. Meanwhile, Martin began work on his solo e.p. that was eventually released in 1989 titled, “Counterfeit”.
The Music For The Masses era definitely broke open wider doors for Depeche Mode and further established them as leading pioneers of Modern Rock. The album, the singles, the tour – all of which led way to their appeal of the masses. Depeche Mode spoke – the world listened.