Bong 15 (December 1991)
Articles:
Depeche Mode Fan Club Convention 1991 by Ryan L. Watkins and Dan Ouellette (USA)
All of These Insurmountable Tasks (band biography) by Mike Ross
Story of Old (band biography) by Danny Zerbib
Personal Files
Pictures:
page 1 page 2 from the Personal Files
Articles:
Depeche Mode Fan Club Convention 1991 by Ryan L. Watkins and Dan Ouellette (USA)
All of These Insurmountable Tasks (band biography) by Mike Ross
Story of Old (band biography) by Danny Zerbib
Personal Files
Pictures:
page 1 page 2 from the Personal Files
Attachments
DEPECHE MODE FAN CLUB CONVENTION 1991
[From Bong 15, December 1991. Words: Ryan L. Watkins / Dan Ouellette.]
This is dedicated to the first BONG convention in the USA. We would like to say “Hi” to everybody we met and whose names we have long since forgotten. It was a busy evening. Since Dave Gahan lives in the Hollywood Hills there was a persistent rumour that he would make a surprise appearance. It took KROQ DJ Jed The Fish to finally dispel that rumour, citing the Wherehouse incident last year. Although the giveaways created quite a crowd, there was no reoccurrence of the riot.
Dean of Club Spice gave away several rides in a limo supposedly used by Depeche Mode. He had worried that his limo might be trashed but was impressed to find there wasn’t a scratch. In the light of the riot last year the fans’ image had been somewhat rectified.
The BRAT was the DJ for the entire evening, playing quite a bit – but not entirely – DM songs, including standard remixes, Razormaid nixes and several of his own mixes, along with other obscure tracks like that old favourite, “I Like It”. [1] There was plenty of dancing as the night went on, and even a conga line formed, winding across the dance floor during “But Not Tonight”.
There were several contests throughout the night, including trivia contests with questions as: What is Alan’s nickname? Who originally performed “I Like It”? What song is BONG5, and what’s the B-side? Where was the band’s first gig?
The T-shirt contest was won by a guy with a Depeche Fuckin’ Mode shirt like the one made for the band’s road crew on the Violator tour, although it had a different front side than we recall seeing. Ryan won the jacket contest with a custom jacket made in a graphic arts class.
The Lip Sync contest went over well, with one group that did a hilarious version of “Just Can’t Get Enough”, while the look-alike contest found some particularly good Martin and Dave doubles.
Prizes included: Strange Too videos, Strangers books, Wherehouse tapes, flats from Music For The Masses and Violator, and promo displays for Martin’s E.P. and Violator. Throughout the evening, they threw out U.S. Bong postcards with the band’s autographs printed on the back, and about a zillion posters. They also threw out extra backstage passes that were used as tickets to the convention.
Three big screen televisions showed popular DM videos, the ’90 World Violation show in Miami, Florida, and some old promotional footage through the night. We were however disappointed that there was no video from the band, but then there’s always next time…
There were two record dealers at the event, both selling X1 and X2 box sets which were fetching up to $300.00 for the two. One promo copy of X1 and X2 was going for $350.00.
One of the dealers also had a CD bootleg from the Black Celebration tour that apparently sounds incredible. Although we have not heard it, the dealer likened it to the BBC transcription discs.
Over all, the evening was a tremendous success, and everyone appeared to have a great time. We’ve heard that the next BONG convention in North America will be in March of 1992 in New York. Maybe we’ll see you there.
[From Bong 15, December 1991. Words: Ryan L. Watkins / Dan Ouellette.]
This is dedicated to the first BONG convention in the USA. We would like to say “Hi” to everybody we met and whose names we have long since forgotten. It was a busy evening. Since Dave Gahan lives in the Hollywood Hills there was a persistent rumour that he would make a surprise appearance. It took KROQ DJ Jed The Fish to finally dispel that rumour, citing the Wherehouse incident last year. Although the giveaways created quite a crowd, there was no reoccurrence of the riot.
Dean of Club Spice gave away several rides in a limo supposedly used by Depeche Mode. He had worried that his limo might be trashed but was impressed to find there wasn’t a scratch. In the light of the riot last year the fans’ image had been somewhat rectified.
The BRAT was the DJ for the entire evening, playing quite a bit – but not entirely – DM songs, including standard remixes, Razormaid nixes and several of his own mixes, along with other obscure tracks like that old favourite, “I Like It”. [1] There was plenty of dancing as the night went on, and even a conga line formed, winding across the dance floor during “But Not Tonight”.
There were several contests throughout the night, including trivia contests with questions as: What is Alan’s nickname? Who originally performed “I Like It”? What song is BONG5, and what’s the B-side? Where was the band’s first gig?
The T-shirt contest was won by a guy with a Depeche Fuckin’ Mode shirt like the one made for the band’s road crew on the Violator tour, although it had a different front side than we recall seeing. Ryan won the jacket contest with a custom jacket made in a graphic arts class.
The Lip Sync contest went over well, with one group that did a hilarious version of “Just Can’t Get Enough”, while the look-alike contest found some particularly good Martin and Dave doubles.
Prizes included: Strange Too videos, Strangers books, Wherehouse tapes, flats from Music For The Masses and Violator, and promo displays for Martin’s E.P. and Violator. Throughout the evening, they threw out U.S. Bong postcards with the band’s autographs printed on the back, and about a zillion posters. They also threw out extra backstage passes that were used as tickets to the convention.
Three big screen televisions showed popular DM videos, the ’90 World Violation show in Miami, Florida, and some old promotional footage through the night. We were however disappointed that there was no video from the band, but then there’s always next time…
There were two record dealers at the event, both selling X1 and X2 box sets which were fetching up to $300.00 for the two. One promo copy of X1 and X2 was going for $350.00.
One of the dealers also had a CD bootleg from the Black Celebration tour that apparently sounds incredible. Although we have not heard it, the dealer likened it to the BBC transcription discs.
Over all, the evening was a tremendous success, and everyone appeared to have a great time. We’ve heard that the next BONG convention in North America will be in March of 1992 in New York. Maybe we’ll see you there.
ALL OF THESE INSURMOUNTABLE TASKS
[From Bong 15, December 1991. Words: Mike Ross.]
At the end of 1982, with the onset of a growing environmental concern and an increasingly heated cold war between the US and USSR the world mood was apathetic and apprehensive. The air hung heavy with ideas and emotions over the uncertain future of the human race. “Get The Balance Right” seemed the ideal song for the time, voicing the need to equalize the scales of power. The song was released in January 1983, and fared well in the UK, charting at No.13. But despite the song’s popularity the band felt rushed with it. It had been five months since any new material was released; too long for the fresh, young Depeche Mode. There was a sense of urgency not to fade from the public eye. The overall effect tendered a final product that fell short of the band’s expectations.
“I hate it and I wrote it,” Martin explained. “This was the only time we had to turn out a single whether we wanted to or not.” [1]
With “Get The Balance Right” moving bodies on the dance floors the world over, the band commenced on a spring tour of North America and the Far East. It was the most extensive tour outside of Europe to date, and the fans flocked to shows to express their gratitude. While in Hong Kong, the band experienced their growing popularity first hand. Before arriving at the airport they sent a scout ahead to make sure the coast was clear. After getting the “everything’s cool” signal they moved out, but lying in waiting were 500 screaming fans; the band was subsequently shaken up quite a bit. It was the first time anything of this magnitude had happened and it clearly exhibited Depeche Mode’s ever-increasing popularity.
After a few months’ rest to counteract the effects of touring, the band went at it again. “Everything Counts” made a debut on July 11th, 1983, finding a ready market of grabbing hands to buy it up. The song had its heyday on the UK charts, reaching as high as No. 6. It reflected the growing ego-centric and competitive nature of capitalism. An impressed Mark Cooper wrote, “This is their strongest melody in a long while and a compelling picture of business Britain.”
Construction Time Again, released in August, was a representation of the band’s lasting influence. With the virtually unlimited uses found in newly available boards like the Synclavier and Emulator 1, the album had a more potent and refined sound. Many objects had been sampled for the album, including an acoustic guitar used for “And Then” and “Love, In Itself”.
Depeche Mode’s third studio album was also the first full-length endeavour to include the expertise of Alan Wilder. Alan not only added his musical talents to Construction Time Again but also took his first stab at song writing for Depeche Mode. Album tracks “The Landscape Is Changing” and “Two Minute Warning” and “Fools”, the B-side of the “Love, In Itself” single, were the product of Alan’s ever-increasing contribution to Depeche Mode. The songs gave a new dimension to the band’s growing catalogue of music.
“I like the fresh naivety of the sampling and the grainy sample sounds of the Emulator 1” reflects Alan.
Sampling was slowly being accepted by the music industry as a legitimate way to make music. The growing popularity of electronic bands such as Yazoo, New Order and Howard Jones clearly showed that the music had a ready audience and it wasn’t just a passing fad. DM were leading the way in this explosive form of expression.
“I think we all like the idea. When we actually made an album we did go on a sound hunting expedition,” Andy commented to Melody Maker. “We went down Brick Lane and just hit everything and then recorded it and took it back to the studio and put it into a keyboard. That’s how we made the track “Pipeline”. We were smashing corrugated iron and old cars. The vocals were recorded in a railway arch in Shoreditch…”
The sampling was done mostly in the East End of London because of the area’s close proximity to the recording studio. The Garden Studios provided the perfect atmosphere for the initial recording, but it only offered a 24-track mixing board. So for the final mixing the band relocated.
“We had used so many channels on the recording that we couldn’t possibly have mixed the record at the studio we recorded it,” explained Dave. “Plus, we wanted to sample a different atmosphere. If you work in just one place it can get quite boring.”
Hansa Studios in Berlin, Germany, with its 56-track mixing board (the only one like it in the world at the time) seemed an ideal location for the album’s final mixing. With so much sampling on the record, Germany offered the band a cornucopia of choices in deciding how the final product would sound. Berlin and its surrounding countryside also provided the perfect location for the first video shoot, and as Dave would later explain, the “Everything Counts” video was the first in which they were truly happy.
The next single, “Love, In Itself”, while straying slightly from the direct approach to political and environmental concerns, retained these qualities while adding an emotional fringe. The song made a record store appearance on September 19th, 1983, and although destined to become a chart buster, it climbed no higher than No. 21.
But even with the nominal success of “Love, In Itself”, the band found a ready following of devoted fans popping up all over Europe. The album made a powerful impression on the public, especially in the UK where it sold enough copies to go Gold.
“It was the first step in the right direction,” explains Martin.
“I agree with Martin, and also there were a lot of fresh ideas” adds Alan.
With the songs of Construction Time Again still fresh in the minds of fans the band started an album tour of the UK. They wrapped it up in early October with three nights at the Hammersmith Odeon in London. Then, with little more than enough time to catch a breath, the band commenced with a tour of the globe. This leg catered to the growing number of fans in Europe, North America and the Far East thirsting for a live performance, and the messages of the album sparked a fascination in fans the world over.
“We’re not trying to change anything,” explained Martin. “I don’t think our music’s going to change anything at all; we’re just trying to make people think a little bit.”
[From Bong 15, December 1991. Words: Mike Ross.]
At the end of 1982, with the onset of a growing environmental concern and an increasingly heated cold war between the US and USSR the world mood was apathetic and apprehensive. The air hung heavy with ideas and emotions over the uncertain future of the human race. “Get The Balance Right” seemed the ideal song for the time, voicing the need to equalize the scales of power. The song was released in January 1983, and fared well in the UK, charting at No.13. But despite the song’s popularity the band felt rushed with it. It had been five months since any new material was released; too long for the fresh, young Depeche Mode. There was a sense of urgency not to fade from the public eye. The overall effect tendered a final product that fell short of the band’s expectations.
“I hate it and I wrote it,” Martin explained. “This was the only time we had to turn out a single whether we wanted to or not.” [1]
With “Get The Balance Right” moving bodies on the dance floors the world over, the band commenced on a spring tour of North America and the Far East. It was the most extensive tour outside of Europe to date, and the fans flocked to shows to express their gratitude. While in Hong Kong, the band experienced their growing popularity first hand. Before arriving at the airport they sent a scout ahead to make sure the coast was clear. After getting the “everything’s cool” signal they moved out, but lying in waiting were 500 screaming fans; the band was subsequently shaken up quite a bit. It was the first time anything of this magnitude had happened and it clearly exhibited Depeche Mode’s ever-increasing popularity.
After a few months’ rest to counteract the effects of touring, the band went at it again. “Everything Counts” made a debut on July 11th, 1983, finding a ready market of grabbing hands to buy it up. The song had its heyday on the UK charts, reaching as high as No. 6. It reflected the growing ego-centric and competitive nature of capitalism. An impressed Mark Cooper wrote, “This is their strongest melody in a long while and a compelling picture of business Britain.”
Construction Time Again, released in August, was a representation of the band’s lasting influence. With the virtually unlimited uses found in newly available boards like the Synclavier and Emulator 1, the album had a more potent and refined sound. Many objects had been sampled for the album, including an acoustic guitar used for “And Then” and “Love, In Itself”.
Depeche Mode’s third studio album was also the first full-length endeavour to include the expertise of Alan Wilder. Alan not only added his musical talents to Construction Time Again but also took his first stab at song writing for Depeche Mode. Album tracks “The Landscape Is Changing” and “Two Minute Warning” and “Fools”, the B-side of the “Love, In Itself” single, were the product of Alan’s ever-increasing contribution to Depeche Mode. The songs gave a new dimension to the band’s growing catalogue of music.
“I like the fresh naivety of the sampling and the grainy sample sounds of the Emulator 1” reflects Alan.
Sampling was slowly being accepted by the music industry as a legitimate way to make music. The growing popularity of electronic bands such as Yazoo, New Order and Howard Jones clearly showed that the music had a ready audience and it wasn’t just a passing fad. DM were leading the way in this explosive form of expression.
“I think we all like the idea. When we actually made an album we did go on a sound hunting expedition,” Andy commented to Melody Maker. “We went down Brick Lane and just hit everything and then recorded it and took it back to the studio and put it into a keyboard. That’s how we made the track “Pipeline”. We were smashing corrugated iron and old cars. The vocals were recorded in a railway arch in Shoreditch…”
The sampling was done mostly in the East End of London because of the area’s close proximity to the recording studio. The Garden Studios provided the perfect atmosphere for the initial recording, but it only offered a 24-track mixing board. So for the final mixing the band relocated.
“We had used so many channels on the recording that we couldn’t possibly have mixed the record at the studio we recorded it,” explained Dave. “Plus, we wanted to sample a different atmosphere. If you work in just one place it can get quite boring.”
Hansa Studios in Berlin, Germany, with its 56-track mixing board (the only one like it in the world at the time) seemed an ideal location for the album’s final mixing. With so much sampling on the record, Germany offered the band a cornucopia of choices in deciding how the final product would sound. Berlin and its surrounding countryside also provided the perfect location for the first video shoot, and as Dave would later explain, the “Everything Counts” video was the first in which they were truly happy.
The next single, “Love, In Itself”, while straying slightly from the direct approach to political and environmental concerns, retained these qualities while adding an emotional fringe. The song made a record store appearance on September 19th, 1983, and although destined to become a chart buster, it climbed no higher than No. 21.
But even with the nominal success of “Love, In Itself”, the band found a ready following of devoted fans popping up all over Europe. The album made a powerful impression on the public, especially in the UK where it sold enough copies to go Gold.
“It was the first step in the right direction,” explains Martin.
“I agree with Martin, and also there were a lot of fresh ideas” adds Alan.
With the songs of Construction Time Again still fresh in the minds of fans the band started an album tour of the UK. They wrapped it up in early October with three nights at the Hammersmith Odeon in London. Then, with little more than enough time to catch a breath, the band commenced with a tour of the globe. This leg catered to the growing number of fans in Europe, North America and the Far East thirsting for a live performance, and the messages of the album sparked a fascination in fans the world over.
“We’re not trying to change anything,” explained Martin. “I don’t think our music’s going to change anything at all; we’re just trying to make people think a little bit.”
STORY OF OLD
[From Bong 15, December 1991. Words: Danny Zerbib.]
It wasn’t long after Construction Time Again's popularity tapered that Depeche Mode was at it again. Martin, working alone in his rented Berlin flat, immersed himself in writing love songs for the next album. This did not come as a surprise to the other members, though. “Martin’s in love again, see?” Fletch informed Melody Maker (MM) in an attempt to explain why the new songs did not wear the same political and environmental guise as the last album. He had taken a particular liking to the new material.
“The point is too see something important and to write about it honestly, even if it’s only important to yourself. 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.”
As if to contradict that point, “People Are People” was released in March, 1984, as the next single. Although it was arguable the weakest track on their forthcoming album, the song barrelled its way to No.4 on the British charts with little hesitation. In spite of (because of?) the song’s political and social implications, “People Are People” also succeeded in holding the No.1 spot in Germany for three weeks and punctured a hole into the U.S. Top 40, peaking at No. 13. Incorporating the use of the Synclavier, a machine which enabled the band to sample many different sounds and combine them together, this song contained samples of everything from acoustic bass drums to an airline hostess going through a pre take-off drill, and Peter Martin from Smash Hits was clever to suggest “It tends to induce movement in bodies that normally wouldn’t be seen dead on a dance floor.”
The smashing success of “People Are People” was first ensured by a concert on June 2nd, where they shared the bill with Elton John to 50,000 fans in Ludwigshafen, then by the single, “Master and Servant” in August, which climbed to No. 9 in the U.K. and brought with it nothing but trouble.
“It’s a song about domination and exploitation and we use the sexual angle to get that across,” Martin explained, at the same time trying to defend the song against accusations of indecency and obscenity. “There was one guy at the BBC who thought the lyrics were obscene, but he was away on holiday when the final decision was made.”
Interestingly enough, the sound of a snapping bull whip at the song’s intro was nothing more than Daniel Miller hissing and spitting into a mic. The band had to settle for this archaic alternative when attempts to sample a real whip were deemed hopeless.
Some Great Reward hit stores immediately afterwards, and the band found themselves genuinely satisfied with the end results.
“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.”
Dave commented to MM: “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 [Gareth Jones – DM’s engineer since “Everything Counts”.] 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.”
Their next single, “Blasphemous Rumours”, a controversial and thought provoking track, received mixed reviews and more attention than it deserved. After promoting the song by singing it on Top Of The Pops, the band received dozens of complaint letters, and were told they could never perform that song on T.O.T.P. again. But whether or not the show intended to hold strong to that threat remained a mystery because they were not invited back.
“Religion seems to be a very touchy subject,” Martin commented. “You can sing about sex and nearly get away with it, but religion seems to stir people more. It wasn’t really intended to have that sort of effect.”
Because of the apparent controversy surrounding “Blasphemous Rumours”, (MM described the song as “a prime candidate for some official censor”), the band released it as a double A-side together with “Somebody”, a love ballad featuring Martin on vocals and Alan playing accompanying piano.
Perhaps it was the empathy the single evoked, or the growing awareness of Ethiopia’s famine problem that spurred the song up the charts, but whatever the case, “Blasphemous Rumours” appeared on a Greenpeace compilation LP even though DM were not asked to participate in Band-Aid. “The way it was put together was like Bob [Geldof]’s close friends sort of thing and then it expanded from there and we don’t really mix with the crowd. Since then in every interview we’ve had to explain ourselves…”
Some Great Reward was a smooth and calibrated album. As a “together” album, it was clearly their best work to date, but Andy imparted, “We’ve still got a long way to go before people will be proud to have Depeche Mode albums in their collection.” Maybe so, but probably not as far as one may think: the album clinched a No. 5 spot on the British charts. Journalist Penny Kiley commented, “The packaging of the LP, Some Great Reward, is an opposition of work and romance, real life and illusion. On stage, the package extends that opposition with the same quasi-industrial background and, out in front, pop stars.”
But as 1984 ended, these “out in front pop stars” strayed from their “teeny wimp” image dubbed by the media and had taken to wearing leather and bondage gear. The critics began calling it Depeche Mode’s kinky phase, and referred to it as the “South End Boys Bondage Look”. This didn’t bother the boys though, their new image was as much a part of their history as the music they made. Besides, Depeche Mode does mean fast fashion…
Riding on the success of their new album, Depeche Mode launched a full scale tour of Europe, the Some Great Reward tour, filming a sold-out show in Hamburg for a future video. They then proceeded with a five week stint to America, finally carving out a place for themselves in the U.S. charts. They became so popular in fact, that Sire Records released a compilation LP titled, “People Are People”, which featured various past singles and B-sides, re-introducing Depeche Mode to North America.
“After America we went back to Europe and did festivals with U2 and the new Clash,” Dave told Creem. “Places like Florence where you play in huge circus tents and it’s so hot it starts raining with condensation and there’s steam everywhere.”
In July 1985, Depeche Mode played their largest venue to date. Accompanying The Stranglers, The Cure, The Clash, Nina Hagan, Talk Talk, and the headlining Culture Club, DM played two sold-out nights to a total of 80,000 people in Athens, Greece; a landmark concert for all the bands involved.
Melody Maker summed up this album by saying, “It used to be okay to slag off this bunch 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.”
And what did the band add?
“We hope that everybody will see it as our best yet, but journalists can be so unpredictable. Then again, so can we…”
[From Bong 15, December 1991. Words: Danny Zerbib.]
It wasn’t long after Construction Time Again's popularity tapered that Depeche Mode was at it again. Martin, working alone in his rented Berlin flat, immersed himself in writing love songs for the next album. This did not come as a surprise to the other members, though. “Martin’s in love again, see?” Fletch informed Melody Maker (MM) in an attempt to explain why the new songs did not wear the same political and environmental guise as the last album. He had taken a particular liking to the new material.
“The point is too see something important and to write about it honestly, even if it’s only important to yourself. 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.”
As if to contradict that point, “People Are People” was released in March, 1984, as the next single. Although it was arguable the weakest track on their forthcoming album, the song barrelled its way to No.4 on the British charts with little hesitation. In spite of (because of?) the song’s political and social implications, “People Are People” also succeeded in holding the No.1 spot in Germany for three weeks and punctured a hole into the U.S. Top 40, peaking at No. 13. Incorporating the use of the Synclavier, a machine which enabled the band to sample many different sounds and combine them together, this song contained samples of everything from acoustic bass drums to an airline hostess going through a pre take-off drill, and Peter Martin from Smash Hits was clever to suggest “It tends to induce movement in bodies that normally wouldn’t be seen dead on a dance floor.”
The smashing success of “People Are People” was first ensured by a concert on June 2nd, where they shared the bill with Elton John to 50,000 fans in Ludwigshafen, then by the single, “Master and Servant” in August, which climbed to No. 9 in the U.K. and brought with it nothing but trouble.
“It’s a song about domination and exploitation and we use the sexual angle to get that across,” Martin explained, at the same time trying to defend the song against accusations of indecency and obscenity. “There was one guy at the BBC who thought the lyrics were obscene, but he was away on holiday when the final decision was made.”
Interestingly enough, the sound of a snapping bull whip at the song’s intro was nothing more than Daniel Miller hissing and spitting into a mic. The band had to settle for this archaic alternative when attempts to sample a real whip were deemed hopeless.
Some Great Reward hit stores immediately afterwards, and the band found themselves genuinely satisfied with the end results.
“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.”
Dave commented to MM: “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 [Gareth Jones – DM’s engineer since “Everything Counts”.] 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.”
Their next single, “Blasphemous Rumours”, a controversial and thought provoking track, received mixed reviews and more attention than it deserved. After promoting the song by singing it on Top Of The Pops, the band received dozens of complaint letters, and were told they could never perform that song on T.O.T.P. again. But whether or not the show intended to hold strong to that threat remained a mystery because they were not invited back.
“Religion seems to be a very touchy subject,” Martin commented. “You can sing about sex and nearly get away with it, but religion seems to stir people more. It wasn’t really intended to have that sort of effect.”
Because of the apparent controversy surrounding “Blasphemous Rumours”, (MM described the song as “a prime candidate for some official censor”), the band released it as a double A-side together with “Somebody”, a love ballad featuring Martin on vocals and Alan playing accompanying piano.
Perhaps it was the empathy the single evoked, or the growing awareness of Ethiopia’s famine problem that spurred the song up the charts, but whatever the case, “Blasphemous Rumours” appeared on a Greenpeace compilation LP even though DM were not asked to participate in Band-Aid. “The way it was put together was like Bob [Geldof]’s close friends sort of thing and then it expanded from there and we don’t really mix with the crowd. Since then in every interview we’ve had to explain ourselves…”
Some Great Reward was a smooth and calibrated album. As a “together” album, it was clearly their best work to date, but Andy imparted, “We’ve still got a long way to go before people will be proud to have Depeche Mode albums in their collection.” Maybe so, but probably not as far as one may think: the album clinched a No. 5 spot on the British charts. Journalist Penny Kiley commented, “The packaging of the LP, Some Great Reward, is an opposition of work and romance, real life and illusion. On stage, the package extends that opposition with the same quasi-industrial background and, out in front, pop stars.”
But as 1984 ended, these “out in front pop stars” strayed from their “teeny wimp” image dubbed by the media and had taken to wearing leather and bondage gear. The critics began calling it Depeche Mode’s kinky phase, and referred to it as the “South End Boys Bondage Look”. This didn’t bother the boys though, their new image was as much a part of their history as the music they made. Besides, Depeche Mode does mean fast fashion…
Riding on the success of their new album, Depeche Mode launched a full scale tour of Europe, the Some Great Reward tour, filming a sold-out show in Hamburg for a future video. They then proceeded with a five week stint to America, finally carving out a place for themselves in the U.S. charts. They became so popular in fact, that Sire Records released a compilation LP titled, “People Are People”, which featured various past singles and B-sides, re-introducing Depeche Mode to North America.
“After America we went back to Europe and did festivals with U2 and the new Clash,” Dave told Creem. “Places like Florence where you play in huge circus tents and it’s so hot it starts raining with condensation and there’s steam everywhere.”
In July 1985, Depeche Mode played their largest venue to date. Accompanying The Stranglers, The Cure, The Clash, Nina Hagan, Talk Talk, and the headlining Culture Club, DM played two sold-out nights to a total of 80,000 people in Athens, Greece; a landmark concert for all the bands involved.
Melody Maker summed up this album by saying, “It used to be okay to slag off this bunch 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.”
And what did the band add?
“We hope that everybody will see it as our best yet, but journalists can be so unpredictable. Then again, so can we…”
PERSONAL FILES
[From Bong 15, December 1991.]
Alan Charles Wilder
Date of Birth: June 1, 1959.
Place of Birth: Hammersmith Hospital, West London.
Hair Colour: Brown.
Eye Colour: Gray.
Height: 5’ 11 ?”.
Weight: 11 stone (about 150 lbs).
Family Details: A mum, dad and two brothers.
Favourite TV show: Mr Bean, The Match, Minder.
Favourite Film: A Clockwork Orange.
Favourite City: Paris, Milan.
Most Prized Possessions: CDs, photographs, any thing personal that couldn’t be replaced.
Favourite Mode Song: “Never Let Me Down Again”.
Favourite Group / Singer: Kraftwerk.
Favourite Song: “Shipbuilding” (Robert Wyatt).
Biggest Niggle: Apathy.
Biggest Fear: Losing my health.
Ambition: To be happy.
Martin Lee Gore
Date of Birth: July, 23, 1961.
Place of Birth: London.
Hair Colour: Fair.
Eye Colour: Green.
Height: 5’ 6” (1.74m).
Weight: 145 lbs (308 kilos) [1]
Family Details: A mum, dad and two sisters.
Favourite TV show: Neighbours.
Favourite Book / Author: Demian – Herman Hesse.
Favourite Film: Citizen Kane – at the moment.
All Time Hero / Heroine: Elvis.
Favourite City: Berlin.
Most Prized Possessions: CDs.
Favourite Mode Song: “Shake The Disease”, “Halo”.
Favourite Group / Singer: DAF.
Favourite Song: “There’s a Ghost in my House” (R Dean Taylor).
Biggest Niggle: Hangovers.
Biggest Fear: Rape.
Most Hated Thing EVER: Bleaching my hair.
Ambition: Not to have one.
If You Could Play A Character In Any Movie, Who Would You Be?: Lassie.
Andrew John Fletcher
Date of Birth: July, 8, 1961.
Place of Birth: Nottingham (as in Robin Hood).
Hair Colour: Red.
Eye Colour: Blue.
Height: Tall (6’ 3”).
Weight: Fat in the middle, thin the rest.
Family Details: Large and various.
Favourite TV Show: Anything sporty or political.
Favourite Book / Author: Not much fiction, mainly historical.
Favourite Film: Too many to list.
Favourite City: London, Berlin, Paris, New Orleans.
Most Prized Possessions: My cheque book. “I’m afraid of losing it”.
Favourite Mode Song: “Personal Jesus”, “Stripped”, “World In My Eyes”.
Favourite Group / Singer: Again too many to list.
Favourite Song: “Jerusalem” (British hymn).
Biggest Niggle: Being late.
Biggest Fear: A long death.
Most Hated Thing EVER: Soap Operas.
Ambition: To be Prime Minister.
Dave Gahan
Date of Birth: May 9, 1962.
Place of Birth: A House in Chigwell.
Hair Colour: Dark Brown.
Eye Colour: Green / Gray.
Height: 5’ 11”.
Weight: 135 lbs (about 9 ? stone).
Family Details: Theresa, Jack, Cedric, Guido, mum, sister and two brothers. [2]
Favourite TV show: The News and old Saturday Night Lives (I watch videos mostly and The Simpsons).
Favourite Book / Author: Behold A Pale Horse – William Cooper.
Favourite Film: “Silence Of The Lambs”, “Wild At Heart”.
Favourite City: Paris.
Most Prized Possessions: Photographs of Jack.
Favourite DM Song: “Clean”, “Sweetest Perfection”.
Favourite Group / Singer: Chris Cornell, Temple Of The Dog, Pearl Jam, Nirvana, Sound Garden.
Favourite Song: “Say Hello To Heaven” (Temple Of The Dog).
Biggest Niggle: Fucked up drivers.
Biggest Fear: Losing my head.
Most Hated Thing EVER: People who make other people suffer for their own personal gain (especially financial).
Ambition: Happiness, health and musical ambition.
If You Could Play A Character In Any Movie, Who Would You Be?: Sailor in “Wild At Heart” or President Bush or The Pope in “The Joke”.
[From Bong 15, December 1991.]
Alan Charles Wilder
Date of Birth: June 1, 1959.
Place of Birth: Hammersmith Hospital, West London.
Hair Colour: Brown.
Eye Colour: Gray.
Height: 5’ 11 ?”.
Weight: 11 stone (about 150 lbs).
Family Details: A mum, dad and two brothers.
Favourite TV show: Mr Bean, The Match, Minder.
Favourite Film: A Clockwork Orange.
Favourite City: Paris, Milan.
Most Prized Possessions: CDs, photographs, any thing personal that couldn’t be replaced.
Favourite Mode Song: “Never Let Me Down Again”.
Favourite Group / Singer: Kraftwerk.
Favourite Song: “Shipbuilding” (Robert Wyatt).
Biggest Niggle: Apathy.
Biggest Fear: Losing my health.
Ambition: To be happy.
Martin Lee Gore
Date of Birth: July, 23, 1961.
Place of Birth: London.
Hair Colour: Fair.
Eye Colour: Green.
Height: 5’ 6” (1.74m).
Weight: 145 lbs (308 kilos) [1]
Family Details: A mum, dad and two sisters.
Favourite TV show: Neighbours.
Favourite Book / Author: Demian – Herman Hesse.
Favourite Film: Citizen Kane – at the moment.
All Time Hero / Heroine: Elvis.
Favourite City: Berlin.
Most Prized Possessions: CDs.
Favourite Mode Song: “Shake The Disease”, “Halo”.
Favourite Group / Singer: DAF.
Favourite Song: “There’s a Ghost in my House” (R Dean Taylor).
Biggest Niggle: Hangovers.
Biggest Fear: Rape.
Most Hated Thing EVER: Bleaching my hair.
Ambition: Not to have one.
If You Could Play A Character In Any Movie, Who Would You Be?: Lassie.
Andrew John Fletcher
Date of Birth: July, 8, 1961.
Place of Birth: Nottingham (as in Robin Hood).
Hair Colour: Red.
Eye Colour: Blue.
Height: Tall (6’ 3”).
Weight: Fat in the middle, thin the rest.
Family Details: Large and various.
Favourite TV Show: Anything sporty or political.
Favourite Book / Author: Not much fiction, mainly historical.
Favourite Film: Too many to list.
Favourite City: London, Berlin, Paris, New Orleans.
Most Prized Possessions: My cheque book. “I’m afraid of losing it”.
Favourite Mode Song: “Personal Jesus”, “Stripped”, “World In My Eyes”.
Favourite Group / Singer: Again too many to list.
Favourite Song: “Jerusalem” (British hymn).
Biggest Niggle: Being late.
Biggest Fear: A long death.
Most Hated Thing EVER: Soap Operas.
Ambition: To be Prime Minister.
Dave Gahan
Date of Birth: May 9, 1962.
Place of Birth: A House in Chigwell.
Hair Colour: Dark Brown.
Eye Colour: Green / Gray.
Height: 5’ 11”.
Weight: 135 lbs (about 9 ? stone).
Family Details: Theresa, Jack, Cedric, Guido, mum, sister and two brothers. [2]
Favourite TV show: The News and old Saturday Night Lives (I watch videos mostly and The Simpsons).
Favourite Book / Author: Behold A Pale Horse – William Cooper.
Favourite Film: “Silence Of The Lambs”, “Wild At Heart”.
Favourite City: Paris.
Most Prized Possessions: Photographs of Jack.
Favourite DM Song: “Clean”, “Sweetest Perfection”.
Favourite Group / Singer: Chris Cornell, Temple Of The Dog, Pearl Jam, Nirvana, Sound Garden.
Favourite Song: “Say Hello To Heaven” (Temple Of The Dog).
Biggest Niggle: Fucked up drivers.
Biggest Fear: Losing my head.
Most Hated Thing EVER: People who make other people suffer for their own personal gain (especially financial).
Ambition: Happiness, health and musical ambition.
If You Could Play A Character In Any Movie, Who Would You Be?: Sailor in “Wild At Heart” or President Bush or The Pope in “The Joke”.