BIOGRAPHY1985
Overview: Released this year were the singles Shake The Disease / Flexible and It's Called A Heart. In addition, the concert video The World We Live In And Live In Hamburg and The Singles 1981-85 were released.
In the beginning of 1985 DM took a break which they obviously used
to record Shake The Disease and Flexible because this single
was released shortly after the end of the third leg of the Some-Great-Reward-tour.
From March 14 till April 12 DM played 12 gigs in the US
and Japan. And on April 29 Shake The Disease / Flexible
was released as well as the live-video The World We Live In And Live In Hamburg.
(The concert was recorded in the "Alsterdorfer
Sporthalle" in Hamburg on December 9, 1984 )
David: "Shake The Disease is a good song which is something that's
been lacking in the charts lately - they've been in a real state. There's a lot
of American music there and nothing to really grab hold of, no new thing. Some
of the things that have been successful recently have just been rhythm tracks,
basically what we did on the new B-Side as a bit of fun in the studio."
Martin: "Flexible is a kind of a joke. Cos I'm sure for instance
if my mum looked at me now, she'd think 'what has it done to you?'[1] A lot of the
tracks were written when I was very young. So I think that from Construction
Time Again there is some kind of link between the songs. Sometimes it's
very obvious, there are things like references 'cos I really like references to
other songs. In Shake The Disease there's a reference to another song.
You know it says, Now I've got things to do and I've said it before I know
you have too. And in another song it said, Now I've got things to do and you
have too."[2] (For those who don't get it at once: the other song is Stories Of
Old)
Alan: "Shake The Disease is still one of my favourite Martin
songs but I don't think we really got the best out of it. I suspect everybody
was trying too hard to make it sound extra special, not least Daniel who
thought it would be worthwhile to spend days and days recording every sound
he could get from his Synclavier onto 24 individual tracks, and then bounce
them down to just 2. And the result? Something that sounded like a sine wave."
The video for Shake The Disease was shot by Peter Care who used an "upside
down machine".
Alan: "The promo uses 'free fall' sequences that make for a fairly simple
optical illusion. The subject is strapped to a motorized pole that runs through
the back of his jacket. As the pole rotates taking you with it, the camera
follows at the same angle giving the impression that the subject is remaining
still and everything in the background is actually moving. Peter also used
another similar trick where the camera is attached to you on a kind of stiff
harness (no cameraman). As you move around with the camera, you again appear
still while the background moves around."[3]
They took a break of two months before they played from July 6 till
July 30 the last leg of the Some-Great-Reward-Tour. It included
eight concerts, mainly festivals.
(with friendly permission of Mute/EMI)
For there weren't many musical activities the journalists could have asked them
about you can find a lot of "reviews" and trying to find out more about the
personalities of the band member in the media in this year. Martin had changed
his outfit and
lifestyle drastically, so he stepped out of the line a bit. Many journalists
tried now to "understand him" (in the way of Shake The Disease maybe) and
learn more about him. But that wasn't that easy. Sometimes it was because Martin
wasn't ready to give an insight, sometimes it was because he was too witty, and
sometimes it was because the journalists simply didn't get his humour.
However, one of the primarily two topics of this year was Martin because
of his clothing style, his striptease liabilities and his "theories". A couple
of these "theories":
"I've got a theory that if you don't over-expose yourself you stick around longer.
When we started we
got a lot of flak because we had such a terrible image, very sickly. Even I
thought we were wimps. Gradually we've changed that around. It's been a challenge."
"After a few nice little pop singles you're allowed a bit of perversion. In fact
the working title of Some Great Reward was Perversions but we didn't
think that mums would buy it for their daughters."
"I am quite a pessimist and happy to be one. Sometimes I paint things too black
but even when we're doing well I tend to notice bad things. Conventional humour
bores me. Still, I wish a few people could see some of the humour in what we do."[4]
"I'm quite a pessimistic person and I see life as quite boring. So I kind of see
our stuff as ... Love And Sex And Drink Against The Boredom Of Life. When I write
love songs people think they're really soppy, but I see love as ... a consolation
for the boredom of life. And drink and sex ... Personally speaking I think we're
quite decadent. When we're on tour, which is generally very boring, we, or some
of us, tend to go out every night, have a lot to drink and generally have a good
time. Consolation, see? I know it's all expected of rock bands, but going out
is enjoyable, drinking is enjoyable and collapsing is enjoyable."
Martin dashed down another Whiskey whereupon the reporter dared to ask whether
he never had the urge to do something really wild.
Martin: "I want to represent life's boredom ..."
Sorry I asked.
Martin: "...… and if you take things to absurd extremes you're not really
reflecting life. Real life is not extreme, so we're not, and nor is our music.
But if I make boring
records and people identify with them, then I've achieved my aim."[5]
Well, maybe not "boring records" but music that many people - with very
different musical backgrounds and from different cultures - can identify in
a very individual way. This is the bottom line of what fans answered in the
fan survey on this website to the question what is so special for them about
DM's music.
"How can Mart know what goes on in my head?" is probably the sentence that
hits the mark. So people don't identify with the "boring records" but with
their own personality that they "find through the music". The music of DM
is "somehow different and individual" but nevertheless "absolutely normal"
because everyone "feels exactly the same in a situation like this" and
is able to "tell a story to every song, every album" because it is connected
to one's personal life.
Martin is absolutely right here that real life usually isn't extreme. So his
songs reflect the life most people know or wish to lead.
Alan: "Martin is most definitely an underrated songwriter. His songs
have managed to touch people in a way that very few songwriters have been
able to do. And it's quite clear that his songwriting capabilities have been
the major part of Depeche Mode's longevity."[6]
And the gear!
Martin: "I hardly have to buy any clothes these days. When the fans
realise what sort of style you're after, they throw things onstage - I've got
tons of necklaces. My mother accepts it now, I'm quite surprised really.
When I went home this time I was wearing stockings and things. I went to me
mum and said, 'what do you do with stockings mum, do you just put them in
the washing machine?' And she went 'just put them in with the blacks, dear'."
The whole band had a preference for black leather at that time what caused some
speculations, too.
Alan: "We get more stick for that in England than anywhere else.
You get some businessmen in
America shouting 'faggots', but very few compared to the carloads you get here
shouting 'pooftah'."[7]
In 1989 Martin said: "Looking back I'm not very happy about some of the
clothes I've worn. Every interview we do the skirt is mentioned. I actually
think it's quite funny, though I didn't look at it deeply. I regret that so much
attention was paid to it and that even now there are still people who think I
go round dressed like a tranny."[8]
And David in 1990: "If it had been T. Rex or Gary Glitter in the
Seventies, it would have been considered the norm to be like that. It was cool
to be like that then. Everyone got away with it. When Martin comes along in the
mid-Eighties and does it in a straight-faced way, he gets all this flak. It was
Martin's problem. He thought it was funny. Away from the cameras, he would be
having a good old laugh about it. We'd all have a good laugh. Then we realized
that it was doing none of us any good. So we kept saying to him, 'Look, you can't
go out dressed like that!' Sure we did. Martin, of course, carried on doing it.
These ludicrous f***ing dresses! Now he looks back and says, 'What the hell was
I doing?' The funny thing was that we just about got away with it. See, pop
music isn't something which should be taken too seriously. We're very serious
about our music. At the same time, we have to laugh at ourselves and laugh at
the whole music business. It gets so nauseating when you get these bands going
on and on about charity records. They're all great causes, sure, but we've
always avoided that sort of thing. If we want to do something for charity,
then we'll do it in private, as quietly as possible. We don't ever want to
be seen to be using any kind of charity to help boost our career. No matter
what the intentions of these bands are, that's how it comes across to me.
It's become very trendy. We'll always avoid things like that like the bloody
plague. I think the reason Martin wore dresses was just for fun. Nothing deeper
than that. People read other things into it, like he was some sort of
transvestite or something.[9] Martin said to me once, 'I like to look into
the mirror before I go out, and laugh and think, Look what I'm getting away with
tonight'. He'd wear leather trousers and then wear a skirt over the top. And
then he sort of extended to just wearing a skirt. We used to sit backstage
saying, 'Martin, you can't f*** wear that, man! You've got to take that off!'."
Martin: "I just thought it was quite funny. I didn't think it was going
to cause such a fuss."[10]
Alan: "I never was comfortable with Martin dressing up in girls' clothing
and the rest of the group would often comment and try to dissuade him but I
think the more we might do that the more belligerent he would become about it.[11]
Ironically, he now gets irritated when people
bring up the 'dress' period - what did he expect?
Unfortunately, people will always base their opinions of people on how they
look and much of the style of the early 80's was quite effeminate. Martin
wearing a skirt didn't help.
But you must also say that from the very early days, the band attracted a very
large gay following (long before Martin ever considered wearing a dress)
which has been very supportive. The interesting point however, is that Martin
is not gay and it annoys him when people make the assumption that he is.
Strangely, he seems oblivious to the fact that many people still associate
transvestism with homosexuality."[12]
Alan is wrong here - I couldn't find any quotation of Martin being annoyed
about the assumption he might be gay. He just reacted irritated when this
question was put forward too often. So if he was annoyed then it wasn't taken
to the public.
They didn't care about the "gear-thing" and its consequences in 1985.
Martin: "I bought my first leather jacket when I was 18. I've developed a
love for black leather which is hypocritical because, like Alan, I'm a vegetarian -
for moral and health reasons. Black leather is striking and simple. People imagine
I've got kinky habits but my worst vice is video games. Well, I have got a few
others but you'd be far too interested in them ... An average day for me might
start by getting up at midday and composing on my guitar, sampling sounds until
eight. I'm not a great musician. None of us is except Alan. My interest is in
melody lines and lyrics ... Sexual barriers are silly. My girlfriend and I
swap clothes, make-up, anything. So what? It's a shock though to read in a magazine
like Bravo that I walk around dressed as a woman.[13] I don't really like
it when it’s played on because I don't see it as such a big thing. It's just
something that I enjoy doing. I never bring the subject up myself. I think I
like it because it is different and because I find male dress in general
very boring. Men are very restricted in what they wear, in what is acceptable.
Obviously I wouldn't go shopping in a dress but if I go out to a club I
usually wear one. One thing I've noticed is that everybody considers you gay if
you dress effeminately, but the thing most people seem to miss is that most girls
these days - well, most girls I know - seem to prefer effeminate boys.
Occasionally when I buy a new article of clothing and present it for the first
time I get a few laughs, sort of 'you can't wear that' sort of thing."[14]
(This was the general view among - especially - British artists at this time.
When you have a look at the pop-culture of the midst 80's in the UK you will
find a lot of male artists dressed up in a female way and a lot of female artists
dressed up in a male way - a known example is Annie Lennox (Eurythmics).)
David: "He has totally changed. But he's just being the way he wanted to
be anyway. Mart missed out on his teens, just generally going out, seeing
different girls every night and getting drunk all the time, y'know, not caring.
He's living all that now. It's not a bad thing. Everybody should go through
that phase. Personally, I think he's just doing all the things I did when I
was 16. All that stuff about boredom is exactly the attitude that I went
through. I went to clubs with people much older than myself. I wore tons of
makeup, and dresses too. But now if I go to a club I just want to have a
good time, not to shock."[15]
In 1990 he claimed: "You won't catch me in a f*** dress. No sodding way!
I'm the yob next door. Never worn a dress in me life. Never f*** will!"[16]
But there is a picture from December 1980 in which he obviously wore a dress.
(Copyrightowner unknown)
And it went on and on with the clothes ...
Alan: "Martin does enjoy it when we go through Customs and they ask him
if he wants to go into the men's or women's cubicles to be searched."
David: "I look at a lot of things Martin does now, and I just laugh ..."[17]
Alan: "A lot of the blokes in the audience won't even think about the fact
that Martin's wearing a skirt or whatever. In a different situation, they'd
kick the s*** out of him, but when it's onstage they love it."[18]
All this lead to the suspicion they might be very decadent.
Martin: "Well, I'm not into ... pain, or any of that kind of thing.
Decadence covers a lot of areas! Some of us go out drinking when we're on tour,
and I know that's sort of expected of us because we're a band, but unfortunately
it's a way of enjoying yourself ..."
David: "You do actually like decadence though, don't you?"
Martin: "Mmmm ... well, yes, I do ... Sometimes ... when you're doing
something, even just walking down the street with your girlfriend, you get this
feeling of being too normal. It's not a very nice feeling ..."
David: "I can assure you you're not normal, Martin!"[19]
It was difficult to find considerable topics this year.
So David pondered over the side-effects of
touring: "By the end of this tour I reckon I'll have lost a stone and a half.
It's a very unhealthy way to live. I get ill anyway so now I travel with a full
medicine bag - antibiotics, blood cell restorers, glycerine, vitamins, the
works. Thing is, the hours are so dodgy. The concerts are great but the rest
of the time is essentially wasted. You're getting no exercise and not eating
properly. After the shows you're so wired up you stay awake until all hours.
When it's over and I go home I'm totally disorientated. I find myself rushing
around the house feeling really speedy. It takes weeks to adjust to a normal
routine like doing the washing, paying bills, buying stuff for the place.
When I moved into a new house in Basildon I got some weights. They didn't
help for long ..."
And about the concerts: "It's a very sexual feeling, a sense of immense power.
The more people in the crowd the better. Our live shows are so different to the
records, far more aggressive, and I take responsibility on my shoulders.
Telling nine thousand people what to do is like being on another planet."[20]
The big Live Aid festival took place without DM.
Alan: "It's a contradictory thing. We sit there and we think 'Oh no ...
we've only got to number eighteen with Shake The Disease, and yet at the
same time we know that if we want to make higher positions in the charts we've
got to do things that we don't want to do, so at the same time we know exactly
why. Trouble is, when you are very honest, when you tell the truth all the
time, you can come across as just sounding a bit wimpy ... a bit boring."[21]
Fletch: "Because we are on an independent label we just don't have the
contacts, so we weren't asked to appear. I don't think Geldof was aware of how
many records we actually sell internationally. At the time we were bitter, but
the whole thing has just become so tacky - all those ageing rock bands appearing
solely to boost their own career - that in a way we are quite glad we weren't
involved. Of course the money raised can't be criticized ... but it would have
been a lot more if they had added the money that went on their cocaine bill ..."[22]
Alan: "I doubt very much that we would have accepted the invitation,
had we been asked. My personal view is that giving to 'chariddy' should be
a totally private gesture, out of which no personal gain should be made.
Inevitably, nearly all the artists who took part in Live Aid achieved a
considerable rise in record sales and being the cynic I am, I wonder just how
much of the profit gained from those sales actually ended up going to Ethiopia."[23]
I wouldn't be so sure about they would have said 'no' if they had been asked. The
sentence "I don't think Geldof was aware of how many records we actually sell
internationally" says all you need to know about how frustrated they had been
at first. It's possible that they changed their minds afterwards. But it's a
bit hypocrite nevertheless because while on one hand they were very proud of
their independence and happy about not being mixed up with the general music
business they were striving, on the other hand, for ultimate success. Maybe
they simply came to the conclusion that it was better to reach this success in
a different way.
On August 4 David and Jo got married and moved to a
house of their own, in Essex. This was the second "big topic" of the year.
David: "I've met a lot of girls in my time and have been with a lot of
girls and, sure, I've been in love before, but Jo's the only girl I've ever
met that I could live with. I just get on with her. We have lots of arguments
just like anybody else but somehow ... we cross over, there's something about
it that's special. We've been going out for six years and I just got up one
morning and asked her and she just sort of said 'yeah, alright'. It was that
casual."[24]
One year later he added: "Obviously, we could have played on it. It doesn't
bother me to be in the daily papers but so what? Who cares? Thousands of people
get married every day. It's very clichéd to say that you don't feel different,
but I don't. We just get on so well. Jo does a lot for me and she's always
there when I need her. I miss her more and more."
Nevertheless she didn't come on tour anymore.
David: "Well, she can come, but it doesn't work. It's very difficult.
I'm a totally different person on tour. I can be really horrible 'cos I'm so
locked into what I do. When Jo's there, I like it, but if she's there every
day and if I'm feeling in a bad mood, I just take it out on her. We've had
screaming fights like that."
Doesn't sound like the big love for life. He admitted that the main reason
for the marriage had been that they wanted to have children: "Having to bring up a
child totally puts aside all the things that were important to you before.
Things like being in the band would become secondary."[25]
While Dave's been getting married, Fletch's been moving into a new flat - "a
cardboard box with lots of plants" - in London, something which the other
members of the band give him loads of stick about.
Alan: "He's lost his roots." (Alan was rather mean here but Fletch
had said in many previous interviews again and again he would never, never
move from Basildon.) "He's started investing in things like wine racks, you
get the drift? He's even got a couple of books on caring for plants."[26]
Or another story ...
In a hotel lobby a presenter sits between the Depeche boys. He addressed a
bored-looking Alan Wilder. "We'll start with you, Vince Clarke ..."[27]
Unfortunately, Alan's response is not on record.
How is life as a pop-star?
David: "It's like I'm happy - I'm depressed. There isn't really
anything in between. You never just feel alright, you're either extremely
happy or you're extremely depressed. There's no-one that can really understand
unless they’re in a successful band."[28]
Sounds as if you turn to a manic-depressive person when you decide to become
a pop-star, and maybe this is the reason why so many of them become alcoholics
and junkies.
And what can you do in Berlin?
Alan: "There's plenty to do in Berlin. When you finish working at 4.00
a.m. you never feel like going to bed and so you end up in a bar or a club.
DNC is a favourite, there's a couple of good gay clubs, Corelles is alright,
the Jungle ..."[29]
Such a statement was controversial in 1985.
Much later he added: "I'm not gay but I've no problem with going to
gay bars or clubs. We went there because they had the best vibe and music."[30]
From nowadays' view it's very difficult to understand why the speculation the
band (or one of the band members) might be gay was so controversial. Although I
grew up in the 80s myself I often forget what a long way the gay community has
taken up to today. There are still many countries where being gay is seen as a
problem but many other countries try to be tolerant nowadays. This was completely
different in the 1980s. Working through old music magazines I had to notice that
they were slightly intolerable against women, gay people and anyone else who was
"different". Musicians had to live a special image. The imagination of being
especially tolerant against artists that is given today is definitely wrong.
Especially rock musicians had to be male, straight and tough. Someone with
Martin's liking of cross-dressing (and that's all what he did) didn't suit the
general view of that time.
Shortly after David's marriage they started to record It's Called A Heart
at Genetic-Studios. The single was released on September 16.
While the band members agreed about Shake The Disease, It's Called A Heart
caused some discord.
Alan: "It's Called A Heart has to be my least favourite,
dare I say most hated DM single ever, and I was anti even
recording it, let alone releasing it. In fact I fought
tooth-and-nail on behalf of the B-side Fly On The Windscreen
which was far superior. To me, the whole thing was a serious
backward step. I felt we'd worked diligently to build up
recognition for a harder sound, with more depth and maturity,
and here was this ultra poppy number that did nothing for our
reputation. Sadly, I was out-voted by the others although they
recognised that Fly On The Windscreen was wasted
as an additional track and agreed it should be promoted to the
next album, Black Celebration."
Let's hope that he was still able to cope with the picture he has about
himself: "I would obviously say what I thought the potential of each song was
but I would hope that I was always diplomatic and never insensitive
with my comments."
He also hated the video to It's Called A Heart, answering to a
question about what he would change in his life if he could turn back
time and do it all over again: "I don't think I'd change much, apart from some
of the hair styles and those daft boots I wore in 101. Oh, and I'd also
make sure that I missed my wake-up call on the day we made the video for
It's Called A Heart."
Asked about the intention of the video, he says, "You'll have to ask Peter
Care (the director) - he came up with that 'concept'. Quite how he equated
'calling something a heart' with twirling cameras around on the end of a
string in a field of corn in Reading dressed in a skirt, I'll never be
able to tell you."[31]
He hated that song so much that he answered the question "In your opinion,
what makes up a true DM fan?" with "Anyone who still gives us the time of
day after having heard It's Called A Heart".[32]
Strange enough there aren't many quotations about It's Called A Heart
by any of the other band members, at least not in 1985. David simply
said: "I do find it very hard to enjoy singles until a good while after
they've been out"[33], and Martin explained: "The song is about the
importance of the heart in a mythical sense, as the part of the body where
good and evil are supposed to start. I'm not sure whether I believe in it
but it's a nice idea."[34]
Years later Fletch would answer to a question of a fan what their
worst song was: It's Called A Heart.[35] And Martin in 1998:
"It's Called A Heart is one of the worst things we've ever released."[36]
Nevertheless they must have liked it once, otherwise there wouldn#t have been
such a fuzz about it within the band in 1985.
(with friendly permission of © Bart Ceuppens)
On October 15 The Singles 1981-1985 was released, mainly
for the US-market because DM got more and more fans there.
With a break for a gig at Peter's Popshow on November 9 in the
"Westfalenhalle" in Dortmund the band began to record Black Celebration
in the end of 1985, first in the Westside-Studios in London and later
in the Hansa-Studios in Berlin. The idea of a "permanent session over
some months to create a claustrophobic feeling"[37] got too real quite soon.
In fact, the studio atmosphere got worse over the time.
While Martin was confident enough to offer his demos to
those who were more focused in realizing the musical aspects
of his songs the production relationship between Daniel Miller,
Gareth Jones and Alan got worse. This finally led to the decision
of Miller to stay outside of the production in the future.
Alan: "Dan and I had grown as friends and musical
associates as well as developing a mutual understanding of
the territory we felt Depeche Mode should be exploring.
For example, our affiliation had been enhanced by spending
long hours finishing off the previous LP, Some Great Reward,
when everyone else had cleared off on their holidays. With
Black Celebration, we also ran well over our deadline but
it was perhaps when too many additional voices were brought
into the equation that problems seemed to arise."[38]
Martin: "There were quite a lot of arguments going on around that time.
We'd overdone the working relationship between Daniel and Gareth Jones. That
was the third album we'd done together and I think everybody'd become very
lazy, relying on formulas."[39]
He obviously found the recording session so unbearable that he disappeared
for a week, what aroused wild speculations. (Primarily in teen-magazines.)
"Yeah, yeah, I freaked right out. This business did my head right in and I
had to go away for a few days. We've had quite a lot of work on recently,
there's a lot of stress and I've been moving house as well." (He moved back
to London.)
David: "I think it does you good to freak out every now and then I
almost did at one point when we were recording the last album. I was moving
house and then I had a bad car accident and at that point I thought 'that's
it, it's over'." Later he told the accident had happened when he drove
from a parking lot and another car rushed into his. He was hurt,
particularly his knees.
Alan: "I've never actually done a runner, but I'm in a permanent
state of being freaked out, I don't know who I am a lot of the time."[40]
So the year ended with some smaller and bigger disagreements.
David: "If ever we were going to split up the band it was at the end
of 1985. We were really in a state of turmoil. Constant arguing. Very intense.
We weren't really sure where to go after Some Great Reward so we
decided to slow things down. But it left us with too much time on our hands.
So we spent most of our time arguing. Sometimes, it seems incredible that
we came out of that period with the band and our sanity intact."[41]
Fletch: "Since Black Celebration, I've felt our set-up could
fall apart at any time."[42]
After studying all these interviews I also would say that the
point from which things started to go wrong was 1985. Of course,
they still had fun and they were very successful but it
seems to me that from this time problems started to "develop".
I would see them in a lack of communication. Sometimes I had
the feeling that they talked a lot to each other but didn't
say anything about what they thought and felt really.
Alan sees this a little different: "Over the course of
any 13-year period with a band, there are going to be times
of high tension. I would say that by the end of recording of
Black Celebration things were a bit difficult - but it wasn't
the beginning of the end as such."[43]
It seems as if these problems really based more on human side and not so much
on the musical aspect because they were all quite satisfied with the development
they took. You might even say that DM started with Black Celebration
really. On the other hand it "represents in many ways the end of a musical era
and the conclusion of a tried and tested production liason." Since 1983 Alan
had tried to steer the music away from its early poppy roots "to embrace
a darker more tenebrous world". So Black Celebration was
the last DM record "to fully salute this 'sample anything and everything'
approach although the use of everyday objects as instruments would not
be lost on future releases."[44]
Martin: "This is where the albums really started improving. I certainly
felt very free. I wrote it in Berlin and we all started wearing black. When
we're there now we're still followed by the fans; what we call The Black
Swarm. If you get up in the morning to go to the gym, they'll be waiting
in the lobby to follow you."[45]
Alan: "I think by the time we reached Black Celebration, a
proper depth to the group's songs started to appear. It was partly because
of the songs and partly because Martin was becoming more worldly as a
songwriter along with my influence into making more of a dark sound."[46]
References:
[1] The Last of the Futurists, Record Mirror, 25th May 1985. Words: Betty Page
[2] Boys on Film, Melody Maker, 15th April 1989. Words: Francesco Adinolfi
[3] Recoil.co.uk
[4] Boys Keep Swinging, No. 1, 19th January 1985. Words: Max Bell
[5] Fake the Disease, NME, 5th October 1985. Words: Danny Kelly
[6] Depeche Mode: A Short Film, EPKMUTEL5, included with The Singles 86>98 promotional box set, PBXMUTEL5. Director: Sven Harding
[7] The Last of the Futurists, Record Mirror, 25th May 1985. Words: Betty Page
[8] The Unlikely Lads, Q, April 1989. Words: Mat Snow
[9] Depeche Mode Hip it up and Start Again, Melody Maker, 10th March 1990. Words: Jon Wilde
[10] Violator, Alligator, NME, 7th July 1990. Words: Jeff Giles
[11] The Story Of Depeche Mode, BBC Radio London Live94.9, May 7th 2001, Producer: Tony Wood
[12] Recoil.co.uk
[13] Martin Gore: The Decadent Boy, No. 1, 11th May 1985
[14] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[15] Fake the Disease, NME, 5th October 1985. Words: Danny Kelly
[16] Depeche Mode Hip it up and Start Again, Melody Maker, 10th March 1990. Words: Jon Wilde
[17] Fake the Disease, NME, 5th October 1985. Words: Danny Kelly
[18] Coming up Smiling, The Face, February 1985. Words: Sheryl Garratt
[19] The Normal Invasion, The Hit, 28th September 1985. Words: Marc Issue
[20] Boys Keep Swinging, No. 1, 19th January 1985. Words: Max Bell
[21] Aces High, Zig Zag, August 1985. Words: William Shaw
[22] Basildon Bond, Blitz, April 1986. Words: Bruce Dessau
[23] Recoil.co.uk
[24] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[25] "I Love the Idea of Wearing Leather and I Love the Idea of Being Tied up, Because I Love the Feeling of Helplessness ...", Record Mirror, 8th February 1986. Words: Nancy Culp
[26] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[27] Coming up Smiling, The Face, February 1985. Words: Sheryl Garratt
[28] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[29] Alan Wilder: The Band Boy, No.1, 25th May 1985
[30] Recoil.co.uk
[31] Recoil.co.uk
[32] Ask Alan, Bong 16, April 1992
[33] Everything Counts (in Large Amounts), Number One, 19th October 1985. Words: Paul Bursche
[34] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[35] Ask Andy, Bong 17, July 1992
[36] The Singles 86-98 by Martin Gore, Bong 37, September 1998. Compiled by Michaela Olexova
[37] Recoil.co.uk
[38] Recoil.co.uk
[39] Just Can't Get Enough, Uncut, May 2001. Words: Stephen Dalton
[40] Are Depeche Mode Cracking up?, Smash Hits, 9th-22nd October 1985. Words: Chris Heath
[41] Depeche Mode, Published by HMV / Melody Maker, 22nd September 1990. Words: Uncredited
[42] They Just Couldn't get Enough, Q, March 1997. Words: Phil Sutcliffe
[43] Depechemodebiographie.de
[44] Recoil.co.uk
[45] User's Guide: Depeche Mode, Kingsize, May 2001. Words: Uncredited
[46] Songs of Praise and Emotion, Blue Divide, Volume 2, Issue 1, 2000. Words: Uncredited
To the
Message-board.
About DM in general & News, questions,
discussions and feedback.
Review to Some Great Reward (+1985).
(You don't need to become a member to reply to topics in public forums.)