Vince Clarke is an English synthpop musician and songwriter. Clarke has been the main composer and musician of the band Erasure since its inception in 1985, was the main songwriter of several groups, including Depeche Mode and The Assembly. Vincent John Martin was born in South Woodford, Essex and he moved to Basildon, Essex, he studied the violin and the piano, but he was inspired to make electronic music upon hearing Wirral synth band Orchestral Manoeuvres in the Dark. Along with OMD, other early influences included The Human League, Daniel Miller, Fad Gadget. In the late-1970s, Clarke and schoolmate Andy Fletcher formed a short-lived band called No Romance in China. In 1980, he teamed up with Martin Gore to form French Look. Another band, named Composition of Sound, followed in 1980 with another addition of Martin Gore and Andy Fletcher. Clarke provided vocals until singer Dave Gahan joined the band, renamed Depeche Mode. At that time, he adopted the stage name Vince Clarke, by which he is known.
The band adopted a slick synthesized electropop sound, which produced the album Speak & Spell and the Clarke-penned singles "Dreaming of Me", "New Life", "Just Can't Get Enough" in 1981. Clarke left Depeche Mode shortly thereafter. There were many rumoured reasons pertaining to his departure, he commented on Depeche Mode's material as being a little dark for his taste, but good nonetheless. Clarke stated that he did not enjoy the public aspects of success, such as touring and interviews, found himself at odds with his bandmates on the tour bus, he stated: "I think everybody in the band myself, imagined that the reason we were doing so well was because of themselves... We were pretty young and lucky, things had happened quickly for us, I don't think we were mature to handle the situation." Clarke was replaced by musician Alan Wilder, Depeche Mode went on to achieve international stardom. Clarke teamed up with singer Alison Moyet to form the popular synthpop band Yazoo, which produced two albums and a string of hits including "Only You", "Don't Go", "Situation", "The Other Side of Love", "Nobody's Diary", "Walk Away from Love".
Yazoo disbanded in 1983, Moyet went on to have a successful solo career. Yazoo reformed in 2008 for a series of live dates to celebrate 25 years since the duo's split. In 1983, Clarke teamed up with Eric Radcliffe, it was their idea to collaborate as one-off associations with different artists on each new single, under the name The Assembly. Meanwhile, he founded the label Reset Records with Eric Radcliffe. During 1983 and further on in 1984, he produced four singles "The Face of Dorian Gray", "I Just Want to Dance", "Claudette", "Calling All Destroyers" for his friend Robert Marlow, which were released on this label, they produced an album, shelved but was released much in 1999 under the name The Peter Pan Effect. In 1985, another collaboration took place with Paul Quinn of Bourgie Bourgie, the result was the single "One Day" by Vince Clarke & Paul Quinn. However, the project never took off, Clarke moved on to other projects. In early 1985, Clarke put an ad in Melody Maker for a singer, one applicant was Andy Bell, a fan of his earlier projects.
He teamed with Bell to form the group Erasure, the duo became one of the major selling acts in British music with international hits like "Oh L'amour", "Sometimes", "Chains of Love", "A Little Respect", "Drama!", "Blue Savannah", "Chorus", "Love to Hate You", "Take a Chance on Me", "Always". The band has released 16 albums to date and has enjoyed a long string of hit singles spanning their three decades together, most topped-off by the 2005 top five hit "Breathe" taken from their Nightbird album. In 2006, Erasure produced a country-western style acoustic album consisting of non-single cuts from their previous albums; this album, Union Street was preceded by the single "Boy" included on their 1997 Cowboy album. On 26 January 2007, in a video message on the official Erasure website, the band announced the release of their sixteenth album, entitled Light at the End of the World. Released in the UK on 21 May 2007, with a US release the following day, it was preceded by the single "I Could Fall in Love with You", released on 2 April 2007.
The second single, "Sunday Girl" was subsequently released. The album was produced by Gareth Jones and was a more "dance oriented" effort than some of their more recent work with Clarke making reference to the new material sounding a bit more like Andy Bell's 2005 solo effort Electric Blue. Erasure went on to tour with Cyndi Lauper, Deborah Harry, Margaret Cho, other artists, for the 2007 True Colors Tour of the United States, a tour which benefited gay, lesbian and transgender freedoms and rights. Erasure went out on their own, headlining the "Light at the End of the World" tour in Europe and North America; the band released a new EP, Storm Chaser, in September 2007. The EP contains nine tracks, one of them the winner of an online fan remix contest, for the track "When a Lover Leaves You", from the Light at the End of the World album; the Erasure album, Tomorrow's World, was released on 3 October 2011, featuring production by Frankmusik. The album was done in two locations, Vince in his Cabin Studio in Maine composing the music and vocal arrangement, production done by Andy in Los Angeles.
The album featured three singles.
Client are an English electronic music group from London, formed in 2002. They are most popular in Germany, they combine airline hostess uniforms or shiny fetish fashion outfits with glamour-girl aesthetics and harsh electronics to create a sound reminiscent of early forays into electronic sound manipulation and new wave. Their uniforms have become their trademark; the original band members were known only anonymously as Client A and Client B, to the extent that their faces were not shown on any publicity photos. Holmes of Frazier Chorus and Technique started the fashion label Client London, is married to Alan McGee. Blackwood is the lead singer of Dubstar. In late 2005 a new member, Client E, joined the group; this is Emily Mann, a contestant on the Channel 5 reality show Make Me a Supermodel, an artist, an active DJ performing as Emily Strange. Client E left the band in June 2007. In November 2007 Charlotte Hatherley joined the band as Client C, to fill the vacant role of bassist on their European and Scandinavian tours.
Client was the first act signed to Toast Hawaii. They have toured with Depeche Mode and Erasure and have been described as a combination of "the Pet Shop Boys at their most commercial and The Human League at their most obscure". Client have collaborated with directors, their video for "Pornography" was directed by French director Jamie Deliessche from video production company Schmooze. It features Carl Barât on vocals; the song "Down to the Underground" features Pete Doherty of The Libertines, frontman of Babyshambles. The song "Overdrive" features Martin L. Gore of Depeche Mode; the song "Where's Roll Gone" features Tim Burgess of The Charlatans. Client have collaborated with Die Krupps and Replica on selected tracks and have done a special duet, "Suicide Sister" with Douglas McCarthy of Nitzer Ebb, it was announced in October 2006. In November 2006, Client signed with Out of Line in German-speaking Europe, SubSpace Communications in Scandinavia, Metropolis Records in North America, Noiselab in Latin America and their own label Loser Friendly Records in the UK and Ireland.
It was confirmed in December 2010 that Blackwood had left the band and a new member was being recruited to front the band. In July 2011, Holmes announced that Xan Tyler—with whom Holmes formed the synthpop duo Technique in the mid-1990s—would take over live lead vocals for the band, replacing Blackwood. However, this never came to fruition. On 4 September 2013, Client debuted the music video for their single "You Can Dance", which introduced new member Nicole Thomas, known as Client N, their fifth studio album, was released on 21 March 2014 on Out of Line Music. Client City Heartland Command Authority Going Down Metropolis Untitled Remix Live at Club Koko Live in Porto Live in Hamburg Client on Facebook Client at AllMusic
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Never Let Me Down Again
"Never Let Me Down Again" is Depeche Mode's nineteenth UK single, released on 24 August 1987, the second single for the upcoming album Music for the Masses. A moderate hit in the UK at number 22, it was a smash in West Germany, where it hit number 2, a Top 10 success in several other European countries; the cover art features fragments of a Soviet map of Russia and Europe, with different fragments used for the different editions of the single. Studio impresario Alan Wilder and the other members of the band considered the track an "obvious single" with much potential, they developed it throughout so that dramatic-type elements such as the Led Zeppelin-influenced drum patterns and Martin Gore's distinctive guitar riffs sound in the forefront. The lyrics of the song, starting with the strident vocals of "I'm taking a ride with my best friend", are regarded as reflecting drug use, with the track being labeled by NME music journalist Jane Solanas as a "masterpiece" that well conveys the feeling of "drug euphoria".
The coda of "Never Let Me Down Again" references Soft Cell's song "Torch". The main remix version of the track, known as the "Split Mix", came about with direct involvement from the band; the 12" maxi release stretched to nine and a half minutes long. Oddly enough, despite the pleasing results from the point of view of the band, that proved to be the last time in decades that a remix came out with their direct involvement; the song became a favourite among fans live. Shows during Depeche Mode's 1988 tour were concluded with this song. Notable in the 101 video is when Dave Gahan waves his arms in the air toward the end of the song, the sold out crowd of 60,000 mimics Gahan's movements, it is now customary at Depeche Mode shows for fans to wave their arms in the air during the coda section of "Never Let Me Down Again". During the 1990 World Violation Tour, the band played a different version of the song, known as the "Split Mix", including their massive live performances at the Giants and Dodger Stadiums, which were being broadcast live on MTV.
On 8 November 2001, shortly after their final Exciter Tour concert in Mannheim, the band played "Never Let Me Down Again" during the MTV Europe Music Awards in Frankfurt, which aired in the US on MTV2. The main 12" remix of "Never Let Me Down Again" is known as the "Split Mix", as stated above, the nine-and-a-half-minute track featured direct involvement from the band during its creation. In detail, the remix features the regular song, an added intro piece, a techno-like musical arrangement appended at the end; the arrangement was expanded to the "Aggro Mix" on the 12" B-side, a piece additionally available as a bonus track on the CD and cassette tape versions of Music for the Masses. The "Split Mix" appears on the album collection Remixes 81–04, a release that came out on October 2004. Another remix of the track, done by the German group Digitalism, came out in 2006 as one of the'Digital Deluxe Bonus Tracks' found in The Best of Depeche Mode Volume 1; that remix appears on the band's remix compilation Remixes 2: 81–11 as well.
Eric Prydz remixed the song for this album. There are two music videos for "Never Let Me Down Again", directed by Anton Corbijn; the long version is featured on the Strange video, uses the "Split Mix" and during the EBM portion of the song, Gahan's shoes are shown walking without anyone wearing them, before someone puts them on and wears them to dance. There is a short video with just the single version of the song, which ends before the animated shoes; the short version appears on The Videos 86>98, the DVD of The Best of Depeche Mode Volume 1 and on Video Singles Collection. There are two b-sides. "Pleasure, Little Treasure" is a short dance track. An extended version called the "Glitter Mix" ends with fragments of vocal recordings that have been reversed and treated with delay effects. Notably, some of these sounds can be heard in the track "Mothers Talk" from the 1985 Tears for Fears album Songs from the Big Chair, engineered by Dave Bascombe; the "Glitter Mix" showed up as a bonus track on the CD/Cassette versions of Music for the Masses and in remastered form on the 2006 CD/DVD release.
The rarer b-side is "To Have and To Hold". Martin Gore's original plan for the song sounded a lot like upbeat electropop, but Alan Wilder turned it into the dark wave track it became. While Alan's version was always set to be the final version, Martin wanted his version to be recorded as well. However, not all of the lyrics are sung in the song, it shows up as one of the bonus tracks on the CD/Cassette version of Music for the Masses and is on the CD versions of "Never Let Me Down Again". The regular version of "To Have and To Hold" is one of the main tracks on the Music for the Masses LP. All songs written by Martin Gore. "Never Let Me Down Again" – 4:20 "Pleasure, Little Treasure" – 2:52 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 5:34 "Never Let Me Down Again" – 4:53 "Never Let Me Down Again" – 4:22 "Pleasure, Little Treasure" – 4:53 "To Have and to Hold" – 2:33 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 5:34 "Never Let Me Down Again" – 4:53 "Never Let Me Down Again" – 9:34 "Pleasure, Little Treasure" – 4:53 "To Have and to Hold" – 2:33 "Never Let Me Down Again" – 4:53Originally released in Cardsleeve Rereleased as 4track CD Single in Slim Jewel Case in 1991.
"Never Let Me Down Again" – 4:20 "Pleas
"Stripped" is a song by British electronic music band Depeche Mode. It was released as the lead single from their fifth studio album, Black Celebration, on 10 February 1986, through Mute Records. Written by the band's lead songwriter Martin Gore, "Stripped" has been described as an "ominous and intriguing pop song", it incorporates different samples into its instrumental. It was the band's sixth consecutive single to enter the UK Top 20, peaking at number 15. Elsewhere, it peaked at number 4 in Germany and reached the top 10 in Finland and Switzerland. German metal band Rammstein covered the song for the 1998 Depeche Mode tribute album For the Masses. Despite having a controversial music video, it would go on to peak at number 14 in Germany and receive praise from Depeche Mode band members. John Freeman of The Quietus described "Stripped" as an "ominous and intriguing pop song", lyrically akin to other songs written by Martin Gore featuring sensual lyrics about the human body. Parts of the song's instrumental are built off of samples.
The beginning of the song samples the sound of the ignition of lead singer Dave Gahan's Porsche automobile, while the underlying beat is the sound of an idling motorcycle engine distorted and slowed down. The ending incorporates the sound of fireworks; the 7-inch B-side for "Stripped" is "But Not Tonight", while the other two B-sides are "Breathing in Fumes" and "Black Day". "Breathing in Fumes" was a new song using samples from "Stripped", mixed by the band and Thomas Stiehler. "Black Day" is an acoustic, alternate version of "Black Celebration" sung by Martin Gore and co-written by him, Alan Wilder, producer Daniel Miller—the only Depeche Mode song where Miller receives a writing credit. The "Highland Mix" of "Stripped" was mixed by Mark Ellis, who in the future would produce Depeche Mode's Violator and Songs of Faith and Devotion records; some editions of the Black Celebration CD include the extended remix of "But Not Tonight" along with "Black Day" and "Breathing in Fumes" as bonus tracks.
The music video for "Stripped" was the last Depeche Mode video to be directed by Peter Care and was filmed outside Hansa Studios in Berlin. A music video was shot for the B-side "But Not Tonight" and was directed by Tamra Davis. Two differently cut versions of both "Stripped" and "But Not Tonight" are available on "Video Singles Collection". 7": Mute / 7Bong10 "Stripped" – 3:52 "But Not Tonight" – 4:1512": Mute / 12Bong10 "Stripped" – 6:42 "But Not Tonight" – 5:13 "Breathing in Fumes" – 6:07 "Fly on the Windscreen" – 4:24 "Black Day" – 2:37CD: Mute / CDBong10 "Stripped" – 3:52 "But Not Tonight" – 4:15 "Stripped" – 6:42 "But Not Tonight" – 5:13 "Breathing in Fumes" – 6:07 "Fly on the Windscreen" – 4:24 "Black Day" – 2:37The CD single was released in 1991 as part of the singles box set compilations. 7": Sire / 7-28564 "But Not Tonight" – 3:52 "Stripped " – 3:5912": Sire / 0-20578 "But Not Tonight" – 6:18 "Breathing in Fumes" – 6:07 "Stripped" – 6:42 "Black Day" – 2:37 The 7" and 12" versions on the US "But Not Tonight" single are different versions than used on the UK singles – they were remixed by Robert Margouleff.
The 12" mix appeared on the rare fourth disc of Depeche Mode's remix compilation, Remixes 81–04, as the "Margouleff Dance Mix." CD: Intercord / INT 826.835 "Stripped" – 6:42 "But Not Tonight" – 5:12 "Breathing in Fumes" – 6:07 "Fly on the Windscreen" – 4:24 "Black Day" – 2:37 This is the UK Extended 12" version. The German CD was released in 1986 All songs written by Martin Gore except "Black Day", written by Gore, Alan Wilder, Daniel Miller In Australia, "Stripped" missed the Kent Music Report top 100 singles chart, but was listed as one of the singles receiving significant sales reports beyond the top 100 for 6 non-consecutive weeks in May and June 1986. Neue Deutsche Härte band Rammstein released a cover of "Stripped" in 1998; this version cuts the line "Let me see you stripped down to the bone" to "Let me see you stripped", due to singer Till Lindemann's difficulty singing "down to the bone".. The song was on the tribute album For the Masses and reached number 14 in the German single charts.
The song appears as the twelfth track on some special editions of the band's sophomore release, Sehnsucht. It was the band's first song done in English; the video for the song incorporated footage from the Leni Riefenstahl Nazi propaganda film Olympia, which led to threats against the band. Members of the band praised Riefenstahl's filmmaking abilities and aesthetic choices in a 2011 documentary of the making of the video the imagery of the athletes, while disassociating themselves from Riefenstahl's politics. Members of Depeche Mode Dave Gahan, responded positively to the cover, since it was so different from any other versions of Depeche Mode's work. "Stripped" – 4:25 "Stripped" – 4:28 "Stripped" – 5:12 "Stripped" – 5:10 "Stripped" – 4:35 "Wollt ihr das bett in Flammen sehen?" – 5:01 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Just Can't Get Enough (Depeche Mode song)
"Just Can't Get Enough" is a song by the English electronic music band Depeche Mode. It was released in September 1981 as the third single from their debut album and Spell, it was recorded during the summer of that year at Blackwing Studios, was the band's first single to be released in the United States, on 18 February 1982. A riff-driven synthpop song, "Just Can't Get Enough" was the final single to be written by founding member Vince Clarke, who left the band in November 1981; the single version of "Just Can't Get Enough" is the same version that appears on the UK version of Speak and Spell. The 12" single featured a "Schizo Mix", an extended version with additional synth parts adding a sinister feel to the track; this version appears on the US version of Speak and Spell, the UK re-release of Speak and Spell, the re-release of The Singles 81→85 and Remixes 81–04. In addition, the single's B-side, "Any Second Now", was the first commercially available Depeche Mode instrumental, it shows up on the UK rerelease of Spell.
A version including vocals appeared on the album as "Any Second Now". There is an extended version, the "Altered" Mix. In the United States, the B-side is "Tora! Tora! Tora!". On the album, "Tora! Tora! Tora!" is crossfaded with the previous track, "Photographic", but on the single, the introduction is clean. The single reached number 8 on the UK Singles Chart and number 26 on the US Hot Dance Club Play chart, making it their highest-charting single at the time on both counts, it became the band's first hit in Australia, reaching number 4. The "Just Can't Get Enough" video, directed by Clive Richardson, was the band's first, is the only video by the band which includes Vince Clarke; these are the formats and track listings of major single releases of "Just Can't Get Enough": 7": Mute/7Mute16 "Just Can't Get Enough"– 3:45 "Any Second Now"– 3:0812": Mute/12Mute16 "Just Can't Get Enough"– 6:46 "Any Second Now"– 5:43CD: Mute/CDMute16 1 "Just Can't Get Enough"– 6:46 "Any Second Now"– 5:43 "Just Can't Get Enough"– 3:45CD: Mute/CDMute16 2 "Just Can't Get Enough"– 3:45 "Any Second Now"– 3:08 "Just Can't Get Enough"– 6:46 "Any Second Now"– 5:437": Sire/SRE50029 "Just Can't Get Enough"– 3:45 "Tora!
Tora! Tora!"– 4:17Notes 1:CD released in 1988 2:CD released in 1991 All songs written by Vince Clarke except for "Tora! Tora! Tora!", written by Martin Gore. "Just Can't Get Enough" was covered by British-Irish girl group The Saturdays. It was one of the official Comic Relief singles for 2009. On 8 March 2009, the song entered the UK Singles Chart at number two, where it peaked, being beaten by Flo Rida's "Right Round" after being at number one in the midweek count, thus being the first Comic Relief single not to chart at number one in 14 years. However, it gave The Saturdays their highest chart placing at the time and outselling the original track, plus it marked their fourth consecutive top ten hit in the UK; the success of this single was matched by "Forever Is Over" and beaten by "What About Us". In Scotland, the song reached number one for a week, becoming their highest-charting single on that chart alongside "What About Us". In 2010, it received a Silver certification from the BPI for sales exceeding 200,000 copies.
The music video premiered on MSN on 9 February 2009. The video shows each girl singing in a mock-'50s pin-up calendar and uses a different edit of the song than the single version, it was directed by Harvey B-Brown. U2's drummer Larry Mullen Jr. appears in the video. Two versions of the video were shot, with the alternative one missing Una's solo bra scene. CD single "Just Can't Get Enough" — 3:08 "Golden Rules" — 3:50Digital single "Just Can't Get Enough" — 3:08 "Just Can't Get Enough" — 3:19 "Just Can't Get Enough" — 5:08 "Just Can't Get Enough" video — 3:32 iTunes Edition Only In 2011, the song was used for promotional commercials for the movie Crazy, Love. Football chant for Celtic F. C. In 2009 the song was adapted as a football chant by fans of Celtic F. C. the Green Brigade fans. In an interview with football website Goal.com, Depeche Mode keyboardist Andrew Fletcher commented on the use of the song by Celtic fans: "We feel honoured that the Celtic faithful are chanting our songs and are touched by it.
The best thing is that they know the entire lyrics."The football chant was sung by Thai children from the Good Child Foundation known as the Thai Tims, made up of children with Down syndrome. The song had been taught to them by Reamonn Gormley, a young Celtic youth team player and avid Celtic fan from Blantyre who had gone to Thailand as a volunteer English language teacher for Good Child Foundation and would use English songs to teach English to them, amongst others, Celtic chants. Gormley was stabbed to death upon his return to Blantyre on 1 February 2011, he was just 19. The Thai Tims' videotaped tribute version of "Just Can't Get Enough" citing "Reamonn, Jinky Johnstone and Tommy Burns will be smiling down from heaven on all of us" went viral. In memory of Reamonn Gormley, Celtic FC and Celtic Charity Fund released it as a charity single on 8 May 2011 with proceeds going to the Good Child Foundation in Thailand and Crime Stoppers in Scotland, it reached number 30 on number two on the Scottish Singles Chart.
Adaptations for other football clubs As it grew in popularity, the song was adapted by fans of other football teams. The first team to adapt it was English Champ