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.
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
Mute Records Ltd. is a British independent record label owned and founded in 1978 by Daniel Miller. It has featured several prominent musical acts on its roster, such as Depeche Mode, Fad Gadget, Grinderman, Inspiral Carpets, New Order, Nitzer Ebb, Yeasayer, Nick Cave and the Bad Seeds, M83. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal, he recorded the tracks "T. V. O. D." and "Warm Leatherette", distributed them through Rough Trade Shops under the label name Mute Records. The label was formed just to release the one single. "T. V. O. D." / "Warm Leatherette" became. "Warm Leatherette" was covered by Grace Jones and Chicks on Speed as well as Rose McDowell. After meeting Robert Rental, Miller began playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, which had just released an album, being distributed by Rough Trade. In 1980, Miller released the single, "Kebab-Träume", by the German band Deutsch Amerikanische Freundschaft, who had moved to London.
The band's 1980 album, Die Kleinen und die Bösen, was the first album released by the new label. The album had the catalogue prefix "STUMM", a play on the record label's name, meaning "mute" in German; this prefix would continue to be used through most of the label's album catalogue. In 1980, Miller recorded and released the cover single, "Memphis Tennessee", under the name Silicon Teens; the band was Miller’s realisation of a dream Mute Records group, whose main instruments were synthesisers. In mid-1980, Mute Records released the Silicon Teens' album, titled Music For Parties. Around this time the artist Fad Gadget had begun recording new demos, including the track "Back To Nature"; this was released as a single in 1980, followed by the next single "Ricky's Hand" and the album Fireside Favourites recorded at Blackwing Studios. September 1980 saw the release of the double-holed, multi-speed 7" single by Non & Smegma, one of the first experimental noise releases from the label. Boyd Rice went on to release several more recordings with Mute Records.
After touring with Daniel Miller as Robert Rental & The Normal, Robert Rental released his only Mute Records single, "Double Heart", a rare, remaining trace of this late electronic music pioneer. Miller approached Depeche Mode in 1980, after seeing them perform in London, wanting them to record a single for his label. Emerging out of the British electronic pop scene, Depeche Mode asserted themselves as a radio-friendly pop group, had hits with their next three singles, including the UK top ten single, "Just Can't Get Enough", their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the major record labels predictions of failure, Depeche Mode became a successful charting band worldwide; the band's consistency was unbroken by the departure of principal songwriter Vince Clarke. Martin Gore took over the main songwriting role, opening the band up to different influences and sustaining their creativity as a band. Mute continued to support other experimental artists, such as NON, releasing an album of Boyd Rice's pre-NON recordings, titled Boyd Rice.
1982 began with the release of the 12-inch single, "Rise", by Boyd Rice, released under the name NON. Fad Gadget released his third album for the label, titled Under the Flag, influenced by the current Falklands War and the feeling of being British in the most unseemly of times; the album spawned the singles "For Whom the Bells Toll" and "Life on the Line". Mute Record's big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet. After leaving Depeche Mode, Clarke had set up a studio in the Blackwing Studios complex, where he recorded the singles "Only You" and "Don’t Go"; that year, Mute licensed the single, "Fred Vom Jupiter", from the German record label Atatak. The track was recorded by Andreas Dorau and the schoolgirl Marinas. From Germany was the single, "Los Ninos Del Parque", by Liaisons Dangereuses released by Mute. Liaisons Dangereuses included Chrislo Hass, in the German band DAF. After returning from a world tour in 1983, Depeche Mode released the industrial-influenced hit single "Everything Counts".
Bruce Gilbert and Graham Lewis, of the band Wire, teamed up with Daniel Miller to form a project known as Duet Emmo, an anagram of Mute and Dome. They released an album and 12-inch single, both titled Or So It Seems. Miller secured the rights to the back catalogue of the experimental bands Throbbing Gristle, Cabaret Voltaire and Richard H. KirkDuring 1983, the Australian band The Birthday Party transferred from 4AD to Mute Records; the band broke up after releasing their final 12-inch EP, "Mutiny". Birthday Party's singer, Nick Cave, stayed with Mute and released his debut single as Nick Cave and the Bad Seeds; the single was a cover of the song, "In the Ghetto", by Mac Davis made famous by Elvis Presley. Yazoo disbanded. Vince Clarke began working at Blackwing Studios under the name The Assembly; the project's first single, "Never Never", was a hit. D. A. F. Split up, in 1983, ex-member Robert Görl released the single "Mit Dir" on Mute, he recorded the album, Night Full of Tension, the following year, including the single "Darling Don’t Leave Me", featuring Annie Lennox.
In 1984, Depeche Mode had one of their biggest hits in the UK with the single "People Are People". Their album that year, Some Great
Electric Lady Studios
Electric Lady Studios is a recording studio in Greenwich Village, New York City. It was built by Jimi Hendrix and designed by John Storyk in 1970. Hendrix spent only ten weeks recording in Electric Lady before his death, but it has since been used by many notable artists. Electric Lady Studios' current address has a long history; the basement housed The Village Barn nightclub from 1930 to 1967. Abstract expressionist artist Hans Hofmann began lecturing there in 1938 retiring from teaching in 1958 to paint full-time. In 1968, Jimi Hendrix and his manager Michael Jeffery bought a newly defunct nightclub called The Generation in New York's Greenwich Village—a venue that Hendrix had frequented for impromptu performances and late-night jam sessions; the Generation had been known for live acts as diverse and legendary as Big Brother & the Holding Company, B. B. King, Chuck Berry, Dave Van Ronk, Sly & the Family Stone, John Fahey. Instead of renaming the club and continuing with the live venue business model, advisors Eddie Kramer and Jim Marron convinced Hendrix to convert the space into a professional recording studio, as studio fees for the lengthy Electric Ladyland sessions were astronomical, Hendrix was in search of a recording environment that suited him.
Architect and acoustician John Storyk designed each structural detail, from there Electric Lady Studios were born. It was the only artist-owned recording studio in existence at the time. Construction of the studio took nearly double the amount of time and money planned: permits were delayed numerous times, the site flooded due to heavy rains during demolition, sump pumps had to be installed after it was determined that the building sat on the tributary of an underground river, Minetta Creek. A six-figure loan from Warner Brothers was required to save the project; the studio was made for Hendrix, with round windows and a machine capable of generating ambient lighting in myriad colors. It was designed to have a relaxing feel to encourage Hendrix's creativity, but at the same time provide a professional recording atmosphere. Engineer Kramer upheld this by refusing to allow any drug use during session work. Artist Lance Jost painted the studio in a psychedelic space theme. Jimi Hendrix hired Marron to run the studio.
Hendrix spent only ten weeks recording in Electric Lady, most of which took place while the final phases of construction were still going on. An opening party was held on August 26, 1970; the following day Hendrix created his last studio recording: a cool and tranquil instrumental known only as "Slow Blues". He boarded an Air India flight for London to perform at the Isle of Wight Festival, died less than three weeks later. Into the following three decades, Electric Lady was used to record albums by such artists as Stevie Wonder, David Bowie, AC/DC, the Clash, Weezer; the start of the 2000s saw the studio acting as a home to the Soulquarians, but soon Electric Lady faced a period of financial hardship. By 2010, the studio was taken over by investor Keith Stoltz and studio manager Lee Foster, under whose leadership the studio hosted sessions by Adele, Kanye West, Daft Punk. Electric Lady was renovated and expanded, with a new mixing studio added to the second floor and the third turned into a self-contained unit including Studio C, a private lounge, another mix suite.
Following is a list of some notable artists who recorded at Electric Lady Studios. Category:Albums recorded at Electric Lady Studios Official website
A Broken Frame
A Broken Frame is the second studio album by English electronic music band Depeche Mode, released on 27 September 1982 by Mute Records. The album was written by Martin Gore and recorded after the departure of Vince Clarke, who had left to form Yazoo with singer Alison Moyet. Alan Wilder was part of a second band tour in the United Kingdom prior to the release of A Broken Frame, but he had not joined yet and does not appear on the album. Writing in Smash Hits, Peter Silverton observed that A Broken Frame, in contrast to the group's early post-Vince singles which he thought showed "a lack of purpose", "makes a virtue of their tinkly-bonk whimsy". In contrast, Melody Maker wrote that, although "ambitious and bold", "A Broken Frame – as its name suggests – marks the end of a beautiful dream", a comment on the departure of main songwriter and electronics genius Vince Clarke. Reviewer Steve Sutherland considered the songs "daft aspirations to art", the album's musical and thematic "larcenies" sounding like "puerile infatuations papering over anonymity".
At the same time, Sutherland acknowledges that the group's increasing complexity "sounds less the result of exterior persuasion than an understandable, natural development", although he concludes that Depeche Mode remain "essentially vacuous". The comments of Noise! magazine's'DH' showed greater prescience.'DH' said that the album "falls together well and shows we can expect a lot more from the clean cut quartet", adding "t times it reaches high points far exceeding their first album."In a retrospective review for AllMusic, Ned Raggett described A Broken Frame as "a notably more ambitious effort than the pure pop/disco of the band's debut" with much of the album "forsaking earlier sprightliness... for more melancholy reflections about love gone wrong". He adds: "More complex arrangements and juxtaposed sounds, such as the sparkle of breaking glass in "Leave in Silence", help give this underrated album more of an intriguing, unexpected edge."In 1990, while promoting their album Violator, songwriter Martin Gore lamented parts of the album, saying, "I regret all that sickly boy-next-door stuff of the early days... musically A Broken Frame was a mish-mash".
Despite being a photograph, the cover artwork is intended to resemble a painting. It depicts a woman cutting grain in an East Anglian field, near Duxford in Cambridgeshire, it was taken by Brian Griffin using a mixture of artificial lighting. Griffin cited as inspirations the socialist realism of Soviet Russia the work of Kazimir Malevich, German Romanticism. Griffin has displayed on his website a gallery of alternative images from the same shoot. Releases of the album on vinyl and compact disc feature different takes of the shot, it was featured on the cover of Life's 1990 edition of "World's Best Photographs 1980–1990". All tracks written by Martin Gore; some original US CD copies of the album tacked the intro of "The Sun & the Rainfall" onto the end of "Shouldn't Have Done That", making the duration of "The Sun & the Rainfall" 4:54. Dave Gahan sings lead vocals on all songs except "Shouldn't Have Done That", a duet with Gore. "Nothing to Fear" and "Further Excerpts From: My Secret Garden" are instrumental.
Disc one is a hybrid SACD/CD with a multi-channel SACD layer. The track listing is identical to the 1982 UK release, except "Satellite", 4:43 long and contains a slight edit, or error, at the beginning of the track. Disc two is a DVD which includes A Broken Frame in DTS 5.1, Dolby Digital 5.1 and PCM Stereo plus bonus material. Additional material "Depeche Mode 1982" Credits for adapted from the liner notes of A Broken Frame. In 2015, Greek synth-pop duo Marsheaux released a complete cover version of A Broken Frame on Undo Records. While the reviewer for Release Magazine wrote that this version was not "anything essential" but well done, other reviews were more detailed; the Electricity Club found influences of And One in the cover of "The Sun & the Rainfall" and concluded that Marsheaux had "used unconventional sounds and vocals to make this record their own". Reviews from Germany noted that Marsheaux had elaborated on the assets and downsides of the original release. According to Westdeutsche Allgemeine Zeitung, the kitschy sides of the early Depeche Mode album were deliberately uncovered in tracks like "The Meaning of Love", while the Sonic Seducer lauded Marsheaux's darker and slower interpretation of this song.
Album information from the official Depeche Mode website Official remaster info
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin