1.
1 Night in Paris
–
1 Night in Paris is a 2004 pornographic video depicting Paris Hilton having sexual intercourse in 2001 with Rick Salomon. Not originally intended for release, it was filmed primarily with a single, stationary, however, a handful of scenes were filmed indoors without night vision. The video was released by Salomon shortly before Hiltons TV series The Simple Life debuted, causing a media sensation. When Hilton stated publicly that she was out of it, didnt know what she was doing during the taping of the video and did not approve its public release, Hilton then countersued Salomon over the release of the tape, settling out of court in July 2005. According to reports, Hilton was awarded as much as $400,000, in a 2006 interview with the British edition of GQ magazine, Hilton stated, I never received a dime from the video. Its just dirty money and should give it all to charity for the sexually abused or something. To be honest, I dont even think about it any more, the video received the AVN Awards in 2005 for Best Selling Title of the Year, Best Renting Title of the Year and Best Overall Marketing Campaign – Individual Project. The DVD titled 1 Night in Paris is distributed by Red Light District, the video has since been purchased by Vivid Entertainment. 2005 AVN Award - Best Overall Marketing Campaign, Individual Project 2005 AVN Award - Best Renting Title of the Year 2005 AVN Award - Best Selling Title of the Year 2008 F. A. M. E. Award - Favorite Celebrity Sex Tape Celebrity sex tape Sex scandal Thomas Fahy, One Night in Paris, Wealth, Celebrity, and the Politics of Humiliation, In, Ann C. Hall and Mardia J. Bishop, Pop-Porn
1 Night in Paris
–
DVD cover for 1 Night in Paris
2.
Music video
–
A music video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are also cases where songs are used in tie in marketing campaigns that allow them to more than just a song. Tie ins and merchandising could be used in toys or marketing campaigns for food, although the origins of music videos date back to musical short films that first appeared in the 1920s, they came into prominence in the 1980s when MTV based their format around the medium. Prior to the 1980s, these works were described by terms including illustrated song, filmed insert, promotional film, promotional clip, promotional video, song video. Music videos use a range of styles of contemporary videomaking techniques, including animation, live action filming, documentaries. Some music videos blend different styles, such as animation, music, combining these styles and techniques has become more popular because of the variation it presents to the audience. Many music videos interpret images and scenes from the songs lyrics, other music videos may be without a set concept, being merely a filmed version of the songs live performance. Product placement is a technique in music videos, exemplified by the appearance of the Beats Pill in numerous hip hop videos. In 1894, sheet music publishers Edward B, marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song The Little Lost Child. Using a magic lantern, Thomas projected a series of images on a screen simultaneous to live performances. This would become a form of entertainment known as the illustrated song. In 1926, with the arrival of many musical short films were produced. Vitaphone shorts featured many bands, vocalists and dancers, early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, the Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such performers as Cab Calloway, were also distributed to theaters. Blues singer Bessie Smith appeared in a short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period, soundies, produced and released from 1940 to 1947, were musical films that often included short dance sequences, similar to later music videos
Music video
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Musicals of the 1950s led to short-form music videos
Music video
Music video
–
The Beatles in Help!
Music video
–
Michael Jackson in
Thriller.
3.
Depeche Mode
–
Depeche Mode /dᵻˌpɛʃˈmoʊd/ are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan, Martin Gore, Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke, left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the songwriting duties and, later in 1982, Alan Wilder officially joined the band to fill Clarkes spot. Depeche Mode have been a trio again since 1995, when Wilder left, the bands last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force on the mainstream electronic music scene. A highlight of this era was the concert at the Pasadena Rose Bowl. In the new decade, Depeche Mode released Violator, a mainstream success, now a trio once again, the band released Ultra in 1997, recorded at the height of Gahans near-fatal drug abuse, Gores alcoholism and seizures, and Fletchers depression. Depeche Mode have had 50 songs in the UK Singles Chart and thirteen top 10 albums in the UK chart, Q included the band in the list of the 50 Bands That Changed the World. Depeche Mode also rank number 98 on VH1s 100 Greatest Artists of All Time, Depeche Modes origins date to 1977, when schoolmates Vince Clarke and Andy Fletcher formed a Cure-influenced band called No Romance In China, with Clarke on vocals and guitar and Fletcher on bass. Fletcher would later recall, Why am I in the band and it was accidental right from the beginning. I was actually forced to be in the band, I played the guitar and I had a bass, it was a question of them roping me in. In 1979, Clarke played guitar in an Ultravox rip-off band, in 1978–79, Martin Gore played guitar in an acoustic duo, Norman and the Worms, with school friend Phil Burdett on vocals. In 1979, Marlow, Gore and friend Paul Redmond formed a band called the French Look, with Marlow on vocals/keyboards, Gore on guitar and Redmond on keyboards. In March 1980, Clarke, Gore and Fletcher formed a band called Composition of Sound, with Clarke on vocals/guitar, Gore on keyboards and Fletcher on bass. Soon after the formation of Composition of Sound, Clarke heard Wirral band Orchestral Manoeuvres in the Dark, along with OMD, other early influences included the Human League, Daniel Miller and Fad Gadget. Clarke and Fletcher switched to synthesisers, working odd jobs in order to buy or borrow the instruments from friends. Dave Gahan joined the band in 1980 after Clarke heard him perform at a scout hut jam session, singing a rendition of David Bowies Heroes. When explaining the choice for the new name taken from a French fashion magazine, Dépêche mode, Gore said, I like the sound of that
Depeche Mode
–
Depeche Mode in concert, 2006. Additional musicians
Peter Gordeno (far left) and
Christian Eigner (centre-left), with original members
Dave Gahan (centre),
Martin Gore (centre-right) and
Andy Fletcher (far right).
Depeche Mode
–
Touring the Angel concert in
Bremen, June 2006.
Depeche Mode
–
Tour of the Universe concert at London's O 2 Arena, December 2009.
4.
Palais Omnisports de Paris-Bercy
–
AccorHotels Arena is an indoor sports arena and concert hall, that is located on boulevard de Bercy, in the 12th arrondissement of Paris, France. The closest métro station is Bercy, designed by the architectural firm Andrault-Parat, Prouvé and Guvan, the arena has a pyramidal shape, and walls covered with a sloping lawn. It has a capacity ranging from 7,000 to 20,300. POPB hosted the European gymnastics championship in 2000, the 1991 and 1996 FIBA EuroLeague Final Fours, the POPB has also hosted WWE Raw, on 28 September 2008. It also hosted the 2009–10 EuroLeague Final Four and it also hosted the Masters Karting Paris Bercy star race, from 1993 to 2001, and again in 2011. As part of the 2014–15 renovations efforts, the arena was renamed to Bercy Arena on 1 January 2015 and it was again renamed to AccorHotels Arena in October 2015. List of tennis stadiums by capacity Official website
Palais Omnisports de Paris-Bercy
–
Main entrance to venue c. 2006
Palais Omnisports de Paris-Bercy
–
Venue logo c. 2015
5.
Synthpop
–
Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late-1970s to the mid-1980s. In Japan, Yellow Magic Orchestras success opened the way for bands such as P-Model, Plastics. The development of polyphonic synthesizers, the definition of MIDI. This, its adoption by the acts from the New Romantic movement, together with the rise of MTV. Synth-pop is sometimes deployed interchangeably with electropop, but electropop may also denote a variant of synth-pop that places emphasis on a harder. In the late 1980s duos such as Erasure and Pet Shop Boys adopted a style that was successful on the US dance-charts. Some artists and bands were criticised for gender bending, Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but, many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were woven together from simple repeated riffs often with no harmonic progression to speak of. Early synth-pop has been described as eerie, sterile, and vaguely menacing, using droning electronics with little change in inflection, common lyrical themes of synth-pop songs were isolation, urban anomie, and feelings of being emotionally cold and hollow. Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras, thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound. Lyrics were generally optimistic, dealing with more traditional subject matter for pop music such as romance, escapism. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its emotional, at times operatic singers such as Marc Almond, Alison Moyet and Annie Lennox. Because synthesizers removed the need for groups of musicians, these singers were often part of a duo where their partner played all the instrumentation. Later synth-pop saw a shift to a style influenced by other genres. Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, the portable Minimoog, which allowed much easier use, particularly in live performance was widely adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes
Synthpop
–
The
Prophet-5, one of the first
polyphonic synthesizers. It was widely used in 1980s synthpop, along with the
Roland Jupiter and
Yamaha DX7.
Synthpop
–
Kraftwerk, one of the major influences on synthpop, in 1976.
Synthpop
–
Yellow Magic Orchestra in 2008.
Synthpop
–
Gary Numan performing in 1980
6.
New wave music
–
New wave is a genre of rock music popular from the late 1970s to the mid-1980s with ties to 1970s punk rock. New wave moved away from smooth blues and rock and roll sounds to create pop music that incorporated electronic and experimental music, mod, initially new wave was similar to punk rock, before becoming a distinct genre. It subsequently engendered subgenres and fusions, including synth-pop, college rock, common characteristics of new wave music include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as diversity. In the mid-1980s, differences between new wave and other genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising nostalgia for several new wave-influenced artists, subsequently, the genre influenced other genres. During the 2000s, a number of acts explored new wave and post-punk influences, such as the Strokes, Interpol, Franz Ferdinand and these acts were sometimes labeled new wave of new wave. The catch-all nature of new music has been a source of much confusion. The 1985 discography Whos New Wave in Music listed artists in over 130 separate categories, the New Rolling Stone Encyclopedia of Rock calls the term virtually meaningless, while AllMusic mentions stylistic diversity. New wave first emerged as a genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground. It gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin Glue and newsagent music weeklies such as Melody Maker and New Musical Express. In November 1976 Caroline Coon used Malcolm McLarens term new wave to designate music by bands not exactly punk, the term was also used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the new wave. By the end of 1977, new wave had replaced punk as the definition for new music in the UK. As radio consultants in the United States had advised their clients that punk rock was a fad, like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers exclusively used the new wave for British punk acts. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, in the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, furthermore, many artists who would have originally been classified as punk were also termed new wave. A1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Ramones, Talking Heads, New wave is much more closely tied to punk and came and went more quickly in the United Kingdom than in the United States
New wave music
–
Blondie, 1976. L–R: Gary Valentine, Clem Burke, Deborah Harry, Chris Stein and Jimmy Destri.
New wave music
–
Talking Heads performing in Toronto in 1978.
New wave music
–
Duran Duran in 1981. Top line: Nick Rhodes (keyboards), Simon Le Bon (vocals); Middle: John Taylor (bass); Bottom line: Roger Taylor (drums), Andy Taylor (guitar)
New wave music
–
Elvis Costello, in Massey Hall, Toronto, April 1979
7.
Electronic rock
–
The use of electronic music technology in rock music coincided with the practical availability of electronic musical instruments and the genres emergence as a distinct style. Rock music has been dependent on technological developments, particularly the invention and refinement of the synthesizer. In the 1980s, more commercially oriented synthpop dominated electronic rock, in the new millennium the spread of recording software led to the development of new distinct genres including electroclash, dance-punk and new rave. The worlds first computer to play music was CSIRAC in 1950-1, designed and built by Trevor Pearcey and Maston Beard and programmed by mathematician Geoff Hill. It was used by avant garde and classical musicians in the twentieth century and was used on a large number of 1940s and 50s science fiction films. Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, early synthesisers were monophonic, but polyphonic versions began to be produced from the mid-1970s, among the first being the Prophet-5. MIDI was created in 1982, as a protocol that enables electronic musical instruments, computers and other electronic equipment to communicate. Such advances have seen as democratizing music creation, leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. One of the earliest composers to use electronic instruments in music was Joe Meek with the album I Hear A New World. The 1960s saw the utilization of studio techniques and new technologies to achieve unusual, small guitar stomp boxes and various guitar effects are developed which distort or alter the sound quality of the electric guitar in various ways. The late 60s also saw the popularization of the Moog synthesizer, a few months later, the title track of the Doors 1967 album Strange Days would also feature a Moog, played by Paul Beaver. Walter Carloss Switched-On Bach, recorded using a Moog influenced numerous musicians of that era and is one of the most popular recordings of music ever made. The sound of the Moog also reached the market with Simon and Garfunkels Bookends in 1968. Progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes were soon using the new portable synthesizers extensively. Other early users included Emerson, Lake & Palmers Keith Emerson, Pete Townshend, Electric Light Orchestra, Genesis, Return to Forever, instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to circumvent the language barrier. Their synthesiser-heavy Kraut rock, along with the work of Brian Eno, in 1972, jazz musician Stan Free, under the pseudonym Hot Butter had a top 10 hit in the United States and United Kingdom with a cover of the 1969 Gershon Kingsley song Popcorn. It is considered a forerunner to synthpop due to the use of the Moog synthesizer, the same year, Isao Tomita released the electronic album Electric Samurai, Switched on Rock, which featured Moog synthesizer renditions of contemporary rock songs. Osamu Kitajimas 1974 progressive psychedelic rock album Benzaiten, featuring Haruomi Hosono, utilized a synthesizer, rhythm machine, and electronic drums
Electronic rock
–
A
Mellotron, an early form of music sampler, used extensively in the late 1960s and early 1970s
Electronic rock
–
The first commercial Moog synthesizer, commissioned by the Alwin Nikolais Dance Theater of NY in 1964
Electronic rock
–
Mike Pinder of the
Moody Blues, a pioneer of electronic rock, in 1974
Electronic rock
–
Keith Emerson performing in St. Petersburg in 2008
8.
Mute Records
–
Mute Records is a British record label owned and founded in 1978 by Daniel Miller. It featured several prominent musical acts on its roster such as Depeche Mode, Erasure, Fad Gadget, Goldfrapp, Grinderman, Inspiral Carpets, Moby, New Order, Nitzer Ebb, Wire, Yeasayer, and Yazoo. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal and he recorded the tracks T. V. O. D. and Warm Leatherette, and distributed them through Rough Trade Shops under the label name Mute Records. The label was formed initially just to release the one single, T. V. O. D. /Warm Leatherette became a cult hit ensuring the future of the label. Warm Leatherette was later covered by Grace Jones and Chicks on Speed, after meeting Robert Rental, Miller began recording and playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, in 1980, Miller released the single, Kebab-Träume, by the German band Deutsch Amerikanische Freundschaft, who had recently moved to London. The bands 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 labels name, meaning mute in German. This prefix would continue to be used through most of the labels album catalogue, also 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, 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 and this was released as a single in 1980, followed by the next single Rickys 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, 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 and their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the recording labels predictions of failure, Depeche Mode became a successful charting band worldwide. The bands consistency was unbroken even 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 other experimental artists, such as NON, releasing an album of Boyd Rices pre-NON recordings. 1982 began with the release of the 12-inch single, Rise, by Boyd Rice, 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 Records big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet
Mute Records
–
Mute Records
9.
Film director
–
A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision
Film director
–
American director
Steven Spielberg with Sri Lankan film maker
Chandran Rutnam in Sri Lanka
Film director
–
The film director gives last minute direction to the cast and crew, while filming a
costume drama on location in
London.
Film director
–
Director
Pedro Almodóvar and actress
Penélope Cruz
Film director
–
Fritz Lang directing a movie
10.
Anton Corbijn
–
Anton Johannes Gerrit Corbijn van Willenswaard is a Dutch photographer, music video director, and film director. He is the director behind the visual output of Depeche Mode and U2, having handled the principal promotion. Anton Johannes Gerrit Corbijn van Willenswaard was born on 20 May 1955 in Strijen in the Netherlands and his father, Anton Corbijn van Willenswaard, took up the same position in Hoogland and Groningen, moving his wife and four children with him. His mother, Marietje Groeneboer, was a nurse and was raised in a parsons family, photographer and director Maarten Corbijn is a younger brother. Grandfather Anton Johannes van Willenswaard was an art teacher at Christian schools in Hilversum, Corbijn began his career as a music photographer when he saw the Dutch musician Herman Brood playing in a café in Groningen around 1975. He took a lot of photographs of the band Herman Brood & His Wild Romance, from the late 1970s the London-based New Musical Express, a weekly music paper, featured his work on a regular basis and would often have a photograph by him on the front page. One such occasion was a portrait of David Bowie wearing a loincloth backstage in New York when starring in The Elephant Man, in the early years of London-based The Face, a glossy monthly post-punk life style / music magazine, Corbijn was a regular contributor. He made his name photographing in black-and-white but in May 1989 he began taking pictures in colour using filters and his first venture in this medium was for Siouxsie Sioux. Other album covers featuring work by Corbijn include those for Springsteen, Nick Cave, Siouxsies second band The Creatures, Bryan Adams, Metallica, the Rolling Stones, Bon Jovi, The Killers, Simple Minds, R. E. M. The Bee Gees, Saybia and Moke, Corbijn began his music video directing career when Palais Schaumburg asked him to direct a video. After seeing the video for Hockey, the band Propaganda had Corbijn direct Dr. Mabuse. After that he directed videos for David Sylvian, Echo & the Bunnymen, Golden Earring, Front 242, Depeche Mode, Roxette and his first video in colour was made for U2 in 1984 for their single Pride. In 2005 Palm Pictures released a DVD collection of Corbijns music video output as part of the Directors Label series, in 1994 Corbijn directed a short film about Captain Beefheart/Don Van Vliet for the BBC called Some Yoyo Stuff. He made his film debut with Control, a film about the life of Joy Division frontman Ian Curtis. It premiered to rave reviews at the Cannes Film Festival on 17 May 2007, the film is based on Deborah Curtis book Touching from a Distance about her late husband and the biography Torn Apart by Lindsay Reade and Mick Middles. 2010 Corbijn returned as a director with the character-based thriller The American, on 26 October 2011 Corbijn directed a webcast by Coldplay from the Plaza de Toros de Las Ventas in Madrid, Spain. His film A Most Wanted Man was released in 2014, the John le Carré novel of the same name, which is loosely based on the true War on Terror story of Murat Kurnaz, was set in part in Hamburg, as parts of the movie were. In February 2014, he start filming his next project Life about James Dean, author William Gibson refers to a fictitious portrait by Corbijn of the character Hollis Henry in his 2007 novel Spook Country
Anton Corbijn
–
Anton Corbijn in 2012
11.
Record producer
–
A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the 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, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, 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 and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
Record producer
–
Alan Parsons in an
ESO 50th anniversary video.
Record producer
–
A
Danish recording session
Record producer
–
Mixing Console
12.
Exciter Tour
–
Exciter Tour was a 2001 concert tour by the English electronic band Depeche Mode in support of the groups tenth studio album, Exciter, which was released in May 2001. The tour began with a North American leg, the group performed one rehearsal show, the leg continued until mid-August, concluding with two shows in Anaheim, California. In late August 2001, the group began a European leg and this was the final show of the tour, a second European leg had been planned for the summer of 2002 but this never happened. In total, the band played 84 concerts, performing to over 1.5 million people in 24 countries, the concerts in Paris were filmed and issued in May 2002 on a DVD release entitled One Night in Paris
Exciter Tour
–
Poster advertising the Depeche Mode concert held in Munich, Germany.
13.
Exciter (album)
–
The album was produced by Mark Bell of Björk and LFO fame. The album also launched the Exciter Tour, one of the bands most successful tours, Exciter debuted at number nine on the UK Albums Chart and at number eight on the Billboard 200, selling 115,000 copies in its first week in the US. It is the only Depeche Mode album to debut higher in the US than in the UK, as of April 2006, Exciter had sold more than 426,000 copies in the US, and was certified Gold by the Recording Industry Association of America. The album was also certified Gold in Canada for shipments of 50,000 units, the remastered album was released on deluxe vinyl 30 March 2007 in Germany and 1 October 2007 internationally. The plant that appears on the cover is the agave attenuata and it is used to produce tequila. On 2 October 2007 Exciter was re-released in a set, along with Ultra, in the fourth. The first disc was a version of the original, on an SACD/CD hybrid. The second disc is a DVD which features the album in DTS5.1, Dolby Digital 5.1, the B-sides from Exciter as well as the single version of Freelove are included. There are also versions of all the live Exciter tracks played during the One Night in Paris movie. Like the other reissues, there is a documentary on the making of Exciter titled Depeche Mode 1999–2001, the documentary begins with the talks of Martin Gores writers block and what they did about it. It also discusses the first three singles, the recording, the art and the Exciter tour. The documentary is around 30 minutes long, the three members of the band are interviewed along with Daniel Miller, Christian Eigner, Peter Gordeno, Anton Corbijn, and Mute label representatives. The documentary ends with a To Be Continued, producer Mark Bell does not appear, and although they discuss the fact that the band decided not to have Corbijn direct Exciters music videos, they do not interview the two who did direct them. However, John Hillcoat, who directed I Feel Loved, Freelove, all songs written by Martin Gore. Mute, DMCD10 Disc 1 is a hybrid SACD/CD with a multi-channel SACD layer, Disc 2 is a DVD which includes Exciter in DTS5.1, Dolby Digital 5. Joy Machine List of number-one albums of 2001 List of number-one hits of 2001 Album information from the official Depeche Mode web site Allmusic review Official remaster info
Exciter (album)
–
Exciter
14.
Violator (album)
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Violator is the seventh studio album by English electronic music band Depeche Mode, released on 19 March 1990 by Mute Records. Preceded by the hit singles Personal Jesus and Enjoy the Silence, the album yielded two further hit singles, Policy of Truth and World in My Eyes. Violator is the bands first album to reach the top 10 on the Billboard 200 and it was supported by the World Violation Tour. Compared to previous efforts, the decided to try a new approach to recording. Alan Wilder said, Usually we begin the making of a record by having extensive pre-production meetings where we decide what the record will actually sound like and this time we decided to keep all pre-production work to a minimum. We were beginning to have a problem with boredom in that we felt wed reached a level of achievement in doing things a certain way. Martin Gore elaborated, Over the last five years I think wed perfected a formula, my demos and we decided that our first record of the 90s ought to be different. With co-producer Mark Flood Ellis, Wilder began a working relationship, with Flood able to provide the technical know-how and Wilder working on the arrangements. Thats how we made the work at that time, clarified Wilder, by accepting that we all had different roles. So we ended up with this agreement in the band. Then Fletch and Mart would go away, and theyd come back after wed worked on it for a while to give an opinion, there was also a notable change in Gores demos. After the rigid, limiting effects of almost-finished demos for Music for the Masses, Gore, heeding to Wilders request, several of the basic recordings consisted of vocals over simple guitar or organ part, with the odd percussion loop but less sequenced material. The sparse demos allowed the band to take liberties with the songs. For instance, Enjoy the Silence started out as a slow ballad, the band convened to work on the record with Flood at Mutes WorldWide programming room in London for three weeks after which they flew to Milan for the new sessions at Logic studios. According to Flood, they didnt do substantial amount of work in Milan, except for the song Personal Jesus, everybody was feeling each other out, because they wanted to try working in a different way. The idea was to hard and party hard and we all enjoyed ourselves to the full. After Milan the band relocated to Puk studios in northern Denmark, Martin called the track World in My Eyes a very positive song. Its saying that love and sex and pleasure are positive things, the song Blue Dress, which Gore called pervy, is simply about watching a girl dress and realising that this is what makes the world turn
Violator (album)
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Violator
15.
Walking In My Shoes
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Walking in My Shoes is Depeche Modes twenty-eighth UK single, released on 26 April 1993, and the second single for the album Songs of Faith and Devotion. The song reached number 14 on the UK Singles Chart and matched the success of the previous single I Feel You on the Modern Rock Tracks chart, the 7 version of Walking in My Shoes is not the same as the one in the Songs of Faith and Devotion album. The sound has made more noisy and dirty, especially the drums in the verse. When performed live, elements of the Grungy Gonads mix are used in an extended intro, the B-side is My Joy, the only exclusive B-side from the Songs of Faith and Devotion album, and is a rock track in the vein of I Feel You and Halo. The song was cited by then-member Alan Wilder to be his song from the album together with In Your Room. The music video for Walking in My Shoes was directed by Anton Corbijn and is based on Dantes Divine Comedy, at the beginning of the second verse, theres a shot of Martin Gore, Andy Fletcher, and Alan Wilder with naked women on their laps. This was removed in the MTV version in the US and replaced with footage of the three members standing still, alone, from earlier in the video, the uncut version is on The Videos 86-98, Devotional, The Best Of, Volume 1 and Video Singles Collection DVDs. The song peaked number 14 on the UK Singles Chart and number 69 on the US Billboard Hot 100, however, the single was featured during the opening credits of episode 9 of season 2 of USA Network series Mr. Robot, entitled eps2. 7_init_5. fve. Walking in My Shoes –4,59 My Joy –3,577 released as a promo only, not commercially released, Walking in My Shoes is the first Depeche Mode single not to have a commercial 7 release in the UK. All songs written by Martin L. Gore Number one modern rock hits of 1993 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Walking In My Shoes
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"Walking in My Shoes"
16.
Songs of Faith and Devotion
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The album incorporated a more aggressive, darker rock-oriented tone than its predecessor, Violator, largely influenced by the emerging alternative rock and grunge scenes in the United States. Upon its release, Songs of Faith and Devotion reached number one in several countries, to support the album, Depeche Mode embarked on the fourteen-month-long Devotional Tour, the largest tour the band had ever undertaken to that date. Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting Alan Wilder to quit, the ordeal had exhausted their creative output following the enormous success they had enjoyed with Violator, leading to rumours and media speculation that the band would split. Depeche Mode subsequently recovered from the experience, and released Ultra in 1997, Songs of Faith and Devotion was recorded over eight months in a rented villa in Madrid during 1992, as well as later sessions in Hamburg and London. A studio was set up in the basement of the villa, the recordings from the kits could then be processed through synthesizers, such as the large Roland System 700 the band had installed in the studio. The band had become aware of getting caught in easy routines in the leading to boredom. For making Songs of Faith and Devotion, the band wanted the sound to be looser, embellishments like reversed cymbals were added later at the behest of Wilder, who often suggested such experimentation. Further techniques used in recording included the piano on the outro to the track Mercy in You. The introduction of the track Judas has uillean pipes recorded with reversed reverberation mixed into the sound, to achieve a haunting, walking in My Shoes included a piano part which was processed through a guitar processor to add distortion. A harpsichord sample was played and recorded over the top, giving a unique. The sound produced was very embryonic, however it gave the band a direction as to how the track should sound, guitars were processed through devices such as Leslie tone cabinets, originally designed for organs, to achieve different sounds. Following the success of Violator and the subsequent tour, the band had taken a break from each other. Upon returning, they found it difficult to collaborate, with several factors contributing to the difficult atmosphere that the band experienced recording the album. Fletcher described the living together as claustrophobic, and the lack of a break from each other as a factor in contributing to the stress. Gore felt pressured to write tracks that could live up to the success of the album, Violator. Since then, Gahan had also developed an addiction, which slowed the recording process. The band also began to jam together, something which they had not previously done in terms of album writing, the lack of success of coming up with musical ideas from such jams led to intense frustration. Unlike the previous albums, there was very little pre-production, where the band would listen to demos created by Gore, Flood recalls the lack of pre-production as a big mistake that adversely affected the early recording sessions
Songs of Faith and Devotion
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Songs of Faith and Devotion
17.
Black Celebration
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Black Celebration is the fifth studio album by English electronic music band Depeche Mode, released on 17 March 1986 by Mute Records. To promote the album, the band embarked on the Black Celebration Tour, three years after its release, Spin ranked it at number 15 in its list of The 25 Greatest Albums of All Time. Contemporary reviews for Black Celebration in the British press were mixed, betty Page of Record Mirror felt that the band should be admired for their refusal to follow anything but their own fashion and unswerving ability to come up with great, fresh melodies. Black Celebration has since been reappraised in retrospective reviews, in 2007, Rob Sheffield of Rolling Stone referred to the album as an instant classic for the bands fans that at the time of its release had seemingly been utterly ignored by everybody else. In 2007, Black Celebration was re-released with a bonus DVD and it was released as a part of the third wave of re-issues. The first CD was remastered and released on a CD/SACD hybrid, there are also several live versions of some of the songs from Black Celebration. The album is released the way it was intended and ends with New Dress. Like the other re-issues, the DVD includes a documentary on the album, the title is Martin paraphrasing Daniel Miller about his demos for Black Celebration in the film. The double-documentary discusses both The Singles 81→85 and Black Celebration, its more challenging commercial success and all five related singles and it also includes a plethora of behind-the-scenes footage of the making of Black Celebration and the ensuing tour. Highlights include the band meeting The Cure, and behind the scenes footage of several of the music videos, the documentary is nearly an hour long. It was released 20 March 2007 in the US,26 March in the UK and 2 April in the rest of Europe, the remastered album was released on deluxe vinyl on 2 April 2007 in Europe and on 11 September 2007 in the United States. All tracks written by Martin Gore, except Black Day written by Gore, Alan Wilder and Daniel Miller, credits adapted from the liner notes of Black Celebration. Album information from the official Depeche Mode web site Allmusic review Official remaster info
Black Celebration
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Black Celebration
18.
Freelove
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Freelove is a song by English electronic group Depeche Mode. It was released in November 2001 as the single from their album Exciter. Lead singer Dave Gahan prior to Exciter called it the best song hes ever sung since Condemnation, the single version of Freelove is completely remixed from the album version. The mix was done by Flood, who produced the albums Violator and Songs of Faith, the B-side is an instrumental called Zenstation. There is also a DVD release of Freelove, a first for Depeche Mode and it contained video footage of Freelove from the Philadelphia concert in 2001, as well as audio of some of the other songs. It also contained four bonus 30-second videos of the band, the videos were directed by Anton Corbijn. The main music video for Freelove was directed by John Hillcoat and it was not available on a public release prior to Video Singles Collection. All songs written by Martin Gore, list of number-one dance singles of 2002 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Freelove
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"Freelove"
19.
Enjoy The Silence
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Enjoy the Silence is a song by the English electronic band Depeche Mode, taken from their seventh studio album, Violator. The song was recorded in 1989 and released on 16 January 1990 as the second single. The single is Gold certificated in the US and Germany, the song won Best British Single at the 1991 BRIT Awards. Enjoy the Silence was re-released as a single in 2004 for the Depeche Mode remix project Remixes 81–04, there are two instrumental B-sides to Enjoy the Silence. Sibeling is a soft piano-tune while Memphisto is a darker, eerier track, the title of Sibeling refers to Finnish classical composer Jean Sibelius. According to Martin Gore, Memphisto is the name of a film about Elvis as a Devil. The Anton Corbijn-directed music video for Enjoy the Silence references the themes, brief flashes of a single rose appear throughout the scenes. When Corbijn presented the concept of the video to the band and they changed their minds, when he explained that the idea was that the King represented a man with everything in the world, just looking for a quiet place to sit, a king of no kingdom. Andy Fletcher jokes that he favoured the video only had to do about an hours worth of work. The video uses a different mix of the album version of the song that has not been released in any audio format. The final long shots of the king walking through the snow are not Gahan but rather the videos producer, Gahan had left the set, tired of the cold in Switzerland. There are in two edited versions of the Corbijn-directed video. One version - which appears to be the earlier version - begins with Andy Fletcher looking towards his right as the song begins. Shots of Dave Gahan dressed as a king singing directly to the camera are intercut with scenes of his walking through the Scottish Highlands, the coast of Portugal, the video ends with Gahan singing the last line, Enjoy the silence. Then putting his finger in front of his lips as if to quiet the viewer, the other version begins with Martin Gore looking to his right as the song begins. This version omits the shots of Gahan singing directly to the camera, the video ends with Gahan sitting on a deck chair in the snow while the last line, Enjoy the silence. There are also differences in the shots of the band standing together between the two versions. In a review, Tim Di Gravina wrote that Enjoy the Silence is one of Depeche Modes greatest songs with a pristine and lush yet punishing musical environment and lyrics of violence, in 1998, Failure covered the song for the Depeche Mode tribute album For the Masses
Enjoy The Silence
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"Enjoy the Silence"
Enjoy The Silence
20.
I Feel You
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I Feel You is a song by Depeche Mode, released on 15 February 1993 as their 27th UK single and the first single from the album Songs of Faith and Devotion. The song peaked at eight on the UK Singles Chart and also made number one. It was the bands highest-charting single worldwide, the song is ostensibly about connection between two individuals. I Feel You demonstrates a more rock-oriented sound, using more instruments than ever before. For example, Alan Wilder plays drums, and Martin Gore plays the guitar, I Feel You has a compound time signature of 6/8. The 7 version of I Feel You is the same as the album version, the Throb Mix is a 12 version, but with incomplete lyrics. On the cover of I Feel You, there are four symbols, using the latter, the top left corner is Alan Wilder, the top right corner is Dave Gahan, the bottom left corner is Martin Gore, and the bottom right corner is Andy Fletcher. The single release contained One Caress, a track from Songs of Faith, in the USA, Sire/Reprise released One Caress as a promo-only single. One promo copy has the version, and the other has the version from Songs of Faith. There is no remix for the song, the music video for I Feel You was directed by Anton Corbijn. The woman in the video was English actress Lysette Anthony, there is also a music video for One Caress, directed by Kevin Kerslake, that was filmed during one of the off-days of the Devotional Tour in the US. It was a video that was later released on The Videos 86>98. Prior to its inclusion on The Videos 86>98, the video for One Caress was frequently broadcast on MTVs Alternative Rock video block 120 Minutes. On 2 September 1993, I Feel You was nominated in the MTV Video Music Awards, the song was also used in a scene in Fatih Akins Turkish-German film Gegen die Wand. Spanish band OBK did a cover using I Feel You lyrics and it was later released on Sleeping with Ghosts for the 2 CD version, which included a covers album. Polish death metal band Vader covered the song on their album, Future of the Past, the song title on this album was shortened into the acronym I. F. Y. and the lyrics were heavily altered. The song also appears on editions of Vaders 1995 album De Profundis. Swiss industrial metal band Samael covered the song on their On Earth EP, the Argentinian rock band Catupecu Machu recorded a cover for the hidden track on their album Cuentos Decapitados
I Feel You
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"I Feel You"
21.
In Your Room (Depeche Mode song)
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The song reached number 8 in the UK Singles Chart. The version of In Your Room used for the release is the Zephyr Mix. Other official single remixes include the Apex Mix, produced by Brian Eno, which sounds closer to the version, and Johnny Dollars The Jeep Rock Mix. During concerts in 1993 and early 1994, the version was played live. From the 1998 Singles Tour onwards, the Zephyr Mix of the song has played live instead. However, during the 2009 Tour of the Universe a mixture of both versions was played live. The single was released in a special foldout digipak with room to three different versions of the In Your Room single, the original release, a live disc. The b-sides consist of a remix of album track Higher Love, Depeche Modes first appearance on the Late Show with David Letterman, filmed during a stop on their The Singles Tour, featured an abbreviated version of In Your Room. In 2003, Fallon Bowmans band, Amphibious Assault, covered the song for their debut LP District Six, in 2015 the industrial rock band Latexxx Teens has released a cover version of the song, as tribute to Depeche Mode. Corbijn described the video as a retrospective of the work he had done with Depeche Mode and he said he made it that way because he was sure lead singer Dave Gahan was going to die before Depeche Mode could release more songs. The video features Alexandra Kummer, who sometimes is partially clothed, because of the partial nudity and scenes of bondage, the video only aired after prime time on MTV in the US. Since the video had limited screen play the single was not a hit in the US. This is the last Depeche Mode single with Alan Wilder as a member. All songs written by Martin Gore and this one came with the box, with space to hold the other two, LCDBong24 and XLCDBong24, which were released on cardboard sleeve. Single information from the official Depeche Mode web site Allmusic song review Allmusic US CD single review Lyrics of this song at MetroLyrics
In Your Room (Depeche Mode song)
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"In Your Room"
22.
Ultra (Depeche Mode album)
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Ultra is the ninth studio album by English electronic music band Depeche Mode, released on 14 April 1997 by Mute Records. It is the bands first album since the departure of Alan Wilder, Wilders departure and lead singer Dave Gahans drug problems, which culminated in a near-fatal overdose, had caused many people to speculate that the band was finished. This is their first album as a trio since 1982s A Broken Frame, Ultra debuted at number one on the UK Albums Chart and at number five on the Billboard 200. By April 2006, the album had sold 584,000 copies in the United States, the project was initially conceived as an EP. In 1999, Ned Raggett ranked the album at number 50 on his list of The Top 136 or so Albums of the Nineties, to promote the release of the album the band played two short concerts in London and Los Angeles, titled Ultra Parties. The London concert took place on 10 April 1997 at Adrenalin Village, the Shrine show was produced by Philip Blaine whose 1500 Records was at that point compiling the soon to be released Depeche Mode tribute album For the Masses. The shows featured Christian Eigner on drums and Dave Clayton on keyboards, the Los Angeles show was filmed by MTV but the performance was never broadcast in its entirety. The first disc is a version of the original album. The second disc is a DVD which features the album in DTS5.1, Dolby Digital 5.1, the B-sides from the albums singles can be listened to as well, including the standalone single Only When I Lose Myself and its B-sides. Finally, like the albums, there is a documentary on the making of Ultra titled Depeche Mode 95–98. The documentary begins with discussion from all parties of Wilders departure before moving on to early album sessions despite Dave Gahans drug issues present, eventually, it moves on to Gahans death and rehab. The documentary then covers the recording of Ultra and ends with a discussion on The Singles 86>98, the remastered version of the album was released on deluxe vinyl 30 March 2007 in Germany and 1 October 2007 internationally. All songs written by Martin L. Gore, disc 1 is a hybrid SACD/CD with a multi-channel SACD layer. Disc 2 is a DVD which includes Ultra in DTS5.1, Dolby Digital 5
Ultra (Depeche Mode album)
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Ultra
23.
Personal Jesus
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Personal Jesus is a song by the English electronic band Depeche Mode, released on 28 August 1989 as the lead single from their seventh album, Violator. The single reached No.13 on the UK Singles Chart, the song was the first single to make the US Top 40 for the band since their 1984 single People Are People and was their first gold-certified single in the US. In Germany, the single is one of the bands longest-charting songs, Personal Jesus was re-released as a single on 30 May 2011 for the new Depeche Mode remix album Remixes 2, 81–11, with the leading remix by the production team Stargate. The song was inspired by the book Elvis and Me by Priscilla Presley, according to songwriter Martin Gore, Its a song about being a Jesus for somebody else, someone to give you hope and care. Personal Jesus is written in the key of F♯ minor with a tempo of 130 beats per minute in 128 time, in mid-1989, the band began recording in Milan with record producer Flood. The result of session was the single Personal Jesus, which featured a catchy bluesy riff and drum-based sound. The song became a big hit across the world, and is one of Depeche Modes most successful songs, although not the first Depeche Mode song to feature guitar parts, it was the first time a guitar was used as a dominant instrument in a Depeche Mode song. Prior to its release, advertisements were placed in the columns of regional newspapers in the UK with the words Your own personal Jesus. Later, the ads included a number one could dial to hear the song. The ensuing controversy helped propel the single to No.13 on the UK charts, the single was particularly successful commercially thanks to the fact that it was released six months prior to the album it would later appear on. Up to that point, it was the best selling 12 single in Warner Brothers history, Personal Jesus had a plethora of remixes, almost unprecedented for Depeche Mode at the time. The Hazchemix and Hazchemix Edit of Dangerous were mixed by Daniel Miller, the back-cover of Personal Jesus features one of the band members and the back-side of a naked woman. The band member she is with depends on whether it is the 7 Vinyl, the 12 Vinyl, on some copies she does not appear at all, such as the 2004 CD re-release, and on promo copies. On some limited releases, like the GBong17, all four photos are available plus one photo of the full group. The Anton Corbijn-directed music video for Personal Jesus is his first Depeche Mode video in colour, MTV edited out some suggestive mouth movements of Martin Gore during the bridge and replaced it with some other footage from the video. All songs written by Martin Gore, the digital single was released in the UK on 18 April 2011. It was released a day later in the US, frusciante plays guitar on the track, along with Tom Petty & The Heartbreakers guitarist Mike Campbell. It appears as the B-side to another cover, Nine Inch Nails Hurt, marilyn Mansons 2004 cover version of Personal Jesus appears on the bands best-of compilation, Lest We Forget, The Best Of, and was that albums lead single
Personal Jesus
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"Personal Jesus"
Personal Jesus
24.
Condemnation (song)
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Condemnation is a song by Depeche Mode, released as the groups twenty-ninth UK single on 13 September 1993, and the third single from their album Songs of Faith and Devotion. The song reached number 9 on the UK Singles Chart, Condemnation is a gospel-esque song with a rock twist. The 7 version is the Paris Mix, with backing vocals added. Band members indicated that this song normally would have been sung by Martin Gore, Gahan voted for Condemnation to be the first single for Songs of Faith and Devotion, but lost. The B-sides are remixes of Deaths Door and Rush, and some tracks from the Devotional Tour. Deaths Door was a song from the 1991 Until the End of the World soundtrack, the original version is still exclusive to that CD, recorded only by Martin Gore and Alan Wilder after the World Violation Tour was over. The music video for Condemnation was directed by Anton Corbijn and was shot in Hungary, for unknown reasons, it did not appear on The Videos 86-98 in 1998, replaced by the live version from Devotional. The original video eventually resurfaced on The Videos 86-98s 2002 re-release, both videos appear on the Devotional DVD re-release in 2004. South African band Absinthe covered the song on their album A Rendezvous at Nirvana, Condemnation –3,21 Deaths Door –6,387 released as a promo only, not commercially released, hence why both songs appear on the 12 version. All live songs were recorded in Milan, Italy in 1993, all songs written by Martin Gore. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics
Condemnation (song)
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"Condemnation"
Condemnation (song)
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Cover for the limited edition single
25.
Never Let Me Down Again
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Never Let Me Down Again is Depeche Modes nineteenth UK single, released on 24 August 1987, and the second single for the then upcoming album Music for the Masses. A relatively moderate hit in the UK at number 22, it was a smash in West Germany, where it hit number 2, 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 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, the coda of Never Let Me Down Again references Soft Cells song Torch. The main remix version of the track, known as the Split Mix, the 12 maxi release stretched to exactly nine and a half minutes long. Oddly enough, despite the results from the point of view of the band. The song became a favourite among fans, especially live, shows during Depeche Modes 1988 tour were often 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, and 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. The main 12 remix of Never Let Me Down Again is known as the Split Mix, as stated above, in detail, the remix features the regular song, an added intro piece, and a techno-like musical arrangement appended at the end. The arrangement was expanded to the Aggro Mix on the 12 B-side, 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 and that remix appears on the bands remix compilation Remixes 2, 81–11 as well. Eric Prydz also remixed the song for this album, there are two music videos for Never Let Me Down Again, directed by Anton Corbijn. There is also a video with just the single version of the song. The short version appears on The Videos 86>98, the DVD of The Best of Depeche Mode Volume 1, pleasure, Little Treasure is a short dance track. An extended version called the Glitter Mix ends with fragments of 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, which was engineered by Dave Bascombe. The Glitter Mix showed up as a track on the CD/Cassette versions of Music for the Masses. The rarer b-side is To Have and To Hold, Martin Gores original plan for the song sounded a lot like upbeat electropop, but Alan Wilder turned it into the dark wave track it eventually became
Never Let Me Down Again
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"Never Let Me Down Again"
26.
Music for the Masses
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Music for the Masses is the sixth studio album by the English electronic music band Depeche Mode. It was released on 28 September 1987 by Mute Records, and was supported by the Music for the Masses Tour, with Millers approval, the band co-produced the album with David Bascombe, who had previously worked as a recording engineer with Tears For Fears and Peter Gabriel. Band members Andy Fletcher and Martin Gore both explained the title was conceived as a joke. Everyone is telling us we should make more music, so thats the reason we chose that title. According to Gore, the title was a joke on the uncommerciality of and it was anything but music for the masses. The megaphone on the cover was used during the breadth of the albums release, at press events, on the covers of the albums singles. Alan Wilder gave credit to Martyn Atkins, who had been a longtime Depeche Mode collaborator, for the use of the megaphone. Up with this idea of a speaker, but, to give the kind of ironic element which the title has and it was, in fact, the opposite. So you end up with this kind of thing where you get these speakers or megaphones in the middle of a setting that doesnt suit it at all. The deserted natural setting in question being Peak District, an early alternative cover was rejected for the album. The rejected cover was designed by Martyn Atkins and a test pressing copy was auctioned off by Alan Wilder in 2011. The re-release preserves the album as it was originally intended, thus, the four bonus tracks do not appear on the SACD, but appear on the DVD. The DVD also features all B-sides from the Music for the Masses era, but unlike the album and the bonus tracks, the documentary features new facts on the album, and also an extensive look at the film 101. The re-release was released on 3 April 2006 in Europe, the US version was delayed to 2 June 2006 and is only available on a CD + DVD format, with no SACD. The DVD on all the versions are region independent however, so one can import the SACD version without worrying about the DVD being incompatible. The remastered album was released on deluxe vinyl 2 March 2007 in Germany and 5 March 2007 internationally, according to Slant Magazines Sal Cinquemani, Music for the Masses showed the gloomier side of the post-punk synthpop scene during the 1980s and was a success with both critics and consumers. This was the point at which Depeche Mode were first taken seriously, alternative Press called the record articulate, intricate electronic music that lacked the tinny feel of DMs early synth pop. Music for the Masses was listed by Slant Magazine at number 75 on their list of Best Albums of the 1980s, all songs written by Martin Gore
Music for the Masses
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Music for the Masses
