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
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, art rock and the "Krautrock" of bands like Kraftwerk, it arose as a distinct 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. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, while the mid-1970s saw the rise of electronic art musicians. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced the TR-808 rhythm machine to popular music, the band would be a major influence on early British synth-pop acts; the development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop.
This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts in the US. "Synth-pop" is sometimes used interchangeably with "electropop", but "electropop" may denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as Erasure and Pet Shop Boys adopted a style, successful on the US dance charts, but by the end of the decade, the'new wave' synth-pop of bands such as A-ha and Alphaville was giving way to house music and techno. Interest in new wave synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, in the 2000s synth-pop enjoyed a widespread revival and commercial success; the genre has received criticism for alleged lack of musicianship. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres and has indirectly influenced many other genres, as well as individual recordings.
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 "...characterised by a broad set of values that eschewed rock playing styles and structures", which were replaced by "synthetic textures" and "robotic rigidity" defined by the limitations of the new technology, including monophonic synthesizers. Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music; the result was minimalist, with grooves that were "typically woven together from simple repeated riffs with no harmonic'progression' to speak of". Early synth-pop has been described as "eerie and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban anomie, feelings of being cold and hollow. In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.
Synthesizers were used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, compressed production, a more conventional drum sound. Lyrics were more optimistic, dealing with more traditional subject matter for pop music such as romance and aspiration. 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 large groups of musicians, these singers were part of a duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock, it owed little to the foundations of early popular music in jazz, folk music or the blues, instead of looking to America, in its early stages, it consciously focused on European and Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".
Synth-pop saw a shift to a style more influenced by other genres, such as soul music. Electronic musical synthesizers that could be used in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre; the Mellotron, an electro-mechanical, polyphonic sample-playback keyboard was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced electronically generated sounds. The portable Minimoog, which allowed much easier use in live performance was adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes. Instrumental prog rock was significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream and Faust to circumvent the language barrier, their synthesizer-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy M
Santa Barbara, California
Santa Barbara is the county seat of Santa Barbara County in the U. S. state of California. Situated on a south-facing section of coastline, the longest such section on the West Coast of the United States, the city lies between the steeply rising Santa Ynez Mountains and the Pacific Ocean. Santa Barbara's climate is described as Mediterranean, the city has been promoted as the "American Riviera"; as of 2014, the city had an estimated population of 91,196, up from 88,410 in 2010, making it the second most populous city in the county after Santa Maria. The contiguous urban area, which includes the cities of Goleta and Carpinteria, along with the unincorporated regions of Isla Vista, Mission Canyon, Hope Ranch and others, has an approximate population of 220,000; the population of the entire county in 2010 was 423,895. In addition to being a popular tourist and resort destination, the city economy includes a large service sector, technology, health care, agriculture and local government. In 2004, the service sector accounted for 35% of local employment.
Education in particular is well represented, with four institutions of higher learning on the south coast. The Santa Barbara Airport serves the city, Santa Barbara Aviation provides jet charter aircraft and train service is provided by Amtrak the Pacific Surfliner which runs from San Diego to San Luis Obispo). U. S. Highway 101 connects the Santa Barbara area with Los Angeles to the southeast and San Francisco to the northwest. Behind the city, in and beyond the Santa Ynez Mountains, is the Los Padres National Forest, which contains several remote wilderness areas. Channel Islands National Park and Channel Islands National Marine Sanctuary are located 20 miles offshore. Evidence of human habitation of the area begins at least 13,000 years ago. Evidence for a Paleoindian presence includes a fluted Clovis-like point found in the 1980s along the western Santa Barbara County coast, as well as the remains of Arlington Springs Man, found on Santa Rosa Island in the 1960s. An estimated 8,000 to 10,000 Chumash lived on the south coast of Santa Barbara County at the time of the first European explorations.
Five Chumash villages flourished in the area. The present-day area of Santa Barbara City College was the village of Mispu. Portuguese explorer João Cabrilho, sailing for the Kingdom of Spain, sailed through what is now called the Santa Barbara Channel in 1542, anchoring in the area. In 1602, Spanish maritime explorer Sebastián Vizcaíno gave the name "Santa Barbara" to the channel and to one of the Channel Islands. A land expedition led by Gaspar de Portolà visited around 1769, Franciscan missionary Juan Crespi, who accompanied the expedition, named a large native town "Laguna de la Concepcion". Cabrillo's earlier name, however, is the one; the first permanent European residents were Spanish missionaries and soldiers under Felipe de Neve, who came in 1782 to build the Presidio. They were sent both to fortify the region against expansion by other powers such as England and Russia, to convert the natives to Christianity. Many of the Spaniards brought their families with them, those formed the nucleus of the small town – at first just a cluster of adobes – that surrounded the Presidio of Santa Barbara.
The Santa Barbara Mission was established on the Feast of Saint Barbara, December 4, 1786. It was the tenth of the California Missions to be founded by the Spanish Franciscans, it was dedicated by Padre Fermín Lasuén, who succeeded Padre Junipero Serra as the second president and founder of the California Franciscan Mission Chain. The Mission fathers began the slow work of converting the native Chumash to Christianity, building a village for them on the Mission grounds; the Chumash laborers built a connection between the canyon creek and the Santa Barbara Mission water system through the use of a dam and an aqueduct. During the following decades, many of the natives died of diseases such as smallpox, against which they had no natural immunity; the most dramatic event of the Spanish period was the powerful 1812 earthquake, tsunami, with an estimated magnitude of 7.1, which destroyed the Mission as well as the rest of the town. The Mission was rebuilt by 1820 after the earthquake. Following the earthquake, the Mission fathers chose to rebuild in a grander manner, it is this construction that survives to the present day, the best-preserved of the California Missions, still functioning as an active church by the Franciscans.
After the Mexican government secularized the missions in the 1830s, the baptismal and burial records of other missions were transferred to Santa Barbara, now found in the Santa Barbara Mission Archive-Library. C-SPAN has produced a program on the mission archive-library; the Spanish period ended in 1822 with the end of the Mexican War of Independence, which terminated 300 years of colonial rule. The flag of Mexico went up the flagpole at the Presidio, but only for 24 years. Santa Barbara street names reflect this time period as well; the names de le Guerra and Carrillo come from citizens of the town of this time. They were instrumental in building up the town, so they were honored by having streets after them. After the forced secularization of the Missions in 1833
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
Touring the Angel
Touring the Angel was a 2005/2006 concert tour by English electronic group Depeche Mode in support of the act's 11th studio album, Playing the Angel, released in October 2005. The tour, announced in June 2005 in Düsseldorf, kicked off in October with a warm-up show in New York City called "Starting the Angel", it encompassed two continents and North America, with two legs between each. The concerts held in Assago, near Milan, Italy were filmed and released on a DVD release entitled Touring the Angel: Live in Milan; the stage set, designed by Anton Corbijn, was elaborate compared to previous Depeche Mode tours. It consisted of specially constructed pods to contain the act's MIDI controllers. Hidden screens at the rear of the stage, which displayed distorted images of the band members and movies related to the song being performed, were unveiled midway during the group's performance; these screens were accompanied by a large grey ball-shaped prop on the left of the stage, which contained an additional screen as well as a LED display which emitted various messages.
The tour began in late October 2005 with a special rehearsal show in New York City, dubbed "Starting the Angel". The date was exclusive to invited guests, most of whom won access through radio station and internet contests; the first full-fledged show was in Tampa, Florida in early November, kicking off a six-week North American leg. The tour was supposed to begin in Sunrise, but that date was cancelled due to the after-effects of Hurricane Wilma, which had spread across southern Florida a week prior to the show; the first leg concluded mid-December at the annual Almost Acoustic Christmas show, organised by radio station KROQ, in Universal City, California. The unique performance saw. In January 2006, the group kicked off an extensive tour of Europe, beginning in Germany; the leg included multiple shows in a number of cities. It saw the addition of "Leave in Silence" in the group's setlists, which had not been performed live since the Black Celebration Tour in 1986; the tour finished in early April with two dates in London.
In April 2006, the group returned to North America for a second round of shows, taking place in a mixture of indoor and outdoor venues. The leg began in Mountain View, followed by an appearance at the Coachella Valley Music and Arts Festival in Indio, California. In May 2006, the tour was disrupted when lead singer Dave Gahan developed laryngitis during the group's performance at the Starlight Theatre in Kansas City, Missouri. Six tracks into the concert, Gahan left the stage for Martin Gore to begin his solo set performance, promptly extended by four additional songs until Gahan's condition was clarified; the show was cut and the concert to be held the following night in Chicago was cancelled. A press release regarding the cancellations stated that Gahan's voice was "challenged throughout the concert by the unusually cold temperatures at the venue" as well as a result of "coming off three concerts in Mexico." No make-up date was announced to compensate for the axed performance in Kansas City.
The tour resumed in Wantagh, New York and concluded in the month in Bristow, Virginia. In June 2006, the group began a second leg in Europe. All shows, apart from one in Dublin, were held outdoors. A number of dates were festival appearances, from the Heineken Jammin' Festival in Italy to the Benicàssim Festival in Spain; the leg kicked off in Germany at the Rock im Park Festival. Two dates on this leg were cancelled. A show to be held in Lisbon was pulled after it was claimed that the organisation promoting the shows had failed to pay suppliers' bills. Another date, to be held in Tel Aviv, was cancelled due to the Second Lebanon War, it was stated that the group's technical support team refused to travel to the region, citing "security fears". The show was to be their first in Israel, as well as the sole Asian performance and final date of the entire tour; the trek instead culminated in Athens at Terra Vibe Park in early August, after nine months and 124 shows. In total, the band played to more than 2.8 million people across 32 countries.
The group performed in Israel on Tour of the Universe in 2009. Speaking about the tour, Gahan praised it as "probably the most enjoyable, rewarding live show we've done; the new material was just waiting to be played live. It took on a life of its own. With the energy of the crowds, it just came to life."Audio recordings of concerts on Touring the Angel were made available through the band's website on double CD format or as a digital download under the generic name Recording the Angel. All dates on the second legs of North America and Europe, excluding the shows in Kansas City and Benicàssim, were released. In September 2006, a live DVD of the group's concerts at the Fila Forum in Milan, Italy was released, entitled Touring the Angel: Live in Milan; the video was directed by Blue Leach. Setlist for Rehearsal Shows for fans "I Want It All" "A Pain That I'm Used To" "John the Revelator" "A Question of Time" "Precious" "Walking in My Shoes" "Suffer Well" Song performed by Martin Gore "Damaged People" "Home" "I Want It All" "The Sinner in Me" "I Feel You" "John the Revelator" "Behind the Wheel" "World in My Eyes" "Personal Jesus" "Enjoy the Silence" Setlist for KROQ Almost Acoustic Christmas "Personal Jesus" "Walking in My Shoes" "Precious" "I Want It All" Song performed by Martin Gore "Dama
Depeche Mode are an English electronic band formed in Basildon, Essex, in 1980. The group consists of a trio of Dave Gahan, Martin Gore, Andy Fletcher. Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Founding member Vince Clarke left after the release of the album. Gore took over as primary songwriter and in 1982, Alan Wilder joined to fill Clarke's spot, establishing a lineup that continued for 13 years; the band's last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force within the electronic music scene. A highlight of this era was the band's June 1988 concert at the Pasadena Rose Bowl, where they drew a crowd in excess of 60,000 people. In early 1990, they released an international mainstream success; the following album, Songs of Faith and Devotion in 1993 was a success, though internal struggles within the band during recording and touring resulted in Wilder's departure in 1995.
Depeche Mode has had 17 top 10 albums in the UK chart. Q included the band in the list of the "50 Bands That Changed the World!". Depeche Mode rank number 98 on VH1's "100 Greatest Artists of All Time". In December 2016, Billboard named Depeche Mode the 10th most successful dance club artist of all time. Depeche Mode's 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 guitar. Fletcher would recall, "Why am I in the band? It was accidental right from the beginning. I was forced to be in the band. I played the guitar and I had a bass. In 1979, Clarke played guitar in an "Ultravox rip-off band", The Plan, with friends Robert Marlow and Paul Langwith. In 1978–79, Martin Gore played guitar in an acoustic duo and the Worms, with school friend Phil Burdett on vocals. In 1979, Marlow 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 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, whose output inspired him to make electronic music. Along with OMD, other early influences included Daniel Miller and Fad Gadget. Clarke and Fletcher switched to synthesisers, working odd jobs in order to buy the instruments, or borrowing them from friends. Dave Gahan joined the band in 1980 after Clarke heard him perform at a local Scout hut jam session, singing a rendition of David Bowie's "Heroes", Depeche Mode were born. Gahan's and Gore's favourite artists included Sparks and the Banshees, Cabaret Voltaire, Talking Heads and Iggy Pop; when explaining the choice for the new name, taken from French fashion magazine Dépêche mode, Gore said, "It means hurried fashion or fashion dispatch. I like the sound of that." However, the magazine's name is "Fashion News" or "Fashion Update".
Gore recalled that the first time the band played as Depeche Mode was a school gig in May 1980. There is a plaque commemorating the gig at the James Hornsby School in Basildon, where Gore and Fletcher were pupils; the band made their recording debut in 1980 on the Some Bizzare Album with the song "Photographic" re-recorded for their debut album Speak & Spell. The band made a demo tape but, instead of mailing the tape to record companies, they would go in and deliver it, they would demand the companies play it. They'd say'leave the tape with us' and we'd say'it's our only one'. We'd say goodbye and go somewhere else."According to Gahan, prior to securing their record contract, they were receiving offers from all the major labels. Phonogram offered them "money you could never have imagined and all sorts of crazy things like clothes allowances". While playing a live gig at the Bridge House in Canning Town, the band were approached by Daniel Miller, an electronic musician and founder of Mute Records, interested in their recording a single for his burgeoning label.
The result of this verbal contract was their first single, "Dreaming of Me", recorded in December 1980 and released in February 1981. It reached number 57 in the UK charts. Encouraged by this, the band recorded their second single, "New Life", which climbed to number 11 in the UK charts and got them an appearance on Top of the Pops; the band went to London by train. The band's next single was "Just Can't Get Enough"; the synth-pop single became the band's first UK top ten hit. The video is the only one of the band's videos to feature Vince Clarke. Depeche Mode's debut album, Speak & Spell, was released in October 1981 and peaked at number ten on the UK album charts. Critical reviews were mixed. Clarke began to voice his discomfort at the direction the band was taking, saying "there was never enough time to do anything. Not with all the interviews and photo sessions". Clarke said he was sick of touring, which G
A Pain That I'm Used To
"A Pain That I'm Used To" is a song by English electronic band Depeche Mode. It is the opening track on their eleventh studio album; the song was released on 12 December 2005 by Mute Records as the album's second single, the 42nd DM single overall.. The single contains remixes by UK Mute label mates Goldfrapp, Jacques Lu Cont. There are two radio versions; the first one is only a slight remix, whereas the second contains a different, more electronic introduction and instrumentation. Although "Better Days" was mentioned to be the B-side for the single in its press release, it ended up being a track called "Newborn" when the track lists were released. "Better Days" went on to be the B-side to the following single, "Suffer Well". "Newborn" is a slow song. It is a fan-favourite in terms of B-sides; the single was only physically released in the UK. The US only had a digital release; the song reached number 15 upon UK release. In the US, the song debuted at number 45 on the Hot Dance Music/Club Play chart on 14 January 2006.
It reached number 6. The track is one of the few Depeche Mode songs to feature a real bass, played by Andy Fletcher in this one. 7" Picture disc / Bong36"A Pain That I'm Used To" – 4:39 "Newborn" – 5:2612" Mute / 12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:0012" Mute / L12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21CD Mute / CDBong36"A Pain That I'm Used To" – 4:11 "Newborn" – 5:34CD Mute / LCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:22 "A Pain That I'm Used To" – 3:28DVD Mute / DVDBong36"A Pain That I'm Used To" – 3:49 "A Pain That I'm Used To" – 3:52 "Newborn" – 5:26Promo 12" Mute / P12Bong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00Promo 12" Mute / PL12Bong36"A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21Radio Promo CD 1 Mute / RCDBong36"A Pain That I'm Used To" – 3:23 "A Pain That I'm Used To" – 4:12Radio Promo CD 2 Mute / RLCDBong36"A Pain That I'm Used To" – 3:27 "A Pain That I'm Used To" – 4:12Club Promo CD Mute / PCDBong36"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 6:07 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 4:39 "Newborn" – 5:26Club promo CD single.
Promo CD Reprise / PRO-CD-101694"A Pain That I'm Used To" – 7:51 "A Pain That I'm Used To" – 8:00 "A Pain That I'm Used To" – 4:39 "A Pain That I'm Used To" – 7:21 "A Pain That I'm Used To" – 3:29 "A Pain That I'm Used To" – 6:07 "Newborn" – 5:34Digital Downloads"A Pain That I'm Used To" - 5.49 "A Pain That I'm Used To" - 3.26 "A Pain That I'm Used To" – 4:15 "A Pain That I'm Used To" – 4:04 "A Pain That I'm Used To" – 4:47 Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics