People Are People (album)
People Are People is a Depeche Mode compilation album released in North America by Sire Records on 2 July 1984. Sire sensed it needed a new approach in its release policy since the band's 1983 effort Construction Time Again had failed to chart in the US. Two of the nine tracks were new to the American audience: the latest single "People Are People" and "Now, This Is Fun", the B-side of the non-American 7" "See You", it was the first time that the 7" versions of "Leave in Silence" and "Get the Balance Right!" were released in the United States. The album version of "Love, in Itself" was selected for this compilation, but with a "clean" ending, since on Construction Time Again the track fades into "More Than a Party"; the album was released in July 1984 to little notice. It re-entered the charts and sold better, when the title track became a summer hit in 1985; the album was certified Gold by the RIAA for shipments of half a million copies. Its success led to the release of yet another compilation album in late 1985: Catching Up with Depeche Mode.
The album was released on LP and CD with the band name and album name missing from the album cover. These names were added to the covers for re-releases. A poster for the album appears on the bedroom wall toward the end of John Hughes's Weird Science. Allmusic were mixed in their reception to the album, rating the album two and a half stars out of five. All songs written by Martin Gore, except for ` Work Hard', written by Alan Wilder. All songs sung by David Gahan, except'Pipeline', sung by Martin Gore. Album information from the official Depeche Mode web site
"Everything Counts" is a 1983 single by the electronic band Depeche Mode from the album Construction Time Again. The single was re-released on 13 February 1989 to support the live album 101; the single introduced a transition in lyrical content for the group. "Everything Counts" addresses the issue of corporate greed and corruption in Britain, as the chorus sings of "grabbing hands" that "grab all they can". The single was released at a time when the band itself was not under a formal contract with Mute Records. In addition to "found" sounds used as samples, the single samples a variety of musical instruments, such as the xylophone and a melodica, it was the first song in the band's catalogue which includes both of the band's singers prominently. Lead singer Dave Gahan sings the lead vocals on the verses, while songwriter Martin Gore sings the lead vocals on the chorus with backing from Alan Wilder; when the song has been performed live, the chorus has been sung by all of the band's musicians except Gahan, as it appeared in the video for the single.
The song would catch on as a fan favourite at the band's concerts and was used as the opening song for the Construction Time Again tour. The first live version of the song to appear on a commercial release came from the Some Great Reward tour in 1984 when a recording from a show in Liverpool appeared on the double A-sided "Blasphemous Rumours/Somebody" single. During the Music for the Masses Tour, the band used "Everything Counts" as the final encore and in 1989, the song would be re-released as a single in live form, to promote the live album 101. All live tracks from the release were recorded on 18 June 1988 at the Pasadena Rose Bowl during the final performance of the aforementioned Music for the Masses Tour; this version of the song is famous for the recording of the crowd continuing to sing the chorus long after the music had stopped. It appears in Devotional as the closer, it was played during the first two legs of Touring the Angel in the first encore, appears on the Touring the Angel: Live in Milan-DVD.
Everything Counts was remixed and re-released in 2006. The "Oliver Huntemann & Stephan Bodzin Dub" is featured on the limited edition release of the single Martyr. An unreleased Oliver Huntemann & Stephan Bodzin remix contains more vocal parts from the original version; the music video for "Everything Counts" was directed by Clive Richardson in West Berlin. The band returned to Richardson after not being satisfied with the work of Julien Temple for the A Broken Frame singles. Richardson had directed the video for "Just Can't Get Enough" two years earlier. According to Alan Wilder, "It was felt that after the Julien Temple years, we needed to harden up not only our sound but our image. Clive had lots of new ideas which didn't involve stupid storyboards where we were required to act." In the original music video, the xylophone, the melodica, the shawm are played by Alan Wilder, Martin Gore, Andy Fletcher, respectively. The shawm, however, is produced by a synthesizer on the studio recording, but the band used the real shawm in the music video and television performances, for show.
In this video, frontman Dave Gahan for the first time appeared blonde-haired, losing his natural black colour of hair. The "Everything Counts" video was directed by D. A. Pennebaker; the video not only includes portions of the live performance, but contains various references to the money made from merchandise and ticket sales at the concert, humorously connected to the song's theme of corruption and greed. The original release's B-side "Work Hard" is notable in that it is the first Depeche Mode song, credited to both Martin Gore and Alan Wilder; the B-side of the live re-release is a live recording of "Nothing", a track from Music for the Masses. The 12" release includes live recordings of "Sacred" and "A Question of Lust". On the original release, there was only one remix available; the 12" version of the single is called "Everything Counts", although sometimes it is referred to as the "Long Version". The live re-release of the single, contains a plethora of mixes, from a variety of remixers, despite the fact that the standard 7" and 12" versions contained no remixes.
This release is first Depeche Mode single to be released in a 10" vinyl format. The B-side included the original release's 12" version as well as the "Reprise", a 55-second reprisal of the song's chorus placed following the final track on the Construction Time Again album, it is the ending of "Everything Counts" with the beat removed. The limited edition 12" version is the "Bomb the Bass Mix", remixed by Tim Simenon and Mark Saunders. Simenon would be used by the band as a producer, for the 1997 album Ultra. A variety of mixes of other songs would appear on these single releases as well. On the 1983 release, the 12" B-side contains an extended version of "Work Hard" titled the "East End Remix". Two remixes of "Nothing" appear on the 1989 release as well, including the "Remix Edit" and the "Zip Hop Mix" by
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music 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, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's 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 rock 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 and New York Dolls, 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 McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was 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 terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". 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, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Smash Hits was a British pop music magazine aimed at teenagers and young adults, published by EMAP. It ran from 1978 to 2006 and, after appearing monthly, was issued fortnightly during most of that time; the name survived as a brand for a spin-off digital television channel -now named Box Hits - and website. A digital radio station was available but shut on 5 August 2013. Smash Hits featured songwords of interviews with all the big names in music, it was published monthly went fortnightly. The style of the magazine was one of irreverence, its interviewing technique was novel at the time and, rather than looking up to the big names, it made fun of them, asking strange questions rather than talking about their music. Created by journalist Nick Logan, the title was launched in 1978 and appeared monthly for its first few months, he based the idea on a songwords magazine that his sister used to buy, but, of poor quality. His idea being to launch a glossy-looking magazine which contained songwords as its mainstay.
The publisher was Emap, a small-time publisher based in Peterborough and the magazine was titled Disco Fever, before they settled on Smash Hits. Smash Hits launched the career of many journalists including Radio Times editor Mark Frith. Other well-known writers have included Dave Rimmer, Ian Birch, Mark Ellen, Steve Beebee, Peter Martin, Chris Heath, Sylvia Patterson, Alex Kadis, Sian Pattenden, Tom Hibbert, Miranda Sawyer. Neil Tennant of the Pet Shop Boys worked as a writer and assistant editor, once claimed that had he not become a pop star, he would have pursued his ambition to become editor; the magazine was available in Continental Europe in Germany where the issues could be bought at train stations or airports, whilst the title was licensed for a French version in the 1990s. There were other licensed versions in the magazine's history. In 1984, an Australian version was created and proved just as successful for that new market as the original had back in Britain, whilst in the United States, a version was published during the 1980s under the title Star Hits, drawing articles from the British version.
It was published by Emap, who use the name for one of their digital television services, for a digital radio station. The brand covered the annual Smash Hits Poll Winners Party, an awards ceremony voted for by readers of the magazine; the magazine's sales peaked during the late 1980s. In the early part of the decade it was selling 500,000 copies per issue, which had risen to over one million by 1989. Sales began to drop during the 1990s and by 1996 it was reported that sales were dropping 100,000 per year standing at 245,000. By the time of its demise, it was down to 120,000. In the 1990s, the magazine's circulation slumped and it was overtaken by the BBC's spin off magazine Top of the Pops. Emap's other biweekly teen magazine of the period Big! was closed and this celeb focus was shifted over to Smash Hits, which became less focused on teen pop and more of an entertainment magazine. The magazine shifted size a number of times in subsequent relaunches including one format, as big as an album with songwords to be clipped out on the card cover.
Television presenter and journalist Kate Thornton was editor for a short time. In February 2006, it was announced that the magazine would cease publication after the February 13 edition due to declining sales; the digital music video channel, digital radio, website services still continue. In July 2009, a one-off commemorative issue of the magazine was published as a tribute to singer Michael Jackson. Further one-off specials were released in November 2009 and December 2010. "Chris Hall" Ian Cranna David Hepworth Mark Ellen Steve Bush Barry McIlheney Richard Lowe Mike Soutar Mark Frith Kate Thornton Gavin Reeve Bob Monkhouse John McKie Emma Jones Lisa Smosarski Lara PalamoudianThe publication's Art Editor in the early 1990s was Phil Hawksworth, who guided the transition between traditional artwork to electronic artwork on the Mac, introducing many of the design/content features used until publication ceased in 2007. EMAP licensed the brand for a number of compilation albums, including a tie in with the Now That's What I Call Music brand for Now Smash Hits, a retrospective of the early 1980s.
The Australian edition of Smash Hits magazine began in November 1984 as a fortnightly edited by James Manning. The magazine blended some content from the parent publication with locally generated material. Eddy Sarafian, to edit the successful competitor TV Hits for Attic Futura Publications, was on staff at the time the magazine was founded. Robyn Doreian editor of Attic Futura's Hot Metal was graphic designer for Smash Hits and in the early 1990s Lisa Anthony editor of Attic Futura's Hit Songwords, would become Smash Hits' editor for a brief period. Australian Smash Hits was published by Fairfax Magazines and was purchased by Mason Stewart Publications. Over the years it became a monthly and a bi-monthly. In 2007 the magazine retailed for A$5.95 Inc. GST and NZ$6.50. On 30 March 2007 it was announced that the Australian edition would cease publication due to low readership; the editor at that time was Emma Bradshaw. The issue, scheduled to be released on 9 May 2007 was cancelled. Smash Hits
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
Vince Clarke is an English synthpop musician and songwriter. Clarke has been the main composer and musician of the band Erasure since its inception in 1985, was the main songwriter of several groups, including Depeche Mode and The Assembly. Vincent John Martin was born in South Woodford, Essex and he moved to Basildon, Essex, he studied the violin and the piano, but he was inspired to make electronic music upon hearing Wirral synth band Orchestral Manoeuvres in the Dark. Along with OMD, other early influences included The Human League, Daniel Miller, Fad Gadget. In the late-1970s, Clarke and schoolmate Andy Fletcher formed a short-lived band called No Romance in China. In 1980, he teamed up with Martin Gore to form French Look. Another band, named Composition of Sound, followed in 1980 with another addition of Martin Gore and Andy Fletcher. Clarke provided vocals until singer Dave Gahan joined the band, renamed Depeche Mode. At that time, he adopted the stage name Vince Clarke, by which he is known.
The band adopted a slick synthesized electropop sound, which produced the album Speak & Spell and the Clarke-penned singles "Dreaming of Me", "New Life", "Just Can't Get Enough" in 1981. Clarke left Depeche Mode shortly thereafter. There were many rumoured reasons pertaining to his departure, he commented on Depeche Mode's material as being a little dark for his taste, but good nonetheless. Clarke stated that he did not enjoy the public aspects of success, such as touring and interviews, found himself at odds with his bandmates on the tour bus, he stated: "I think everybody in the band myself, imagined that the reason we were doing so well was because of themselves... We were pretty young and lucky, things had happened quickly for us, I don't think we were mature to handle the situation." Clarke was replaced by musician Alan Wilder, Depeche Mode went on to achieve international stardom. Clarke teamed up with singer Alison Moyet to form the popular synthpop band Yazoo, which produced two albums and a string of hits including "Only You", "Don't Go", "Situation", "The Other Side of Love", "Nobody's Diary", "Walk Away from Love".
Yazoo disbanded in 1983, Moyet went on to have a successful solo career. Yazoo reformed in 2008 for a series of live dates to celebrate 25 years since the duo's split. In 1983, Clarke teamed up with Eric Radcliffe, it was their idea to collaborate as one-off associations with different artists on each new single, under the name The Assembly. Meanwhile, he founded the label Reset Records with Eric Radcliffe. During 1983 and further on in 1984, he produced four singles "The Face of Dorian Gray", "I Just Want to Dance", "Claudette", "Calling All Destroyers" for his friend Robert Marlow, which were released on this label, they produced an album, shelved but was released much in 1999 under the name The Peter Pan Effect. In 1985, another collaboration took place with Paul Quinn of Bourgie Bourgie, the result was the single "One Day" by Vince Clarke & Paul Quinn. However, the project never took off, Clarke moved on to other projects. In early 1985, Clarke put an ad in Melody Maker for a singer, one applicant was Andy Bell, a fan of his earlier projects.
He teamed with Bell to form the group Erasure, the duo became one of the major selling acts in British music with international hits like "Oh L'amour", "Sometimes", "Chains of Love", "A Little Respect", "Drama!", "Blue Savannah", "Chorus", "Love to Hate You", "Take a Chance on Me", "Always". The band has released 16 albums to date and has enjoyed a long string of hit singles spanning their three decades together, most topped-off by the 2005 top five hit "Breathe" taken from their Nightbird album. In 2006, Erasure produced a country-western style acoustic album consisting of non-single cuts from their previous albums; this album, Union Street was preceded by the single "Boy" included on their 1997 Cowboy album. On 26 January 2007, in a video message on the official Erasure website, the band announced the release of their sixteenth album, entitled Light at the End of the World. Released in the UK on 21 May 2007, with a US release the following day, it was preceded by the single "I Could Fall in Love with You", released on 2 April 2007.
The second single, "Sunday Girl" was subsequently released. The album was produced by Gareth Jones and was a more "dance oriented" effort than some of their more recent work with Clarke making reference to the new material sounding a bit more like Andy Bell's 2005 solo effort Electric Blue. Erasure went on to tour with Cyndi Lauper, Deborah Harry, Margaret Cho, other artists, for the 2007 True Colors Tour of the United States, a tour which benefited gay, lesbian and transgender freedoms and rights. Erasure went out on their own, headlining the "Light at the End of the World" tour in Europe and North America; the band released a new EP, Storm Chaser, in September 2007. The EP contains nine tracks, one of them the winner of an online fan remix contest, for the track "When a Lover Leaves You", from the Light at the End of the World album; the Erasure album, Tomorrow's World, was released on 3 October 2011, featuring production by Frankmusik. The album was done in two locations, Vince in his Cabin Studio in Maine composing the music and vocal arrangement, production done by Andy in Los Angeles.
The album featured three singles.
Blasphemous Rumours / Somebody
"Blasphemous Rumours"/"Somebody" is Depeche Mode's twelfth UK single and first double A-side single, released on 29 October 1984. Both A-side songs are from the album Some Great Reward. "Somebody" is the first single with Martin Gore as lead vocals, one of only three The music videos for both songs were directed by Clive Richardson. The verses to "Blasphemous Rumours" describe a 16-year-old girl who fails, she experiences a religious revival but is killed in a car accident at age 18. The chorus uses these incidents to conclude, "I don't want to start any blasphemous rumours / but I think that God's got a sick sense of humour / and when I die, I expect to find him laughing." Like other songs on Some Great Reward, the song uses a dense sound with extensive sampled percussion. When Depeche Mode announced that they were planning to release "Blasphemous Rumours" as a single, pushback from the religious community resulted, the band decided as a compromise to release the single as a double-A side with "Somebody.""Somebody", sung by Martin Gore in the studio in the nude, includes one of Gore's "little twists," where the song builds as if it's a song about finding your perfect love, only to have him reveal at the end "though things like this make me sick / in a case like this I'll get away with it."
All songs written by Martin Gore except: "Ice Machine" by Vince Clarke "Two Minute Warning" by Alan Wilder "Blasphemous Rumours" – 5:06 "Somebody" – 4:19 "Somebody" – 4:19 "Everything Counts" - 5:53 "Blasphemous Rumours" – 5:06 "Told You So" - 4:54 "Blasphemous Rumours" – 6:20 "Somebody" – 4:26 "Two Minute Warning" – 4:36 "Ice Machine" – 3:45 "Everything Counts" – 5:53This version of the single was released on CD. Intercord 826.839. No Bong number, same cover as the vinyl version. "Blasphemous Rumours" – 6:20 "Told You So" – 4:56 "Somebody" – 4:19 "Everything Counts" – 5:53The CD single was released in 1991 as part of the singles box set compilationsAll live tracks recorded at the Empire Theatre in Liverpool, England on 29 September 1984. American alternative rock band Veruca Salt covered the song for the 1998 Depeche Mode tribute album For the Masses. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics