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Some Bizzare Album was the first album by Some Bizzare Records. It was released in 1981 as a sampler of the label's musical ethos. The acts were not actually signed exclusively to the label at the time. Depeche Mode recorded at Stage One.
Today (22 March) marks the 20th anniversary of the release of Depeche Mode’s eighth album ‘Songs Of Faith And Devotion’ and also the eve of the release of new – 13th – studio album ‘Delta Machine’, which on first listen sounds like another forbidding techno-industrial beast. Seems the time’s ripe for assessing the Basildon synth-pervs’ weighty back catalogue.
12. ‘Construction Time Again’ (1983)
Something has to come last, and what better than the first time Depeche Mode tried Industrial? Inspired by Einstürzende Neubauten, they decided it all meant moving concrete slabs and hitting pots. Another alarming development was Martin Gore whipping out a guitar for ‘Love In Itself’ on Top Of The Pops. But for all the rubbish like ‘PipeLine’, ‘Shame’ and ‘More Than A Party’ (rock’n’roll Mode, anyone?), there’s an ‘Everything Counts’ to soothe the pain. Call it ‘transitional”.
Something has to come last, and what better than the first time Depeche Mode tried Industrial? Inspired by Einstürzende Neubauten, they decided it all meant moving concrete slabs and hitting pots. Another alarming development was Martin Gore whipping out a guitar for ‘Love In Itself’ on Top Of The Pops. But for all the rubbish like ‘PipeLine’, ‘Shame’ and ‘More Than A Party’ (rock’n’roll Mode, anyone?), there’s an ‘Everything Counts’ to soothe the pain. Call it ‘transitional”.
11. ‘A Broken Frame’ (1982)
It could’ve all gone tits-up when Vince Clarke left after their debut album, but Depeche Mode came out fighting. The only plausible reaction to opener ‘Leave In Silence’ is ‘Good Christ, what have we here?” as it throbs and whumps into DM’s new dark heart. By the time we get to ‘Monument’, they’re inventing techno just like Derrick May always said. Then it all goes cod reggae on ‘Satellite’ and everyone looks awkward.
It could’ve all gone tits-up when Vince Clarke left after their debut album, but Depeche Mode came out fighting. The only plausible reaction to opener ‘Leave In Silence’ is ‘Good Christ, what have we here?” as it throbs and whumps into DM’s new dark heart. By the time we get to ‘Monument’, they’re inventing techno just like Derrick May always said. Then it all goes cod reggae on ‘Satellite’ and everyone looks awkward.
(June 6, 2009). Swank magazine free download pc. ^ Day, E.S. From the original on November 23, 2011.
10. ‘Some Great Reward’ (1984)
On the one hand you’ve got the ridiculous hits like ‘People Are People’ and the S&M festival of ‘Master And Servant’; on the other the twee ‘Stories Of Old’ and the bombastic void of ‘Something To Do’. Sitting in the middle is Martin Gore’s gorgeous ‘Somebody’, and general critical opinion. We’ll stay on the fence here. It’s the end of the first phase, with the pivotal ‘Singles 81-85’ just around the corner.
On the one hand you’ve got the ridiculous hits like ‘People Are People’ and the S&M festival of ‘Master And Servant’; on the other the twee ‘Stories Of Old’ and the bombastic void of ‘Something To Do’. Sitting in the middle is Martin Gore’s gorgeous ‘Somebody’, and general critical opinion. We’ll stay on the fence here. It’s the end of the first phase, with the pivotal ‘Singles 81-85’ just around the corner.
9. ‘Exciter’ (2001)
A quantum leap into the future now. Depeche Mode had emerged from the grisly old 90s with a singer who’d ‘died” and come back wanting a slice of the songwriting action. Dave Gahan would get that next time around but here Gore’s in sole charge for the last time, presiding over the masterful, bluesy ‘Dream On’, steam-pump synth ballad ‘Comatose’ and the electro doo-wop of closer ‘Goodnight Lovers’. On the knobs for the one and only time is LFO’s Mark Bell, creating an album of texture and depth.
A quantum leap into the future now. Depeche Mode had emerged from the grisly old 90s with a singer who’d ‘died” and come back wanting a slice of the songwriting action. Dave Gahan would get that next time around but here Gore’s in sole charge for the last time, presiding over the masterful, bluesy ‘Dream On’, steam-pump synth ballad ‘Comatose’ and the electro doo-wop of closer ‘Goodnight Lovers’. On the knobs for the one and only time is LFO’s Mark Bell, creating an album of texture and depth.
8. ‘Sounds Of The Universe’ (2009)
After a four-year break, Depeche Mode’s last album before this week’s ‘Delta Machine’ found them barely missing a beat, three decades into their career. As on ‘Playing The Angel’, Gahan has three songwriting credits but it’s not helping his state of mind. ‘Words can leave you broken inside,” he croaks on ‘Hole To Feed’. Elsewhere he’s behind the snaky acid and thwacking blues of ‘Miles Away/The Truth Is’ and fronting ‘Corrupt’, Gore’s slow-burning, romping bastard featuring the charming lines, ‘I could corrupt you/It would be easy/Watching you suffer/Girl, it would please me”. No one’s mellowing around here.
After a four-year break, Depeche Mode’s last album before this week’s ‘Delta Machine’ found them barely missing a beat, three decades into their career. As on ‘Playing The Angel’, Gahan has three songwriting credits but it’s not helping his state of mind. ‘Words can leave you broken inside,” he croaks on ‘Hole To Feed’. Elsewhere he’s behind the snaky acid and thwacking blues of ‘Miles Away/The Truth Is’ and fronting ‘Corrupt’, Gore’s slow-burning, romping bastard featuring the charming lines, ‘I could corrupt you/It would be easy/Watching you suffer/Girl, it would please me”. No one’s mellowing around here.
7. ‘Speak & Spell’ (1981)
Back to the start. Now DM are these grizzled old gits with guitars to rough up their trademark synths and songs that wallow in filth and misery, it’s easy to forget there was a time when they barely needed a razor blade between them and they had that bloke from Erasure at the back. ‘Speak & Spell”s a glorious synth-pop debut though, from the ‘Kraftwerk on poppers” ‘I Sometimes Wish I Was Dead’ to ‘Just Can’t Get Enough’, a record that’ll still fill floors decades after Gahan’s final death.
Back to the start. Now DM are these grizzled old gits with guitars to rough up their trademark synths and songs that wallow in filth and misery, it’s easy to forget there was a time when they barely needed a razor blade between them and they had that bloke from Erasure at the back. ‘Speak & Spell”s a glorious synth-pop debut though, from the ‘Kraftwerk on poppers” ‘I Sometimes Wish I Was Dead’ to ‘Just Can’t Get Enough’, a record that’ll still fill floors decades after Gahan’s final death.
6. ‘Playing The Angel’ (2005)
The best of this century’s Mode output so far (too early for a broad assessment of ‘Delta Machine’), ‘Playing The Angel’ was the first helmed by some-time Blur and U2 producer Ben Hillier and the first to feature a smattering of Gahan songs. No matter who’s penning them, the tracks advance like terror machines across jagged industrial deadzones, blasting vicious preacherism on ‘John The Revelator’ and outrageous twisted sirens of guitar on ‘A Pain That I’m Used To’. Then ‘Precious’ is all smooth and propulsive – so many strings to their bow right now.
The best of this century’s Mode output so far (too early for a broad assessment of ‘Delta Machine’), ‘Playing The Angel’ was the first helmed by some-time Blur and U2 producer Ben Hillier and the first to feature a smattering of Gahan songs. No matter who’s penning them, the tracks advance like terror machines across jagged industrial deadzones, blasting vicious preacherism on ‘John The Revelator’ and outrageous twisted sirens of guitar on ‘A Pain That I’m Used To’. Then ‘Precious’ is all smooth and propulsive – so many strings to their bow right now.
5. ‘Ultra’ (1997)
Gore wrote the songs but ‘Ultra’ is all ‘Dave Gahan: ‘My Drugs Hell'”. Or, ‘Here’s what happened when we met Trent Reznor”. To be honest, DM had given Nine Inch Nails enough inspiration so it’s natural they should reach a similar point, and the ‘Mode get there with their unparalleled pop chops intact – see the distorted, propulsive ‘Barrel Of A Gun’ and the muscular ‘It’s No Good’. The uncharacteristic pedal-steel-warmed ‘The Bottom Line’ takes the biscuit though.
Gore wrote the songs but ‘Ultra’ is all ‘Dave Gahan: ‘My Drugs Hell'”. Or, ‘Here’s what happened when we met Trent Reznor”. To be honest, DM had given Nine Inch Nails enough inspiration so it’s natural they should reach a similar point, and the ‘Mode get there with their unparalleled pop chops intact – see the distorted, propulsive ‘Barrel Of A Gun’ and the muscular ‘It’s No Good’. The uncharacteristic pedal-steel-warmed ‘The Bottom Line’ takes the biscuit though.
4. ‘Songs Of Faith And Devotion’ (1993)
Where Basildon Man turned Baritone Jesus. Utterly off his gourd, Gahan became the bedraggled rock dude, mustering all the righteousness at his disposal to growl over the obscene riffs of ‘I Feel You’, break down before his Lord on the mighty gospel of ‘Condemnation’ and poke about for a morsel of redemption on ‘Higher Love’. ‘Judas’ is a bit Monarch Of The Glen, mind.
Where Basildon Man turned Baritone Jesus. Utterly off his gourd, Gahan became the bedraggled rock dude, mustering all the righteousness at his disposal to growl over the obscene riffs of ‘I Feel You’, break down before his Lord on the mighty gospel of ‘Condemnation’ and poke about for a morsel of redemption on ‘Higher Love’. ‘Judas’ is a bit Monarch Of The Glen, mind.
3. ‘Music For The Masses’ (1987)
‘Music For The Masses’ is so good, ‘Behind The Wheel’ can start off like Tiffany’s ‘I Think We’re Alone Now’ and Depeche Mode lose none of their black-garbed punch. Other highlights include live perennial – and monstrous career highpoint – ‘Never Let me Down Again’, perverted electro throwback ‘Strangelove’ and the Satanically miserable ‘Pimpf’, as the band take their first baby steps towards their greatest triumph.
‘Music For The Masses’ is so good, ‘Behind The Wheel’ can start off like Tiffany’s ‘I Think We’re Alone Now’ and Depeche Mode lose none of their black-garbed punch. Other highlights include live perennial – and monstrous career highpoint – ‘Never Let me Down Again’, perverted electro throwback ‘Strangelove’ and the Satanically miserable ‘Pimpf’, as the band take their first baby steps towards their greatest triumph.
2. ‘Black Celebration’ (1986)
But before that, an equally important notch on the Mode trajectory. Coming directly after the story-so-far of ‘Singles 81-85’, ‘Black Celebration’ sounded like relief, as if the teen-pop era (however twisted it was getting) was over and now they could get down to the serious business of singing, ‘You’re only 15 and you look good/I’ll take you under my wing/Somebody should”. Ohhhhkaaay. Dodgy lyrics aside, the album excels through the bleak title track, Gore’s atmospheric ‘A Question Of Lust’, that dubious live favourite ‘A Question Of Time’, gloomy, needy anthem ‘Stripped’ and the terrific pop-noir of ‘Dressed In Black’. It’s a statement of intent that they continue to fulfil.
But before that, an equally important notch on the Mode trajectory. Coming directly after the story-so-far of ‘Singles 81-85’, ‘Black Celebration’ sounded like relief, as if the teen-pop era (however twisted it was getting) was over and now they could get down to the serious business of singing, ‘You’re only 15 and you look good/I’ll take you under my wing/Somebody should”. Ohhhhkaaay. Dodgy lyrics aside, the album excels through the bleak title track, Gore’s atmospheric ‘A Question Of Lust’, that dubious live favourite ‘A Question Of Time’, gloomy, needy anthem ‘Stripped’ and the terrific pop-noir of ‘Dressed In Black’. It’s a statement of intent that they continue to fulfil.
1. ‘Violator’ (1990)
After the awesome 1989 live album ‘101’ (not here because, well, it’s a live album), everyone knew Depeche Mode were a big deal. To the uninitiated, those plink-plonk Essex synth-boppers had just broken the States in almighty stadium style. It was a bit of a shock to the initiated too. After ‘Violator’, no one was surprised. Trailed the previous year by the twanging, musclebound ‘Personal Jesus’, it presented a ‘Mode as comfortable in their skin as they’d ever been – still capable of pop corkers like ‘Enjoy The Silence’ and ‘Policy Of Truth’, but honing their eerie, threatening ballads in ‘Halo’ and ‘Sweetest Perfection’. Like New Order with ‘Technique’ a year earlier, Depeche Mode had returned better than ever to show the upstarts how it’s done.
After the awesome 1989 live album ‘101’ (not here because, well, it’s a live album), everyone knew Depeche Mode were a big deal. To the uninitiated, those plink-plonk Essex synth-boppers had just broken the States in almighty stadium style. It was a bit of a shock to the initiated too. After ‘Violator’, no one was surprised. Trailed the previous year by the twanging, musclebound ‘Personal Jesus’, it presented a ‘Mode as comfortable in their skin as they’d ever been – still capable of pop corkers like ‘Enjoy The Silence’ and ‘Policy Of Truth’, but honing their eerie, threatening ballads in ‘Halo’ and ‘Sweetest Perfection’. Like New Order with ‘Technique’ a year earlier, Depeche Mode had returned better than ever to show the upstarts how it’s done.
Some Bizzare Album | |||
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Compilation album by | |||
Released | 1981 | ||
Genre | Synthpop, new wave | ||
Label | Some Bizzare | ||
various artists chronology | |||
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Some Bizzare Album was the first album by Some Bizzare Records. It was released in 1981 as a sampler of the label's musical ethos. The acts were not actually signed exclusively to the label at the time.
- 1Information
- 3Track listing[7]
Information[edit]
The album consisted of tracks by unsigned synthpop groups, including future alternative icons Depeche Mode, Soft Cell, The The and Blancmange. The compilation saw the first ever released recording of Depeche Mode.[1]Some Bizzare Album was Stevo Pearce’s vision. He believed in the music that was included on the album as opposed to the fashion or style aspects.[2]Some Bizzare Album was re-released on CD format in 1992 for a limited time. It was re-released again in 2008 with extra bonus tracks.
Soft Cell - 'The Girl with the Patent Leather Face'[edit]
After meeting with Stevo Pearce, Soft Cell decided to include one of their tracks on the new Some Bizzare Album. They recorded The Girl with the Patent Leather Face at a studio owned by John Darling.[2]Almond describes the song as a 'tinny-sounding, trashy synthesizer song' that owed much to 'Warm Leatherette', a track by The Normal.[2]
Depeche Mode - 'Photographic'[edit]
Formed in 1980, Depeche Mode were cautious when first approached by Pearce, they were indecisive about being included on a 'futurist' compilation album. They first decided to take their demo tape to various other record companies, only to be rejected by every one.[3] After a bad first meeting with Daniel Miller of Mute Records (Miller was in a bad mood due to a problem with some Fad Gadget artwork),[4] the door was left open for Pearce to include Depeche Mode on his Some Bizzare Album.[4] During an evening at the Bridgehouse, in Canning Town, Pearce chatted with Depeche Mode about his new label and compilation album. At the time, the band had been supporting Fad Gadget. It was decided that Depeche Mode would record a track for Some Bizzare Album. Pearce had then recommended that the band work with Daniel Miller at Mute Records.[4] In late 1980, Depeche Mode went into an east London recording studio and recorded the track 'Photographic'. Daniel Miller wanted to put a good track on the compilation album, but not their best track. Miller acted as an informal producer on the recording of the Some Bizzare version of the 'Photographic' track.[4] The band set up their equipment in the studio and ran through some of their tracks live in the studio. 'Photographic' was recorded and mixed in one day.[5]
The song was later included in the 1998 reissue of Depeche Mode's The Singles 81→85 album as a bonus track.
Neu Electrikk - 'Lust of Berlin'[edit]
London based Neu Electrikk comprised singer songwriter Derek Morris, guitarist and electronics Steve Parry, bass player Nicholas Chamberlain Hunt, sax/flute/treatments Steve Sherlock and Barry Deller on drums/percussion. Neu Electrikk released 2 single/EPs on the Synethesia label - 'Lust Of Berlin'/'Distractions' (1979) and 'Cover Girl'/'Practically Isolate'/'Hand'/'Converse of Tapes' (1980). Stevo Pearce discovered the band via an advert in Sounds magazine and contacted the band via their distributor Rough Trade Records. Pearce had telephoned Steve Parry to say he wanted to manage the band, however Parry became suspicious of the hyperbole emanating from Pearce's mouth. Asking Pearce who he already managed, Pearce, to Parry's surprise, answered The The. Parry already knew The The having previously befriended Matt Johnson and Keith Laws. Having spoken to Johnson, Pearce apparently had done a similar thing to him, saying he was managing Neu Electrikk. The version of 'Lust of Berlin' on the Some Bizzare Album is a later recording made at ARK Studios, Kingston upon Thames.[6] Neu Electrikk gigged extensively, notably with The The at the Bridgehouse in Canning Town, with Stevo Pearce as DJ. Further to Neu Electrikk disbanding, Steve James Sherlock joined The The and joined Marc Almond in Marc and the Mambas, Nicholas Chamberlain Hunt continues to collaborate as a musician and producer, most noticeably with singer Christine Ann Leach (Baby Fox), William Orbit, co-writer of the song 'Ray of Light', and on projects ALF and Alongside Frank. Steve Parry has released numerous recordings as a solo artist and as hwyl nofio (an avant-garde music ensemble of which Parry is the only permanent member).
The The - 'Untitled'[edit]
The The’s contribution to the Some Bizzare Album is the composition 'Untitled'. Recorded at SGS studios in south London, the recording originally had the working title 'Strawberry Sunset'. Matt Johnson had asked Steve Parry of Neu Electrikk about potential recording studios. Parry knew Johnson having previously answered an advertisement by Johnson for musicians in the NME. Parry had suggested SGS studios to Matt Johnson having previously recorded there with Neu Electrikk. Johnson, Keith Laws and Parry entered the studio; however the recording proved to be a controversial affair due to difficulties encountered with an uncooperative studio engineer, who failed to appreciate or understand the music. Such was the negative ambience throughout the recording, the recording master tape was given to Parry and remained in his possession for a time after; Keith Laws contacting Parry about the track when Stevo Pearce asked The The to contribute a track to the forthcoming Some Bizzare Album.
![Some Bizarre Album Depeche Mode Some Bizarre Album Depeche Mode](/uploads/1/2/5/7/125796914/991033748.jpg)
Naked Lunch - 'La Femme'[edit]
Naked Lunch was formed in 1979. Their first live performance was at Studio 21 in London under the initial name of Sons of Perdition but decided to change it to Naked Lunch while having post gig drinks in the club. The first live performance as Naked Lunch took place in the Thomas A Becket pub in SE London supporting a punk band. Initially having used live analog sequencers, it was difficult to change settings between songs and they accepted that the sequences had to be recorded onto tape. Although a live drummer was used, the only cymbals permitted were those of the hi-hat; any cymbal-like sounds were deemed to be done by a synthesizer with adjustments of white noise with a volume and sustain control.
Naked Lunch reformed in 2012 and released a new single 'Alone', in August 2013. The original line-up has been joined by Jet Noir on vocals and synths. Other members of the band are Tony Mayo (vocals), Paul Davies (guitar), Mark Irwin (drums and percussion) and Cliff Chapmen (synths).
Illustration - 'Tidal Flow'[edit]
Illustration were described as playing futurist and early electronic music. Formed in 1979 by classmates Tony Harrison and Julia Adamson, the group were together for approximately 3 years, rehearsing in the cellar of a clothes shop called 'Off The Rails' at the Little Underbank in Stockport, where the band was based. The group was composed of Tony on Vocals, Julia on Keyboards, Paul Lancaster on bass, Tim Johnson on guitar, and George Terry, now known as Morgan King, on drums. With manager Graham Cooper, the group made various demos for record companies and agreed to release one of these songs, Tidal Flow, taken from a demo engineered and produced by Phil Ault, on the Some Bizzare Album. Though Illustration toured to promote the album alongside the other bands, they broke up in 1981 shortly before they were to release their first single Danceable. Danceable would eventually be released in 2008 by Julia's Invisiblegirl Records.
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Reception[edit]
Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic | [7] |
![Album Album](http://images.45cat.com/depeche-mode-sometimes-i-wish-i-was-dead-1981-s.jpg)
Track listing[7][edit]
- Fish side
- Illustration - 'Tidal Flow'
- Depeche Mode - 'Photographic'
- The The - 'Untitled'
- B-Movie - 'Moles'
- Jell - 'I Dare Say it Will Hurt a Little'
- Blah Blah Blah - 'Central Park'
- Eye Lamp side
- Blancmange - 'Sad Day'
- Soft Cell - 'The Girl with the Patent Leather Face'
- Neu Electrikk - 'Lust of Berlin'
- Naked Lunch - 'La Femme'
- The Fast Set - 'King of the Rumbling Spires'
- The Loved One - 'Observations'
The 1981 cassette edition actively positioned the 'Eye Lamp' side of the album as side 1, with the 'Fish' side as side 2, whereas the 1992 CD edition plays the 'Fish' side followed by the 'Eye Lamp' side.
2008 CD reissue bonus tracks[edit]
- The Normal - 'Warm Leatherette'
- Fad Gadget - 'Back to Nature'
- The Residents - 'The Act of Being Polite'
References[edit]
- ^Redefining the Prologue booklet, 2006
- ^ abcPage 100, Marc Almond, Tainted Life, Sidgwick & Jackson
- ^Page 14, Steve Malins, Depeche Mode Biography
- ^ abcdPage 18, Steve Malins, Depeche Mode Biography
- ^Page 21, Steve Malins, Depeche Mode Biography
- ^Panciera, Mario. 45 Revolutions, The Bible of Punk/Mod/Powerpop/New Wave/NWOBHM/Indie Singles(1976/79).Volume 1 UK/Ireland. Italy: Hurdy Gurdy Books. p. 446. ISBN978-88-95592-00-8.
- ^ ab'Some Bizzare Album'. Allmusic.com. Allmusic.com. Retrieved 2010-05-25.
Personnel[edit]
- Stevo Pearce – Compiler
- Steve Bush - Designer
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Some_Bizzare_Album&oldid=869573859'
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