Depeche Modeļ¼ A Broken Frame
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Summary
The Worlds Best Rock Albums We regularly feature every album that you might consider for your collection. From Black Sabbath to Metallica, and from Jethro Tull to Meatloaf, it's all here. The elusive rock album, the popular rock album and the ones that make it because they just should.
Transcript
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so what are some of your initial thoughts on this album it's kind of a transition
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definitely it's uh moody and weird and it doesn't have a vision it's kind of still
00:00:56.860
the singles are poppy and the other cut other songs the deep cuts are moody weird emotive yeah yeah and
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weird yeah and not terribly listenable with some important exceptions i i agree like if you put
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yourself in the shoes of a casual fan you know circa 1982 i think you would have just assumed
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and you and you hadn't read any reports on these things or you weren't following the magazines i i
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think you might have assumed that vince clark was still the songwriter and that nothing had really
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changed with you know the meaning of love in particular and um leave in silence a little
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bit less so but and see you also a little bit less so but definitely the meaning of love sounds like
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something from speak and spell and then a song like a photograph of you sounds like something
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yeah that's uh that that might be the worst one on the album of you do do do yeah wow that's bad
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yeah it's it's a transitional album but what's interesting is that it's the first of their
00:02:41.320
transitional album so you know i would say that they had three without i'm not gonna get off topic
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here but they had three transitional albums a broken frame construction time again and ultra because
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with this one okay obviously vince left and it's just the three of them martin uh dave and fledge
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and with construction time again it's those three plus alan and then with ultra it's back to a broken
00:03:11.860
frame you know minus alan and that is kind of unique i think had they had alan in the studio uh to to
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make this it it would have been you know just a transitional album but it would have i'm sure would
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have sounded uh different uh though he's at this point you know would have exerted less control over
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the uh yeah i mean it's interesting because they as the lore goes and i've i've read this in multiple
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books now i've seen some of these documentaries um the the lore seems to be accurate uh alan responded to
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a classified in one of these rock mags now you know if you were in the scene at the time i think you
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were reading all this stuff so it wasn't as random as it might have first sounded but he was paid what
00:04:05.320
was it a hundred pounds a week or something like that i mean it i mean that that's obviously more than
00:04:12.980
uh you know that i would i don't know be a thousand dollars or a thousand pounds a week or something
00:04:18.660
but it's still it's it's not very much at all and he you know he as the story goes he really impressed
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them with his musicality because they the other guys were amateurs when it came to being musicians
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and so he would he could play to you know a bass line and a melody at the same time and he could
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sing backup vocals he could do all this stuff he's a classically trained musician which is pretty
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interesting um it does seem like as creative as martin gore can be he is someone who learned music and
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church group or something and and and picked up theory that way or learned theory on his own but
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you know nevertheless that that's where his musicality came from whereas um alan had something
00:05:07.300
very different and um he you know he was not involved in the writing or recording of this album
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he was getting paid kind of like a stand-in they they have a lot of these guys now when they go on
00:05:21.000
tour like christian eigener and and so on they're not really members of the band i presume they are paid
00:05:27.680
well to um perform every night but they're they're not paid royalties on on album sales i would presume
00:05:35.780
and they're not really promoted as part of the band it's something else and i think he was uh like that
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for some time and um kind of worked his way in so yeah with the next i guess in two albums the next album
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um he'll be uh a force on construction time again in terms of writing songs and i think probably being
00:05:58.480
a major influence as a producer with the sampling and and so on that goes on here although there is a
00:06:07.260
little bit of sampling in this album it's kind of interesting there's one song that might be kind
00:06:12.200
of weirdly my favorite um but we'll get to that at some point i guess um yeah as as far as like
00:06:20.760
alan's um audition from what i understand the auditions in december of 81 and it they were impressed
00:06:30.420
like you said but it was daniel miller actually who while he was impressed with alan he for some
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reason i i which i couldn't make clear just uh looking off of uh alan's website recoil uh in the
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biography section for whatever reason daniel was worried and i don't know if he was worried that it
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was going to look like alan was basically vince clark 2.0 and he was writing the songs i think that
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might have had something to do with it or hey this guy's classically trained he might completely take
00:07:05.860
over and change the sound not sure um if what that was all about exactly but um he had to actually
00:07:14.660
lie about his age because they they wanted somebody under 21 and he was 22 at the time so he lied about
00:07:21.440
it and uh yeah they were it was pretty from what he said in interviews it was pretty easy come you know
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compared to what he had been taught to do oh yeah yeah um i i think the the impression i get uh you know
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i was just um reading the sections and just can't get enough by simon spence which you know again it's
00:07:43.160
a good book um it's one of these kind of typical rock books where they they tell you what's happening
00:07:50.620
with the band but i they don't really tell you enough about the meaning of the music and so on
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so i guess that's um opens up space for us in a way but um yeah i mean you you you you definitely
00:08:09.400
get the impression that depeche mode didn't have to continue to exist that in some ways they wanted
00:08:15.880
to create an album in order to prove that they were still around and also the immediate perception
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was that they might not be around too long and that clearly vince clark is an essential you know
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component of the band and his leaving is going to destroy it so i mean vince clark almost immediately
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with the same producer uh daniel miller and mute uh started yazoo um with uh allison moyer who is
00:08:51.420
someone else from the neighborhood basically and uh this great control so i i like a lot of that stuff
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and um he was having i mean those only you and so on were charting at higher rates than the
00:09:38.300
meaning of love or i mean kind of understandably and deservingly um in many ways but uh you know
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there was a sense that like where is depeche mode there there is some of these anecdotes
00:09:49.000
that were relayed in in this book of you know going they're performing like the ritz in new york city so
00:09:56.980
they would do a north american tour which seemed like they would fly from london to new york and do a few
00:10:01.820
shows or something and people were saying like oh wow this is depeche mode you guys used to be cool
00:10:08.160
things like i mean it was i don't know even to keep going was something um so there there is a line
00:10:16.360
in here that's very interesting in terms of vince clark's assessment so he said he told us to to smash
00:10:23.440
hits which is a kind of um i don't know i mean it's one of these fan mags almost teeny bopper mags but
00:10:32.180
he said martin's a genius he just doesn't know it yet uh which is very interesting two geniuses in
00:10:39.800
the same band would be a rare thing what vince didn't reveal what he had never revealed were the
00:10:45.120
two things that had uh bugged him most during his time at depeche mode firstly he thought that song
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writing should be his domain alone and didn't appreciate any interference so he you know accomplished
00:10:57.160
that by going to yazoo and just writing for a voice and so on secondly and more importantly
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he couldn't bear dave gahan as a singer uh it was as simple as that prevents dave's voice didn't
00:11:08.820
have a wide enough range so uh very interesting i mean again dave's voice is going to change quite a
00:11:15.400
bit um but the the other impression i got from reading this book is that you know depeche mode
00:11:25.260
with speak and spell i mean we can listen to it now and kind of project back on it all of
00:11:32.140
our thoughts you know about where they were by the mid 80s or where they were in the 90s or the
00:11:39.660
2000s where they are with momento mori i mean etc but like the perception at the time was basically a
00:11:46.760
teeny bopper band and anton corbin actually said they're they're wimps with sense so this is the guy
00:11:53.340
who would become their like visual collaborator and it's not you know at all an incorrect perception
00:12:02.040
um and you know this also struck me if i'm just going to kind of focus on my you know notes from
00:12:10.020
the book as well so daniel miller um he shared a similar aesthetic that would come to bear on
00:12:18.520
depeche mode covers and the band's ads even though daniel miller is jewish believe it or not a jewish
00:12:25.240
music producer uh we were both enamored with the visual look of what went on in nazi germany and
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what was and is still going on in germany audi bmw and so on um this is atkins said uh who is atkins
00:12:41.200
yes uh martin atkins is their was their art director from i believe at least uh broken frame
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i'm not sure what his contribution was on speak and spell but at least till uh music for the masses
00:12:54.760
and then anton uh took over okay interesting so at this point anton thought they were uh gay and um
00:13:03.540
yeah but but he would he would later have a huge influence on them but um yeah so daniel miller
00:13:11.680
um who's jewish might have actually had an influence in that creation of the aesthetic and then he said
00:13:17.940
um they always had a strong um ethic for trademarks and logo styles and color schemes that somehow said
00:13:25.860
strength and power in the same way the russian communist icon iconography did as well very similar
00:13:32.320
really the images and the way it was presented um so basically they were
00:13:40.500
you know what exactly any of them think politically or the degree to which that affects their music i
00:13:51.440
think is you know a question to be answered and my strong impression here is that they didn't have
00:13:58.380
many strong thoughts uh politically speaking and that they were kind of sheltered being raised in
00:14:05.420
the burbs of basil then uh but they wanted to kind of take on an aesthetic you know almost in a way of
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like putting the cart before the horse you know it's like let's let's engage with this german
00:14:21.360
stark aesthetic and it will kind of improve our music over time like let's create the album cover
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and then we'll kind of write music to fit it or we'll get there at some point and i do think that
00:14:35.200
there was a strong quality of that with depeche mode particularly at this point interesting see
00:14:44.760
i'm not it's not contradicting anything that you're saying but my sort of take on their uh aesthetic
00:14:54.540
especially at least this cover which is probably their most famous cover is that you know it kind of
00:15:01.260
fit with their humility as a band because it's got the russians uh the soviet um peasant you know
00:15:09.100
and i think the kind of look that they were going for was like drab but exotic in the same way that
00:15:16.960
the soviet union was turned out to be drab but so many in the west at one time thought it was
00:15:24.400
exotic and you know something to uh uh look toward or model maybe but um yeah i mean i've heard martin
00:15:34.660
adkins say those things about the influence of uh basically of just fascism futurism nazism in general
00:15:44.080
um in their music but i did not i would not have guessed that yet with uh this uh this cover but
00:15:52.660
that's an interesting uh interesting well i think basically and you see this a lot where you want to
00:15:59.260
go fasci but you you kind of end up in communism in between or something like that you know like
00:16:06.840
you're you're trying to you're you're inspired by images of the third reich etc but you kind of can't
00:16:16.300
go there and so you mediate it with communism or you put a communist mask on it and i i definitely
00:16:24.840
think that that is happening with this album um also interesting color scheme that kind of reddish pink
00:16:31.960
um that you see on the album the the the sickle in the vinyl there's some more photographs um that
00:16:39.680
were made by um was his name robert griffin i believe and yeah this brian griffin excuse me and
00:16:45.800
and and yeah the sick the the sickle is being waved there's this you know foreboding gray sky
00:16:52.860
and yeah amazing photographs um that might be the best thing about the album i i don't know i mean
00:16:59.840
it it's it's up there just in the sense that the the photographs are so great
00:17:03.640
definitely it's weird because i think that this album and the art is kind of like black celebration
00:17:14.640
because martin adkins admits okay the banner that we like the idea of the nazi banner over the um
00:17:22.300
over the uh building and so that was the inspiration or partly inspirational for black
00:17:29.080
celebration yeah but they are both two very moody albums that while black celebration was kind of a
00:17:39.640
flop uh relatively speaking to their other albums um immediately it became like a cult classic whereas
00:17:47.580
this one it was just kind of neither one of them um really did it it's not you know they're not
00:17:57.060
violator they're not uh songs of faith and devotion they didn't really uh puncture the uh the chart they
00:18:03.300
didn't climb the charts do you know what i mean i i think there is something similar uh between these
00:18:08.760
two albums because they're very both moody and it almost i mean with the exception of uh you know
00:18:16.400
the uh the singles really on on a broken frame but um yeah i just i think that there is uh something
00:18:25.360
there yes yeah there's no doubt about it um so what what do you think is worth discussing
00:18:35.440
in terms of the the songwriting i mean where are these songs coming from as well i mean there there
00:18:42.780
seems to be a kind of hint in these interviews and books that some of these songs were from like
00:18:50.280
martin gore's band norman and the worms or something like they're they were they were they were
00:18:56.580
kind of out there or or something and and vince said he you know martin had been writing music since
00:19:04.580
he was 14 i mean he really did have experience in this um but i mean do you see that in some of
00:19:10.980
them i mean there there's there's also the notion of um there there was kind of two breakups with
00:19:18.460
speak and spell there there was the breakup of with vince clark of course and then there is the um
00:19:26.100
breakup of martin gore and and um swiber and i believe it's her name and yeah it's it's very
00:19:35.240
it's very interesting even just you know going back to the um the book here i reminded ann of what
00:19:41.200
martin had said about the breakups with devout with a devout christian and an interview with uncut
00:19:48.080
magazine she had me on reins she was ridiculous anything was perverted if i was watching something
00:19:54.760
on tv and there was a naked person i was the pervert so i it's a kind of interesting statement
00:20:02.520
but it um and these were like young girlfriends that were riding around and they're on the bus
00:20:08.020
when they were uh you know doing a national tour of england and so on um but it it is funny i mean i
00:20:16.740
i don't obviously martin rebelled against the christian upbringing but the more i read i i i'm
00:20:26.560
reinforced with this sense that they're kind of like from a small i mean baslin was like a neo-futurist
00:20:33.900
community in many ways but on another level it was like a small town community where everything
00:20:40.220
functions around the church that's where you learn music that's where you meet friends that's where you
00:20:44.780
get your first girlfriend in this case and there's this there's this kind of christian
00:20:50.980
element behind all this that is inflecting everything and and even the kind of rebellion
00:20:59.500
against it is going to be a very christian rebellion um by his you know s&m period and so on is going to
00:21:07.660
be a kind of weirdly it's going to be inflected by christianity i think in ways that aren't appreciated
00:21:14.760
but what do you think so you're saying that martin and ann's relationship would be like the uh
00:21:21.960
new atheists versus uh like william lane craig or somebody like that uh i mean no because
00:21:28.160
no not exactly i mean i i definitely i think that he's coming from the same place as ann
00:21:36.000
and he does reject it but in his rebellion against it he he kind of retains all that stuff
00:21:43.380
because i don't know very much about uh um martin and ann's relationship well i don't think anyone
00:21:49.720
does i mean it it's just out there it was something they were teenagers at the time it's i'm just
00:21:54.960
suggesting it the only thing that i do know about it is that she is described by martin as a
00:22:01.980
fundamentalist christian and kind of overbearing and attacking him and i think that you know it
00:22:09.420
leave in silence is you know many took it as a reference to vince clark leaving in silence which
00:22:16.060
is kind of correct uh with what he did but it's actually about their own breakup
00:22:20.860
if i only knew the answer i thought we had a chance or i could stop this i would stop this
00:22:27.960
i don't want to play it anymore what can i say i'm heading for the dark oh i can't stand this emotional
00:22:47.880
what i'm saying is that there's a weird christian guilt complex at the heart of where
00:23:13.420
martin gore will in the 80s with you know let's play master and servant or so on or blasphemous
00:23:20.320
rumors that you know i think that god has a sick sense of humor and so on there's this there's a
00:23:26.480
it's a very christian type of rebellion against fundamentalism right judas and condemnation being
00:23:34.000
uh two other uh exactly um you know with the track uh leave in silence i mean it opens up and
00:23:42.120
it it kind of sets the mood for the whole album is that whoa whoa whoa i mean that just it almost
00:23:50.700
sounds like gregorian chanting you know yeah it does
00:23:53.940
and uh that just tells you like straight away like this is not
00:24:23.520
speak and spell i think that yeah that just kind of shows that it's not speak and spell and another
00:24:30.740
thing about that song is that dave's kind of voice is kind of like almost like whispery
00:24:37.240
you know it's probably due to the fact that he's so young but it's it's something that he doesn't use
00:24:45.260
that much something he would use on um uh what's that song off of exciter when you're born a lover
00:24:52.740
that kind of tone that he's using is very like softer more more gentle um which he you know rarely
00:25:01.480
uses but it's good to hear uh it was good to hear that on this album and just in general it's a good
00:25:08.020
i think you can also hear that almost like that synthesized choir
00:25:36.860
in cu that is also something they would never hear on speak and spell and i think we're kind of
00:25:43.220
getting to that point of sampling noises you know that you know you're you're almost like
00:25:50.260
approaching a point where you'd write a song like sacred or so like it's this hard black edgy
00:25:58.320
sound there's almost like a choir off in the distance and so on i i think this also is a like
00:26:12.000
i mean simon spence was saying in his book the the the song that comes after uh
00:26:42.000
like what is it nothing to fear or have no fear nothing to fear yeah nothing to fear it's like
00:26:47.640
this autobahn you know like cross work i mean i i think they're they're they're experimenting with
00:26:54.840
some things as many like duds as there are in this album like monument and some other ones um
00:27:02.900
you have this like demonstration that you can work in different styles like
00:27:07.960
you have leave in silence and see you pushing towards the style that they're going to
00:27:14.300
create for the rest of the 80s at the very least
00:27:18.040
um and then you have nothing to fear as this almost like
00:27:48.700
definitely reminds me of crock bear and it's also kind of pushing towards that vibe of like
00:28:04.260
you know i i don't know m83 or the you know the the soundtrack to drive with ryan gosling or
00:28:11.800
something that's like you know retro futurist like 80s thumping kind of thing it's very i i find it
00:28:19.740
very interesting and i think it's also this you know this kind of you're not trapped in one
00:28:25.780
particular type of sound you're you're kind of working to who you are but you can kind of
00:28:30.160
reference things like this you can reference a little crock
00:28:33.740
but what do you think is my favorite song in the album
00:29:05.660
no i do like that one that's what do you think that's oh do you we can talk about that for just
00:29:13.400
a little bit i mean do you think that's a kind of leftist song um no i i actually thought that was
00:29:20.920
more of a comment on on vince's leaving a kind of all things must pass kind of song things must change
00:29:27.400
we must rearrange them um you know kind of that's just the way in it and it closes the album
00:29:34.160
you know so i i figure like that's the the bow on it okay we're we're done we're transitioning we're
00:29:41.320
moved on from you know from the old depeche that's the um oh i say things must change the message
00:29:49.380
we must rearrange them we'll have to estrange them all that i'm saying a game's not worth playing
00:30:01.100
someone will call something will fall and smash on the floor without reading the text
00:30:54.940
them someone will call something will fall and smash on the floor without reading the text know what comes next
00:31:02.940
there's obviously no text messages at this time i would imagine that was like in reading the newspaper
00:31:08.940
or a letter yeah yeah yeah maybe it is a breakup song i'm projecting my own i'm projecting the album cover onto this song
00:31:16.940
right and you can always like some lyrics or you know they can remind you of a past girlfriend or something like that and you project you know oh this is this is definitely a love song but i think all of the like not all the majority of these songs are they can go both ways and that's probably the point you know even with the song like monument it kind of is touching on or like a foreshadowing of my monument it fell down it fell down it's
00:31:38.940
like it reminds me of when in question of lust he says it's a question of not letting what we've built up crumble the dust you know that kind of we're building up this uh i don't know idol of love or something or this you know relationship and
00:32:02.940
when the sight was found we laid the foundations down
00:32:12.940
it didn't take long before they came back tumbling down
00:32:27.940
but yeah the song in particular monument is is not it's kind of radical in the sounds that they use but it's quirkier than it is than it is radical
00:33:04.940
no my favorite song is one that i do think has an esoteric meaning
00:33:09.940
and i'm not i don't think i'm just projecting onto this one
00:33:13.940
and i also do think it's a nut that you can crack
00:33:18.940
oh god damn it i was gonna guess that one and that is also my favorite one
00:33:33.940
uh but it it starts out it does it almost sounds like some
00:34:16.940
yeah and there's there's some harmony going on it's it's kind of not you don't quite know who's
00:36:43.940
and at the beginning it's it's kind of set up that way
00:37:20.940
but you actually kind of wonder what's going on in there
00:37:23.940
like what's going on with this album this kind of you know
00:37:30.940
they're already talking about evoking a fascist aesthetic there
00:37:46.940
and then you have this kind of like weird little homage to Hitler
00:38:02.940
I don't really think the imagery or or anything has been misread on your part
00:38:09.940
I mean when it opens up with plans made in the nursery can change the course of history
00:38:14.940
it made me think of like childhood and uh things happening you know or that could go awry
00:38:21.940
in early youth and even you know in utero that kind of thing
00:38:25.940
but it also seems to be a kind of like anti-power song like oh he became a politician he shouldn't have done that
00:38:39.940
I don't think it's like a pain to Hitler I do think it's a nod
00:38:43.940
but yeah that and that also there there's a kind of like cheap psychoanalysis of you know if only mummy had loved him
00:38:50.940
or if his father hadn't you know beat him he he wouldn't have done the holocaust array
00:38:56.940
I mean it's just kind of I mean you know not the childhood doesn't affect
00:39:00.940
yeah I mean not the childhood doesn't affect you know your your adult outcome
00:39:05.940
but it's obviously it's a kind of cheap uh psychoanalysis
00:39:09.940
but but I don't know at the same I I do think it there there is that there is a little I you know I guess you could say
00:39:17.940
kind of like libertarian you know shouldn't have done that we shouldn't have given him toy soldiers
00:39:23.940
we should have loved him more or something like that
00:39:27.940
and I think that's kind of part of Martin's personality which is quirky and childlike
00:39:34.940
mm-hmm yeah I think there is a a big like childish kind of perspective or aspect
00:39:41.940
it just to a lot of Martin it's kind of like a shyness you know to to a lot of his songs
00:39:49.940
and that's probably influenced by the you know the way that you look at him he's not a big guy he's not
00:39:55.940
doesn't have the attitude of Dave or anything but you can it it comes across in in the lyrics and in
00:40:01.940
uh especially songs that he sings which are the more intimate kind of kind of ones I think that uh
00:40:09.940
you know this album I think with the exception of one single this actually charted higher than speak and spell
00:40:19.940
I um really okay than any single off of uh speak and spell see you uh charted at uh at number six
00:40:29.940
six and meaning of love went to number 12 and leave in silence went to 18 now these are all in the UK
00:40:35.940
singles charts but um you know for example like new life went to number 11 just can't get enough
00:40:43.940
went to number eight and dreaming of me went to number 57 on the UK's singles chart they haven't
00:40:49.940
went gold too okay it's not platinum but in a lot of ways it was you know it was good enough it was
00:40:57.940
uh it was uh it was still a success it still had the radio friendly uh songs to to be a success
00:41:05.940
you think of broken frame you think of like a broken structure it's definitely a comment on I'm sure it's a
00:41:11.940
comment on Martin's relationship with his ex-fiance but it's also a comment on certainly um Vince leaving
00:41:17.940
and I think that um you know Vince had the vision for speak and spell and I would certainly say that
00:41:27.940
Martin has a vision but it's kind of like cloudy uh in a lot of ways I and that might have a lot to do
00:41:35.940
with his uh lack of musical background or whatever it might be where he's definitely the ideas guy we can
00:41:43.940
I think that's pretty clear but I think that you know Allen uh would later fix the broken frame
00:41:51.940
if you will I I hate to be so cheesy and say it that way but you know I I think it's Martin's vision
00:41:57.940
through Allen that is that really creates uh some of their best records uh you have got to be the
00:42:05.940
the biggest Allen Wilder advocate maybe uh on the planet I don't disagree fully but that's interesting
00:42:13.380
you would say that and I don't disagree the more I think of it because he's kind of Martin Gore's
00:42:18.900
advocate like he would turn something from Martin Gore would write and kind of transform it and massage
00:42:27.380
it into into something great enjoy the silence being maybe the best example
00:42:35.940
words like violence break the silence come crashing in into my little world painful to me
00:42:49.300
pierce right through me can't you understand oh my little girl
00:42:56.100
all I ever wanted all I ever needed is here in my arms words are very unnecessary they can only do harm
00:43:24.100
to take a song and make it uh more poppy more disco is definitely not uh not Allen's uh thing
00:43:50.500
especially if you listen to any recoil that none of that stuff is is poppy in the in the least I think
00:43:56.260
that but I guess what I'm trying to say is they need each other in the same way that Roger Waters and
00:44:00.260
David Gilmour need each other you know um but yeah I think it's I think that's the uh the
00:44:09.860
the magic I guess about them but um and just a comment on the production I mean yeah like you said before
00:44:19.060
about monument a lot of the stuff is just quirky and you know it's it's not certainly not their uh
00:44:27.620
not their best no um they're also getting to a point uh this is another thing I read and I believe
00:44:35.620
in Simon Spencer there they're getting to a point of starting to record by um or maybe this is from a
00:44:41.860
documentary uh they're after this album there's they're starting to record putting a microphone on an
00:44:47.460
amplifier from a synthesizer so they're they're almost treating it like an instrument as opposed
00:44:52.260
to plugging a synthesizer directly into a mixing station so they're they're kind of moving you know
00:45:00.980
to the degree to which that is more I don't know live or acoustic or analog or whatever I think they're
00:45:12.180
they're moving towards that but you were about to say something before I added that well just to
00:45:17.380
comment on that I mean the other thing too by putting the microphone up to the uh amplifier is
00:45:22.340
that you get the sound of the room you get a little bit more atmosphere maybe a little bit more uh uh
00:45:27.300
reverb which would definitely be bigger in their uh uh records after after a broken frame yeah what would
00:45:34.260
you give this out of uh out of 10 I mean I would give it a a seven but I gotta say that if you listen
00:45:42.900
to the Depeche Mode live at Hammersmith in 1982 these songs are so much better live they're so much better
00:45:51.060
live I mean Dave is yeah I mean Dave's really shining I have to say uh he's just obviously a great uh showman
00:46:03.380
yeah I yeah I think seven is fairly generous for this album I I I mean there's some things I like
00:46:12.820
about it but ah in our kind of ongoing always revised ranking I I still would probably put this at the bottom
00:46:24.020
dead last yeah okay all right you're not a fan of uh you're not a fan of satellite or uh
00:46:36.740
I'm a satellite if no I'm not a fan of satellite I'm I'm a fan of no fear or without what is it called
00:46:45.620
again no fear without fear um nothing to fear nothing to fear yeah I'm kind of a fan of that quirky song
00:46:51.940
I like the sun and the rainfall it's kind of nice um shouldn't have done that is not like great
00:46:59.300
musically but it's just kind of evocative you know that it it includes that sampling of that that like
00:47:04.820
clapping or marching which I I think is a evocation of marching soldiers at the end um I think photograph
00:47:12.580
of you is perhaps their worst song ever written um yeah I like I like the singles I like leave in
00:47:20.720
silence and see you and meaning of what I think those are kind of fun singles so I don't know
00:47:25.960
yeah yeah I I yeah I would agree I I think the vision is kind of split you know one foot in
00:47:33.220
Vince Clark and or trying to sound like Vince Clark and one foot uh in in Martin's sort of psyche yeah