RadixJournal - Depeche Mode： Music For The Masses

00:00:00.000 Thank you for your support!

00:00:28.000 I'm taking a ride with my best friend

00:00:37.380 I hope he never lets me down again

00:00:49.800 He knows where he's taking me

00:00:54.640 Taking me where I want to be

00:00:59.160 I'm taking a ride with my best friend

00:01:04.540 So a lot of people will say that this is Depeche Mode's best album.

00:01:16.740 Now, I am a partisan for Black Celebration.

00:01:26.540 Probably a lot of people would immediately answer Violator to what is Depeche Mode's best album.

00:01:35.580 Maybe some might even say Songs of Faith and Devotion.

00:01:38.420 We'll get to those soon.

00:01:40.360 And I think this definitely is in the running.

00:01:45.200 And I think a lot of things came to a head with this album.

00:01:54.360 Aesthetically, visually, even.

00:01:58.180 And I think it might very well be their best.

00:02:05.760 And it's also that point where they, I mean, they developed a fan base for Speak and Spell.

00:02:15.140 They developed a fan base among Basildon.

00:02:18.020 Many of those people probably being their personal acquaintances.

00:02:21.480 But this was a point where they developed a massive fan base in Europe, still outside of England for the most part.

00:02:34.760 They developed a fan base in the United States.

00:02:39.020 This was the album that launched the concert in Pasadena at the Rose Bowl, which I actually just learned hadn't hosted a music event for some time.

00:02:51.480 The opening act was OMD, so it was almost like it came full circle.

00:02:55.960 The people who inspired Depeche Mode were the opening act.

00:03:00.520 And they never, I don't think Depeche Mode has ever been on the level of the Beatles, Taylor Swift, any just household name, etc.

00:03:15.320 They're still an alternative band, but their cult following had grown to such a point that they were on the banks of the mainstream, but effectively a mainstream band.

00:03:31.420 They probably had a larger, more fanatical fan base than mainstream acts.

00:03:38.280 They aren't really charting that high.

00:03:41.980 I mean, I remember I was reading actually the stripped biography and you get some, you know, charts at 17 and then collapses and so on.

00:03:50.460 I think the album might have charted it at 9, it charted it at 2 in Germany.

00:03:53.600 So there's obviously that, you know, theme we're talking about where they're speaking to Central Europe, apparently more than they're speaking to Brits and Americans.

00:04:02.920 But at the same time, there's some of these funny news reports from the 80s that are on YouTube of like the album selling out in five minutes and people ransacking the store and just having this huge concert in the Rose Bowl.

00:04:21.680 This is when it came together in the sense that they're not, they're certainly not going away, which might have been a danger with like a broken frame.

00:04:34.780 They are confident in their new sound, which we saw with some great reward.

00:04:41.540 But they're now putting out albums where I would say that every single track is really good, really great.

00:04:49.660 Every single one is a classic.

00:04:52.760 They are selling out stadiums.

00:04:56.360 They have a kind of repertoire of anthem-like songs that people are singing together, tens of thousands loudly before the band.

00:05:06.760 They are, with this album, they're going more towards guitars.

00:05:10.160 They're going more towards Elvis, Leisure, Little Treasure, which fascinatingly is a B-side and is probably, you know, top 10, maybe top 20 Debeshwood classics.

00:05:27.500 Is an Elvis song, but an Elvis song with a twist.

00:05:32.280 And I just, this, so you hear a lot of Violator in this album.

00:05:40.080 You hear a lot of certainly some great reward.

00:05:44.680 They've just mastered the industrial sound to a point that they're very confident with it.

00:05:49.900 And also, you have this, you know, commie, fash-wave aesthetic of, first off, music for the masses, which I think was a bit jokey, the title, because the, you know, inside joke is that there are never going to be music for the masses.

00:06:11.060 They have this fan base and, you know, they don't really chart that well, et cetera.

00:06:15.600 But this is, it's kind of a joke about their unpopularity in some ways, but it's a just full embrace of 20th century totalitarianism as an aesthetic.

00:06:29.980 Red speakers.

00:06:32.140 And I'll have some quotes on this as we get into this.

00:06:38.360 I mean, it, I think it is, it's not my number one album, but I think in terms of everything coming together, firing on all cylinders, becoming a classic band, it is here that the full achievement comes to fruition.

00:07:02.140 We're flying high, we're watching the world pass us by, never want to come down, never want to move on, leap back down on the ground.

00:07:24.880 So what do you think?

00:07:25.840 Yeah, I think that, I think sonically, musically, this is a huge step up.

00:07:34.240 I think that with this album, Depeche Mode is like finally able to grab America, where they might have lost them in 1986 with Black Celebration.

00:07:44.160 And as good of an album as that is, it's, it's not as commercial as this one.

00:07:50.320 And I think I mentioned this on our Black Celebration podcast that it didn't chart well at all.

00:07:56.840 I think it was like in the seventies and the album itself charted like in the seventies in America or something, in the year end billboard charts.

00:08:04.160 It's probably their most accessible album since Speak and Spell or Some Great Reward.

00:08:09.780 I think those two are very accessible.

00:08:11.680 I think this album is very accessible.

00:08:14.080 So although music for the masses was a joke for the band, it actually is kind of music for the masses or in a lot of ways, at least with, especially with the singles.

00:08:25.860 I think the album has a really good balance, just like Some Great Reward had a really good balance of darkness and light, sadness and triumph.

00:08:36.240 And I think it is for a good reason that it's often considered their best album.

00:08:40.660 This, in a lot of ways, it is their peak.

00:08:42.300 Like they, they still haven't played to a bigger show than the 101 gig in Pasadena, where they played to 60,000, over 60,000 people.

00:08:52.400 Um, and as far as I remember that gig, the, I think it was the Eagles who had played there last or something before them, I'm saying.

00:09:01.700 Yeah.

00:09:01.900 Um, and it's, it's kind of a, I think it's a summary of their albums thus far.

00:09:09.380 So I think it has the accessibility of Speak and Spell, the moodiness of a broken frame, the toughness of construction time.

00:09:17.560 Again, again, the sound has really improved.

00:09:20.180 It's a louder album than say, um, Black Celebration was.

00:09:24.880 And the anthemic qualities, uh, of Some Great Reward are there in this album.

00:09:30.100 Yeah.

00:09:30.680 And I think the edginess of Black Celebration, uh, is also there in this album. 0.99

00:09:36.000 I think it's a total achievement.

00:09:38.300 Yes.

00:09:38.780 Also, I would also mention just the, the sonic quality.

00:09:43.660 And I, and I guess this is with mixing.

00:09:45.420 So they, they mixed this in a Scandinavian studio.

00:09:50.040 Um, they actually had a new producer, uh, name is Dave Bascom.

00:09:56.820 And one thing I have to say, I mean, I am a fan of Black Celebration.

00:10:03.200 And I probably will just, almost just to be a contrarian, just pick that as their best album.

00:10:09.660 But, but, uh, it's, it sounds actually quite bad.

00:10:15.060 And this might, I mean, I'm not necessarily saying this is the best mixed or just the best

00:10:23.520 sample, the, the best sonically booming album necessarily.

00:10:29.240 But this sounds cinematic and big and all of the synthesizer, uh, sounds are really well

00:10:41.800 chosen and really accessible.

00:10:44.680 Whereas there, there are some great songs in, on Some Great Reward, for, for instance,

00:10:50.800 or Black Celebration that just sound muddy and strange.

00:10:55.860 They, they, they almost sound like a demo track, uh, to be, uh, uh, critical of them.

00:11:02.140 Whereas this is totally polished.

00:11:05.760 And, and I think that cinematic quality is, is worth dwelling on.

00:11:11.140 Um, one of my favorite songs, Pimp, uh, it does seem almost like a soundtrack to a Christopher

00:11:21.480 Nolan action movie or something.

00:11:23.420 And there, there are a lot of B-side remixes, but the Spanish taster is really interesting.

00:11:31.560 And, but, but with the, the Pimp as well, you know, they're just building and building and

00:11:42.580 they're putting, it's the same basic idea repeated over and over again, but they're just

00:11:47.700 building and building and just putting new layers on, on layers to this point that it's bombastic

00:11:54.420 and operatic.

00:12:24.420 We'll be right back.

00:12:54.420 We can think back to some construction time again, songs where I think I charitably called them like a kind of like an art song,

00:13:12.780 like these attempts to do something that's kind of like an interesting idea, but is just really, you know, kind of strains listenability here and there.

00:13:29.320 But with this, they're just completely confident where they know they can do, say, an instrumental track like Pimp for Agent Orange or which have been either B-side or some other things.

00:13:42.760 And they can just make it really great.

00:13:46.940 And again, it sounds like a movie soundtrack.

00:13:51.600 I think I would say the same thing for Strangelove as well.

00:13:54.340 So the improvement with this album is really, it's unmeasurable.

00:14:02.600 I mean, I can't put it more strongly just in terms of an artifact of something that's perfect, something that you don't want to change anything,

00:14:12.100 something that never really strains the year or anything like that.

00:14:16.820 It is music for the masses.

00:14:46.820 It is music for the masses.

00:15:16.820 It is music for the masses.

00:15:46.820 It is music for the masses.

00:15:50.580 Definitely.

00:15:51.480 I think what draws me to the album is the fact that, like I said, they've got this, it's a summary.

00:15:58.560 They've got the synth pop, they've got the industrial, and now they're going into a more guitar laden, you know, rock influence,

00:16:07.120 which definitely comes to the fore in the song, like Pleasure, Little Treasure, with the guitar riffs on there.

00:16:14.200 And I think at the time, the band was trying to shy away from the guitar influence, and they certainly were trying to shy away from using guitars, period, before,

00:16:26.440 just because music in general at the time had been so guitar dominated.

00:16:32.320 And I think that it's the use of synthesizers and using guitars through synthesizers that helps to really shape the sound.

00:16:45.940 But as long as we're talking about sound, I kind of want to talk about the recording of this album, because I was listening to some interviews with their producer, Dave Bascom.

00:16:57.140 So one of the things that he said during this time was he was striving to make the band a little bit less industrial, a bit less construction time again, and a little bit more, a little bit louder and a little bit more rock driven.

00:17:13.640 And he admits that he was kind of hands off, and he said, really, the band produced the album, and more to the point that Alan was really the driving force of the band.

00:17:27.140 He, as goes the lore...

00:17:29.740 I read that as well. I think Alan said it was the most self-produced album.

00:17:34.740 And Bascom, yeah, he also, he corroborated what you're just saying, yes.

00:17:39.080 And according to Bascom, he was the driving force, the workhorse, the craftsman, as the lore goes.

00:17:47.160 And yeah, like I said, he admitted that he was a little bit more of an engineer, and Depeche Mode kind of produced it.

00:17:52.720 And he said he would spend like hours or whatever with Alan in the studio, just as far as like crafting the individual sounds.

00:17:59.320 And I think this, where Alan is staying in the studio and really crafting a lot of the sounds, starts on some great reward.

00:18:08.020 There's a little bit in there where the Basildon 3 had gone off on vacation, and Alan, Gareth, and Daniel had finished producing it.

00:18:19.320 And I think you could tell in an interview that Alan was a little bit resentful for that, because, you know, he's bearing the brunt of it.

00:18:29.260 But what really, I think, begins here is Martin's coming up with the demo, Alan taking it home, and adding new sounds, rearranging something, taking stuff out.

00:18:45.000 I mean, even to the point where Dave Bascom was saying, like, a lot of Martin's, some of Martin's ideas would be ruthlessly edited or deleted, taken out, rearranged, whatever.

00:18:56.120 Alan had the vision. I'm not saying this is his album, definitely not, but he definitely had the vision as the sort of engineer type.

00:19:08.100 Yeah, I don't doubt it, actually.

00:19:10.220 I think, you know, look, they're all coming into their own.

00:19:14.600 Martin is coming into his own as a songwriter.

00:19:18.520 I don't think any of these songs are, like, I would describe as quirky, which I would use that adjective with a lot of Martin Gore numbers.

00:19:31.120 These are more mature.

00:19:33.660 And, you know, I look forward to getting into some of the lyrics as well and what they're about.

00:19:40.680 Dave, you know, Vince Clark was unhappy with Dave, basically.

00:19:48.040 He was, like, he has a very limited vocal range.

00:19:51.980 And, you know, with Vince Clark, when he forms other bands, Yaz or Yazoo, you have this contralto woman, which is kind of a really weird voice in a way.

00:20:01.380 It kind of almost sounds like a man's voice.

00:20:03.260 And then you have, with Erasure, a tenor voice, very high singing.

00:20:08.300 So he's obviously going for something that Dave could not fulfill.

00:20:13.880 But Dave, as you get older, you know, you, I don't know, your body fills out.

00:20:20.900 You become more resonant.

00:20:22.460 You're just a better singer.

00:20:24.560 I think this is the first, you know, maybe not the first.

00:20:27.940 But this is where Dave sounds like a mature adult.

00:20:31.120 He's a clear baritone.

00:20:33.440 And you, you're getting a lot of Elvis.

00:20:37.680 And he's starting to lean in to the Elvis sound of his voice.

00:20:43.680 And I think it's, you know, it's kind of like if, you know, you have to play to your strength.

00:20:49.680 You, you wouldn't, you wouldn't, might even not even peg him as a baritone with speak and spell because he's so young that it doesn't quite sound like that.

00:21:00.340 Once we get into the late 80s and afterward, this is a lower male voice that really fits well with the clanging guitar, the kind of low notes and crooning or whatever you want to say it that made Elvis famous.

00:21:20.200 And they're, they're kind of leaning into that where I don't, I don't think they were before.

00:21:26.440 And so I, I think this is, again, they're, they're in their late 20s.

00:21:32.500 They've been around, they've survived, whereas most bands don't, they have a fanatical fan base and they're, they're just playing to their strengths and, and kind of moving in to this almost ironic take on Americana or American rock and roll Elvis, the blues.

00:21:54.680 This is also where they're starting to feel confident enough to kind of meld that with electronic music, which is seeming, you know, two things that are seemingly unmanageable together, but just somehow work if done right.

00:22:10.320 Definitely. I think that the only criticism I have of this sound of the, the album is that a song like Strange Love does kind of sound dated with the reverb.

00:22:25.660 I guess all of these big cinematic or anthemic qualities that you're talking about with the sound in a way, maybe, maybe it didn't bite them in the ass in a sense, but it's, it does sound like 1987, 88.

00:22:42.120 Uh, but it's still nevertheless a great album with, uh, great lyrics, but that's about the only like criticism I have as far as Dave's voice is concerned.

00:22:53.460 He has that if you listen to his voice isolated, which they have, for example, enjoy the silence they have, I've heard isolated tracks and I, you can't really hear how much vibrato he has, but it's like super fast.

00:23:10.660 And it's super subtle that I honestly, I've not really heard on many singers getting it that subtle. I don't, I don't even think it's on purpose. I just think it's, it's something that I overlooked initially when, when listening to Depeche Mode, because when I started listening to Depeche Mode, had that kind of same Vince Clark attitude about Dave's voice.

00:23:34.440 Well, it's limited. Well, it's limited. It's only a baritone, but I guess the, a way to put it is that it's rich and it's only gotten richer actually with, with age.

00:23:43.700 Words like violence, break the silence, come crashing in, into my little world, painful to me, pierced right through me. Can't you understand? Oh, my little girl, all I ever wanted.

00:24:02.300 I don't think any of this works with the tenor, actually. I don't think it works with the female, definitely. And there's no Depeche Mode without that sound. With the low voice that's a little bit gruff and tough and a little bit barky sometimes, but also is, yeah, rich and deep. That's Depeche Mode sound. And it does not work. No one else can do that.

00:24:28.020 And, you know, again, it's just these weird, or I shouldn't say weird, but just amazing coincidences of these people coming together, haphazardly forming a band and the stars aligning or, you know, the molecules combining into something new.

00:24:49.220 Stranger, strange lies and strange love, strange love.

00:25:11.600 That's how my love goes, that's how my love goes, stranger. Will you give it to me? Will you take the pain? I will give it to you again and again. Will you return it?

00:25:26.160 So, Never Let Me Down Again is the opening number.

00:25:42.760 Also very, it's not the first single. The first single is Strange Love, and the single was recorded in Paris, as was the music video, which is very cool.

00:25:55.820 Anton Corbin, black and white. You're clearly in Paris. The shot of the Eiffel Tower.

00:26:02.140 There's this, you know, intriguing woman that Dave is chasing, and it's very fashionable, very 80s, but also kind of timeless as well.

00:26:12.140 This is no longer a kind of teeny bopper band. This is a, you know, interesting, mature band.

00:26:21.660 But the opening number is Never Let Me Down Again, and it was also a single that did not do very well.

00:26:28.980 But I would say Never Let Me Down Again. Because of the anthem quality, the just driving force of the quality of the chorus and everything, it has probably been played at every single concert since.

00:26:47.000 It is a great song, and also an intriguing song, if I'm going to use that word, eyebrow-raising song is maybe a better adjective when it comes to the lyrics.

00:27:03.240 I'm taking a ride with my best friend.

00:27:15.480 I hope he never lets me down again.

00:27:20.440 I hope he never lets me down again.

00:27:47.000 He knows where he's taking me, taking me where I want to be.

00:27:51.160 I'm taking a ride with my best friend.

00:27:53.840 And then the next verse is just a variation on that.

00:27:57.480 I'm taking a ride with my best friend.

00:27:58.880 I hope he never lets me down again.

00:28:00.800 Promises me I'm as safe as houses as long as I remember who's wearing the trousers.

00:28:05.720 I hope he never lets me down again.

00:28:07.200 Now, when you listen to the chorus of, we're flying high, we're watching the world pass us by, you get this sense of, it's an acid trip or something like that.

00:28:22.140 And you're above yourself, like floating, looking down on yourself in a dream or something like that.

00:28:30.260 I never want to come down again.

00:28:32.320 What do you come down from?

00:28:33.280 You come down from a high.

00:28:34.900 I never want to put my feet back down on the ground.

00:28:38.240 But there's just, I'm taking a ride with my best friend.

00:28:44.340 There's this, even the, he promises me we'll be as safe as houses as long as I remember who's wearing the trousers.

00:28:50.340 You can interpret that lyric in terms of drug use.

00:28:54.760 You can also interpret it as homoerotic and strangely homoerotic.

00:29:05.060 I don't, it's the, I hope he never lets me down again.

00:29:09.540 Well, what does that mean?

00:29:11.100 Does that mean getting let down from a high or is it being disappointed or betrayed?

00:29:16.500 You know, remember who's wearing the trousers?

00:29:20.560 That's a cliche about, I think in the United States we say, remember who's wearing, who wears the pants in that family.

00:29:27.980 You know, it means who's in charge.

00:29:30.300 But in the context of taking a ride with your best friend, it also just, your mind goes to, this is about something else.

00:29:41.460 So I don't, I don't even know quite what to say about it.

00:29:47.200 I mean, I, I wonder if this is a nut that you can't quite crack in the sense that it's, it's not like precious, which is about a child of divorce.

00:29:58.560 And, you know, you don't really know of that on the surface, but once you just dig down a little bit, you feel it.

00:30:05.040 This one, I don't know.

00:30:07.660 It, it, you know, drug use and a homosexual experience. 1.00

00:30:12.200 I don't know if that's what it's about, but that's where my mind goes.

00:30:19.040 I mean, I don't want to go here, but Martin, uh, Martin did it for me.

00:30:25.140 So I think that when you said, never let me down again, like your best friend's letting you down or quote unquote best friend.

00:30:35.660 Right.

00:30:36.580 That is the best friend to drug.

00:30:38.720 You know, it's like, is my, what do they call Dr. Feel good or, you know, I want to take another hit from my best friend.

00:30:45.520 It's almost like something you would say about it that that's there, but then it's more literally your best friend or, and I kind of ironic best friend, you know, in the, in a homosexual sense. 0.74

00:30:56.080 I, I don't know, but go on.

00:30:58.180 Sorry.

00:30:58.400 I interrupted you.

00:30:59.260 It's okay.

00:30:59.820 I, I mean, the worst take that I can come up with is that it might be about impotence, like literally letting someone down.

00:31:08.620 I'm that is the worst take.

00:31:11.060 Yeah.

00:31:11.480 Well, I mean, he said, he said these lyrics, uh, but yeah, I, I honestly, I don't really think it's, yeah.

00:31:19.100 There's definitely some hints of gayness with the, who's wearing the trousers lyric, but I really do kind of think it is like a drug song.

00:31:26.840 Like you're never let me down.

00:31:29.340 You're trying, you're like trying to get high.

00:31:31.640 I think, you know, obviously the flying high, I think it might be the stars shining bright and yeah.

00:31:39.280 Why did it take them six albums to come, to get to their first drug song?

00:31:43.960 That's yeah.

00:31:46.060 Isn't that a bit strange?

00:31:47.280 Maybe.

00:31:48.220 Yeah.

00:31:49.100 Yeah.

00:31:50.120 I'm glad in a way.

00:31:51.640 I think drug songs to be kind of boring, but this is so poetic that it's more than a drug song.

00:32:00.020 And it, it kind of puts you in that mood of flying and, you know, seeing the stars, they're shining bright.

00:32:08.120 Everything's all right tonight.

00:32:09.800 Uh, it, it's more than that.

00:32:12.540 It's a, you know, you could say it's like a poetic description of a dream.

00:32:15.660 Um, I was just gonna say, I think one of the interesting things with this song is that the drums were sampled from the first place.

00:32:33.800 i was just gonna say i think one of the interesting things with this song is that

00:32:43.520 the drums were sampled from when the ledby breaks by led zeppelin and dave bascom admitted that and

00:32:50.800 you can tell it's got that like compression and reverb on the these big giant snares you know

00:32:55.700 that often epitomize like drum sounds in the 80s but then it was then the uh guitar the opening

00:33:02.700 guitar riff was later sampled by like this uh rap group the third bass and um the band was like

00:33:10.220 appreciative of it actually they weren't like a lot i mean they were sampling themselves so

00:33:15.000 it's not like they could be hypocritical about it but

00:33:17.940 hard as hard as chinese arithmetic avant-garde not a heretic pick out a wipe i'm sticking in my

00:33:43.560 yes i had the big orchestral samples too as well yes it's just operatic at some point or cinematic

00:33:56.300 whatever you want to say it it's like it's like the the music to an action movie or something or

00:34:02.320 like an alien invasion you know it's it's just they're just going completely big in what they're

00:34:09.660 doing and it and it takes confidence to uh uh to pull that off yeah i i it's not my favorite song

00:34:19.040 but i i understand why it's a uh why it's a classic and why it's just constantly played

00:34:26.940 the dave apparent i mean according to this one documentary and this is also in stripped is that

00:34:31.940 he started waving his hands like in this almost like 45 degree angle to the crowd ed pasadine in

00:34:39.800 the rose bowl and everyone just started doing it with him in unison um he he's continued to do that

00:34:46.760 at every concert that i've ever attended so he's been doing this for 30 years and it's still works

00:34:54.140 um yeah it's it's an amazing song yeah you gotta wave your hands to to this song uh i mean

00:35:04.040 at both concerts when they played it in unison everybody's waving their hands and it's all it's

00:35:11.460 just such a great energetic song it is almost can't be not played live like it has to be played

00:35:18.300 live from them

00:35:19.760 i heard it from my friends about the things you said

00:35:44.300 i heard it from my friends about the things you said

00:35:49.360 i heard it from my friends about them

00:35:53.200 i heard it from my friends about the things you said

00:35:57.000 i heard it from my friends about the things you said

00:36:00.260 but they know me better than them

00:36:05.720 they know me better than them

00:36:09.680 they know me better than them

00:36:10.760 And then we go to things you said.

00:36:29.560 I'm just kind of going in order on this one,

00:36:31.260 but it's almost like every song is worth dwelling on.

00:36:34.900 And, you know, it's almost on some level a song

00:36:41.980 that you could imagine Taylor Swift singing.

00:36:45.000 Like, I heard it from my friends about the things you say.

00:36:49.380 Like, it's a very almost high school, like, sentiment.

00:36:55.080 And, but it's done in this interesting way.

00:36:59.640 This is a song sung by Martin Gore.

00:37:01.760 However, it has this minimalist bass line.

00:37:08.640 And I think in that sense, it really works.

00:37:15.040 Yeah, it's also like a really eerie sounding

00:37:19.020 with the voices basically going from like that C minor to A flat

00:37:25.300 and playing with that G to A flat semi-tone.

00:37:29.240 And I mean, yeah, it's just an awesome, great melody

00:37:35.160 with the do-do-do-do-do-do-do-do-do-do-do-do-do-do.

00:37:39.840 Yeah.

00:37:40.120 But yeah, the lyrics are a little bit, I don't know,

00:37:43.760 maybe on the nose, but the sound,

00:37:49.080 everything just works for this song.

00:37:52.120 I even like the fact that the kick,

00:37:55.220 which is usually on one and three, is on two and four.

00:37:57.820 So it's like nothing, two, and then it's hard to describe.

00:38:02.280 That kind of rhythm is often used in like reggae

00:38:05.340 with usually you'll hear a snare on two and four,

00:38:08.940 but on this, it's nothing on one and three

00:38:11.580 and on the two and the four is the kick.

00:38:14.620 But yeah, and it was, the 101 version of this is awesome too.

00:38:20.280 Yeah.

00:38:20.440 With, it's basically just Martin and Alan playing.

00:38:27.160 But 101 has got to be the best live album ever produced.

00:38:33.740 I obviously say that as a Depeche Mode fan,

00:38:36.920 but the capturing of the musical quality is great.

00:38:44.140 And then there's just enough crowd noise

00:38:46.600 where you know it's live and you know it's real.

00:38:50.700 And I don't know.

00:38:53.700 I mean, it's, and again, it's this album basically

00:38:56.560 that makes up most of the music.

00:38:59.580 And I, you know, I don't know what to say.

00:39:02.780 I don't know of an album, a live album

00:39:06.720 that reaches this quality.

00:39:10.260 It, it almost sounds like one album

00:39:12.860 because all of their music is now,

00:39:14.660 it's all coming together.

00:39:16.940 And so, you know, Shake the Disease fits in here.

00:39:21.520 Just Can't Get Enough fits in,

00:39:23.960 even though it's, you know, written by Vince Clark

00:39:26.680 and it's totally kind of out of character

00:39:28.960 of what they're playing.

00:39:30.160 It's really an amazing album.

00:39:32.420 Yeah.

00:39:33.220 I don't, I'd have to think about that best live album.

00:39:36.240 But this, this is certainly the most played live album

00:39:39.740 that I've ever played without a doubt.

00:39:42.940 I mean, because it just has all the best,

00:39:45.360 the best hits on it.

00:39:46.520 There are days when I stray

00:39:54.920 I may appear to be

00:39:57.800 But I'm simply out of reach

00:39:59.840 I give in to sin

00:40:02.900 Because I like to practice

00:40:06.040 What I preach

00:40:07.900 I'm not trying to say

00:40:09.880 I've been on my way

00:40:11.880 I'm always willing to learn

00:40:13.900 I've got something to teach

00:40:15.840 Oh, and I'll make it all worthwhile

00:40:20.900 I'll make a pop spot

00:40:24.900 Come on now! 0.99

00:40:42.180 So, Strangelove seems to be riffing on a theme.

00:40:50.200 And, you know, even if we go back to

00:40:51.780 Never Let Me Down Again,

00:40:52.660 there is this theme

00:40:54.160 which I think recurs throughout the album

00:40:56.100 of letting go

00:40:57.380 And I don't know if they had pursued that

00:41:02.180 in some of their other, their earlier work

00:41:04.620 of I'll remember who's wearing the trousers

00:41:07.240 or you're behind the wheel

00:41:08.820 or other things like that

00:41:10.720 There's just this

00:41:11.620 I think that's like kind of a macro theme

00:41:13.920 that you see in other different songs

00:41:15.380 But Strangelove seems to be on the theme

00:41:18.480 It's a kind of take on master and servant

00:41:21.480 which came from Some Great Reward

00:41:23.320 It doesn't necessarily have to be about S&M

00:41:28.400 but that, you know, that's kind of where the mind goes

00:41:32.760 particularly knowing them

00:41:34.360 And then the, you know, pain

00:41:37.500 will you return it?

00:41:38.540 I'll say it again, pain

00:41:39.500 I won't say it again

00:41:40.600 This notion of a relationship

00:41:43.240 based on pain exchange

00:41:45.740 is when essentially Martin Gore

00:41:48.200 But as you say as well

00:41:49.820 it's

00:41:51.000 it's an interesting song

00:41:54.020 in the sense that

00:41:54.660 it is kind of a synth pop song

00:41:56.660 with a real infectious melody

00:41:59.160 although this one in the minor

00:42:00.620 you know

00:42:01.000 So it has that synth pop quality to it

00:42:11.200 It's a pop song

00:42:12.740 It's a, you know

00:42:13.740 a song you would expect on MTV

00:42:15.580 or something like that

00:42:16.900 in the late 80s

00:42:17.580 But I don't think it also

00:42:20.460 you said

00:42:21.220 I guess you were hinting

00:42:22.660 it's maybe a little bit dated

00:42:23.960 sure

00:42:24.580 but

00:42:24.980 it

00:42:26.000 I don't think it is

00:42:27.120 that much

00:42:28.060 it kind of

00:42:29.160 is a

00:42:30.480 mature

00:42:31.580 it's not

00:42:32.420 it's not just a

00:42:33.320 anecdotal

00:42:34.340 kind of fun

00:42:35.820 piece

00:42:36.440 like just can't get enough

00:42:37.700 which occurs in movies

00:42:39.860 quite a bit

00:42:40.640 and

00:42:41.800 almost always ironically

00:42:43.120 I actually saw this last night

00:42:46.020 this was

00:42:46.540 thrown up on my YouTube feed

00:42:48.400 that

00:42:48.660 it was actually in

00:42:50.400 the

00:42:50.960 Cocaine Bear movie

00:42:52.960 which I haven't seen

00:42:54.000 but it's just this like

00:42:55.020 uh 0.97

00:42:55.980 ridiculous 1.00

00:42:56.780 bloody 1.00

00:42:57.540 horror film

00:42:58.400 and they

00:42:59.240 they of course

00:42:59.880 go to

00:43:00.720 you know

00:43:03.020 just can't get enough

00:43:03.780 cocaine

00:43:04.280 you know

00:43:04.920 in a bear

00:43:05.480 that's murdering everyone

00:43:06.440 uh

00:43:07.180 yes

00:43:07.560 but

00:43:08.720 that

00:43:09.500 that is a

00:43:10.280 song that's

00:43:10.980 it's a kind of like

00:43:12.140 anecdote of the 80s

00:43:13.740 it's a song you heard

00:43:14.760 in high school

00:43:15.360 or something like that

00:43:16.400 if you're older than I am

00:43:17.540 even

00:43:17.720 um

00:43:18.600 this

00:43:19.900 this is like that

00:43:21.600 it's a synth pop

00:43:22.780 song

00:43:23.420 no question

00:43:24.240 but I think it's more than that

00:43:26.220 and then also

00:43:26.900 there's that

00:43:27.620 edge to it

00:43:28.740 where

00:43:29.120 it's

00:43:30.040 not just about

00:43:31.160 fun and love

00:43:32.180 it's about

00:43:33.280 strange love

00:43:34.840 uh

00:43:35.820 in the sense of

00:43:36.600 something

00:43:37.280 taboo

00:43:38.720 something weird

00:43:39.820 something

00:43:40.360 about

00:43:41.300 where you give

00:43:42.300 pain to one another

00:43:43.420 um

00:43:44.420 it's a

00:43:45.000 you know

00:43:45.380 typically

00:43:46.040 Martin Gore way

00:43:47.380 of writing

00:43:48.180 a love song

00:43:49.020 where

00:43:49.840 as opposed

00:43:50.480 to

00:43:50.700 about

00:43:51.420 love

00:43:51.900 you sing

00:43:52.260 about

00:43:52.460 pain

00:43:52.800 yeah

00:43:53.700 it's

00:43:54.560 it's a classic

00:43:56.620 absolutely

00:43:58.880 you know

00:43:59.660 there are two versions

00:44:00.620 of this

00:44:01.340 there's the album

00:44:02.000 version

00:44:02.460 that also had

00:44:03.560 a video

00:44:03.960 that was in

00:44:04.480 color

00:44:04.900 that came out

00:44:05.780 in 87

00:44:06.200 and then there's

00:44:07.020 the 88

00:44:07.540 single version

00:44:08.320 and

00:44:09.580 there was

00:44:10.460 a

00:44:11.300 Alan

00:44:12.080 and

00:44:12.620 Martin

00:44:13.280 clash

00:44:14.080 on which

00:44:14.880 one they

00:44:15.260 preferred

00:44:15.740 for the album

00:44:17.720 and Alan

00:44:18.940 preferred

00:44:19.380 the one

00:44:20.580 that

00:44:20.860 the version

00:44:21.460 that came

00:44:21.760 out on the

00:44:22.140 album

00:44:22.460 in 87

00:44:23.600 because

00:44:24.880 it

00:44:25.760 it sounded

00:44:27.620 it sounds a little

00:44:28.540 bit more eerie

00:44:29.220 it opens up

00:44:29.800 with like that

00:44:30.300 eerie kind of

00:44:31.020 looping sound

00:44:31.920 whereas

00:44:59.900 the 88

00:45:01.060 version opens up

00:45:02.300 with the drums

00:45:03.780 and the

00:45:04.640 the big

00:45:05.960 riff

00:45:06.520 in E minor

00:45:07.100 the bassline's

00:45:29.420 a little bit

00:45:29.980 busier

00:45:30.480 the 88

00:45:31.240 single version

00:45:31.840 is just

00:45:32.160 poppier

00:45:33.420 is all

00:45:33.960 but they

00:45:34.680 I don't know

00:45:35.440 that they've

00:45:35.800 ever played

00:45:36.220 the 88

00:45:36.720 single

00:45:36.980 every time

00:45:37.620 I've

00:45:37.980 seen them

00:45:38.880 play live

00:45:39.400 like on

00:45:39.720 101

00:45:39.980 they're playing

00:45:40.660 the album

00:45:41.440 version

00:45:42.320 but

00:45:43.660 yeah

00:45:44.380 I

00:45:44.880 obviously

00:45:46.460 I love

00:45:46.920 the album

00:45:47.320 so

00:45:47.640 I'm not

00:45:48.720 saying it's

00:45:49.280 super dated

00:45:50.160 sounding

00:45:50.700 but it's

00:45:51.960 I could guess

00:45:53.380 that it was

00:45:53.800 from the 80s

00:45:54.600 as far

00:45:56.540 as far as

00:45:56.660 the lyrics

00:45:57.080 are concerned

00:45:57.700 on this

00:45:58.160 one

00:45:58.380 I

00:45:58.860 you know

00:46:00.160 this one

00:46:00.540 was

00:46:00.780 it's actually

00:46:01.480 kind of

00:46:01.780 puzzling to

00:46:02.460 me

00:46:02.700 because it's

00:46:03.960 definitely about

00:46:04.340 relationships

00:46:04.880 it might be

00:46:05.460 about cheating

00:46:06.120 certainly about

00:46:07.180 the highs and

00:46:07.780 lows

00:46:08.280 but yeah

00:46:09.980 I don't

00:46:10.640 know

00:46:11.020 how

00:46:11.760 necessarily

00:46:12.860 deep

00:46:13.280 I could

00:46:13.800 penetrate

00:46:14.160 into

00:46:14.620 this one

00:46:16.520 and maybe

00:46:16.920 that's the

00:46:17.320 point

00:46:17.560 well

00:46:17.860 I think

00:46:18.480 it's

00:46:19.780 already

00:46:20.280 leaning

00:46:20.880 towards

00:46:21.860 a song

00:46:23.460 let me

00:46:24.520 I did

00:46:25.820 this before

00:46:26.480 what do you

00:46:27.200 think is my

00:46:27.680 favorite song

00:46:28.360 from this

00:46:28.680 album

00:46:28.940 and remember

00:46:31.540 I'm a

00:46:32.180 contrarian

00:46:32.920 I always

00:46:33.300 want to

00:46:33.600 like shock

00:46:34.180 people

00:46:34.500 pimp is

00:46:35.500 your guess

00:46:36.000 or little

00:46:37.540 15

00:46:38.020 close

00:46:39.420 I like

00:46:39.960 that one

00:46:40.220 as well

00:46:40.620 to have

00:46:41.220 and to

00:46:41.440 hold

00:46:41.720 oh

00:46:43.580 okay

00:46:44.640 yeah

00:46:45.200 but

00:46:46.180 it's

00:46:47.440 leaning

00:46:47.940 towards

00:46:48.660 there

00:46:49.100 again

00:46:49.480 so

00:46:49.920 yes

00:46:51.260 it's

00:46:51.480 in

00:46:51.780 a minor

00:46:52.340 mode

00:46:52.800 and

00:46:53.860 so

00:46:54.520 it's

00:46:55.180 already

00:46:55.620 a little

00:46:57.260 bit

00:46:57.480 different

00:46:57.860 than

00:46:58.620 synth

00:46:59.540 pop

00:46:59.940 but

00:47:01.000 it's

00:47:01.520 also

00:47:02.020 I mean

00:47:02.480 it's

00:47:02.700 singing

00:47:02.940 about

00:47:03.240 giving

00:47:03.780 pain

00:47:04.660 to one

00:47:05.060 another

00:47:05.340 but

00:47:05.620 then

00:47:05.980 it

00:47:06.720 also

00:47:07.160 is

00:47:07.440 getting

00:47:07.880 into

00:47:08.460 this

00:47:09.000 to

00:47:10.560 return

00:47:10.880 to

00:47:11.020 something

00:47:11.240 I've

00:47:11.460 been

00:47:11.540 talking

00:47:11.720 about

00:47:11.900 a lot

00:47:12.400 on this

00:47:12.840 podcast

00:47:13.400 this

00:47:13.660 deeply

00:47:14.940 protestant

00:47:16.100 notion

00:47:16.720 of

00:47:17.160 depravity

00:47:18.120 and so

00:47:18.560 he's

00:47:18.900 singing

00:47:19.160 about

00:47:19.460 his

00:47:19.640 own

00:47:20.000 crimes

00:47:20.740 which

00:47:21.660 are

00:47:22.200 unforgivable

00:47:24.360 and

00:47:25.580 it's

00:47:26.380 not

00:47:26.680 just

00:47:26.900 about

00:47:27.160 love

00:47:27.980 of

00:47:28.140 like

00:47:28.300 oh

00:47:28.540 I

00:47:28.900 love

00:47:29.600 these

00:47:29.980 you know

00:47:30.460 these

00:47:31.280 girls 0.98

00:47:31.620 with the

00:47:31.980 long

00:47:32.240 long

00:47:32.480 legs

00:47:32.960 or

00:47:33.160 something

00:47:33.520 it's

00:47:33.780 singing

00:47:33.900 about

00:47:34.060 I

00:47:34.240 give

00:47:34.620 in

00:47:34.980 to

00:47:35.240 sin

00:47:35.620 and

00:47:36.140 that's

00:47:36.360 the

00:47:36.480 only

00:47:36.820 way

00:47:37.140 to

00:47:37.300 make

00:47:37.480 life

00:47:37.900 livable

00:47:38.440 but

00:47:38.660 he's

00:47:38.960 seeking

00:47:39.340 redemption

00:47:39.940 and

00:47:41.560 I

00:47:42.760 again

00:47:43.340 I

00:47:43.720 think

00:47:44.160 all

00:47:44.600 of

00:47:44.860 the

00:47:45.500 guilt

00:47:46.180 ridden

00:47:46.880 curviness

00:47:47.880 that is

00:47:49.400 quintessentially

00:47:50.680 Martin

00:47:51.080 Gore

00:47:51.440 makes

00:47:52.120 this a

00:47:52.520 different

00:47:52.860 song

00:47:53.540 than it

00:47:54.220 otherwise

00:47:54.600 would be

00:47:55.660 you know

00:47:56.600 he's not

00:47:57.000 singing

00:47:57.400 about

00:47:57.700 like

00:47:58.040 my

00:47:59.400 you know

00:47:59.980 society

00:48:00.600 won't

00:48:01.020 accept

00:48:01.420 us

00:48:01.760 our

00:48:02.080 strange

00:48:02.600 love

00:48:02.940 he's

00:48:03.560 not

00:48:03.740 singing

00:48:04.120 about

00:48:04.400 that

00:48:04.700 he's

00:48:05.220 he

00:48:06.540 again

00:48:07.220 the

00:48:07.920 the

00:48:08.260 song

00:48:08.560 we

00:48:08.740 were

00:48:08.840 most

00:48:09.120 critical

00:48:09.480 of

00:48:09.740 what

00:48:10.160 was

00:48:10.440 it

00:48:10.740 from

00:48:11.660 was

00:48:12.300 it

00:48:12.440 sounds

00:48:12.840 of

00:48:13.240 the

00:48:14.020 universe

00:48:14.540 of

00:48:15.340 Jezebel

00:48:17.340 or something

00:48:17.800 where it's

00:48:18.260 kind of a

00:48:18.740 cool

00:48:19.000 song

00:48:19.460 but it's

00:48:20.300 ultimately

00:48:20.920 just a

00:48:22.160 kind of

00:48:22.680 like

00:48:23.100 2000s

00:48:24.900 era

00:48:25.320 feminist

00:48:26.480 kind of

00:48:27.220 thing

00:48:27.520 of like

00:48:27.940 oh

00:48:28.340 men

00:48:29.080 don't

00:48:29.460 respect

00:48:29.880 you

00:48:30.060 because

00:48:30.220 they

00:48:30.400 want

00:48:30.600 to

00:48:30.720 own

00:48:31.080 someone

00:48:31.640 you know

00:48:32.340 that

00:48:34.020 again

00:48:35.140 I actually

00:48:35.680 like that

00:48:36.120 song

00:48:36.340 but it's

00:48:36.860 it's

00:48:37.080 ultimately

00:48:37.420 just

00:48:37.960 kind of

00:48:38.720 lame

00:48:39.040 it's

00:48:39.320 like a

00:48:40.020 libtard 1.00

00:48:40.960 sentiment

00:48:41.820 strange

00:48:43.620 love

00:48:43.880 is not

00:48:44.600 strange

00:48:45.160 love

00:48:45.460 is a

00:48:45.960 modest

00:48:46.540 sentiment

00:48:47.260 about

00:48:47.800 his

00:48:48.240 interior

00:48:50.260 and his

00:48:51.020 depravity

00:48:52.260 and

00:48:52.820 his

00:48:53.680 giving

00:48:54.500 in

00:48:55.080 to

00:48:55.320 sin

00:48:55.720 and

00:48:56.860 perhaps

00:48:57.780 sadomasochism

00:48:59.660 is almost

00:49:00.320 the way

00:49:01.080 that

00:49:02.100 Martin

00:49:02.600 Gore

00:49:02.960 who's

00:49:03.220 so

00:49:03.380 guilt

00:49:03.700 ridden

00:49:04.120 can

00:49:04.580 engage

00:49:05.980 with

00:49:06.220 sex 0.69

00:49:06.700 in this

00:49:08.580 kind of

00:49:08.900 weird way

00:49:09.340 because there

00:49:09.760 has to be

00:49:10.320 some pain

00:49:10.880 you're doing

00:49:11.620 something wrong

00:49:12.620 he's not

00:49:14.020 liberated

00:49:14.660 he's repressed

00:49:15.660 there'll be times

00:49:18.160 when my crimes

00:49:20.180 will seem

00:49:22.040 almost

00:49:22.940 unforgivable

00:49:24.500 I give in

00:49:26.080 to sin

00:49:28.080 because you've

00:49:29.840 had to make

00:49:30.740 this life

00:49:31.740 livable

00:49:32.780 but when you

00:49:33.800 think I've had

00:49:34.680 enough

00:49:35.160 from the sea

00:49:36.140 of love

00:49:37.120 I'll take

00:49:38.060 Paul and

00:49:38.720 another

00:49:39.340 river

00:49:40.260 full

00:49:40.940 yes and I'll

00:49:42.940 make it

00:49:44.000 all

00:49:44.720 look

00:49:45.960 far

00:49:46.720 I'll make

00:49:48.720 your heart

00:49:49.400 smile

00:49:49.860 strange love

00:49:51.660 strange eyes

00:49:52.780 and strange love

00:49:53.880 strange love

00:49:55.800 that's how my love

00:49:57.540 goes

00:49:58.040 strange love

00:50:00.080 will you give it

00:50:01.560 to me

00:50:02.420 will you take

00:50:03.440 the pain

00:50:04.360 I will give

00:50:05.400 to you

00:50:06.340 again and

00:50:07.700 again

00:50:08.340 you get

00:50:09.640 to live

00:50:10.420 interesting

00:50:16.500 okay

00:50:16.940 I dig it

00:50:18.020 the only thing

00:50:19.080 I might push

00:50:19.620 back on a little

00:50:20.260 bit is just

00:50:21.420 coming from

00:50:22.020 a cradle

00:50:23.360 catholic

00:50:23.840 background

00:50:24.680 is

00:50:25.900 the

00:50:26.540 yeah I've

00:50:27.500 known

00:50:27.700 let's just say

00:50:28.240 I've known

00:50:28.520 some catholics

00:50:29.680 who are

00:50:30.040 guilt ridden

00:50:30.700 as well

00:50:31.200 sure

00:50:33.020 sure

00:50:33.680 but he

00:50:34.400 comes from

00:50:34.820 a protestant

00:50:35.280 background

00:50:35.600 so I think

00:50:36.040 that's where

00:50:36.520 it's coming

00:50:37.320 from

00:50:37.660 sure

00:50:37.980 yeah

00:50:38.480 but no

00:50:40.640 catholics

00:50:41.800 are famous

00:50:42.380 for their

00:50:42.700 guilt

00:50:42.940 self-flagellation

00:50:45.260 yes

00:50:46.220 literal

00:50:47.260 and figurative

00:50:48.080 yes

00:50:48.420 all right

00:50:49.780 you know

00:50:50.240 I'll actually

00:50:51.180 hand it to

00:50:51.860 you

00:50:52.240 on

00:50:53.000 this one

00:50:53.860 so

00:50:54.100 I had

00:50:55.100 listened

00:50:55.600 to

00:50:56.320 a question

00:50:58.040 of time

00:50:58.800 you know

00:51:00.260 hundreds of

00:51:01.140 times

00:51:01.660 in my

00:51:02.240 life

00:51:02.740 and

00:51:04.120 I liked

00:51:05.380 it a lot

00:51:05.840 I thought

00:51:06.060 it was a

00:51:06.300 cool song

00:51:06.760 I realized

00:51:07.140 it's driving

00:51:07.700 beat

00:51:08.180 I feel

00:51:09.660 like it

00:51:10.020 had been

00:51:10.300 hiding in

00:51:10.960 plain sight

00:51:11.720 for my

00:51:12.780 whole

00:51:13.140 life

00:51:13.760 in the

00:51:14.800 sense that

00:51:15.360 you mentioned

00:51:16.260 this when we

00:51:16.820 talked about

00:51:17.660 it from

00:51:17.940 some great

00:51:18.320 reward

00:51:18.660 it is a

00:51:19.260 it's

00:51:21.180 effectively

00:51:22.020 about

00:51:22.480 pedophilia

00:51:23.100 and

00:51:24.560 I think

00:51:26.760 that's

00:51:27.020 correct

00:51:27.480 it

00:51:28.200 it

00:51:28.580 seemed

00:51:29.040 I mean

00:51:29.360 you could

00:51:30.220 read it

00:51:31.600 on the

00:51:33.380 surface

00:51:34.020 as

00:51:34.700 well

00:51:35.440 it's

00:51:35.740 you know

00:51:35.980 you're just

00:51:36.300 in love

00:51:36.620 with this

00:51:36.880 girl 0.91

00:51:37.140 and you

00:51:37.420 don't

00:51:37.600 want

00:51:37.860 her

00:51:38.080 to

00:51:38.640 you know

00:51:40.440 be taken

00:51:41.100 up by

00:51:41.680 the other

00:51:42.120 group

00:51:42.580 or something

00:51:43.040 so I'm

00:51:43.480 gonna get

00:51:43.880 you

00:51:44.140 you know

00:51:44.940 I'm gonna

00:51:45.340 get you

00:51:45.680 get you

00:51:46.000 get you

00:51:46.340 get you

00:51:46.660 get you

00:51:46.680 one way

00:51:47.080 or the

00:51:47.300 other

00:51:47.480 or something

00:51:47.840 like that

00:51:48.260 but I

00:51:48.780 don't think

00:51:49.080 that's

00:51:49.360 what it's

00:51:49.820 about

00:51:50.160 I

00:51:50.400 actually

00:51:51.120 agree

00:51:52.540 and I

00:51:53.240 would

00:51:53.440 give it

00:51:54.780 a very

00:51:55.060 dark

00:51:55.520 reading

00:51:56.060 of

00:51:56.640 it's

00:51:57.280 almost

00:51:57.620 from

00:51:58.120 the

00:51:58.320 perspective

00:51:58.920 of a

00:51:59.460 predator

00:51:59.840 and

00:52:01.060 who's

00:52:01.680 going

00:52:02.220 to

00:52:02.760 turn

00:52:03.900 her

00:52:04.100 into

00:52:04.300 something

00:52:04.620 else

00:52:05.020 and

00:52:06.500 it is

00:52:07.020 only a

00:52:07.400 question

00:52:07.680 of time

00:52:08.000 before he

00:52:08.600 gets her

00:52:09.420 but

00:52:09.860 you can

00:52:11.640 if you

00:52:12.220 want to

00:52:12.400 add on

00:52:12.800 to that

00:52:13.200 I know

00:52:14.420 my kind

00:52:15.160 what goes

00:52:15.780 on in

00:52:16.140 their

00:52:16.260 minds

00:52:16.700 you know

00:52:17.360 I

00:52:17.720 think

00:52:18.620 that

00:52:19.500 I could

00:52:20.920 feel

00:52:21.260 the

00:52:21.620 the

00:52:22.020 disappointment

00:52:22.540 and

00:52:23.500 bewilderment

00:52:24.960 in your

00:52:26.480 reaction

00:52:26.920 when I

00:52:27.240 said

00:52:27.500 that one

00:52:28.240 of the

00:52:28.440 themes

00:52:28.680 on the

00:52:28.960 album

00:52:29.140 was

00:52:29.320 pederasty

00:52:29.900 but

00:52:30.720 I

00:52:31.200 hope

00:52:31.600 I

00:52:31.740 didn't

00:52:31.900 ruin

00:52:32.260 the

00:52:32.540 song

00:52:32.820 for

00:52:33.060 you

00:52:33.220 but

00:52:33.500 I

00:52:33.840 just

00:52:34.060 looked

00:52:34.300 at

00:52:34.480 it

00:52:34.580 and

00:52:34.640 I

00:52:34.740 was

00:52:34.880 like

00:52:35.100 yeah

00:52:35.560 it's

00:52:35.740 a

00:52:35.860 question

00:52:36.120 of

00:52:36.280 time

00:52:36.580 like

00:52:37.000 yeah

00:52:37.800 yeah

00:52:52.020 and

00:53:11.580 it's

00:53:11.740 funny

00:53:11.920 it's

00:53:12.100 before

00:53:12.340 they

00:53:12.640 get

00:53:12.880 their

00:53:13.140 hands

00:53:13.660 on

00:53:13.860 you

00:53:14.120 and

00:53:14.820 make

00:53:14.980 you

00:53:15.140 just

00:53:15.400 like

00:53:15.600 the

00:53:15.780 rest

00:53:16.220 so

00:53:17.180 that

00:53:17.480 is

00:53:17.700 before

00:53:18.200 in a

00:53:18.920 way

00:53:19.140 like

00:53:19.440 society

00:53:20.080 or her

00:53:20.460 family

00:53:20.860 or friend

00:53:21.280 group

00:53:21.600 turns her 0.94

00:53:22.140 into a

00:53:22.540 good

00:53:22.700 girl 0.91

00:53:23.060 you're

00:53:23.700 gonna

00:53:23.820 get

00:53:24.080 her

00:53:24.260 no

00:53:24.840 look

00:53:25.220 it

00:53:25.920 it

00:53:26.280 is

00:53:26.540 what

00:53:26.740 it

00:53:26.880 is

00:53:27.080 I

00:53:27.340 like

00:53:27.920 the

00:53:28.480 fact

00:53:28.800 that

00:53:28.980 it's

00:53:29.120 a

00:53:29.260 dark

00:53:29.540 song

00:53:30.000 and

00:53:30.920 just

00:53:31.660 because

00:53:31.920 you're

00:53:32.100 singing

00:53:32.440 about

00:53:32.760 something

00:53:33.080 doesn't

00:53:33.360 mean

00:53:33.580 you're

00:53:33.780 endorsing

00:53:34.240 it

00:53:34.360 it's

00:53:34.620 just

00:53:34.900 you're

00:53:35.900 putting

00:53:36.580 yourself

00:53:37.160 in that

00:53:37.600 in that

00:53:38.660 mind

00:53:39.200 of

00:53:39.700 someone

00:53:40.040 else

00:53:40.440 and

00:53:41.580 even

00:53:41.800 the mind

00:53:42.260 of a

00:53:42.900 villain

00:53:43.140 I think

00:53:43.520 that's

00:53:43.860 good

00:53:44.160 this

00:53:45.240 is

00:53:45.440 almost

00:53:46.040 a

00:53:46.920 rejoinder

00:53:49.700 maybe

00:53:50.120 or

00:53:50.880 a

00:53:53.280 way

00:53:53.640 of

00:53:54.280 you

00:53:55.920 know

00:53:56.160 it's

00:53:56.440 it's

00:53:56.740 little

00:53:57.220 15

00:53:57.620 that is

00:53:57.920 it's

00:53:58.340 talking

00:53:58.540 about

00:53:58.740 you

00:53:59.240 so

00:53:59.500 it's

00:53:59.660 from

00:53:59.980 the

00:54:00.180 perspective

00:54:00.720 of

00:54:01.640 a

00:54:01.760 man

00:54:02.100 but

00:54:03.600 it's

00:54:04.220 showing

00:54:04.980 great

00:54:06.160 sympathy

00:54:06.820 towards

00:54:07.680 little

00:54:08.020 15

00:54:08.520 we're

00:54:09.380 talking

00:54:09.600 about

00:54:09.780 someone

00:54:09.980 who's

00:54:10.140 been

00:54:10.260 abused

00:54:10.780 but

00:54:11.100 we're

00:54:11.360 I

00:54:12.280 would

00:54:12.440 say

00:54:12.640 probably

00:54:13.160 talking

00:54:13.600 about

00:54:13.800 a

00:54:13.940 child 1.00

00:54:14.200 prostitute 1.00

00:54:14.900 yeah 1.00

00:54:16.080 you

00:54:17.740 help

00:54:18.040 her

00:54:18.200 forget

00:54:18.500 the

00:54:18.860 world

00:54:19.160 outside

00:54:19.780 you're

00:54:20.220 not

00:54:20.400 part

00:54:20.740 of

00:54:20.840 it

00:54:20.960 yet

00:54:21.240 and

00:54:22.260 if

00:54:22.420 you

00:54:22.540 could

00:54:22.700 drive

00:54:23.240 you

00:54:23.380 could

00:54:23.520 drive

00:54:23.940 away

00:54:24.340 you

00:54:24.540 would

00:54:24.700 drive

00:54:25.020 away

00:54:25.360 so

00:54:25.600 you

00:54:25.780 this

00:54:26.260 idea

00:54:26.500 of

00:54:26.620 escaping

00:54:27.360 to

00:54:29.500 a

00:54:29.700 happier

00:54:30.040 place

00:54:30.480 to

00:54:30.620 a

00:54:30.740 happier

00:54:31.000 day

00:54:31.440 that

00:54:32.120 exists

00:54:32.540 in

00:54:32.720 your

00:54:32.840 mind

00:54:33.220 so

00:54:33.440 that

00:54:33.800 that

00:54:34.080 escape

00:54:34.460 is

00:54:34.880 only

00:54:35.140 a

00:54:35.560 fantasy

00:54:36.240 in

00:54:36.460 your

00:54:36.580 mind

00:54:36.960 you

00:54:38.420 could

00:54:38.580 escape

00:54:38.900 there

00:54:39.100 just

00:54:39.300 for

00:54:39.460 a

00:54:39.600 while

00:54:39.980 it's

00:54:43.460 she

00:54:45.600 knows

00:54:46.080 your

00:54:46.280 mind

00:54:46.800 so

00:54:47.180 now

00:54:47.360 he's

00:54:47.860 using

00:54:48.080 she

00:54:48.500 as

00:54:48.700 opposed

00:54:48.880 to

00:54:49.060 you

00:54:49.320 is

00:54:50.400 not

00:54:50.620 yet

00:54:50.920 in

00:54:51.100 league

00:54:51.580 with

00:54:52.040 the

00:54:52.240 rest

00:54:52.540 of

00:54:52.680 the

00:54:52.820 world

00:54:53.260 and

00:54:53.640 its

00:54:53.800 little

00:54:54.240 intrigues

00:54:55.360 do

00:54:55.880 you

00:54:56.020 understand

00:54:56.620 do

00:54:56.880 you

00:54:56.980 know

00:54:57.220 what

00:54:57.460 she

00:54:57.720 means

00:54:58.340 as

00:54:58.900 time

00:54:59.160 goes

00:54:59.420 by

00:54:59.840 and

00:55:00.520 when

00:55:00.700 you

00:55:00.820 have

00:55:00.920 seen

00:55:01.340 what

00:55:01.580 she

00:55:01.820 seen

00:55:02.420 you

00:55:02.920 will

00:55:03.280 why

00:55:05.240 does

00:55:05.440 she

00:55:05.620 have

00:55:05.920 to

00:55:06.120 defend

00:55:07.120 her

00:55:07.480 feelings

00:55:07.960 inside

00:55:08.500 why

00:55:08.820 pretend

00:55:09.380 she's

00:55:10.840 not

00:55:11.060 had

00:55:11.320 a

00:55:11.480 life

00:55:11.860 it's

00:55:13.060 a

00:55:13.220 life

00:55:13.440 of

00:55:13.580 near

00:55:13.720 misses

00:55:14.220 all

00:55:15.300 that

00:55:15.540 she

00:55:15.720 wants

00:55:16.160 is

00:55:16.540 three

00:55:16.840 little

00:55:17.140 wishes

00:55:17.480 she

00:55:18.020 wants

00:55:18.280 to

00:55:18.440 see

00:55:18.800 with

00:55:19.060 your

00:55:19.240 eyes

00:55:19.760 so

00:55:21.320 it's

00:55:21.760 almost

00:55:21.940 like

00:55:22.140 she

00:55:22.360 the 1.00

00:55:22.640 prostitute 1.00

00:55:23.260 the 0.97

00:55:23.500 child 1.00

00:55:24.020 prostitute 0.99

00:55:24.660 I 1.00

00:55:24.820 guess

00:55:24.960 wants

00:55:25.220 to

00:55:25.380 see

00:55:25.680 with

00:55:25.820 the

00:55:25.940 eyes

00:55:26.280 of

00:55:26.660 her

00:55:27.580 pimp

00:55:28.300 or

00:55:28.420 the

00:55:28.540 person

00:55:28.840 who's

00:55:29.220 hiring

00:55:29.740 her

00:55:30.120 out

00:55:30.420 she

00:55:31.220 wants

00:55:31.380 to

00:55:31.540 smile

00:55:31.900 with

00:55:32.060 your

00:55:32.180 smile

00:55:32.640 so

00:55:32.920 the

00:55:33.180 man

00:55:33.580 is

00:55:33.740 getting

00:55:33.900 pleasure

00:55:34.380 from

00:55:34.720 this

00:55:35.060 and

00:55:35.340 she

00:55:35.460 almost

00:55:35.680 wants

00:55:36.100 to

00:55:36.260 experience

00:55:36.820 that

00:55:37.140 because

00:55:37.400 her

00:55:37.600 whole

00:55:37.840 life

00:55:38.140 has

00:55:38.280 been

00:55:38.420 pain

00:55:38.720 she

00:55:39.540 wants

00:55:39.720 a

00:55:39.860 nice

00:55:40.120 surprise

00:55:40.580 every

00:55:40.840 once

00:55:41.120 in a

00:55:41.300 while

00:55:41.520 little

00:55:41.760 15

00:55:58.840 time

00:56:00.380 to

00:56:01.220 the

00:56:01.300 world

00:56:01.740 outside

00:56:02.960 you're

00:56:05.540 not

00:56:05.800 part

00:56:06.220 of

00:56:06.420 it

00:56:06.660 yet

00:56:07.280 and

00:56:10.280 if

00:56:10.560 you

00:56:10.760 could

00:56:11.040 drive

00:56:11.940 you

00:56:14.300 could

00:56:14.600 drive

00:56:15.000 her

00:56:15.300 away

00:56:16.140 to

00:56:18.800 a

00:56:19.120 happier

00:56:19.680 place

00:56:20.760 to

00:56:23.220 a

00:56:23.560 happier

00:56:24.160 day

00:56:24.980 that

00:56:27.740 exists

00:56:28.220 in

00:56:28.520 your

00:56:28.760 mind

00:56:29.660 and

00:56:32.440 in

00:56:32.720 your

00:56:33.140 smile

00:56:34.380 she

00:56:37.040 could

00:56:37.460 escape

00:56:38.200 there

00:56:38.980 just

00:56:41.460 for

00:56:41.860 a

00:56:42.140 while

00:56:43.200 little

00:56:46.200 15

00:56:46.760 I

00:56:52.380 think

00:56:52.560 it's

00:56:52.720 amazing

00:56:53.120 writing

00:56:53.760 it

00:56:55.060 it's

00:56:55.680 disturbing

00:56:56.180 it's

00:56:57.680 dark

00:56:58.800 I mean

00:56:59.120 maybe

00:56:59.360 there is

00:57:00.160 a little

00:57:00.500 bit of

00:57:00.960 sexiness

00:57:01.500 but it's

00:57:01.980 enveloped

00:57:02.680 in

00:57:02.920 darkness

00:57:03.900 and

00:57:04.560 pain

00:57:05.100 it

00:57:05.600 shows

00:57:07.000 sympathy

00:57:07.680 for

00:57:08.300 someone

00:57:08.660 going

00:57:08.920 through

00:57:09.100 this

00:57:09.320 it's

00:57:09.520 not

00:57:09.700 just

00:57:09.900 some

00:57:10.200 you

00:57:11.100 know

00:57:11.220 glam

00:57:11.640 rock

00:57:12.000 song

00:57:12.400 about

00:57:12.780 getting

00:57:13.660 it

00:57:13.840 on

00:57:14.040 with

00:57:14.220 a

00:57:14.300 hot

00:57:14.480 little

00:57:14.660 number

00:57:15.060 you

00:57:15.560 know

00:57:15.760 dancing

00:57:16.520 queen 0.69

00:57:16.900 only

00:57:17.160 17

00:57:17.640 this

00:57:17.940 is

00:57:18.080 not

00:57:18.460 that

00:57:18.880 and

00:57:20.200 I

00:57:21.200 yeah

00:57:22.940 I

00:57:23.400 think

00:57:23.900 it's

00:57:24.120 actually

00:57:24.380 an

00:57:24.520 amazing

00:57:24.880 song

00:57:26.940 and

00:57:27.300 it's

00:57:27.460 very

00:57:27.760 interesting

00:57:28.180 it's

00:57:28.740 the

00:57:29.820 orchestration

00:57:30.800 or

00:57:31.160 instrumentation

00:57:32.120 I guess

00:57:32.360 we should

00:57:32.700 say

00:57:32.960 it's

00:57:33.500 this

00:57:33.920 kind

00:57:35.960 of

00:57:36.080 symphonic

00:57:36.780 number

00:57:37.400 I

00:57:37.700 I've

00:57:38.060 listened

00:57:38.320 to the

00:57:39.080 demo

00:57:40.200 tape

00:57:40.640 by

00:57:40.920 Martin

00:57:41.240 Gore

00:57:41.560 it

00:57:41.840 was

00:57:41.980 also

00:57:42.220 synthesized

00:57:43.220 Alan

00:57:45.600 really

00:57:45.920 turned

00:57:46.560 this

00:57:47.060 into

00:57:47.720 something

00:57:48.240 bigger

00:57:48.800 and

00:57:49.140 more

00:57:49.580 cinematic

00:57:51.540 you know

00:57:52.280 to use

00:57:52.740 that word

00:57:53.140 again

00:57:53.460 yeah

00:57:54.300 with the

00:57:54.720 strings

00:57:55.180 but

00:57:55.840 but yeah

00:57:56.320 you can

00:57:56.780 you can

00:57:57.340 jump in

00:57:57.980 if you

00:57:58.740 want to

00:57:58.920 add

00:57:59.060 anything

00:57:59.340 on this

00:57:59.740 yeah

00:58:00.660 I think

00:58:00.960 if there's

00:58:01.360 any

00:58:01.560 sexiness

00:58:02.260 in it

00:58:02.800 it's

00:58:03.100 like a

00:58:03.380 forbidden

00:58:03.760 sexiness

00:58:04.340 it's 0.94

00:58:04.520 like you

00:58:04.760 don't

00:58:05.020 want to

00:58:05.320 admit

00:58:05.620 that this

00:58:06.160 underage

00:58:06.940 poor 1.00

00:58:08.300 prostitute 0.99

00:58:09.400 is in 0.99

00:58:10.280 a way

00:58:10.620 sexy

00:58:11.100 but

00:58:11.460 yeah

00:58:12.760 as far

00:58:13.940 as

00:58:14.320 the

00:58:15.500 sound

00:58:16.040 like

00:58:16.300 it

00:58:16.540 almost

00:58:16.980 didn't

00:58:17.180 even

00:58:17.360 make

00:58:17.620 the

00:58:17.780 album

00:58:18.120 as far

00:58:18.480 as I

00:58:18.680 understand

00:58:19.040 because

00:58:19.680 they

00:58:19.860 didn't

00:58:20.040 know

00:58:20.280 how to

00:58:20.600 approach

00:58:20.980 it

00:58:21.240 and

00:58:22.680 Alan

00:58:23.500 had seen

00:58:24.020 some

00:58:24.420 movie

00:58:24.940 I think

00:58:26.520 and there

00:58:27.220 was

00:58:27.380 some

00:58:28.040 composer

00:58:28.660 some

00:58:29.240 English

00:58:29.480 composer

00:58:29.940 I think

00:58:31.260 Michael

00:58:31.700 Nyman

00:58:32.020 that's his

00:58:32.420 name

00:58:32.600 and

00:58:33.700 he did

00:58:34.560 the

00:58:34.800 soundtrack

00:58:35.220 to this

00:58:36.540 movie

00:58:36.820 and that

00:58:37.500 inspired

00:58:38.040 him

00:58:38.420 to

00:58:38.720 approach

00:58:39.200 little

00:58:39.520 15

00:58:40.020 this

00:58:40.300 way

00:58:40.480 so

00:58:40.800 yeah

00:58:41.420 that

00:58:42.080 symphonic

00:58:43.040 like you

00:58:43.380 said

00:58:43.720 quality

00:58:44.960 to it

00:58:45.840 it just

00:58:46.380 sounds to

00:58:46.880 me like

00:58:47.220 a

00:58:47.400 like a

00:58:48.260 classical

00:58:48.660 music

00:58:49.060 song

00:58:49.500 like

00:58:49.800 the

00:58:51.340 progression

00:58:51.800 to it

00:58:52.320 the E

00:58:52.620 minor

00:58:52.860 to B

00:58:53.360 the A

00:58:53.780 minor

00:58:54.000 to B

00:58:54.340 like

00:58:54.620 there's

00:58:56.180 something

00:58:56.500 about

00:58:58.780 the

00:59:00.000 the chords

00:59:00.980 and

00:59:01.340 not often

00:59:02.340 very

00:59:02.920 simple

00:59:03.420 because

00:59:03.660 it's

00:59:03.880 it's

00:59:04.100 one

00:59:04.380 five

00:59:04.940 basically

00:59:05.560 but

00:59:11.220 as

00:59:11.900 with

00:59:12.200 almost

00:59:12.700 like

00:59:13.160 shake

00:59:14.380 the

00:59:14.540 disease

00:59:14.860 it

00:59:15.040 has

00:59:15.500 that

00:59:15.640 kind

00:59:15.820 of

00:59:15.920 like

00:59:16.080 falling

00:59:16.660 half

00:59:16.980 tone

00:59:17.160 I

00:59:17.280 mean

00:59:17.400 it's

00:59:17.700 it's

00:59:18.300 not

00:59:18.600 outside

00:59:19.560 of the

00:59:20.040 key

00:59:20.420 I

00:59:20.600 mean

00:59:20.740 an

00:59:20.920 E

00:59:21.120 minor

00:59:21.440 the

00:59:22.560 leading

00:59:23.520 tone

00:59:23.880 I guess

00:59:24.140 is

00:59:24.280 D

00:59:24.460 sharp

00:59:24.740 and

00:59:24.900 that's

00:59:25.380 what

00:59:25.520 it's

00:59:25.660 doing

00:59:25.840 it's

00:59:26.100 E

00:59:26.560 G

00:59:27.040 G

00:59:27.880 G

00:59:28.520 D

00:59:29.640 sharp

00:59:30.040 G

00:59:30.680 D

00:59:31.120 sharp

00:59:31.560 D

00:59:31.820 sharp

00:59:31.920 but

00:59:32.140 it

00:59:32.280 has

00:59:32.560 that

00:59:32.720 kind

00:59:32.880 of

00:59:33.000 syncing

00:59:33.720 quality

00:59:35.020 to it

00:59:35.520 it's

00:59:35.820 very

00:59:36.200 simple

00:59:36.800 but

00:59:37.400 I

00:59:38.240 agree

00:59:38.760 it

00:59:39.540 does

00:59:39.920 have

00:59:40.520 a

00:59:40.680 kind

00:59:40.920 of

00:59:41.000 like

00:59:41.180 classical

00:59:41.880 feel

00:59:42.480 to it

00:59:43.000 when

00:59:43.520 it's

00:59:43.780 done

00:59:44.060 this

00:59:44.280 well

00:59:44.540 and

00:59:45.700 it

00:59:45.960 the

00:59:46.260 song

00:59:46.660 was

00:59:47.020 a

00:59:47.280 single

00:59:47.720 in

00:59:48.200 France

00:59:48.640 but

00:59:48.860 what

00:59:49.080 pisses

00:59:49.400 me 0.97

00:59:49.540 off

00:59:49.740 is

00:59:49.920 why

00:59:50.360 haven't

00:59:50.760 they

00:59:50.880 played

00:59:51.100 this

00:59:51.300 live

00:59:51.780 yeah

00:59:52.480 yeah

00:59:53.020 of course

00:59:54.080 I never

00:59:56.160 even thought

00:59:56.660 about that

00:59:57.300 but yeah

00:59:57.880 it's the

00:59:58.100 only

00:59:58.220 place

00:59:58.540 that

00:59:58.700 it

00:59:58.820 was

00:59:58.960 the

00:59:59.160 French

00:59:59.520 audience

01:00:00.060 yeah

01:00:01.080 of course

01:00:02.000 but

01:00:03.100 I want

01:00:03.520 to read

01:00:03.860 a quote

01:00:04.720 actually

01:00:05.240 from

01:00:06.280 Dave

01:00:07.000 about

01:00:07.360 this

01:00:07.780 he says

01:00:08.780 little

01:00:09.020 15

01:00:09.400 is

01:00:09.560 actually

01:00:09.860 about

01:00:10.060 a

01:00:10.180 guy

01:00:10.440 it's

01:00:10.620 about

01:00:10.780 a

01:00:10.940 boy

01:00:11.240 see

01:00:11.760 a lot

01:00:12.040 of

01:00:12.140 people

01:00:12.340 have

01:00:12.500 taken

01:00:12.780 that

01:00:13.100 song

01:00:13.360 already

01:00:13.700 in

01:00:13.820 the

01:00:13.920 wrong

01:00:14.100 way

01:00:14.300 they

01:00:14.460 think

01:00:14.660 it's

01:00:14.800 about

01:00:14.960 a

01:00:15.080 small

01:00:15.280 girl 0.91

01:00:15.540 but

01:00:15.720 it's

01:00:15.900 not

01:00:16.080 it's

01:00:16.260 actually

01:00:16.480 about

01:00:16.680 a

01:00:16.820 boy

01:00:17.060 and

01:00:17.260 his

01:00:17.400 mother

01:00:17.660 is

01:00:17.880 talking

01:00:18.220 to

01:00:18.460 him

01:00:18.640 she's

01:00:19.060 saying

01:00:19.220 look

01:00:19.420 you're

01:00:19.580 going

01:00:19.700 to

01:00:19.780 grow

01:00:19.980 up

01:00:20.180 and

01:00:20.280 everything

01:00:20.560 and

01:00:20.780 this

01:00:20.940 is

01:00:21.120 what

01:00:21.280 it's

01:00:21.460 going

01:00:21.560 to

01:00:21.640 be

01:00:21.800 like

01:00:22.100 it's

01:00:22.420 not

01:00:22.560 a

01:00:22.680 bed

01:00:22.760 of

01:00:22.880 roses

01:00:23.180 and

01:00:23.420 you're

01:00:23.560 going

01:00:23.660 to

01:00:23.700 be

01:00:23.840 going

01:00:24.100 out

01:00:24.340 into

01:00:24.480 the

01:00:24.620 big

01:00:24.840 bad

01:00:25.120 world

01:00:25.380 soon

01:00:25.680 it's

01:00:26.280 about

01:00:26.480 a

01:00:26.600 boy

01:00:26.740 and his

01:00:26.980 mother

01:00:27.240 his

01:00:27.440 older

01:00:27.660 mother

01:00:27.960 to

01:00:28.140 be

01:00:28.260 honest

01:00:28.480 when

01:00:28.640 Martin

01:00:28.880 wrote

01:00:29.060 the

01:00:29.240 song

01:00:29.580 and

01:00:29.780 he

01:00:29.940 brought

01:00:30.220 it

01:00:30.340 to us

01:00:30.680 it's

01:00:32.380 one

01:00:32.840 of my

01:00:33.280 favorite

01:00:33.700 songs

01:00:34.060 on

01:00:34.200 the

01:00:34.300 album

01:00:34.600 but

01:00:35.060 when

01:00:35.200 he

01:00:35.300 brought

01:00:35.480 it

01:00:35.620 to

01:00:35.720 me

01:00:35.880 I

01:00:36.100 thought

01:00:36.320 immediately

01:00:36.820 it

01:00:37.580 was

01:00:37.760 about

01:00:38.000 a

01:00:38.140 little

01:00:38.280 girl 0.91

01:00:38.580 one

01:00:38.860 of

01:00:38.980 his

01:00:39.140 things

01:00:40.440 but

01:00:41.300 we

01:00:41.420 won't

01:00:41.600 talk

01:00:41.840 about

01:00:42.060 those

01:00:42.460 exclamation

01:00:43.060 points

01:00:43.380 so

01:00:43.640 I

01:00:44.260 thought

01:00:44.400 that

01:00:44.500 was

01:00:44.620 a

01:00:44.820 kind

01:00:45.080 of

01:00:45.240 interesting

01:00:45.880 quote

01:00:46.740 we

01:00:47.080 you

01:00:47.400 know

01:00:47.540 one

01:00:47.820 of

01:00:47.940 his

01:00:48.200 quote

01:00:48.620 unquote

01:00:48.900 things

01:00:49.540 yeah

01:00:50.700 um

01:00:51.620 well

01:00:52.880 he

01:00:53.180 had

01:00:53.420 Martin

01:00:53.980 Gore

01:00:54.400 had

01:00:54.900 ceased

01:00:55.940 dating

01:00:56.520 Christina

01:00:57.260 Friedrich

01:00:57.840 at this

01:00:58.180 point

01:00:58.440 in

01:00:58.600 Berlin

01:00:58.860 and

01:00:59.180 he

01:00:59.300 moved

01:00:59.660 back

01:01:00.000 to

01:01:00.180 England

01:01:00.520 yeah

01:01:02.120 I

01:01:02.520 mean

01:01:02.660 I

01:01:02.840 it

01:01:03.520 is

01:01:03.780 what

01:01:03.960 it

01:01:04.100 is

01:01:04.460 it's

01:01:06.520 not

01:01:06.820 terribly

01:01:07.220 surprising

01:01:07.820 but

01:01:08.560 I

01:01:09.440 I

01:01:10.440 am

01:01:10.840 surprised

01:01:11.640 that

01:01:13.580 it

01:01:13.760 that

01:01:14.760 at least

01:01:15.120 in Dave's

01:01:15.820 mind

01:01:16.600 it's

01:01:16.920 about

01:01:17.240 a

01:01:17.480 young

01:01:17.740 boy

01:01:18.220 I

01:01:18.540 I

01:01:19.400 think

01:01:19.760 almost

01:01:20.180 everyone

01:01:20.980 who has

01:01:21.340 heard

01:01:21.540 the

01:01:21.720 song

01:01:22.080 immediately

01:01:23.240 goes

01:01:23.980 to

01:01:24.180 where

01:01:24.460 he

01:01:25.140 went

01:01:25.480 as

01:01:25.840 you

01:01:26.060 know

01:01:26.220 admittedly

01:01:26.780 that

01:01:27.020 this

01:01:27.380 is

01:01:27.500 about

01:01:27.700 a

01:01:27.820 child 1.00

01:01:28.040 prostitute 1.00

01:01:28.660 but 1.00

01:01:28.960 you

01:01:29.700 know

01:01:29.880 look

01:01:30.340 it

01:01:31.040 can

01:01:31.200 be

01:01:31.380 read

01:01:31.620 in

01:01:31.840 multiple

01:01:32.700 ways

01:01:33.060 I

01:01:33.340 I

01:01:34.200 kind

01:01:34.440 of

01:01:34.560 find

01:01:34.780 that

01:01:34.920 implausible

01:01:35.480 it's

01:01:36.740 yeah

01:01:37.180 I

01:01:37.480 definitely

01:01:38.220 agree

01:01:38.660 yeah

01:01:59.880 cl�

01:02:00.620 a

01:02:00.720 we

01:02:01.360 do

01:02:04.560 yeah

01:02:05.580 í

01:02:06.480 than

01:02:08.480 but

01:02:11.760 a

01:02:20.640 y

01:02:20.800 i

01:02:21.580 i

01:02:22.180 a

01:02:22.440 i

01:02:22.920 i

01:02:23.380 i

01:02:24.700 i

01:02:25.020 Thank you.

01:02:55.020 Thank you.

01:03:25.020 Thank you.

01:03:55.020 I do think that there is a, you know, an interesting quality to letting go. You could, you could almost read this in a way of, oh, this is, it's a feminist song or something. It's like, you know, do what you want. I don't care. Tonight I'm in the hands. You know, you're behind the wheel kind of thing. Oh, little girl. 0.96

01:04:48.760 Come pull my strings. Watch me move. I'll do anything. So again, it's this notion of giving up autonomy and becoming an automaton.

01:04:59.980 Um, sweet little girl. I prefer you behind the wheel and me, the passenger drive. I'm yours to keep. 0.82

01:05:06.100 Um, yeah, I wanted to talk a little bit about the root 66 quality to it, but if you have any comments on, on this one.

01:05:15.440 Yeah. I think that first of all, it just sounds like tough as hell. That baseline, the drums, the weird melody, then in the super weird chord structure, which literally does go around and around like a wheel with B minor to D minor to G minor to B flat.

01:05:32.760 And then just, that's the entire song, just circling around that chord progression. I actually played it for my friends one time and they were like, what the hell is this Indian music? Cause they heard that melody that

01:05:46.100 anyway, I think with the, the song is definitely about submitting, but like, I, like I go out to like bars when like playing this song to get myself like pumped up, you know, like it's just such a good

01:06:02.760 it's like a hard dance song. I'm not really sure. It can be played. It can be played that way. Yeah. It is interesting. Cause it has the same. What, what is the chord progression again? It's a B minor to minor to D minor. Okay. To G minor. So you, you're flatting the five, a beam B minor has an F sharp, but then you're doing D F a for D minor. So you're already, this is, he's already gotten into this like weird, creepy chords that are out of tune.

01:06:32.760 And then to G minor after that. And then to B flat. So. Wow. It's like, what chord, what, what key are you in really? I mean, maybe D minor because D minor and G minor.

01:06:44.840 Well, you're doing minor thirds. You're, you're doing the B minor to D you're, you're just staying in the minor mode, but you're doing thirds. So it's B to D and then G to B flat, B flat. That's a bizarre chord in B.

01:06:58.200 So yeah, it's, um, but it, it keeps repeating over and over and over again. This is quarterly. This is more interesting, just unusual, but I, I do think that.

01:07:11.080 It's, I do think that that left an impression with Martin Gore.

01:07:22.920 And he, he, he took that in and then he produced something totally new and totally different.

01:07:32.520 .

01:07:45.860 Thank you.

01:08:15.860 It's like the weirdest chord structure, but then the most simple chord formations.

01:08:22.960 Mm-hmm.

01:08:23.520 Yeah.

01:08:23.920 Very interesting.

01:08:25.580 It's funny because, I mean, it's about driving and things like that.

01:08:28.800 So there are two remixes or B-sides or whatever you want to call them that accompanied this song.

01:08:36.340 They went to the Route 66 song.

01:08:39.720 So it was first produced in the 1940s by Freddie Troop.

01:08:45.120 It's a kind of jazz song, became a standard.

01:08:49.140 Probably the most famous version of the song is by the Rolling Stones.

01:08:53.660 That's probably how most people have heard the song, in fact, from the mid-60s.

01:08:59.760 If you ever plan to motor west, travel my way, take the highway, that's the best.

01:09:10.560 Get your kicks on Route 66.

01:09:17.900 It winds from Chicago to L.A.

01:09:21.880 For the 2,000 miles all the way.

01:09:29.620 Get your kicks on Route 66.

01:09:35.400 Where goes kicks on Route 66?

01:09:40.280 Where are you here?

01:09:49.700 Where are you here?

01:09:53.700 Where are you here?

01:09:56.120 Where are you here?

01:09:58.060 Where are you here?

01:09:59.540 What is it doing?

01:09:59.800 Where are you here?

01:10:01.280 Where are you here?

01:10:02.280 Where are you here?

01:10:03.460 What is it doing?

01:10:04.280 Thank you.

01:10:34.280 Thank you.

01:11:04.280 So they're taking this old song, but then they're adding that weird chord progression in as a kind of bridge.

01:11:11.520 So it's down to St. Louis, into Missouri, Oklahoma City. It looks so, so pretty. And then it's...

01:11:19.520 It's just kind of blending those two things that are really discontinuous together and in an amazing way.

01:11:30.660 But also with the Beatmaster mix, it's very interesting because they're using sound. They're using recorded voices, found objects, sound, which they will later on in this album.

01:12:14.220 And so it's... I think it's brilliant because you kind of have this flip side of the 60s.

01:12:24.280 So there's this fun quality of the 60s of get in a car and drive from Chicago to LA and have sex along the way and be free and all that kind of stuff. 0.67

01:12:36.920 And then there's this flip side into the minor mode where it's like, oh, also, you're going to be drafted into Vietnam and you're going to die.

01:12:43.920 It's an act of Congress. All registration is, is it gives them a pool of names to select them in case there is a national emergency.

01:12:55.060 I'm just trying to tell you like it is. Male citizens and aliens residing in the United States, 460, 61, and 62,

01:13:00.960 have a responsibility to register and to keep selective service advised of any change of address.

01:13:05.700 So do it at any U.S. post office. Thank you.

01:13:09.040 It's actually pretty brilliant in my mind.

01:13:22.900 It's pretty brilliant from a commercial perspective, too, because it's an American song about an American road and American places.

01:13:30.940 And this album really broke them in America. I don't think that's probably, that's probably not an accident.

01:13:36.520 Yeah. And, and then, and then also with like pleasure, little treasure, which goes on this, that's also a very simple chord structure.

01:13:45.120 It's actually one. It's, I think it might even be in C major or something. It's just the one chord over and over.

01:13:51.460 And, and, but it, it, it also has this clangy blue sound where it's, you know,

01:13:59.960 it's actually doing one three flat, three natural three flat.

01:14:09.360 You know, it's, it's, it's doing that kind of bending of the three.

01:14:13.960 So it's, and so it's both in the minor and major key.

01:14:19.960 And the, the, the whole structure is just this one chord over and over again.

01:14:24.320 And, um, definitely looking forward to personal Jesus, you know, in the meaning of the song and the, also just the, you know, personal Jesus is literally about Elvis and this is, or about Priscilla Presley, I guess.

01:14:42.060 And this is also just full on Elvis music, which, you know, again, it's, it's not, we're not that far away.

01:14:49.860 We're, we're seven to eight years away from speak and spell.

01:14:53.140 It's not that long of time.

01:14:54.360 If you would have suggested that they would be going here, you know, when we re-listen to that album, uh, you know, it kind of couldn't be believed, but it shows just like the distance they've traveled in seven years.

01:15:12.060 Everybody's looking for a reason to live.

01:15:29.700 If you're looking for a reason, I have a reason to give.

01:15:37.720 Pleasure, little treasure.

01:15:42.060 Everybody's looking for someone to follow.

01:16:09.920 Finding the whole thing, I'm just one-off.

01:16:14.060 Everybody's looking for a reason to live.

01:16:17.180 If you're looking for a reason, I have a reason to give.

01:16:21.080 Pleasure, little treasure.

01:16:28.800 Everybody's looking for a new sensation.

01:16:32.200 Everybody's stopping by the state of the nation.

01:16:35.920 Everybody's searching for a promise.

01:16:38.140 Everybody's looking for a flame.

01:16:38.400 Everybody's seeking a close love.

01:16:38.920 Everybody's waiting for a step.

01:16:40.400 Everybody's asking for a dream.

01:16:41.260 Everybody's waiting for a new realization.

01:16:42.400 Pleasure, little treasure.

01:16:44.700 If you're looking for a reason, I've a reason to get hurt

01:17:00.700 I don't have anything more to say about that, but I do have a lot to say about I Want You Now,

01:17:24.880 if you wanted to talk about it. So with I Want You Now, I think that's, well, first a quick personal

01:17:34.160 anecdote. So I recall like playing this song, like blaring it full volume in my car and I'm

01:17:40.720 stopped at a red light and it's just using these porn samples of like moans and stuff. And the guy

01:17:49.180 next to me, we're, you know, we're both sitting at this red light and this guy next to me is just

01:17:52.180 like kind of looking at me like, what in the hell is this guy playing just full volume in this car?

01:17:57.800 Yeah. Yeah. And so I think it's, it's one of the most creative tracks they've done.

01:18:07.000 It's obviously about sex. I Want You Now, I think that's pretty clear, but what they're using is

01:18:14.560 like a male moan and a female moan, almost as like percussive, like a bass drum and a snare almost.

01:18:23.640 And then having like girls laugh and deflating an accordion to get a kind of gross breathing noise. 1.00

01:18:32.760 Um, and then, yeah, just like I said, actually sampling, uh, porn, but it's a great song. It's,

01:18:41.320 and it's a sort of interesting chord progression, not nothing too crazy, but you're going from, uh,

01:18:47.660 a minor to E then F sharp minor, which is a big departure from a minor from F sharp minor to D and

01:18:55.820 then D minor, but yeah, it's, I think it's one of, and it's a Martin song too. It's very,

01:19:01.600 you know, personal, but yeah, it's, it's, I think one of their most, uh, inventive songs.

01:19:08.800 Yeah. And kind of going back.

01:19:10.440 That accordion sound, it goes, it goes back to Blasphemous Rumors as well. It's hard not to hear

01:19:16.120 that, which is an accordion as, as like a breathing machine or being strangled to death or Darth Vader.

01:19:23.260 Um, yeah, which is great. Um, and you know, I don't want to be one of the boys. So it's,

01:19:30.840 it's, you know, I'm not one of these idiots who just want sex, but I do just want sex. 1.00

01:19:34.560 Yeah, exactly. Yeah. 1.00

01:19:37.680 I want you now. Tomorrow won't do. There's a yearning inside and it's showing through. Reach out your hands and accept my love. We've waited for too long.

01:19:44.680 Enough is in love. I want you now.

01:19:51.680 I want you now. Tomorrow won't do. There's a yearning inside and it's showing through. Reach out your hands and accept my love. We've waited for too long. Enough is in love.

01:20:06.680 Enough is in love. Enough is in love. I want you now.

01:20:13.680 My heart is aching. My body is burning. My hands are shaking. My head is turning. You understand? It's so easy to choose. We've got time to kill. We've got nothing to lose.

01:20:40.680 I want you now.

01:20:43.680 To have and to hold. I love the chord progression. I love the music. Um, I just, I, I love the darkness of the song. I love how it goes back to some earlier themes with even like two minute warning.

01:21:07.560 This is music for the masses and you can take that in a couple of different ways. Is it a album written for America? Is it evoking Elvis? Is it a totalitarian album? And to have and to hold definitely evokes the latter.

01:21:24.880 So this is from strip to have and to hold, which translates. This is the, um, found object radio announcement in the middle of it, which translates as the evolution of nuclear arsenals and socially psychological aspects of the arms race was considered in these reports.

01:21:46.260 Uh, that's said in Russian. So you're already kind of looking to the Eastern block. You're looking back at two minute warning or, or many of these other songs about nuclear Holocaust and et cetera. 0.68

01:21:59.260 And, uh, but I, I think it goes even deeper than the sentiments expressed in two minute warning. Um, but you're also, you're, you're kind of slyly evoking the cold war, but in a way that's very difficult to, to, to even grasp. You're not just in their face talking about, you know, 99 red balloons.

01:22:21.260 You're talking about, you know, 99 red balloons, and this is going to start Armageddon or something. It's, it's, it's much different than that. It's, um, it's kind of objectively in the way that I was using that term earlier, bringing in found objects from the cold war into this dark minimalist soundscape.

01:22:44.380 Yeah. Yeah. As far as I understand, I remember reading on Alan's blog, which is, it's a shame because it was his old blog from 1998, right after he had broken up from the band. And he, I swear, he said on the blog, it's since been taken down that they didn't know what that said. I just can't really believe that they didn't understand, or they didn't know the translation, you know, the report observes.

01:23:10.220 Yeah, I can't believe that either. Yeah. And someone knew, because it's so specifically chosen. It's not just a random Russian radio address or something.

01:23:21.280 Yeah.

01:23:34.440 Yeah.

01:23:37.520 Yeah.

01:23:41.800 Yeah.

01:23:44.220 Yeah.

01:23:45.860 Yeah.

01:23:46.680 I need you to get me

01:24:15.720 It's time to make amends

01:24:20.000 All of the fun

01:24:22.480 The damage is done

01:24:25.900 I feel diseased

01:24:29.620 I'm down on my knees

01:24:32.820 I need forgiveness

01:24:35.120 Someone to bear witness

01:24:38.620 To the goodness within

01:24:41.560 Believe the sin

01:24:44.880 Though I may flood

01:24:48.880 All kinds of dirt

01:24:52.160 To the point of disease

01:24:54.520 I want relief

01:24:57.720 All is decay

01:25:00.880 Take it away

01:25:04.880 And the interesting too is

01:25:14.560 there's another clash with Alan and Martin on this

01:25:18.520 as far as the sound goes

01:25:20.100 and Alan's version is the one that made the album

01:25:23.680 and Martin's is the Spanish taster

01:25:26.900 like he wanted that melody

01:25:28.740 that's on the Spanish taster

01:25:30.120 version

01:25:31.080 and Alan

01:25:31.940 and Alan said basically like

01:25:34.060 I don't know I have a quote here

01:25:36.560 the Spanish taster is basically Martin's demo

01:25:38.740 which he insisted on recording as well

01:25:40.480 which one do you think I prefer

01:25:42.320 I don't think there's a more perfect example

01:25:44.160 of musical differences between myself and Martin

01:25:46.540 so I think that's pretty interesting

01:25:48.920 he was getting chippy

01:25:49.800 yeah

01:25:50.960 yeah

01:25:51.560 and that was from that

01:25:54.520 that archive from like 1998

01:25:56.220 so

01:25:57.160 yeah

01:25:57.520 I mean I like the Spanish taster

01:26:00.180 I think it's cool

01:26:00.960 it sounds a lot like a soundtrack to a movie

01:26:03.980 not that that's bad

01:26:05.520 yeah

01:26:07.660 yeah

01:26:07.880 yeah

01:26:11.980 yeah

01:26:18.260 yeah

01:26:18.400 yeah

01:26:19.560 yeah

01:26:29.740 but i think alan's to have and to hold again is my favorite song

01:26:59.240 just because you know i i want to i i want to be special but uh it's my favorite song it's just

01:27:07.180 when essentially depeche mode it's dark as hell it's evoking big themes and then the lyrics also

01:27:15.040 go back to this protestantism i mean i need to be cleansed it's time to make amends for all of the

01:27:22.460 fun the damage is done so we send um and i feel diseased i'm down on my knees and i need

01:27:30.660 forgiveness someone to bear witness to the goodness within beneath the sin so this is someone

01:27:37.020 again it's like the opposite of what we think about normal rock music which is about liberation

01:27:44.780 sex is good and so on no no no um uh you know someone to bear witness someone needs to be able

01:27:51.580 to see the goodness within beneath the sin although i may flirt with all kinds of dirt

01:27:55.760 to the point of disease now i want release from all this decay take it away and somewhere there's

01:28:03.560 someone who cares and then with a heart of gold to have and to hold so he's this is something i also

01:28:10.300 see in you two of this you know she moves in mysterious ways well who works in mysterious 1.00

01:28:17.320 ways it's god but you're you're almost replacing god with this female object of desire and i think 1.00

01:28:24.940 there's a similar move going on here so it's all of this you know he is repenting and he's acknowledging

01:28:32.080 his depravity and he's also claiming that there's something underneath it all beneath the disease and

01:28:37.840 decay and sin blah blah blah and i i need help from someone but then to have and to hold with a heart of

01:28:44.840 gold definitely sounds like a woman so it's this love replacing god i think the nuclear arms or a

01:28:59.720 nuclear bomb kind of functions in martin's lyrics as like a flood event like a biblical flood event you

01:29:07.660 know all this decay take it away i need to be clines that's that is you know it's like a wiping the

01:29:14.040 slate clean which is uh yeah that's powerful and and this goes with a song that we kind of i guess

01:29:21.620 weirdly skipped but sacred which is also a favorite song where it it gets to that idea that i i'm having

01:29:30.240 trouble expressing but it's they're singing about something they're singing an anthem about something

01:29:40.340 but what it is exactly isn't clear so it's you know black celebration we're celebrating the fact

01:29:49.620 that we've seen the back of another black day but but what is it what what exactly happened what are you

01:29:54.440 overcoming and i think this this sacred you know you're you're saying it's sacred it's holy to put it

01:30:02.000 into words to write it down that is walking on hallowed ground so to put it into writing but it's my duty

01:30:07.380 i'm a missionary well for what um i i think the the answer comes um trying to sell the story of love's

01:30:16.960 eternal glory so you know much as with you too you can see this as almost christian rock like if this

01:30:26.800 were if this were not done by depeche mode and it were done the same exact sentiment were done by a

01:30:34.000 christian rock band we would say that it was the most cringe thing ever put to paper you know just

01:30:40.340 just unbearable goofy christian rock but when they do it they get away with it because they they kind

01:30:48.200 of abstract it and they they they start to wait you know it's i guess it's not terribly unusual to to

01:30:57.360 equate god with love but they're they're doing it in a unusual way where you you don't you don't feel

01:31:06.820 like this is some heavy-handed you know christian rock ballad you feel like this is an anthem that

01:31:14.300 we're all coming together to sing about what actually is sacred and what that is isn't it isn't exactly

01:31:21.340 clear and i think that that makes it powerful it's love of some kind is it lust is it sexuality i mean

01:31:29.500 you could definitely draw that conclusion for the rest of the album is it god himself i mean the the

01:31:35.160 kind of sincere repentance and self-loathing in the rest of the album does strike me as someone who

01:31:43.540 is a sincere christian

01:31:45.600 sacred holy

01:32:06.100 to put it in words to write it down that is walking on hallowed ground but it's my duty

01:32:17.780 i'm a missionary

01:32:21.880 so here is my confession it's an obsession i'm a firm believer

01:32:50.140 and a warm receiver

01:32:54.140 and i've made my decision this is religion there's no doubt i'm one of the devout

01:33:09.260 trying to sell the story

01:33:15.420 my take on sacred it was that there wasn't much of a connection between like religion and sex like

01:33:37.380 there is often in martin's songs which it just seemed like it was about sacredness itself and like

01:33:43.700 almost like the technology of the written word and just about like being a fanatic and i kind of

01:33:50.180 was getting like uh zealot vibes from it or something uh just kind of like a religious experience or

01:33:57.820 yeah i mean to put it into words to write it down that is walking on

01:34:01.620 hallowed ground um it's my duty i'm a missionary like it just seemed to me that that was what martin

01:34:10.420 was getting at uh with the song and i do really appreciate those uh you know very uh gregorian like

01:34:20.020 chants in the beginning yeah they're probably samples but oh yeah yeah which again you can kind of hear

01:34:27.620 earlier back you know with see you or something but see you is just such a throwaway lyrical number

01:34:35.540 martin might have written that song a few years earlier and it was just some little teenage you know all

01:34:42.500 i want to do is see you don't you know that it's true but yeah but again they they turned it they

01:34:51.860 started to go there they started to turn it into something else and then now they're mature they can

01:34:57.620 just talk about god love and that that that sound just takes on it comes into its own it takes on the

01:35:06.500 quality that was meant to the beginning but just wasn't fully achieved in a you know immature album

01:35:12.820 like a broken frame

01:35:36.500 city

01:35:56.180 so

01:36:06.500 what do you make of the the lyrics uh and just overall sound of nothing

01:36:22.360 well i mean again you you've gotten that like something to do quality to it of i'm bored

01:36:31.460 but this just takes it to another level i mean sitting target sitting praying god is saying

01:36:39.080 nothing nothing yeah so you're just like full on black on black nihilism basically yeah that's 0.89

01:36:48.140 there is no about what i got yeah it is a really good song i mean it's it's not single material and

01:36:55.260 i think on this tour was the only time that they played it but it is a good it's just a good

01:36:59.120 yeah like something to do it's just one of those good uh crowd bangers i guess yeah yeah

01:37:06.300 um so pimp is a reference to nazi germany the hitler youth yeah so do you want to talk about

01:37:16.660 that i have a yeah i can read about it go for it okay so so dave says pimp was something to do with

01:37:23.280 the hitler youth or something like that wasn't it martin gore yes it was an instrumental that we

01:37:28.260 originally started recording for i think the b side of never let me down again and we liked it so

01:37:33.360 much that we ended up putting it on the music for the masses album all um all of our concerts on the

01:37:40.460 tour started with pimp so now whenever i hear this melody it evokes a very precise memory it was a

01:37:46.220 signal that we were about to enter the stage a moment when i started to have cold sweats pimp was

01:37:51.240 originally only a b side but it ended up being put on music for the masses i think that's what the

01:37:56.860 young members of the hitler youth were called the music reflects the political climate that was

01:38:01.340 occurring at that time of the rise of nazism it's because of its orchestral quite distressing aspect

01:38:07.540 and that last quote was from alan yeah but but also it it sounds like the kind of badass soundtrack to

01:38:16.520 some film about hitler or you know germans invading poland or something bomb bomb bomb yeah i mean it's

01:38:28.940 it's pretty bombastic actually even though it's very simple it become it gets layered and layered and

01:38:35.640 layered until it's just utterly bombast

01:38:37.700 so

01:38:40.120 so

01:38:52.480 yeah

01:39:02.500 Yeah, it sounds like

01:39:29.940 this kind of like dystopian marching music

01:39:32.840 or like conquering music

01:39:34.520 that you could imagine

01:39:36.140 like sing a movie about Kristallnacht

01:39:38.360 and this is playing in the background.

01:39:41.800 Yeah.

01:39:42.560 I don't speak German,

01:39:44.380 but I did find that Der Pimpf

01:39:47.240 was the Nazi magazine for boys,

01:39:50.920 particularly those Deutsches Jungvolk

01:39:53.240 with adventure and propaganda

01:39:54.640 first appeared in 1935 as Morgan,

01:39:57.200 changing its name to Der Pimpf in 1937.

01:40:00.600 Morgan just means morning

01:40:01.880 or tomorrow, I guess,

01:40:03.320 but Der Pimpf, that's just the pimp.

01:40:05.740 So it's the boy or Jung.

01:40:07.940 Okay, gotcha.

01:40:09.260 And as far as I understand,

01:40:11.640 it's slang for like a scoundrel, right? 0.73

01:40:14.440 Or a little rascal.

01:40:15.900 So there's no relation to like

01:40:17.260 our English word pimp, correct?

01:40:20.560 I mean, maybe in a sense.

01:40:22.000 No, I don't know.

01:40:22.980 I don't know that.

01:40:23.740 But when I learned German,

01:40:26.060 we didn't go into this.

01:40:27.960 But I imagine it has the same,

01:40:32.720 it's analogous to like calling someone

01:40:35.060 a little rascal or something.

01:40:36.400 It's a term of a German.

01:40:38.480 It kind of, the song itself,

01:40:40.860 you know, it builds and builds

01:40:41.740 and builds over these.

01:40:42.580 I think there's only like four melodies

01:40:44.920 just cycled over and over.

01:40:46.120 And when it builds up to the top,

01:40:47.520 I mean, and it just explodes.

01:40:49.560 I don't think that's a coincidence.

01:40:51.080 That's kind of like, you know,

01:40:53.380 Nazi Germany in itself,

01:40:54.580 just building and building and building

01:40:55.860 until, you know, it explodes

01:40:58.340 in the Second World War.

01:41:01.280 Yeah.

01:41:02.920 Also, there's a clear evocation

01:41:07.260 of Nazi Germany in the album cover as well.

01:41:13.080 So this was Martin Atkins,

01:41:15.480 who was an art director.

01:41:17.640 So Martin came up with that title.

01:41:19.680 He said that he was looking at an album story

01:41:23.100 and he saw something that said

01:41:24.520 Music for the Millions

01:41:25.780 and he found that just almost goofy title,

01:41:29.280 but he thought it was funny.

01:41:31.020 And then it became this ironic nod of,

01:41:34.280 you know, actually we're a cult band,

01:41:36.480 but we're going to create this album

01:41:38.520 called Music for the Masses.

01:41:39.760 But again, it ironically, again,

01:41:41.720 became Music for the Masses.

01:41:43.240 But he took that.

01:41:45.460 And so it's this idea of, you know,

01:41:48.920 producing this music

01:41:50.400 in a totalitarian regime

01:41:52.180 where they would almost like

01:41:54.340 pump out music for everyone to hear.

01:41:58.060 You know, like,

01:41:59.360 Party time is here again.

01:42:04.120 You know, they're coming,

01:42:06.200 they're bringing to fruition

01:42:07.220 all these ideas

01:42:08.180 that they had been working on before.

01:42:10.960 And so it's this also ironic

01:42:12.800 in the sense that

01:42:13.440 it's this big loud speaker,

01:42:16.180 bright red evoking communism,

01:42:18.860 but it's in an empty space.

01:42:21.000 So there's no masses there listening.

01:42:22.660 I mean, I think it's really cool,

01:42:24.900 but there's this other element to it.

01:42:27.820 But as well as the tongue-in-cheek title,

01:42:30.180 further irony was had

01:42:31.840 in that the megaphone

01:42:33.960 was put to devastating use

01:42:35.520 in Nazi Germany,

01:42:36.940 spreading Adolf Hitler's 0.91

01:42:38.200 disturbing dictatorial message.

01:42:39.660 This is stripped by Jonathan Miller.

01:42:44.620 In a knowing nod

01:42:45.660 to his reformed country's past,

01:42:48.460 Kroftwerk's chief propagandist,

01:42:51.940 Ralf Hutter,

01:42:53.280 had a once claim

01:42:54.500 that his pioneering electronic quartet

01:42:57.200 created loutsprecher music.

01:43:00.120 There's some quote from Hitler

01:43:01.780 of, you know,

01:43:03.540 the National Socialist Revolution

01:43:05.780 would have been impossible

01:43:07.540 without the speaker system

01:43:09.600 with a microphone.

01:43:10.640 That is probably true.

01:43:14.260 And so I do think that there,

01:43:19.320 you know,

01:43:19.560 there's like an,

01:43:20.680 there's evocations of communism,

01:43:23.120 Cold War, nuclear Armageddon.

01:43:24.880 There's also just a kind of hint

01:43:27.540 of fascism

01:43:28.500 that they have been trying

01:43:31.000 to achieve for,

01:43:33.100 you know,

01:43:33.280 in a number of albums,

01:43:34.300 really beginning with

01:43:35.400 Construction Time again.

01:43:37.980 And, well,

01:43:38.920 actually beginning

01:43:39.680 with A Broken Frame,

01:43:40.560 in fact.

01:43:41.740 And they're just

01:43:43.720 wearing it on their sleeve

01:43:46.120 a little bit

01:43:47.200 in a kind of

01:43:47.680 winking nod way

01:43:49.560 with this album cover.

01:43:53.140 And maybe it's not

01:43:54.640 their best album cover,

01:43:55.940 but it is their most,

01:43:57.260 it's their most iconic.

01:43:59.960 It's the most Depeche Mode thing.

01:44:02.140 It's something they'll go to again.

01:44:04.520 If you just show someone

01:44:07.060 that red speaker

01:44:08.140 in a deserted area,

01:44:10.460 I think that's immediately

01:44:12.380 where their mind goes

01:44:13.320 to Depeche Mode.

01:44:14.160 So it is,

01:44:15.060 it's very powerful.

01:44:19.320 At this point,

01:44:20.320 actually,

01:44:21.040 I think their art,

01:44:23.400 it's probably at its,

01:44:24.620 it's probably at its peak

01:44:26.060 with Anton,

01:44:27.000 but it's definitely

01:44:28.640 an upgrade.

01:44:30.140 The earlier stuff

01:44:31.020 was obviously too,

01:44:32.080 like,

01:44:32.840 you know,

01:44:33.140 cutesy and innocent.

01:44:35.240 And this was,

01:44:36.220 yeah,

01:44:36.400 this is,

01:44:37.060 yeah,

01:44:37.540 just bold.

01:44:38.960 Yeah.

01:44:39.300 And where they failed

01:44:40.900 with Black Celebration,

01:44:42.200 they succeeded here.

01:44:43.160 So the Black Celebration

01:44:44.460 cover art

01:44:45.520 is a disaster.

01:44:47.740 Yeah,

01:44:48.260 it is.

01:44:49.360 Yeah,

01:44:49.660 I agree.

01:44:50.980 And,

01:44:51.320 but what they were trying

01:44:52.760 to evoke the last time

01:44:54.480 they actually did this time.

01:44:56.460 And there,

01:44:56.980 you know,

01:44:57.300 there's something

01:44:57.760 to be said for that.

01:44:59.440 Yeah.

01:44:59.720 So I have a bit

01:45:01.300 quote heavy today,

01:45:02.200 but I do have a quote

01:45:03.660 that I wanted to share

01:45:04.400 because on this tour,

01:45:05.640 on the Black Celebration tour,

01:45:07.120 they actually did not go

01:45:08.640 beyond the Iron Curtain.

01:45:10.940 They had gone back

01:45:12.720 on the Music for the Masses tour

01:45:14.440 and the first gig

01:45:15.680 that they had played

01:45:16.240 because they'd wanted

01:45:16.780 to play there so badly

01:45:18.300 was in East Berlin.

01:45:20.240 It was March 7th,

01:45:21.820 1988.

01:45:23.380 And this is their,

01:45:24.720 this is a quote

01:45:25.500 from Andy Franks,

01:45:26.620 their tour manager

01:45:27.760 at the time.

01:45:29.060 We have been wanting

01:45:29.680 to play in East Berlin

01:45:30.900 since forever,

01:45:31.540 but we were never allowed to.

01:45:32.680 We performed in Hungary,

01:45:33.620 Poland, Czechoslovakia,

01:45:35.140 but two cities

01:45:35.820 did not allow us in,

01:45:37.020 Moscow and East Berlin.

01:45:38.120 For years,

01:45:38.660 we had been asking

01:45:39.360 our management about it.

01:45:40.640 And one day they said,

01:45:41.700 we did it.

01:45:42.240 You can go to East Berlin. 0.70

01:45:43.660 Later on,

01:45:44.160 we heard that we were

01:45:45.380 being presented

01:45:46.080 as the main event

01:45:46.980 of the anniversary

01:45:47.800 of the DDR's youth organization

01:45:49.760 in order to score points

01:45:51.440 with the kids.

01:45:52.040 We heard that normal fans

01:45:53.640 had almost no shot

01:45:55.020 at getting tickets.

01:45:56.000 We did not know this.

01:45:57.140 At the time,

01:45:57.660 we were simply excited

01:45:58.560 to be playing in East Berlin.

01:46:00.180 Looking back,

01:46:00.780 we should not have done

01:46:01.500 this concert.

01:46:02.480 We were used by the party.

01:46:03.960 The funny thing

01:46:04.540 about the tickets

01:46:05.200 was that it did not

01:46:06.260 have our name on them.

01:46:07.700 But during the concert,

01:46:08.640 we did not notice

01:46:09.520 the real fans

01:46:10.200 who managed to enter the venue.

01:46:11.820 It was nevertheless

01:46:12.460 a great gig,

01:46:13.300 but there were unpleasant aspects.

01:46:15.320 There were hundreds of cops

01:46:16.180 during the sound check

01:46:17.460 and streets were sealed off

01:46:19.400 for miles.

01:46:20.180 The fans would gather

01:46:20.900 around in the area

01:46:21.820 but could not come close

01:46:23.240 to the venue.

01:46:24.000 It was really frustrating.

01:46:25.960 We were being

01:46:26.500 completely shielded.

01:46:27.820 Before the show,

01:46:28.680 we knew nothing

01:46:29.340 about our DDR fans

01:46:30.880 and after the show,

01:46:31.880 we didn't know anything

01:46:32.660 about them either.

01:46:34.840 We could also only spend

01:46:36.720 that one day

01:46:37.340 in East Berlin.

01:46:38.260 I remember taking a walk

01:46:39.340 through the city

01:46:39.860 but forgot much of it.

01:46:41.320 After the concert,

01:46:42.200 we were immediately

01:46:42.820 being escorted back

01:46:43.800 into the hotel

01:46:44.520 and the road

01:46:45.240 and hotel

01:46:45.940 were completely empty.

01:46:47.320 What was weird

01:46:47.920 was that we knew

01:46:48.920 that we were

01:46:49.620 one of the most popular

01:46:50.420 bands there

01:46:51.060 but somebody told us

01:46:52.540 that it was the most

01:46:53.400 bug-infested hotel

01:46:54.600 in the world.

01:46:55.560 Really eerie.

01:46:57.520 I think an irony

01:46:59.540 of that

01:47:00.200 is that

01:47:00.980 they're playing

01:47:02.500 music for the masses

01:47:03.480 to the DDR

01:47:04.840 who's supposed to be

01:47:05.620 in the communist party

01:47:07.040 who's supposed to

01:47:07.840 quote-unquote

01:47:08.180 represent the masses

01:47:09.300 and

01:47:11.340 they end up

01:47:13.980 playing

01:47:14.280 just really

01:47:15.720 to the DDR

01:47:16.540 and

01:47:17.880 the DDR

01:47:19.160 this youth organization

01:47:20.640 kind of has

01:47:21.720 this privileged viewership

01:47:23.040 that the

01:47:24.660 common fans

01:47:25.500 or masses

01:47:26.140 don't.

01:47:28.400 It almost

01:47:29.080 kind of proves

01:47:29.660 just

01:47:30.060 how

01:47:31.400 capitalism

01:47:32.620 is

01:47:33.220 just more

01:47:34.000 democratic

01:47:35.400 than

01:47:35.840 communism.

01:47:37.140 I don't know

01:47:38.540 if you have

01:47:38.840 any thoughts

01:47:39.300 on that.

01:47:39.840 That was a

01:47:40.160 pretty long

01:47:40.560 quote.

01:47:41.580 Yeah,

01:47:41.940 no,

01:47:42.320 it's good

01:47:43.340 stuff.

01:47:44.920 Yeah,

01:47:45.120 there's no

01:47:45.960 doubt

01:47:46.440 by the

01:47:47.480 mid-80s

01:47:48.640 Gorbachev

01:47:51.120 almost wanted

01:47:52.620 to save

01:47:53.300 the Soviet

01:47:53.800 Union

01:47:54.220 by opening

01:47:54.880 it up.

01:47:55.420 Gorbachev

01:47:56.140 never wanted

01:47:56.880 to destroy

01:47:57.520 the Soviet

01:47:57.960 Union

01:47:58.320 at all

01:47:59.060 including

01:47:59.920 the Soviet

01:48:00.340 Empire

01:48:00.760 which he

01:48:01.700 fought to

01:48:02.500 defend

01:48:02.920 and

01:48:03.820 then

01:48:04.720 resigned

01:48:05.740 after he

01:48:06.220 lost

01:48:06.480 Ukraine.

01:48:06.940 I mean

01:48:07.240 you know

01:48:07.820 he

01:48:08.120 yeah

01:48:10.360 he was

01:48:10.820 a

01:48:11.120 Marxist

01:48:11.920 but

01:48:12.860 in

01:48:13.600 opening

01:48:14.320 it

01:48:14.560 up

01:48:14.980 he

01:48:15.620 did

01:48:15.920 just

01:48:16.300 unleash

01:48:17.300 its

01:48:18.520 own

01:48:19.120 dissolution

01:48:20.040 and

01:48:21.120 I mean

01:48:21.400 McDonald's

01:48:22.160 was in

01:48:22.580 Moscow

01:48:23.020 well before

01:48:24.700 the Soviet

01:48:25.220 Union

01:48:25.560 collapsed

01:48:26.120 and

01:48:27.440 Pepsi

01:48:27.900 and Coke

01:48:28.460 were going

01:48:28.880 over there

01:48:29.560 there's

01:48:30.860 some famous

01:48:31.480 concerts

01:48:32.200 what was

01:48:33.640 it was

01:48:33.940 a Bruce

01:48:34.280 Springsteen

01:48:34.860 played a

01:48:35.140 concert

01:48:35.420 I think

01:48:35.880 born in

01:48:38.560 the USA

01:48:39.060 it's

01:48:40.500 interesting

01:48:41.280 stuff

01:48:41.800 I guess

01:48:42.200 the irony

01:48:42.920 of

01:48:43.660 Depeche

01:48:44.320 Mode

01:48:44.700 is that

01:48:45.260 they're

01:48:46.940 this

01:48:47.180 western

01:48:47.800 band

01:48:48.220 they're

01:48:48.560 these

01:48:48.780 kids

01:48:49.300 from

01:48:49.640 the

01:48:50.280 suburb

01:48:50.880 of

01:48:51.080 London

01:48:51.440 and

01:48:52.440 they're

01:48:52.600 trying

01:48:52.880 to

01:48:53.080 evoke

01:48:53.620 totalitarianism

01:48:54.760 if

01:48:55.820 anything

01:48:56.220 they're not

01:48:58.180 going in

01:48:58.720 there and

01:48:59.060 singing

01:48:59.360 about

01:48:59.720 Coca-Cola

01:49:00.380 and Blue

01:49:00.840 Jeans

01:49:01.180 and the

01:49:01.560 Beatles

01:49:01.840 and whatever

01:49:02.540 they're

01:49:03.520 singing

01:49:03.940 about

01:49:04.420 living

01:49:04.920 in a

01:49:05.180 totalitarian

01:49:05.840 society

01:49:06.560 but

01:49:08.740 okay

01:49:09.940 the rankings

01:49:11.340 that we

01:49:12.120 are ongoing

01:49:13.160 always shifting

01:49:14.520 rankings

01:49:16.280 what do you

01:49:18.660 think

01:49:19.000 so still

01:49:22.560 I'll say

01:49:23.540 Songs of Faith

01:49:24.380 and Devotion

01:49:24.860 one

01:49:25.360 Violator

01:49:26.040 two

01:49:26.420 and then

01:49:27.180 I do have to say

01:49:28.720 Music for the Masses

01:49:29.700 is three

01:49:30.120 there's not a bad

01:49:30.980 song on this one

01:49:31.720 there's not a bad

01:49:32.340 song on

01:49:32.960 Black Celebration

01:49:34.080 or

01:49:34.540 some great

01:49:35.760 reward

01:49:36.220 but

01:49:36.700 it's just

01:49:38.480 so

01:49:39.040 good

01:49:39.940 like because

01:49:41.160 of the reasons

01:49:41.740 that I said

01:49:42.300 it's accessible

01:49:43.440 dark

01:49:43.920 it's all

01:49:44.380 these things

01:49:45.080 yeah

01:49:46.420 it's

01:49:46.980 yeah

01:49:47.680 it's primed

01:49:48.600 it's primed

01:49:49.320 Depeche Mode

01:49:49.900 I can understand

01:49:51.120 if someone

01:49:51.520 puts it at one

01:49:52.260 I might

01:49:55.920 even have to

01:49:56.880 in a way

01:49:57.960 because

01:49:58.700 you know

01:50:01.860 on some

01:50:02.520 basic level

01:50:03.480 Depeche Mode

01:50:04.180 is an 80s band

01:50:05.340 and

01:50:06.520 it

01:50:07.720 we listen to them

01:50:09.800 a little bit

01:50:10.180 nostalgically

01:50:10.940 on some level

01:50:12.260 it's not the whole

01:50:13.700 story of course

01:50:14.500 and

01:50:15.060 this just seems

01:50:16.340 to be just

01:50:16.840 the culmination

01:50:18.280 of everything

01:50:19.360 that they were

01:50:19.980 working towards

01:50:20.860 for seven years

01:50:21.980 just coming

01:50:23.620 into fruition

01:50:24.220 and

01:50:25.060 yeah

01:50:25.760 yeah

01:50:27.220 and then

01:50:29.220 to cap it off

01:50:30.100 with the

01:50:30.740 101 concert

01:50:31.600 is like

01:50:32.240 man that's

01:50:32.720 the cherry

01:50:33.140 on top

01:50:33.740 yeah

01:50:34.440 and everything

01:50:35.860 that they're

01:50:36.480 gonna do

01:50:37.340 I mean

01:50:38.120 maybe you

01:50:38.800 don't hear

01:50:39.480 songs of

01:50:40.080 you don't

01:50:40.980 really hear

01:50:41.420 songs of

01:50:41.860 faith and

01:50:42.160 devotion

01:50:42.480 in this

01:50:43.120 album

01:50:43.380 you definitely

01:50:44.560 hear Violator

01:50:45.420 in this

01:50:45.740 album

01:50:46.040 yeah

01:50:47.340 yeah

01:50:47.780 and so

01:50:48.960 you

01:50:49.400 you kind

01:50:49.900 of see

01:50:50.560 where

01:50:51.180 they're

01:50:51.440 moving

01:50:51.800 and

01:50:53.260 I

01:50:53.660 don't

01:50:54.920 I would

01:50:55.500 say this

01:50:56.000 I

01:50:56.220 you know

01:50:56.640 number one

01:50:57.800 number two

01:50:58.200 number three

01:50:58.620 you know

01:50:59.040 whatever

01:50:59.260 I don't

01:50:59.900 think it's

01:51:00.360 surpassed

01:51:01.840 also just

01:51:03.440 in terms

01:51:03.820 of the

01:51:04.060 quality

01:51:04.620 of the

01:51:05.440 album

01:51:05.720 itself

01:51:06.200 yeah

01:51:07.100 it's

01:51:07.340 kind of

01:51:07.620 more

01:51:07.820 commercial

01:51:08.420 in a way

01:51:09.020 or more

01:51:09.340 it's more

01:51:09.740 like a

01:51:10.400 soundtrack

01:51:10.820 to a

01:51:11.420 film

01:51:11.780 and

01:51:12.740 so maybe

01:51:14.000 like part

01:51:14.740 of me

01:51:14.960 almost

01:51:15.240 likes the

01:51:15.840 muddiness

01:51:16.260 of Black

01:51:16.860 Celebration

01:51:17.500 but

01:51:17.840 it's

01:51:19.000 just

01:51:19.420 perfect

01:51:20.140 like

01:51:20.480 it's

01:51:21.360 really

01:51:22.220 well

01:51:22.560 crafted

01:51:23.060 it's

01:51:23.700 professional

01:51:24.380 it's

01:51:25.580 very

01:51:25.960 much

01:51:26.280 Depeche

01:51:26.680 Mode

01:51:27.000 has

01:51:27.540 all

01:51:27.900 of

01:51:28.020 the

01:51:28.160 themes

01:51:28.620 all

01:51:29.360 of

01:51:29.480 the

01:51:29.620 sonic

01:51:30.220 elements

01:51:31.380 in

01:51:32.880 one

01:51:33.180 thing

01:51:33.600 I mean

01:51:33.960 I guess

01:51:34.320 if you're

01:51:34.560 going to

01:51:34.780 hand

01:51:35.100 someone

01:51:35.460 a Depeche

01:51:35.900 Mode

01:51:36.120 album

01:51:36.420 and they

01:51:36.680 can only

01:51:37.020 have

01:51:37.220 one

01:51:37.500 this

01:51:37.720 is

01:51:37.860 it

01:51:38.080 yeah

01:51:39.420 yeah

01:51:39.880 I would

01:51:40.200 I

01:51:40.800 definitely

01:51:41.180 agree

01:51:41.400 with that

01:51:41.840 because

01:51:43.540 it's

01:51:43.880 in a lot

01:51:44.320 of ways

01:51:44.600 it is

01:51:45.140 their

01:51:45.300 peak

01:51:45.660 did you

01:51:47.060 want to

01:51:47.240 talk

01:51:47.400 about

01:51:47.720 101

01:51:48.240 a little

01:51:49.060 bit

01:51:49.280 yeah

01:51:50.360 sure

01:51:50.720 I mean

01:51:51.120 personally

01:51:52.840 speaking

01:51:53.320 I remember

01:51:54.040 buying

01:51:54.700 101

01:51:55.200 on CD

01:51:55.900 when I

01:51:58.340 was young

01:51:59.400 it was

01:51:59.640 probably a

01:52:00.260 couple years

01:52:00.780 after it

01:52:01.180 came out

01:52:01.740 it's probably

01:52:02.740 before Songs

01:52:03.520 of Faith and

01:52:03.960 Devotion

01:52:04.320 but after

01:52:04.960 Violator

01:52:05.480 and I

01:52:06.900 was

01:52:07.200 I didn't

01:52:09.160 know of

01:52:09.620 its existence

01:52:10.200 I bought

01:52:10.900 it used

01:52:11.460 and I was

01:52:12.200 like oh

01:52:12.420 this has

01:52:12.760 everything

01:52:13.060 it's like a

01:52:13.460 compilation

01:52:13.860 and then I

01:52:15.420 heard the

01:52:15.920 live album

01:52:16.600 yeah

01:52:18.480 it's

01:52:19.720 I would

01:52:21.000 stand by

01:52:21.500 this

01:52:21.680 I don't

01:52:22.100 know of

01:52:22.680 another

01:52:22.980 live album

01:52:24.040 that's better

01:52:24.520 than this

01:52:25.020 the all

01:52:26.200 of the

01:52:26.480 performances

01:52:26.980 are great

01:52:27.680 Dave is

01:52:28.620 it

01:52:28.880 top form

01:52:30.480 the

01:52:31.800 encore

01:52:33.060 set

01:52:33.660 of

01:52:34.460 you know

01:52:35.800 digging

01:52:37.100 back into

01:52:37.980 the past

01:52:38.520 for just

01:52:38.920 can't get

01:52:39.320 enough

01:52:39.700 is amazing

01:52:41.700 and then

01:52:42.640 closing out

01:52:43.580 the concert

01:52:44.160 with

01:52:44.880 everything

01:52:45.360 counts

01:52:45.760 doing it

01:52:46.180 in a

01:52:46.540 really a

01:52:46.940 new version

01:52:47.520 of everything

01:52:47.960 counts

01:52:48.380 and

01:52:49.640 the whole

01:52:50.860 stadium

01:52:51.400 singing along

01:52:52.420 with

01:52:53.800 grabbing hands

01:52:54.980 grab all

01:52:55.340 they can

01:52:55.760 everything

01:52:56.060 counts in

01:52:56.520 large amounts

01:52:57.000 I mean

01:52:57.300 yeah

01:52:58.300 I just

01:52:58.840 I do

01:52:59.280 think it's

01:52:59.900 it's

01:53:00.400 surpassed

01:53:01.080 I've seen

01:53:01.880 101

01:53:02.340 it is

01:53:03.800 it's kind

01:53:04.420 of like an

01:53:04.800 artifact

01:53:05.220 it has a

01:53:05.900 lot of

01:53:06.080 good elements

01:53:06.760 like it's

01:53:07.860 whether it

01:53:08.380 holds up

01:53:08.920 together

01:53:09.320 film I

01:53:10.180 guess is

01:53:10.540 another

01:53:10.800 question

01:53:11.800 it was

01:53:12.580 made by

01:53:13.020 a famous

01:53:13.640 director

01:53:14.740 of rock

01:53:16.500 films

01:53:17.340 it's kind

01:53:19.360 of fun

01:53:19.840 to see

01:53:20.160 these kids

01:53:20.760 you go

01:53:21.080 back to

01:53:21.340 the 80s

01:53:21.800 you see

01:53:22.060 how kind

01:53:22.620 of like

01:53:23.020 decent

01:53:23.960 everyone

01:53:24.480 was

01:53:24.980 they're

01:53:27.040 very

01:53:27.380 innocent

01:53:27.960 yeah

01:53:30.020 I just

01:53:32.000 I don't

01:53:32.320 know

01:53:32.580 it's just

01:53:33.560 weird as

01:53:34.260 well

01:53:34.440 my

01:53:34.920 older

01:53:36.740 sister

01:53:37.220 who again

01:53:37.780 I think

01:53:38.340 I mentioned

01:53:38.720 this in our

01:53:39.020 first podcast

01:53:39.580 when I was

01:53:40.040 outside of

01:53:40.660 her room

01:53:41.260 she was

01:53:42.160 playing

01:53:42.800 the

01:53:43.600 I think

01:53:45.720 it was 0.51

01:53:45.940 the Black

01:53:46.320 Celebration

01:53:46.900 album

01:53:47.180 and I

01:53:47.480 think the

01:53:47.840 song was

01:53:48.320 either

01:53:48.760 stripped 0.85

01:53:49.280 or Black 0.80

01:53:49.840 Celebration

01:53:50.500 and I

01:53:52.380 had just

01:53:52.800 so I was

01:53:53.540 quite young

01:53:54.280 I mean this

01:53:54.560 is like 1986

01:53:55.600 87 I mean I

01:53:56.860 and I was

01:53:57.360 like wow

01:53:57.740 never ever

01:53:59.160 heard a

01:54:00.040 sound like

01:54:00.540 that and

01:54:02.120 that just

01:54:03.600 started all

01:54:04.080 I just

01:54:04.360 remember her

01:54:05.140 I remember

01:54:05.780 she'd gotten

01:54:06.460 like a

01:54:07.640 the DM

01:54:09.220 1988

01:54:10.240 you know

01:54:12.160 music for

01:54:12.640 the masses

01:54:12.960 tour shirt

01:54:13.640 she didn't

01:54:14.160 attend that

01:54:14.660 concert

01:54:15.040 but she

01:54:15.840 had the

01:54:16.840 shirt I

01:54:17.260 just remember

01:54:17.500 her wearing

01:54:18.000 that at

01:54:18.320 camp I

01:54:18.860 don't know

01:54:19.300 it just

01:54:19.540 brings back

01:54:20.100 a lot of

01:54:20.760 nostalgic

01:54:21.380 memories

01:54:22.920 definitely

01:54:25.560 yeah the

01:54:26.200 101 movie

01:54:27.340 itself is

01:54:28.180 kind of

01:54:28.720 you don't

01:54:30.140 need to

01:54:30.460 watch it

01:54:30.880 even as

01:54:31.420 a huge

01:54:32.080 fan

01:54:32.460 because it's

01:54:33.820 not even

01:54:34.380 really about

01:54:35.080 the band

01:54:35.780 they don't

01:54:36.380 it's not

01:54:36.660 like they

01:54:36.880 have like

01:54:37.360 big interviews

01:54:38.620 or you get

01:54:39.560 you know

01:54:40.180 some kind

01:54:40.640 of scoop

01:54:41.200 or you can

01:54:41.940 see the

01:54:42.960 working

01:54:43.520 relations

01:54:44.340 or how

01:54:45.500 they get

01:54:45.820 along or

01:54:46.180 how they

01:54:46.380 don't get

01:54:46.760 along

01:54:47.140 it's

01:54:47.680 actually

01:54:48.360 as far

01:54:48.780 as the

01:54:49.000 band's

01:54:49.360 concerned

01:54:49.660 it's pretty

01:54:50.120 surface level

01:54:50.860 and

01:54:51.840 Alan

01:54:53.440 has said

01:54:54.240 in interviews

01:54:54.760 before that

01:54:55.300 he doesn't

01:54:55.640 think the

01:54:56.000 film is

01:54:56.360 very deep

01:54:57.020 it's really

01:54:58.600 about these

01:54:59.260 kids and

01:55:00.120 a lot of

01:55:00.580 them they

01:55:01.860 met if

01:55:03.120 not all

01:55:03.560 of them

01:55:03.840 they met

01:55:04.480 in New

01:55:04.940 York they

01:55:05.340 were just

01:55:05.580 like some

01:55:06.280 of these

01:55:06.500 kids were

01:55:06.820 just at

01:55:07.200 this club

01:55:07.800 and whoever

01:55:10.380 was working

01:55:10.980 I don't know

01:55:11.260 somebody from

01:55:11.740 mute or

01:55:12.120 something like

01:55:12.580 that or

01:55:13.080 some but

01:55:14.440 one of

01:55:14.900 the associates

01:55:16.640 of Penny

01:55:17.720 Baker was

01:55:18.220 just like

01:55:18.640 hey would

01:55:19.220 you like to

01:55:19.600 be in a

01:55:20.480 Depeche

01:55:21.340 mode

01:55:21.720 documentary

01:55:23.220 film or

01:55:23.780 whatever

01:55:24.020 in a lot

01:55:24.840 of ways

01:55:25.120 it's like

01:55:25.500 very reality

01:55:26.640 TV but

01:55:27.680 it's even

01:55:28.200 almost too

01:55:28.980 surface level

01:55:29.620 to be

01:55:30.080 reality TV

01:55:31.100 I'm being

01:55:31.480 critical of

01:55:32.140 it but

01:55:32.500 it's okay

01:55:34.700 it's a good

01:55:35.920 time capsule

01:55:37.500 kind of film

01:55:38.240 but if you

01:55:39.120 really want to

01:55:39.560 know about

01:55:39.980 Depeche

01:55:40.380 mode or

01:55:41.920 their music

01:55:43.400 then it's

01:55:43.980 pretty surface

01:55:45.020 level

01:55:45.540 it's almost

01:55:46.440 reality TV

01:55:47.540 but it's even

01:55:48.680 a little bit

01:55:49.300 too surface

01:55:49.860 level for

01:55:50.520 reality TV

01:55:51.320 so

01:55:52.460 but the

01:55:53.760 versions of

01:55:54.660 these songs

01:55:55.120 on 101

01:55:55.580 like them

01:55:56.280 reworking

01:55:56.980 Just Can't

01:55:57.640 Get Enough

01:55:58.000 so they

01:55:58.340 had this

01:55:58.740 like harmony

01:55:59.400 breakdown

01:55:59.860 like I

01:56:00.760 think that

01:56:01.220 is so

01:56:01.960 I think

01:56:02.820 that's awesome

01:56:03.360 I think that

01:56:03.900 version of

01:56:04.460 Just Can't

01:56:04.860 Get Enough

01:56:05.140 is the best

01:56:05.660 that they've

01:56:05.980 ever done

01:56:06.380 and they've

01:56:07.640 done a few

01:56:08.160 different versions

01:56:08.800 of Everything

01:56:09.440 Counts but

01:56:10.180 that I think

01:56:11.780 my favorite

01:56:12.420 part I just

01:56:13.680 love like vocal

01:56:14.300 harmonies in

01:56:14.940 general but

01:56:15.540 their harmony

01:56:17.960 of all three

01:56:19.180 of them

01:56:19.400 singing

01:56:19.800 you know

01:56:21.080 at the end

01:56:21.580 to kind of

01:56:21.980 close out

01:56:22.460 that song

01:56:22.980 is just

01:56:23.840 perfect

01:56:24.440 I see you

01:56:29.960 I can't see you

01:56:35.200 there

01:56:40.940 come on

01:56:41.240 here

01:56:44.380 Thank you.

01:57:14.360 And, you know, the other thing about it is that, you know, as I mentioned multiple times, you know, music for the masses is a bit of an ironic nod to the fact that they're not making music for the masses. But doing this, this was a culmination of the world tour. And according to this documentary, Alan was saying that, you know, they wanted to do a free concert. They wanted to do some kind of celebration.

01:57:40.500 And so they decided to do the Rose Bowl as this massive blowout. It was not free, but it was unusual. But at least the impression I got is that it was a risk. I mean, it's like, are you do you have the fan base to do this? Are people going to show up?

01:57:56.700 And, you know, famously, it was raining. There was a thunderstorm during blasphemous rumors, which is kind of a, you know, amusing anecdote about, you know, God being mad or maybe having a sixth sense of humor or something.

01:58:08.420 Who knows? But yeah, I mean, it was, you know, a culmination of things, but it was like they just got there. They just they're they're peaking. They couldn't have done this earlier. I mean, they were not setting the world on fire when they were they went to they flew to New York City and performed a broken frame or something.

01:58:30.300 This is a point where they're just able to do this and they pulled it off. So I think it is a yeah, it's a really amazing event in the history of the band.

01:58:44.660 Yeah, the sound was notoriously mediocre, according to the band, because I guess Dave was like really loud and Martin and Alan that you couldn't hear their voices and they were using like a basically an entirely different PA system because the Rose Bowl was so much bigger than every other venue that they played up to that point.

01:59:10.240 And so as with all albums, they go back in the studio and they fill in parts, you know, and do a little bit of editing.

01:59:20.660 But the I think Martin, the sound of the album is great.

01:59:27.680 Yes. Yeah, yeah, yeah, definitely.

01:59:29.180 There's no doubt about it.

01:59:31.400 And but Dave said, like, he lost his voice pretty early and he was like, I couldn't hit a high note like all night.

01:59:38.880 But not that he ever really not that he could ever hit a high note.

01:59:41.980 Yeah, yeah, yeah, yeah, yeah, whatever happened.

01:59:49.660 I mean, again, I think it was a celebration of fandom.

01:59:52.360 And and this is where you again, I think I mentioned this two hours ago now of you, these just funny news reports.

01:59:59.540 I'll I'll be sure to include one while editing this of, you know, kids ransacking the record store because they sold out albums and just, you know, they were just on a different level at this point.

02:00:11.460 We've just gotten an updated figure on the number of kids here.

02:00:16.620 Police say now there's maybe 15,000 kids here.

02:00:19.920 A police helicopter is going overhead.

02:00:21.820 There's lots of backup patrols in the area.

02:00:24.460 The band's only going to be here for three hours.

02:00:27.440 I'm afraid a lot of these kids will not be able to get in to get autographs.

02:00:31.100 And at that point, who knows what they might do so far?

02:00:34.100 It has been peaceful, just not quiet.

02:00:37.640 I'm Cindy Vandor reporting live from the Beverly Center area.

02:00:41.140 Back to you, Jerry and Jane.

02:00:42.840 I've just made a list.

02:00:43.860 Got one thing on it.

02:00:44.780 Events to miss unless you're into cramp and crush.

02:00:48.680 Yeah.

02:00:49.160 And L.A. is like that's like the perfect place for them because they were huge there.

02:00:53.060 If they were big, any place in America was Los Angeles.

02:00:57.160 I think it's also probably I mean, has an electronic band ever sold out the Rose Bowl?

02:01:02.400 Like they did.

02:01:04.540 I'm not sure.

02:01:06.660 Yeah.

02:01:07.020 And like you said, the interesting thing, though, of like OMD just like sort of fading by that time, because they were a big band in the early 80s.

02:01:20.320 And it's like literally they just flipped with Depeche.

02:01:25.500 Also, another interesting thing I saw about this was that there was a ticket that somebody saved from this concert.

02:01:30.660 And I don't know where exactly he was sitting, but it was just funny to see that it said that the person paid twenty two dollars and fifty cents for the ticket.

02:01:40.100 And I was just like thinking to myself, like I would pay a lot more for a nosebleed, you know, at that time to see that concert.

02:01:47.980 Well, the whole economy is different.

02:01:50.780 They would tour in order to sell albums.

02:01:54.140 I think it's the reverse now.

02:01:55.680 You sell albums to get people to go to the concert and pay three hundred dollars for like a fairly decent seat.

02:02:04.600 Yeah, it's terrible.

02:02:05.580 But I remember going to concerts in the 90s and it was closer to that.

02:02:09.700 It might you could probably get a seat for twenty five dollars, like a bad one.

02:02:13.360 And yeah, pay seventy five or eighty five for something big.

02:02:16.800 It was not at the just crazy hundreds of dollars level where it is now.

02:02:21.860 It's, you know, it's bad.

02:02:24.340 Everything counts in my heart and mouth.

02:02:50.400 It's driving hands, driving hands, driving hands, everything counts in my heart and mouth.

02:02:58.680 Hey! 0.99

02:03:05.180 I think it's a good one.

02:03:07.220 I think it's a good one.

02:03:11.580 Whoa! 0.71

02:03:12.900 I think it's a good one.

02:03:14.620 I think it's a good one.

02:03:15.620 It's driving hands, driving hands, driving hands, driving hands, driving hands, everything counts in my heart and mouth.

02:03:33.440 It's driving hands, driving hands, everything counts in my heart and mouth.

02:03:42.660 It's driving hands, driving hands, driving hands, everything counts in my heart and mouth.

02:03:47.260 I think it's a good one.

02:03:51.940 I think it's a good one.

02:03:53.800 I think it's a good one.

02:03:55.140 I think it's a good one.

02:03:59.940 I think this is a good one.

02:04:02.680 Thank you!

02:04:33.340 Thank you so much.

02:04:37.420 Thank you.

02:04:39.060 Thank you.

RadixJournal - February 21, 2024

Depeche Mode： Music For The Masses

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