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ADDITIONAL TRACKS - remixes / B-sides / demos

PART 2
 

From: Daniel 'The BRAT' Barassi
E-mail: bratprod@pacbell.net

ORIGINAL TEXT FROM WWW.RECOIL.CO.UK:

From: Peter Philipsen
E-mail: philipsen@mnw.dk

I have a soundboard recording from the USA '94 show in San Francisco. I always thought this was done without the bands knowledge/approval but when samples from the recording turned up in that god-awful new remix of 'World In My Eyes' (found on the XLCD of 'Only When I Lose Myself'), I realised that the band must have known about it. Did/do Depeche Mode record several shows of each tour in this manner, and if so, for what purpose?

Sound recordings direct from the front of house mixing desk were only ever made for personal reference reasons. I knew nothing about the above remix until I received a finished CD with it included. As you can imagine I was far from pleased.

BRAT Explanation:

The soundboard is definitely a bootleg (rumour is that someone knew one of the tour personnel and got a DAT clone). The remix you refer to (the absolutely HORRID "Safar Mix") was originally a bootleg 12" remix single. I went to Reprise to present my proposal for a special 3rd CD to the upcoming (then) 'Singles 86>98' compilation. Craig Kostich (Product Manager at Reprise), later in the process of pressing up the bonus disc, took out 9 of the rarer tracks I wanted to see included on the Reprise release, and replaced them all with the piss-poor Safar Mix of 'World In My Eyes'. Craig is friends with the guy (Safar) therefore, you have him to blame for the track getting released.
Hope I didn't bore anyone!

Not at all Brat. Thanks for clearing it up.



From: Pit-R
E-mail: pit-r@w.pl

I'm curious to know about the circumstances surrounding the creating of DM's 'Black Day'. It was written by 3 people wasn't it? How was it done?

It was just a spontaneous moment in the studio while Martin was warming up in the vocal booth and Dan, Gareth and myself were fiddling about in the control room.



From: Alan Woody
E-mail: AlanWoody@email.msn.com

How did the MIDI mix of Strangelove come about and does the name give a clue to it's origin?

The mix gets it's name from the fact that, at one point during the recording session, the midi configuration went haywire and all the instruments started playing the wrong parts. Someone thought it sounded rather good, so we tarted it up a bit and slapped it on the CD as a remix. I have my doubts as to the wisdom of this now though.



From: Manuel Mayor
E-mail: manuel@telnor.net

I have a question about an instrumental track (MP3 file) that I downloaded recently called 'Monghi'. The guy that posted this file claims it's an unreleased song from Depeche Mode (1990). Is this true?

No.



From: Heiko Brune
E-mail: heiko.brune@t-online.de

As the 'Amyl Nitrate Mix' of 'Rush' is faster than the album version, how did you adapt its speed when using parts of it for the '94 live intro.?

There are various methods for adjusting tempo without adjusting pitch. Most samplers have a 'time stretch' facility or an eventide harmonizer will also do the job. How successful the end result sounds depends on the nature of the original sound and also how far you are stretching it.

Which sound sources did you use for those vital and sometimes mean bass lines on 'NLMDA' (Aggro Mix) and 'Personal Jesus' (Pump Mix)?

Most of the analogue bass sounds were derived from Mini moog and / or Obei rack and sometimes also combined with an Arp as well. A common trick is to put the source sound through an amp or guitar fx unit which compresses and distorts, as well as giving a whole range of different frequencies to create more edge.



From: Kaleid34
E-mail: Kaleid34@aol.com

Who did the Jeep Rock mix of 'In Your Room'? Do you like it?

It was remixed by Johnny Dollar. Yes I do like it.



From: Laura Iwanenko
E-mail: Lkinoir@aol.com

Secondly, my friend and I have this bet going about the song 'Pimpf' and I was hoping that you could settle it once and for all. He says that an arpeggiator was used throughout the song however, for some reason, I don't think one was. Could you please tell me if it was or not?

No arpeggiators were used. In fact I think most of it was hand played apart from the double speed stuff which would have been sequenced (which is not the same as arpeggiated).



From: Johannes K. Arnason
E-mail: 101@isholf.is

Do you remember the Martin demo 'Live By Themselves' from 1983?

No I don't remember this.



From: Loongullo Sergei
E-mail: loosergey@mtu-net.ru

I read somewhere that, in your opinion, a REAL DM fan is one who still remains devoted after listening to 'It's Called A Heart' (Slow Mix). Any comments?

Well, you do need to be particularly devout to endure it - slowing it down to half-speed made it twice as long - probably not a very good idea - twice the agony.



From: Alan Woody
E-mail: AlanWoody@email.msn.com

While rummaging through the Q & A archives, I read that you worked alone on the backing track for 'Death's Door'. I take that to mean you recorded and programmed the music. Why were you not given partial songwriting credit for this song? How did the band determine who got songwriting credit? Did Martin get credit simply because he wrote the lyrics or did he supply a complete song needing only arrangement and recording?

Martin wrote the lyrics and chords to the song - he supplied a basic demo which I took home and arranged / programmed from there. I have talked about songwriting and what constitutes publishing credit before - there are different schools of thought on it. Try the Depeche Mode - working methods for more info.

'Kaleid' (When Worlds Mix) is one of my fav. DM tracks. What sound is heard coming in after the first few intro bars? Is it some kind of guitar effect? It reminds me of the sound used by The Smiths on 'How Soon Is Now'.

I can't remember exactly. I think it was a guitar sample put through a tremolo unit of some kind. The guitar sound on 'How Soon Is Now' is definitely achieved using a tremolo. One of my favourite Smiths tracks.



From: Yutaka Ishibashi
E-mail: ishibashi@mtc.biglobe.ne.jp

Who actually came up with the idea to cover 'Route 66'?

I think Martin suggested it.

Which version do you prefer, the original or the Beatmasters (I prefer Beatmasters)?

I agree with you. The Beatmasters' version is the most fun and suits the song well. It also grooves better than the original.



From: Richard Hanson
E-mail: hanson_rp@geocities.com

Shep Pettibone - overrated? I've heard many a remix by him and almost without exception he has succeeded in sucking the life from the song, with the 12" version of 'Behind The Wheel' being one of the worst. Was he suggested to the band or did someone actually like his work?

I'm not sure who suggested him - probably Sire. He seems to be missing a huge selection of mid frequencies from his mixing console (the ones with 'bollocks' written on the knobs).



From: ELECTRIC CAFE
E-mail: ele.gio@inrete.it

In the maxi-mix of 'Strangelove' you've used the typical brass sound with a big reverb / echo on it that personally I found wonderful and very dynamic. Why have you erased it for the others and more important versions?

Um......... don't know, sorry.

Was the lead (guitar) sound in the aggro mix of 'Never Let Me Down Again' created expressly for this mix or was it an outtake part from the recording of the track?

It was recorded for that mix only.



From: Greg Madison
E-mail: gakmadison@erols.com

'Kaleid' - Is it pronounced "kaleed" or "collide"?

"Collide", I think.



From: Bernard
E-mail: bernard@frontstage.com

I have actually listened to 'World In My Eyes' (Safar remix) which is crap if you ask me. They use the bootleg intro of 'Every Now And Then'. Have you remarked on that? I just wondered...

I noticed the live intro which I assumed came from a bootleg or something. It all came as a surprise to me. I agree with your sentiments - why bother with it?



From: David Muhlenfeld
E-mail: David.Muhlenfeld@bsh.com

In the entire DM oeuvre, there is only one instance to which songwriting credit is given to both you AND Mr. Gore - 'The Great Outdoors'. How did this little gem come about ? Also, there's a bit at the end of it that sounds like the fade out of 'Judas' - did you purposely borrow from the older track or is this simply a coincidence?

'The Great Outdoors' was the only track that Martin and I actually sat down and knocked together in the studio. It was all done very quickly. Any resemblance to 'Judas' is purely coincidental.



From: Jam
E-mail: Jam007DM@aol.com

The 'Safar' remix of 'World In My Eyes' was mixed after1994, right?

I know nothing about this remix, when it was commissioned and who SAFAR is. I wasn't consulted about it's release which I'm annoyed about.



From: Joyce
E-mail: FMsGs@aol.com

I was wondering if you could shed some light on the making of 'Black Day'? If I am correct, this is the only DM track that had you, Martin and Dan Miller credited as songwriters.

It was one of those rare tracks that just came together spontaneously in the studio. It was all recorded live (an offshoot from 'Black Celebration') and we decided that the fairest way to credit it was equally between those people that were in the room contributing at the time .



From: The Faith Healer
E-mail: mode2joy@infomagic.com

It has been suggested that the band did not particularly like the 'Zephyr' mix of 'In Your Room', which subsequently was released as the single version. While the 'Zephyr' admittedly doesn't have the build up that the album version had, it certainly has it's own attitude. How did you feel about Butch Vig's reworking of that song?

I personally preferred the LP version but that doesn't mean the others felt the same. I'm pretty sure that Dave, for example, prefers Vig's version.



From: Vanessa Ferrari
E-mail: vanessa@megapix.com

I'm not sure if you've answered this question already but what movie is featured in the video 'But Not Tonight', if any?

It's called 'Modern Girls'.



From: Dave
E-mail: sequence@netmatters.co.uk

I really like your song 'If You Want' and was wondering what the 3 note explosion riff is after Dave sings the slow intro? It sounds like a cymbal mixed with a lot of other things.

That's about right. It was a mixture of a couple of synthesized sounds generated by the Synclavier.



From: James C Warren
E-mail: james@hedgepig.demon.co.uk

Is there likely to be a remix CD of the 'Singles 96-98'? I heard there was a promotional CD with some of DM's favourite remixes and other rumours about different limited editions with remixes.

They are promotional items only. I wasn't consulted about which remixes were included so you can't say they are group favourites. There hasn't been any new mixes of old tracks as far as I know.



From: Anton Floriano
E-mail: AcrystDM@aol.com

What are your favourite and least favourite DM B-sides / instrumentals. Will we be treated to some Recoil B-sides in the next release period?

Favourite B-side = 'Fly On The Windscreen'.

It was originally the B-side to 'It's Called A Heart' and I argued vigorously for it to be the A-side. Its quality was eventually realised when it became part of 'Black Celebration'.

Least favourite (and there are a few contenders) = 'But Not Tonight'

Check the archives for further comments and stuff about instrumentals. As for Recoil B-sides? I don't like the concept of the B-side because it basically seems to be an inferior track which you throw together quickly to try to create the impression that more tracks equals better value. These days, it seems you need two B-sides per single. I'd take quality over quantity every time.




From: Petr Mrna
E-mail: mrna@harvard.cz

I've just purchased 'Singles 86-98' and I wonder why the Shep Pettibone mix of 'Behind The Wheel' is on this CD? This mix is terrible! I understand that it is the 7" remix but there must have been some discussion about what tracks should or shouldn't make it, or do you just blindly put everything out? You said that you had been outvoted on 'In Your Room' (Butch Vig mix) but I think the album version of 'Behind The Wheel' or the edited Beatmasters mix would have been a much better choice. Surely, both you and us (fans) want the best to be on the CD?

The compilation is really a historical piece which, in my opinion, correctly remains faithful to all the original 7" releases (as did 'Singles 81-85'). I personally feel this is the right way to go even though I do agree that this isn't necessarily the best version of 'Behind The Wheel'. The same also applies to a number of other tracks on the record, however, everybody has different opinions about their favourite versions and it would have been absolutely impossible for us all to agree. As you point out, I was outvoted on 'In Your Room' at the time of it's original release but since that was the decision, for this release, the correct version has been chosen.



From: Johannes K. Arnason
E-mail: dm@mmedia.is

Did you create the tracks 'Violence', 'I Feel No Guilt' and 'Cliche'?

No.



From: David Muhlenfeld
E-mail: David.Muhlenfeld@bsh.com

Years ago , around the time of 'The Singles '81-'85', I read an interview with DM in which 'Get the Balance Right' was singled out as the band's least favourite single. I've always been puzzled by this, since it's still one of my favourite early DM tracks - I still get shivers when the melodies start layering over each other at the end. If you don't mind me asking, what was so awful about it?

Well, you must not believe everything you read for a start. DM has never had a collective opinion about anything. I can think of a few worse tracks from that era.



From: Brian Hodge
E-mail: brian.hodge@blockbuster.com

Please finally end an argument amongst the fans, did DM have two songs 'Violence' and 'I Feel No Guilt' (circa 1986) that were demo'd but rejected for the LP?

It's possible but I don't remember these - there have been many demos over the years.



From: Aaron Henderson
E-mail: sharklab@hotmail.com

Most of my DM 12" material is on vinyl but during the 'SOFAD' period I had to switch to CD because of the atrocious quality of the vinyl pressings. 'My Joy' in particular is almost unlistenable. Were you aware that the quality of the pressings had deteriorated and am I the only person that has complained about it?

No, I wasn't aware that the pressings were bad. I don't actually think the album was mastered very well on either format - 'SOFAD' sounds quiet and 'muddy' to me.

In reply to a recent question regarding 'Death's Door', you mentioned that you worked on the backing track alone and Martin came in at the end to do the vocals. Does this mean that you were responsible for the guitar parts in the music, or were they sampled from Martin's demo?

The guitar parts were sampled but not from the demo. I re-worked Martin's previously recorded guitar from 'Blue Dress' and also used some Pedal Steel out-takes played by Nils Tuxen which were recorded direct to DAT when we hired him to perform on 'Clean'. Whenever we finished an album, we always made a point of recording each individual sound onto DAT.



view part 3



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