THE SINGLES 81-85 Spring 1999

Depeche Mode


When Alan Wilder joined Depeche Mode in 1981, he was initially hired for an American tour to promote the band's debut album 'Speak And Spell'. After a successful few months on the road, DM returned to England and prepared to record a new LP, 'A Broken Frame', but to prove they could prosper without the talents of departed member Vince Clarke, Alan would not be part of the process. However, in October 1982 he became a full member and made his studio debut with the single, 'Get The Balance Right'.


Get The Balance Right

Release date: 31st January 1983

UK 7 12 CD - Mute Records

  Depeche Mode - Get The Balance Right  


Produced and mixed by:   Depeche Mode and Daniel Miller
Recorded and mixed at:   Blackwing Studios, London
Promo director:   Kevin Hewitt


'Get The Balance Right' was recorded in January 1983 with Eric Radcliffe and John Fryer at Blackwing Studios, London.

"Interestingly, this was the first time we had concentrated on producing a dance 12". Although remixes had been made for previous releases, this one was very much geared towards the clubs. The video, confusingly, features myself lipsyncing Dave's voice over the first verse. This was because the director didn't actually know who the singer of the band was and for some reason made the assumption that it was me. As an indication of our naivety, we were too embarrassed to point out his mistake. Consequently, the final cut of the promo remains this way today."


Get The Balance Right video   Get The Balance Right promo

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Depeche Mode - Construction Time Again




  Stumm 13
Formats:   LP CD
Release date:   August 1983
Produced and mixed by:   Depeche Mode, Daniel Miller and Gareth Jones
Recorded at:   The Garden Studios, London and Hansa, Berlin


Gareth Jones

Gareth Twiddling
"The main thing about 'Construction...' was that it was the group's first album with Gareth Jones and the first recorded away from Blackwing. We worked at John Foxx's Garden Studios. It also marked the introduction of the sampler (Emulator and Synclavier) and I think it marked a turning point in DM's musical history."


Unlike any other Mode LP, the lyrical focus of 'Construction...' centred around popular political concerns of the day such as nuclear arms, global pollution and economic gluttony. The music was given a hardened, more 'industrial' treatment thanks to the new sampling craze and use of discarded junk from any source at hand, including the building sites of Shoreditch in East London. The new production team helped to ensure that 'Construction Time Again' was eclectic for its time, revealing a new and more thought-provoking Depeche Mode.



Everything Counts

Release date: 11th July 1983

UK 7 12 CD - Mute Records

      Depeche Mode - Everything Counts  


Produced and mixed by:   Depeche Mode, Daniel Miller and Gareth Jones
Recorded and mixed at:   The Garden Studios, London
and Hansa, Berlin
Promo director:   Clive Richardson


Mixed at Hansa Studios in Berlin, 'Everything Counts' represented a significant step forward. Introducing the Emulator / Drumulator combination that would go on to dominate the rest of the album, its opening sound is very much a 'sample' and gave the masses who bought the record (resulting in DM's biggest hit of the time - No. 6 in England) a real sense that they were tuned in to the latest sound.


Everything Counts promo The video was shot by Clive Richardson in and around Berlin and was the first in a series that he would go on to direct for the band. "It was felt that after the Julian Temple years, we needed to harden up not only our sound but also our image. Clive had lots of new ideas which didn't involve stupid storyboards where we were required to act."

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Love In Itself

Release date: 19th September 1983

UK 7 12 CD - Mute Records

      Depeche Mode - Love In Itself  


Produced and mixed by:   Depeche Mode, Daniel Miller and Gareth Jones
Recorded and mixed at:   The Garden Studios, London
and Hansa, Berlin
Promo director:   Clive Richardson


"'Love In Itself' certainly wasn't our strongest single yet it still somehow managed to spawn a multitude of different remixes. I can't really remember how most of them, like the swing version, came about - probably a spin-off from the middle 8 of the original. All I can say is that listening to and actually liking some of them is sure to separate the men from the mice in terms of being a real devotee. Actually, it was a weird track all round, not least because from the moment we first heard it, a standing joke was born that the verses sounded just like a particular nursery rhyme - I can't quite put my finger on which one but I'm pretty sure it's 'Ugly Duckling'. When pushed, Martin admitted that he had in fact based the tune around the rhyme and I'm afraid I could never quite listen to the song seriously again."

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