June 18, 2025 • 36 mins
This week in the world we live in and life in general w/ host Jon Justice
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- It’s that time of year again, 101 rewatch time
- Listener feedback
SUPPORT JON JUSTICE THRU KO-FI: https://ko-fi.com/jonjustice
OR YOU CAN SUPPORT JON JUSTICE BY PICKING UP YOUR COPY OF THE EMBARK, THE SCIENCE FICTION SERIES WRITTEN BY JON JUSTICE
An exciting mix of Fast and Furious, Star Wars, Ready Player One and the sci-fi adventures of the 70’s - 1990’s
EMBARK: Book 1 and EMBARK: Treasure in Darkness (Book 2) EMBARK: The Vanishing War (Book 3) Gahan Corbijn and the Asteroid of Misfortune, The Rocket Queen (Book 5) Fear the Dangerous Night (Book 6) are available now in ebook, paperback, audiobook and free on Kindle Unlimited!
EMBARK Battle Planet (Book 7) is now available!
https://www.amazon.com/dp/B07K7LLFZY
Latest drink and chat with Rob Rohm https://youtu.be/rXs7iZX1tfU
Email: TalkShowNerd@gmail.com
@X @JonJustice
Instagram TheJonJustice
Facebook Jon Justice
Join the mailing list! TalkShowNerd@gmail.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hello, this is Moss and Gold from Depeche Mode.
Speaker 2 (00:08):
Ahi, this is Dike Gombe from Depeche Mode, and you
are listening to my word Roan, Welcome to it. I'm
your host John Justice here on Depeche Mode. The podcast
It's that time of Year Again, devotes June the eighteenth,
(00:30):
nineteen eighty eight, thirty seven years of one one. Yeah,
it needs to be talked about at least once a year.
It marked such an important moment in the band's history.
I've been enjoying leading up to the recording of today's
podcast listening to one oh one, the soundtrack from the film,
(00:55):
and very much look forward to revisiting the movie either
tonight or tomorrow. Night may have to wait for this weekend,
but usually one oh one gets a rewatch a couple
times a year, and certainly a rewatch right around at
June eighteenth, again marking thirty seven years going back to
nineteen eighty eight that I was at that famous Rose
(01:16):
Bowl show. We also have your listener feedback to get
to this week. No new news. We still don't have
an official release date for the Depeche Mode film m
except that'll be out sometime in the fall. Talked last
week about the unreleased tracks in the end, specifically, hope
you had the opportunity to check out the podcast version
(01:38):
of the show if you're currently enjoying this up on YouTube,
where I had a special special addition to the end
of that podcast. So if you missed it, be sure
to go and download last week's show to give a
listen to that. But those the track names for the
other unreleased songs. Potentially we know Life two point zero,
(01:58):
but we also have a Loose Cannon and then you
gotta forgive me. I forgot what the other one was.
I don't have it in front of me, Needless to say,
the Loose Cannon uh song title, That one has me
really excited by the way. I don't know why, but
it's giving me a barrel of a gun vibes. I
know it's just a title and I have nothing to
go off of, but there really isn't There really isn't
(02:24):
that Harsher song on Memento Maury that you can point to.
I'm thinking of tracks like Corrupt, Barrel of a Gun,
a pain that I'm used to. Maybe Don't Say You
Love Me kind of falls into that category. Perhaps my
cosmos is mine, but I don't know, it's been a
(02:45):
while since we've had that more rakish, sinister edged song
like Got Wrong is another good example. So I don't know.
That title Loose Cannon has just stuck with me, So
you know, listen knowing my love. In terms of predictions,
lose Cannon, if that is indeed the song title, it's
gonna end up being like a Martin Gore ballad or something.
(03:08):
So before we get into revisiting one oh one, and
just a few thoughts that I have listening to the
to the entirety of the concert today and getting to
your listener feedback. Scrolling through on Instagram, and one of
the Depeche Mode accounts posted this clip that I'm fairly
(03:31):
certain was from the Playing the Angels excuse me Playing
the Angel promotion. It could have been from Sounds of
the Universe, but just given the age of the band
members and honestly, I grabbed the link and I didn't
bother to look if it was in the notes of
when the interview was done. But I was under the
(03:53):
impression that Home was about something else. But according to
this interview, Martin actually gives a bit of a bit
of a backstory to why he wrote Home so a
quick clip. Wanted to share it with you, and then
we'll talk a little one oh one here on the show.
Speaker 3 (04:18):
Oh god, let me do it.
Speaker 2 (04:24):
Let me do a bit of a setup here, because
I because I've watched it a few times, so I
believe that Martin was about to go and talk about Home,
and Fletch kind of chimed in like he was going
to give his version of it. So Martin hands the
basically hands the floor over to Fletch for him to
give his thoughts on what he believes Home is actually about.
(04:49):
So there's a bit of your setup.
Speaker 3 (04:50):
Oh god, I know what he's going to say, do
please Well, I always thought it was about home, going home,
and then Martin said.
Speaker 2 (05:07):
It's about that, it's about death. Is that true? Kind
of yeah?
Speaker 1 (05:13):
I mean I was going through, uh, a very dark
period at that time, and you know, I just imagined
that I was heading for an early grave and kind
of accepting that at that point.
Speaker 2 (05:34):
Thank you, you got you got hurt for that. Now
these may cross over. I was and I don't know
where I first heard this. I was always under the
impression that and and maybe maybe they're one and the
same but I was always under the impression that it
(05:54):
was more specific than that, that what Martin was referring
to in the song was actually referencing his drinking problems
of the time, and that was his sort of ode
to alcohol, that it was alcohol that was bringing him
to this place. Now, maybe these are interchangeable ideas, meaning
(06:14):
that he was dealing with an alcohol issue. The song
was about that, but ultimately was about him reconciling where
his I don't want to say alcoholism, because I don't
know if Martin was truly an alcoholic. I've never heard
that specifically. I just know that he had difficulties dealing
with alcohol and that perhaps that was what was leading
(06:35):
him to his anxiety and that his time was going
to be limited and that he could you know, it
was going to kill him. So I'd always heard it
was specifically related to alcohol, and again they have those
two things maybe interchangeable, but you know, it's just it's rare.
You and I both know that it's incredibly rare for
Martin to ever get specific about the origin of his
(06:58):
song lyrics. As a matter of fact, I've I've always
appreciated that about the band, and it's one of the
things about Precious that I almost wish while it's pretty
on the nose in the song lyrics, and if you know,
we all know the background of the band and the
relationships that they've had and the relationships that worked and
the ones that didn't. So based off the lyrical content
of Precious, I think it's pretty obvious what Martin was
(07:20):
referring to at the time talking about his children angels
with silver wings that mean, you know, but I'd always
kind of wish that he hadn't divulged that or would
continue to not give the origin of songs. I really
love the ambiguity of ambiguity of Depeche Mode songs, wherein
we as the fans, can go and lay on top
(07:40):
of it whatever relatable scenario we'd like, you know, especially
at a young age. And I think that's what made
the band so powerful at a young age, leading into
what we'll talk about here with one oh one, where
the band was really speaking to that generation. I know
they were speaking to me, I know they've they spoke
(08:00):
to you. I mean, this is why we've been lifelong fans.
But they had tapped into something Martin at the time
had tapped into something deep within himself that he expressed
through his songwriting that really resonated with us as fans,
especially at that incredibly young and impressionable age where we're
(08:21):
looking for guidance, we're looking for friendship, we're looking for meaning,
and Depeche Mode gave that to so many of us
in the way that it, you know, a way that
the music and the lyrics spoke to us. So I
think in years past I've focused more on the documentary
(08:43):
part of the movie one oh one, and this year,
while I do plan on watching the film, I decided
to not watch the movie prior to doing the podcast
and instead go and listen to the soundtrack just basically
listen to the concert, which is what I did today
on the drive to and from work. Going to listen
to it. I was a little reluctant because I remember
(09:07):
how heavy they played up the crowd within the recording.
It was done intentionally, but they really amplified their record
the audience and the background of the crowd noise into
the recording itself. The mix is done brilliantly. When you
get into the actual tracks themselves, the crowd is still
(09:31):
there in the mix, but it's not as prominent as
it is between between the tracks. I'm always struck and
I was when it was originally released, and just as
impressed today as I was going back to, you know,
nineteen eighty you know, nineteen eighty eight when the soundtrack
came out, at just how great Dave's vocal sound. His
(09:52):
vocals are just absolutely fantastic. You know, you listen to
a lot of artists today or even day when you
go and watch any of the original press appearances for
the promotion of a Mento moriy, when Dave's trying to
belt out ghosts again and he's just not there yet
(10:12):
and he's off key. I recently watched the BBC session
on a YouTube and specifically walking in my shoes, and
you know, even then, there's some wonkiness in the in
the vocals, and there has been for day throughout the years.
You know, Thank goodness we have the ability to go
and hear all of this, right, but you go back
and listen to one oh one, and Dave's vocals are
(10:33):
just absolutely spectacular. So I just made a couple of
notes that I wanted to share with you this week,
and then we'll get into the listener feedback. But first off,
this being BV, meaning before Violator. So that was significant
to me listening this time around, because we've spent so
(10:54):
much time on the newer material here on the show,
and certainly over the course of the past couple of
years on Momento Moriri, and so much time has passed
since since one oh one. You know, it's tough when
you not tough to not the right word. It's interesting
when you go back and revisit the content and the
live content here prior to Violator, prior to Songs of
(11:19):
Faith and Songs of Faith in Devotion and Ultra and
all of the many Depeche Mode staple songs now that
are included in all the concerts that didn't even exist,
And yet here you have this set list that's pretty
spot on perfect. I'm listening to the soundtrack and at
(11:40):
no point am I wanting any of those songs that
didn't exist yet. Now, maybe that is kind of an
unfair assessment because I'm not watching a live show. I'm
not watching a current iteration of Depeche Mode and going
to see a live show, and then those songs aren't
(12:02):
being played even though we knew they existed. So I
think it's a bit of a cheat, but still it
encapsulates that moment in time so perfectly prior to when
and just about when they were about to get launched
into the stratosphere. I mean, one oh one was the
you know, was the climbing up to the up to
(12:22):
the top of the ladder on the diving board before
the band dives off into what would end to becoming,
you know, the the Apex Mountain of their career a violator,
and the songs of faith and devotion, tour songs of
faith and devotion, and the tours that would that would
that would follow. So but still just absolutely pulling on
(12:48):
that Depeche mode nostalgia in listening to it, you know,
even in the absence of all these amazing songs that
came later, it is still at its core pure Depeche,
even in the absence of other pure Depeche if that
makes any sense. Plus, when you get into and I
(13:10):
was thinking about this listening this morning again, not watching
the not watching the movie, but just heard of in
my mind's eye, having watched One oh One so many times,
I can just I can see all the scenes and
Day's performance and him yelling away from the mic and
just dying to know what it is that he was
yelling on stage in between those certain songs that are
shown in the shown in the film. But when you
(13:30):
think about the actual set design and how before they
were transitioning into a much bigger production in terms of
their live shows, the addition of Anton Corbin's visuals and
the films that he would create, you had a rather
stark stage stage setup. Now I think Anton did a
(13:53):
really good job, especially on songs of faith and devotion,
to have this massive stage that Dave would play on,
much in the same way the stage is for the
music for the Masses show. But you know, apart from
from the lights, which obviously are archaic compared to what
they are now, you actually have an individual there at
(14:14):
the soundboard who's doing it by hand. I mean, it's
incredible to watch. How much fun would that have been?
But the light show is going to change every night
because she's actually just doing it to the beat of
the of the music. It's incredible. And then in terms
of visuals, you have some of the banner changes in
the back and some of the projection, but and then
the the swirling lights in the fog, but nothing near
(14:35):
what we end up getting on world violation and of
course on songs of faith and devotion and all the
tours that would follow after and my gosh, compare one
oh one the music for the Masses show at the
past at at you know, at the Rose Bowl to
the Memento Moury you know stage. I mean, it's night
and day. But it provides almost this post punk vibe
(14:58):
with the lack of the ants Larry visuals, at a
time when the band was really, like I said, beginning
to reach their apex mountain in terms of their songwriting
and the crafting of the of the music. It's an
interesting moment captured within all of what surrounds the content
(15:19):
of One oh One that makes it truly special. And
I remember, as as a fifteen year old the validation
that I had of this band that I'd fallen in
love with over the course of a handful of years,
and thinking, there's a Depeche Mode movie. You know, as
(15:40):
a again, a few years off of being an adult,
this thing that I loved was getting the superstar treatment.
It's a movie, I mean, and as a kid, that's
a big deal. I'm gonna go to the movie theater
and I'm gonna watch my favorite band that my parents
look at me cross eyed whenever they hear me playing
it or talking about it on the big screen in
(16:02):
a movie theater where I'm going and seeing et in
tron I mean, oh my gosh, it's it's absolutely incredible.
And the promotional work around one oh one across the
board is just great. I think we have a listener
feedback this week talking about Anton Corman and they're not
(16:23):
being a fan. But that being said, the the every
aspect of the promotional material, the visuals that were done
for for one oh one, they're just they're they're awesome.
The poster image of Dave, that black and white shot,
which I'm pretty sure was Anton right? Am I wrong
(16:43):
on this? Didn't he provide all the visuals for this?
I mean, I know we had Da Pennamaker shooting the
shooting the film, but this is when Anton was was
now in the mix, and there's that shot of Dave
on stage with his hand up in the air with
the smoke black and white, you know, and he's got
his back turned. I mean, just an iconic image so
many you know, it's absolutely Anton KORbin. I'm sorry, I'm
(17:04):
thinking of the I'm mentally, I'm going through the the
liner notes of the CD and the booklet. Right, Yes,
of course it's Anton Anton's photographs, but just the iconic
photograph surrounding it and the promotional work. I mean, the
idea that we are going to use for the cover
of photograph of the poster that's up for sale. I
(17:27):
mean it's genius. It may not look that way on paper,
kind of like Anton KORbin going and telling the band
what the video for Enjoy the Silence would end up being.
It doesn't look good on paper, but the finished work
looks spectacular. And I know I've made reference to this before,
but it's probably been a year, so I'll bring it
up again. But when the singles began to when the
(17:50):
singles started to be released for the promotion of the album,
of the live album, and it had the big, huge, huge,
stark black cover with the large white Depeche Mode lettering,
and yet it cut off so you only get the
deep for like the LP of the single release of
(18:12):
Everything Counts. And I've said this before and I'll say
it again. We're talking fifteen years old, right, fifteen sixteen
at this point in time, But fifteen sixteen years old
when this came out, and not being an art fan,
you know, Depeche Mode challenged me to appreciate that which
wasn't as accessible. I mean, who cuts off the band
(18:36):
name on the cover of an album? Well, Depeche Mode did.
Those that were in charge of the of the visuals
for the promotion they did. And because it was this
band that I loved, I kept an open mind about it.
If it had been anybody else, well that's stupid. Only
half of the band's name is on the cover of this.
My gosh, what happened to the rest of it? But
(18:58):
this time around, I'm going, oh, it's depeche That's cool.
Isn't that awesome? And like I said before, it really
does capture the moment of the band's history when they
were really going to to take off. It's incredible that
it's been thirty seven years. I mean, that's that's just
unbelievable to me. A couple more notes on this listening
(19:20):
to it, the inclusion of Pleasure Little Treasure as it
was technically considered to B side. I think I never
thought I'd bring up Pleasure Little Treasure this much on
the podcast, probably the third podcast in a row or
more of talking about this song. And I know that
it was considered more of an A side in the
in the US, but I just listening to again the
live album on the way home, it just it really
(19:42):
stuck out. And Martin's distinct guitar work on the songs
where he does play guitar, especially on Pleasure Little Treasure,
it almost has a bit of a personal Jesus vibe
to it. That Barren Air and air and air near
Barren Air Air, Air and Air near Bam. You know
(20:02):
what I'm talking about. So good, just just absolutely phenomenal.
Share your thoughts with me if you don't mind, email
me talkshow Nerd at gmail dot com. I'd love to
next week on the show sort of reminisce a little
bit more of what really sticks out to you about
whether it's the live album, the artwork, whether it is
(20:28):
the film itself, any aspect of it. I would really
love to hear your thoughts and to talk about it
on next week's episode. And with that, let's get to
your listener feedback this week. First off, we hear from
easy Tiger UK, who says, in the end, the new
song sounds like a single to me. I love it,
(20:50):
and to my mind, it would not look out of
place on the Momento Mori album. No, I agree with you,
and I've actually stopped listening to this leaked version, even
though we have kind of a decent quality version for
what it's worth, and there's already some remixes out there.
But I've actually stopped kind of listening to it because
(21:11):
I'm very much looking forward to hearing the song and
I don't want to become too accustomed to the version
that was recorded at the Tribeca Film Festival. Somebody had
made a comment though, and I tend to agree that
there are some lyrical and even slight musical similarities to
Ghosts Again, and that might have been why the song
(21:32):
was kept off the album, where it was a bit
of a retread. I love it for that. I think
it's a fantastic song, and you know, I agree with
Easy Tiger here that it could have been a single, which,
as I mentioned before, has me very excited for those
other three tracks that we'll get later on this year.
David Gone dash Ks five Jah writes this, you have
(21:57):
to know to regarding Spirit in the four in the concert.
It was shot during the very last two shows of
the tour after one hundred and twenty concerts, so Dave
is obviously not going to sound fresh. I didn't have
nearly as much of an issue with how Dave sounded
in that concert. It was just more his vibe. I
(22:18):
don't want to belabor the point. I've said it many
times on the show, but he just had that sleazy
vaudeville elvis vibe going on that Again, he ditched for
the Momento Mary tour that I just didn't just didn't
care for. Probably one of my least favorite versions of
Dave's live live show presence. All Right, let's go to Ron.
(22:39):
Ron writes this, So two episodes ago, I talked about
the correlation between the album artwork and the music itself. Unfortunately,
because I tend to do this little convoluted in what
I was describing, trying to articulate what it was that
(22:59):
I was what I was going for in terms of
does the artwork affect the music, It's probably the easiest
way to put it. Well, Ron got the assignment and
this is what he had to say. The album and
single are to me is indistinguishable from the music. This
is the strongest with the release of the singles eighty
six through ninety eight. During that period I bought CDs
(23:22):
religiously and spent time reading the booklets and sleeves, especially
when I was younger and acquiring the back catalog. The
album and single covers became a treasure hunt, where I
investigated the shelves of every mainstream and otherwise music store
searching for them. I agree with you. I was the
same way. I knew by heart every album cover, but
(23:45):
the singles were a mystery and required more digging. I
remember when I found the Policy of Truth CD MAXI single.
I had no clue what it was, but the artwork
was familiar enough that it made me glance twice. The
same thing happened with the world in my eyes as
a CD single. The artwork drew my attention and I
discovered it was DM after examining it. The singles and
(24:07):
albums imagery got so entwined with the music that I
found myself using a broken frame artwork for my PC
wallpaper and wearing a Construction Time Again T shirt, just
the album cover photo, no identifying band info. In the end,
the art invokes the same feelings in me as the
(24:27):
music that all said. Recent albums from sounds of the
Universe onward came to me digitally, so the artwork meant
a little less. I find myself going back to the
nineteen eighties and nineties classics to get my imagery fixed.
Thank you, Ron, if anything, you helped me to not
(24:48):
feel so bad that I was too convoluted in my question,
and I really feel the same way. It's a bummer.
I just that's the easiest way to put it. I
know times change, I know the industry changes, but the
artwork of the band is just so important getting our
hands on it. And I know we can still buy
the physical releases, but it's a bummer to me that
(25:10):
we didn't end up getting more exclusive artwork, especially for
Memento moriy I just there's so much that could have
been done with the with the visuals. But I also
understand the things change, and I'm just incredibly thankful that
we still have unheard Depeche Mode music that's been created
out there waiting for our ear holes. All right, Glenn
(25:31):
in nineteen sixty five writes this, Hey John, exciting week
for us all but specifically responding regarding the artwork question.
So Glenn got the assignment too, not a fan of
Anton's album art at all. Really, certainly, I completely separate
the music from the art. The Violator Rose is simply
something synonymous with them now, as the Skulls are with
(25:53):
Momento Moriy association rather than art for me. But I
do like his portraits of the band, in particular those
in Prague in the mid nineteen eighties and most recently
the one with the shadow for Fletch included inspired that image.
Is if every disc was in a black sleeve and
bossed with DM, I would still be as excited as
(26:16):
ever to hear the music for the concerts. However, the
sets and the video content are key that anyone else
get chills when twenty twenty three or four Daves stood
in front of the video of nineteen eighty seven Daves
singing You're behind the Wheel in parallel. Sometimes the images
enhanced the music, but the music stands on its own regardless.
(26:38):
Thank you for that, Glinn. I appreciate it all right.
Next up, Lars Guthel writes, this really incredible that there's
a brand new song by DM playing in the movie
theater and plenty of people keep chatting with each other
instead of listening. Right, I'm so glad I wasn't there.
I'll have to ask, we're gonna get Rob on the show?
(27:00):
I just my schedule has been so wonky that I couldn't.
There's just no way I could pin down, like a
specific time to get Rob on, which is why I
haven't Rob rom from the global Depeche fan group. But
I need to ask him, like, how quickly did he
realize that that song was a brand new song? And
how annoyed was he that people were talking in the
audience when it was playing? And I thought that there
(27:25):
were multiple screenings at the Tribeca Film Festival, not that one,
And I fully expected that we would have gotten a
much cleaner version of in the end than the ones
that people have been able to sort of craft together
based off of those initial recordings. But apparently I was wrong.
I could have sworn that I saw at least four
different screenings for the film that weekend of the festival,
but apparently I was inaccurate. All right, let's go and
(27:50):
hear from friend of the show, Jason Jason, who writes this,
despite the quality of the song uploaded, Wow what a song.
It instantly feels familiar and so like the best of
the eighties, and as soon as Martin's vocals kick in,
I quite literally get chills every time I do too,
and I think that's the really one of the great
(28:10):
moments of the song is when Martin comes in after
Dave's vocals. I'm now very annoyed with the band for
keeping this gem from us for so long. I was surprised, though,
by the reaction of the audience as soon as the
song came on. I would have expected the theater to
fall silent with the occasional whoop of excitement. Instead, it
came across as if many didn't realize or couldn't be
(28:33):
bothered unless the recording online made the chatter of the
audience sound worse than it was. I do appreciate the
efforts of the fan who tried to shush the audience.
That made me laugh. At the time of writing this
Saturday evening, I had hoped that fans going to the
second screening were better prepared and would get a better
quality recording online. Yeah, see, there was other screening. I
(28:54):
was right after catching a very short clip of World
in My Eyes from the movie. From what I've read
of some reviews, it sounds as if there's some experimentation
going on with the visuals. If Rob is on the show,
I would appreciate it if you would ask him if
we're going to get something more akin to the live
release of Touring the Angel, or if this experimentation was
(29:15):
limited to World in My Eyes and playing tribute to Fletch.
My understanding from what I've seen of the film so
far and from the reviews is that I think that
moment that you're talking about in a World in My
Eyes is specific to Fletch. In general, I do get
a vibe that this is sort of an interesting combination
(29:37):
of what was done with Touring the Angel in the
way that they really manipulated throughout that concert the visuals
of the concert itself, which I can take if I'm
in the mood for it. Sometimes I know, if I
want some more video quality, obscure live footage to watch,
I'll go and watch Touring the Angel, where I typical
(30:00):
they prefer more of a straightforward shot performance, or if
you're going to deviate at all, it would have been
Anton's deviation a bit, even though it's pretty straightforward in
devotional And finally, after learning more about the movie, I
wonder if the issues reported for delaying its release was
to do with the use of poems rather than songwriters
(30:22):
of the DM catalog. Interesting exciting times ahead with good
wishes Jason. Thank you very much, Jason. Always great to
hear from you. Next up. Oh. Glenn nineteen sixty five
actually wrote in twice. Usually I combine when there's multiple comments,
so let me go back to him just briefly. He wrote,
great to see Martin and Dave together again. Imagine the
(30:43):
surprise being there watching the main event and then realizing
that you're hearing a new track and the frustration of
others not being quiet around you as you listen. Sounds promising,
exciting to hear all four songs in their glory soon.
And last, we hear from Chris Culpepper, who writes this,
(31:04):
I recently converted my friend Matt into a dmdvot nice.
I bought him the entire catalog. Wow, you're a good friend,
and it's interesting to hear his perspective as a new fan.
He's not biased like myself seeing the catalog as pre
Alan post Allen, et cetera. Matt noted that Music for
the Masses should have been an EP, although he liked
(31:27):
their record, He said, there seemed to be a lot
of filler, Agent Orange, nothing. Dare you call nothing filler? Pimp, Pleasure,
little treasure to have him to hold Oh gosh, his
word's not mine. Oh, Matt, I already know you're typing
(31:49):
so real quick, just to so my buddy, Matt right,
I mentioned him on the show a lot. Uh, let
me guess here what he's gonna So. I don't think
Matt is gonna take much issue with Agent Orange or Pimp,
but he's definitely gonna take issue with calling to have
him to hold pleasure, little Treasure, and especially nothing is filler.
(32:10):
I mean, I have issue with that. But uh. He
asked if DM perhaps felt rushed to capitalize on the
success of Black Celebration, causing music for the masses to
be lacking in quality tracks. Interesting, you know it's I'm
not gonna dismiss that question out right. I get what
(32:33):
he's saying. The strong songs, listen, those are all great tracks.
I love to have him to hold Pleasure, little Treasure
and nothing, make no mistake, And certainly at the time
I didn't feel that way. But at the same time,
there's also bias going on because you're such a big
fan of the band, you have such an open mind,
you do like what you like, and if the songs
weren't any good at all, that bias is only gonna
(32:55):
get you. So far, I've had bias listening to albums
on a first blow that I thought were up there
with Violator. As a matter of fact, when I was
doing my Memento Mariy review, when I got the advanced
copy of the album, I remember that there were fans
on the Depeche dash Mode home forum that had gone
(33:17):
back to my comments that I'd made in the past,
and specifically comments that I made after the first hearing
of Spirit where I said it was the best album
that they'd done since Violator. That was biased. At the time,
I was blinded by what I was hearing, especially and
more specifically, the electronic sounds and the production of the
(33:37):
album is what really drew me to it. But after
spending time with it, it nowhere near reaches the levels
of Violator, and I have completely changed my I mean,
I enjoyed the album, It's not one of my favorites,
but certainly changed my tune. Whereas Memento MORI now with
a couple of years on on the album, and I
can't believe it's been out that long. Still is up
there with me going back to the songs of faith
(33:59):
and Devotion and Ultra, so those songs I still absolutely
love on Music for the Masses, but I can imagine
as being a new fan you might feel differently. So
thanks for that, Chris cole Pepper. That was a nice
a nice email too. Everybody who wrote in this week,
thank you very much, And if you'd like to go
and comment again talkshow Nerd at gmail dot com. Isn't
(34:23):
there wraps to show up for this week? If you
are a new listener to the show, I hope you'll
support what I do weekly talking about the greatest band
on the planet, specifically, if you enjoy reading or listening
to science fiction. I'm a massive science fiction fan and
I wrote a seven book science fiction series called Embark,
(34:44):
set in the future where air and spaceflight culture has
replaced car culture and inspired in part by depeche Mode
life in the so called space age, the world will
be living in life in general. Depeche Mode is actually
embedded within the story as a lead character. Taft is
a massive depeche Mode fan at the time In the
(35:05):
story set in twenty one to seventy two, where the
music of the eighties through the two thousands is nostalgic
and popular among the characters of the story in it
features references to Depeche Mode both direct and indirect, along
with all the music alternative music from the eighties into
the nineties, all while telling most importantly and exciting science
(35:26):
fiction adventure story without an agenda, as Earth faces its
end to follow pilots half Keita and their crew on
a journey of survival across the galaxy as they fight
for humanity's future. It's available on Amazon dot com, so
do not miss this fun, fast paced, and action packed
science fiction adventure ebook kindle unlimited hardcover paperback and audiobook.
(35:53):
Just head on over to Amazon dot com and search
for John Joanjustice, and and Martin. Thank you so much
for checking out this week's episode. As always, I hope
wherever you are you're happy, you're healthy, and you're safe.
I look forward to hearing from you between now and
next of the week. God bless and I'll talk to
you then.
Speaker 1 (36:15):
I know.
Speaker 2 (36:18):
Twice. Depeche Mode the podcast
Hello, this is Moss and Gold from Depeche Mode.
Speaker 2 (00:08):
Ahi, this is Dike Gombe from Depeche Mode, and you
are listening to my word Roan, Welcome to it. I'm
your host John Justice here on Depeche Mode. The podcast
It's that time of Year Again, devotes June the eighteenth,
(00:30):
nineteen eighty eight, thirty seven years of one one. Yeah,
it needs to be talked about at least once a year.
It marked such an important moment in the band's history.
I've been enjoying leading up to the recording of today's
podcast listening to one oh one, the soundtrack from the film,
(00:55):
and very much look forward to revisiting the movie either
tonight or tomorrow. Night may have to wait for this weekend,
but usually one oh one gets a rewatch a couple
times a year, and certainly a rewatch right around at
June eighteenth, again marking thirty seven years going back to
nineteen eighty eight that I was at that famous Rose
(01:16):
Bowl show. We also have your listener feedback to get
to this week. No new news. We still don't have
an official release date for the Depeche Mode film m
except that'll be out sometime in the fall. Talked last
week about the unreleased tracks in the end, specifically, hope
you had the opportunity to check out the podcast version
(01:38):
of the show if you're currently enjoying this up on YouTube,
where I had a special special addition to the end
of that podcast. So if you missed it, be sure
to go and download last week's show to give a
listen to that. But those the track names for the
other unreleased songs. Potentially we know Life two point zero,
(01:58):
but we also have a Loose Cannon and then you
gotta forgive me. I forgot what the other one was.
I don't have it in front of me, Needless to say,
the Loose Cannon uh song title, That one has me
really excited by the way. I don't know why, but
it's giving me a barrel of a gun vibes. I
know it's just a title and I have nothing to
go off of, but there really isn't There really isn't
(02:24):
that Harsher song on Memento Maury that you can point to.
I'm thinking of tracks like Corrupt, Barrel of a Gun,
a pain that I'm used to. Maybe Don't Say You
Love Me kind of falls into that category. Perhaps my
cosmos is mine, but I don't know, it's been a
(02:45):
while since we've had that more rakish, sinister edged song
like Got Wrong is another good example. So I don't know.
That title Loose Cannon has just stuck with me, So
you know, listen knowing my love. In terms of predictions,
lose Cannon, if that is indeed the song title, it's
gonna end up being like a Martin Gore ballad or something.
(03:08):
So before we get into revisiting one oh one, and
just a few thoughts that I have listening to the
to the entirety of the concert today and getting to
your listener feedback. Scrolling through on Instagram, and one of
the Depeche Mode accounts posted this clip that I'm fairly
(03:31):
certain was from the Playing the Angels excuse me Playing
the Angel promotion. It could have been from Sounds of
the Universe, but just given the age of the band
members and honestly, I grabbed the link and I didn't
bother to look if it was in the notes of
when the interview was done. But I was under the
(03:53):
impression that Home was about something else. But according to
this interview, Martin actually gives a bit of a bit
of a backstory to why he wrote Home so a
quick clip. Wanted to share it with you, and then
we'll talk a little one oh one here on the show.
Speaker 3 (04:18):
Oh god, let me do it.
Speaker 2 (04:24):
Let me do a bit of a setup here, because
I because I've watched it a few times, so I
believe that Martin was about to go and talk about Home,
and Fletch kind of chimed in like he was going
to give his version of it. So Martin hands the
basically hands the floor over to Fletch for him to
give his thoughts on what he believes Home is actually about.
(04:49):
So there's a bit of your setup.
Speaker 3 (04:50):
Oh god, I know what he's going to say, do
please Well, I always thought it was about home, going home,
and then Martin said.
Speaker 2 (05:07):
It's about that, it's about death. Is that true? Kind
of yeah?
Speaker 1 (05:13):
I mean I was going through, uh, a very dark
period at that time, and you know, I just imagined
that I was heading for an early grave and kind
of accepting that at that point.
Speaker 2 (05:34):
Thank you, you got you got hurt for that. Now
these may cross over. I was and I don't know
where I first heard this. I was always under the
impression that and and maybe maybe they're one and the
same but I was always under the impression that it
(05:54):
was more specific than that, that what Martin was referring
to in the song was actually referencing his drinking problems
of the time, and that was his sort of ode
to alcohol, that it was alcohol that was bringing him
to this place. Now, maybe these are interchangeable ideas, meaning
(06:14):
that he was dealing with an alcohol issue. The song
was about that, but ultimately was about him reconciling where
his I don't want to say alcoholism, because I don't
know if Martin was truly an alcoholic. I've never heard
that specifically. I just know that he had difficulties dealing
with alcohol and that perhaps that was what was leading
(06:35):
him to his anxiety and that his time was going
to be limited and that he could you know, it
was going to kill him. So I'd always heard it
was specifically related to alcohol, and again they have those
two things maybe interchangeable, but you know, it's just it's rare.
You and I both know that it's incredibly rare for
Martin to ever get specific about the origin of his
(06:58):
song lyrics. As a matter of fact, I've I've always
appreciated that about the band, and it's one of the
things about Precious that I almost wish while it's pretty
on the nose in the song lyrics, and if you know,
we all know the background of the band and the
relationships that they've had and the relationships that worked and
the ones that didn't. So based off the lyrical content
of Precious, I think it's pretty obvious what Martin was
(07:20):
referring to at the time talking about his children angels
with silver wings that mean, you know, but I'd always
kind of wish that he hadn't divulged that or would
continue to not give the origin of songs. I really
love the ambiguity of ambiguity of Depeche Mode songs, wherein
we as the fans, can go and lay on top
(07:40):
of it whatever relatable scenario we'd like, you know, especially
at a young age. And I think that's what made
the band so powerful at a young age, leading into
what we'll talk about here with one oh one, where
the band was really speaking to that generation. I know
they were speaking to me, I know they've they spoke
(08:00):
to you. I mean, this is why we've been lifelong fans.
But they had tapped into something Martin at the time
had tapped into something deep within himself that he expressed
through his songwriting that really resonated with us as fans,
especially at that incredibly young and impressionable age where we're
(08:21):
looking for guidance, we're looking for friendship, we're looking for meaning,
and Depeche Mode gave that to so many of us
in the way that it, you know, a way that
the music and the lyrics spoke to us. So I
think in years past I've focused more on the documentary
(08:43):
part of the movie one oh one, and this year,
while I do plan on watching the film, I decided
to not watch the movie prior to doing the podcast
and instead go and listen to the soundtrack just basically
listen to the concert, which is what I did today
on the drive to and from work. Going to listen
to it. I was a little reluctant because I remember
(09:07):
how heavy they played up the crowd within the recording.
It was done intentionally, but they really amplified their record
the audience and the background of the crowd noise into
the recording itself. The mix is done brilliantly. When you
get into the actual tracks themselves, the crowd is still
(09:31):
there in the mix, but it's not as prominent as
it is between between the tracks. I'm always struck and
I was when it was originally released, and just as
impressed today as I was going back to, you know,
nineteen eighty you know, nineteen eighty eight when the soundtrack
came out, at just how great Dave's vocal sound. His
(09:52):
vocals are just absolutely fantastic. You know, you listen to
a lot of artists today or even day when you
go and watch any of the original press appearances for
the promotion of a Mento moriy, when Dave's trying to
belt out ghosts again and he's just not there yet
(10:12):
and he's off key. I recently watched the BBC session
on a YouTube and specifically walking in my shoes, and
you know, even then, there's some wonkiness in the in
the vocals, and there has been for day throughout the years.
You know, Thank goodness we have the ability to go
and hear all of this, right, but you go back
and listen to one oh one, and Dave's vocals are
(10:33):
just absolutely spectacular. So I just made a couple of
notes that I wanted to share with you this week,
and then we'll get into the listener feedback. But first off,
this being BV, meaning before Violator. So that was significant
to me listening this time around, because we've spent so
(10:54):
much time on the newer material here on the show,
and certainly over the course of the past couple of
years on Momento Moriri, and so much time has passed
since since one oh one. You know, it's tough when
you not tough to not the right word. It's interesting
when you go back and revisit the content and the
live content here prior to Violator, prior to Songs of
(11:19):
Faith and Songs of Faith in Devotion and Ultra and
all of the many Depeche Mode staple songs now that
are included in all the concerts that didn't even exist,
And yet here you have this set list that's pretty
spot on perfect. I'm listening to the soundtrack and at
(11:40):
no point am I wanting any of those songs that
didn't exist yet. Now, maybe that is kind of an
unfair assessment because I'm not watching a live show. I'm
not watching a current iteration of Depeche Mode and going
to see a live show, and then those songs aren't
(12:02):
being played even though we knew they existed. So I
think it's a bit of a cheat, but still it
encapsulates that moment in time so perfectly prior to when
and just about when they were about to get launched
into the stratosphere. I mean, one oh one was the
you know, was the climbing up to the up to
(12:22):
the top of the ladder on the diving board before
the band dives off into what would end to becoming,
you know, the the Apex Mountain of their career a violator,
and the songs of faith and devotion, tour songs of
faith and devotion, and the tours that would that would
that would follow. So but still just absolutely pulling on
(12:48):
that Depeche mode nostalgia in listening to it, you know,
even in the absence of all these amazing songs that
came later, it is still at its core pure Depeche,
even in the absence of other pure Depeche if that
makes any sense. Plus, when you get into and I
(13:10):
was thinking about this listening this morning again, not watching
the not watching the movie, but just heard of in
my mind's eye, having watched One oh One so many times,
I can just I can see all the scenes and
Day's performance and him yelling away from the mic and
just dying to know what it is that he was
yelling on stage in between those certain songs that are
shown in the shown in the film. But when you
(13:30):
think about the actual set design and how before they
were transitioning into a much bigger production in terms of
their live shows, the addition of Anton Corbin's visuals and
the films that he would create, you had a rather
stark stage stage setup. Now I think Anton did a
(13:53):
really good job, especially on songs of faith and devotion,
to have this massive stage that Dave would play on,
much in the same way the stage is for the
music for the Masses show. But you know, apart from
from the lights, which obviously are archaic compared to what
they are now, you actually have an individual there at
(14:14):
the soundboard who's doing it by hand. I mean, it's
incredible to watch. How much fun would that have been?
But the light show is going to change every night
because she's actually just doing it to the beat of
the of the music. It's incredible. And then in terms
of visuals, you have some of the banner changes in
the back and some of the projection, but and then
the the swirling lights in the fog, but nothing near
(14:35):
what we end up getting on world violation and of
course on songs of faith and devotion and all the
tours that would follow after and my gosh, compare one
oh one the music for the Masses show at the
past at at you know, at the Rose Bowl to
the Memento Moury you know stage. I mean, it's night
and day. But it provides almost this post punk vibe
(14:58):
with the lack of the ants Larry visuals, at a
time when the band was really, like I said, beginning
to reach their apex mountain in terms of their songwriting
and the crafting of the of the music. It's an
interesting moment captured within all of what surrounds the content
(15:19):
of One oh One that makes it truly special. And
I remember, as as a fifteen year old the validation
that I had of this band that I'd fallen in
love with over the course of a handful of years,
and thinking, there's a Depeche Mode movie. You know, as
(15:40):
a again, a few years off of being an adult,
this thing that I loved was getting the superstar treatment.
It's a movie, I mean, and as a kid, that's
a big deal. I'm gonna go to the movie theater
and I'm gonna watch my favorite band that my parents
look at me cross eyed whenever they hear me playing
it or talking about it on the big screen in
(16:02):
a movie theater where I'm going and seeing et in
tron I mean, oh my gosh, it's it's absolutely incredible.
And the promotional work around one oh one across the
board is just great. I think we have a listener
feedback this week talking about Anton Corman and they're not
(16:23):
being a fan. But that being said, the the every
aspect of the promotional material, the visuals that were done
for for one oh one, they're just they're they're awesome.
The poster image of Dave, that black and white shot,
which I'm pretty sure was Anton right? Am I wrong
(16:43):
on this? Didn't he provide all the visuals for this?
I mean, I know we had Da Pennamaker shooting the
shooting the film, but this is when Anton was was
now in the mix, and there's that shot of Dave
on stage with his hand up in the air with
the smoke black and white, you know, and he's got
his back turned. I mean, just an iconic image so
many you know, it's absolutely Anton KORbin. I'm sorry, I'm
(17:04):
thinking of the I'm mentally, I'm going through the the
liner notes of the CD and the booklet. Right, Yes,
of course it's Anton Anton's photographs, but just the iconic
photograph surrounding it and the promotional work. I mean, the
idea that we are going to use for the cover
of photograph of the poster that's up for sale. I
(17:27):
mean it's genius. It may not look that way on paper,
kind of like Anton KORbin going and telling the band
what the video for Enjoy the Silence would end up being.
It doesn't look good on paper, but the finished work
looks spectacular. And I know I've made reference to this before,
but it's probably been a year, so I'll bring it
up again. But when the singles began to when the
(17:50):
singles started to be released for the promotion of the album,
of the live album, and it had the big, huge, huge,
stark black cover with the large white Depeche Mode lettering,
and yet it cut off so you only get the
deep for like the LP of the single release of
(18:12):
Everything Counts. And I've said this before and I'll say
it again. We're talking fifteen years old, right, fifteen sixteen
at this point in time, But fifteen sixteen years old
when this came out, and not being an art fan,
you know, Depeche Mode challenged me to appreciate that which
wasn't as accessible. I mean, who cuts off the band
(18:36):
name on the cover of an album? Well, Depeche Mode did.
Those that were in charge of the of the visuals
for the promotion they did. And because it was this
band that I loved, I kept an open mind about it.
If it had been anybody else, well that's stupid. Only
half of the band's name is on the cover of this.
My gosh, what happened to the rest of it? But
(18:58):
this time around, I'm going, oh, it's depeche That's cool.
Isn't that awesome? And like I said before, it really
does capture the moment of the band's history when they
were really going to to take off. It's incredible that
it's been thirty seven years. I mean, that's that's just
unbelievable to me. A couple more notes on this listening
(19:20):
to it, the inclusion of Pleasure Little Treasure as it
was technically considered to B side. I think I never
thought I'd bring up Pleasure Little Treasure this much on
the podcast, probably the third podcast in a row or
more of talking about this song. And I know that
it was considered more of an A side in the
in the US, but I just listening to again the
live album on the way home, it just it really
(19:42):
stuck out. And Martin's distinct guitar work on the songs
where he does play guitar, especially on Pleasure Little Treasure,
it almost has a bit of a personal Jesus vibe
to it. That Barren Air and air and air near
Barren Air Air, Air and Air near Bam. You know
(20:02):
what I'm talking about. So good, just just absolutely phenomenal.
Share your thoughts with me if you don't mind, email
me talkshow Nerd at gmail dot com. I'd love to
next week on the show sort of reminisce a little
bit more of what really sticks out to you about
whether it's the live album, the artwork, whether it is
(20:28):
the film itself, any aspect of it. I would really
love to hear your thoughts and to talk about it
on next week's episode. And with that, let's get to
your listener feedback this week. First off, we hear from
easy Tiger UK, who says, in the end, the new
song sounds like a single to me. I love it,
(20:50):
and to my mind, it would not look out of
place on the Momento Mori album. No, I agree with you,
and I've actually stopped listening to this leaked version, even
though we have kind of a decent quality version for
what it's worth, and there's already some remixes out there.
But I've actually stopped kind of listening to it because
(21:11):
I'm very much looking forward to hearing the song and
I don't want to become too accustomed to the version
that was recorded at the Tribeca Film Festival. Somebody had
made a comment though, and I tend to agree that
there are some lyrical and even slight musical similarities to
Ghosts Again, and that might have been why the song
(21:32):
was kept off the album, where it was a bit
of a retread. I love it for that. I think
it's a fantastic song, and you know, I agree with
Easy Tiger here that it could have been a single, which,
as I mentioned before, has me very excited for those
other three tracks that we'll get later on this year.
David Gone dash Ks five Jah writes this, you have
(21:57):
to know to regarding Spirit in the four in the concert.
It was shot during the very last two shows of
the tour after one hundred and twenty concerts, so Dave
is obviously not going to sound fresh. I didn't have
nearly as much of an issue with how Dave sounded
in that concert. It was just more his vibe. I
(22:18):
don't want to belabor the point. I've said it many
times on the show, but he just had that sleazy
vaudeville elvis vibe going on that Again, he ditched for
the Momento Mary tour that I just didn't just didn't
care for. Probably one of my least favorite versions of
Dave's live live show presence. All Right, let's go to Ron.
(22:39):
Ron writes this, So two episodes ago, I talked about
the correlation between the album artwork and the music itself. Unfortunately,
because I tend to do this little convoluted in what
I was describing, trying to articulate what it was that
(22:59):
I was what I was going for in terms of
does the artwork affect the music, It's probably the easiest
way to put it. Well, Ron got the assignment and
this is what he had to say. The album and
single are to me is indistinguishable from the music. This
is the strongest with the release of the singles eighty
six through ninety eight. During that period I bought CDs
(23:22):
religiously and spent time reading the booklets and sleeves, especially
when I was younger and acquiring the back catalog. The
album and single covers became a treasure hunt, where I
investigated the shelves of every mainstream and otherwise music store
searching for them. I agree with you. I was the
same way. I knew by heart every album cover, but
(23:45):
the singles were a mystery and required more digging. I
remember when I found the Policy of Truth CD MAXI single.
I had no clue what it was, but the artwork
was familiar enough that it made me glance twice. The
same thing happened with the world in my eyes as
a CD single. The artwork drew my attention and I
discovered it was DM after examining it. The singles and
(24:07):
albums imagery got so entwined with the music that I
found myself using a broken frame artwork for my PC
wallpaper and wearing a Construction Time Again T shirt, just
the album cover photo, no identifying band info. In the end,
the art invokes the same feelings in me as the
(24:27):
music that all said. Recent albums from sounds of the
Universe onward came to me digitally, so the artwork meant
a little less. I find myself going back to the
nineteen eighties and nineties classics to get my imagery fixed.
Thank you, Ron, if anything, you helped me to not
(24:48):
feel so bad that I was too convoluted in my question,
and I really feel the same way. It's a bummer.
I just that's the easiest way to put it. I
know times change, I know the industry changes, but the
artwork of the band is just so important getting our
hands on it. And I know we can still buy
the physical releases, but it's a bummer to me that
(25:10):
we didn't end up getting more exclusive artwork, especially for
Memento moriy I just there's so much that could have
been done with the with the visuals. But I also
understand the things change, and I'm just incredibly thankful that
we still have unheard Depeche Mode music that's been created
out there waiting for our ear holes. All right, Glenn
(25:31):
in nineteen sixty five writes this, Hey John, exciting week
for us all but specifically responding regarding the artwork question.
So Glenn got the assignment too, not a fan of
Anton's album art at all. Really, certainly, I completely separate
the music from the art. The Violator Rose is simply
something synonymous with them now, as the Skulls are with
(25:53):
Momento Moriy association rather than art for me. But I
do like his portraits of the band, in particular those
in Prague in the mid nineteen eighties and most recently
the one with the shadow for Fletch included inspired that image.
Is if every disc was in a black sleeve and
bossed with DM, I would still be as excited as
(26:16):
ever to hear the music for the concerts. However, the
sets and the video content are key that anyone else
get chills when twenty twenty three or four Daves stood
in front of the video of nineteen eighty seven Daves
singing You're behind the Wheel in parallel. Sometimes the images
enhanced the music, but the music stands on its own regardless.
(26:38):
Thank you for that, Glinn. I appreciate it all right.
Next up, Lars Guthel writes, this really incredible that there's
a brand new song by DM playing in the movie
theater and plenty of people keep chatting with each other
instead of listening. Right, I'm so glad I wasn't there.
I'll have to ask, we're gonna get Rob on the show?
(27:00):
I just my schedule has been so wonky that I couldn't.
There's just no way I could pin down, like a
specific time to get Rob on, which is why I
haven't Rob rom from the global Depeche fan group. But
I need to ask him, like, how quickly did he
realize that that song was a brand new song? And
how annoyed was he that people were talking in the
audience when it was playing? And I thought that there
(27:25):
were multiple screenings at the Tribeca Film Festival, not that one,
And I fully expected that we would have gotten a
much cleaner version of in the end than the ones
that people have been able to sort of craft together
based off of those initial recordings. But apparently I was wrong.
I could have sworn that I saw at least four
different screenings for the film that weekend of the festival,
but apparently I was inaccurate. All right, let's go and
(27:50):
hear from friend of the show, Jason Jason, who writes this,
despite the quality of the song uploaded, Wow what a song.
It instantly feels familiar and so like the best of
the eighties, and as soon as Martin's vocals kick in,
I quite literally get chills every time I do too,
and I think that's the really one of the great
(28:10):
moments of the song is when Martin comes in after
Dave's vocals. I'm now very annoyed with the band for
keeping this gem from us for so long. I was surprised, though,
by the reaction of the audience as soon as the
song came on. I would have expected the theater to
fall silent with the occasional whoop of excitement. Instead, it
came across as if many didn't realize or couldn't be
(28:33):
bothered unless the recording online made the chatter of the
audience sound worse than it was. I do appreciate the
efforts of the fan who tried to shush the audience.
That made me laugh. At the time of writing this
Saturday evening, I had hoped that fans going to the
second screening were better prepared and would get a better
quality recording online. Yeah, see, there was other screening. I
(28:54):
was right after catching a very short clip of World
in My Eyes from the movie. From what I've read
of some reviews, it sounds as if there's some experimentation
going on with the visuals. If Rob is on the show,
I would appreciate it if you would ask him if
we're going to get something more akin to the live
release of Touring the Angel, or if this experimentation was
(29:15):
limited to World in My Eyes and playing tribute to Fletch.
My understanding from what I've seen of the film so
far and from the reviews is that I think that
moment that you're talking about in a World in My
Eyes is specific to Fletch. In general, I do get
a vibe that this is sort of an interesting combination
(29:37):
of what was done with Touring the Angel in the
way that they really manipulated throughout that concert the visuals
of the concert itself, which I can take if I'm
in the mood for it. Sometimes I know, if I
want some more video quality, obscure live footage to watch,
I'll go and watch Touring the Angel, where I typical
(30:00):
they prefer more of a straightforward shot performance, or if
you're going to deviate at all, it would have been
Anton's deviation a bit, even though it's pretty straightforward in
devotional And finally, after learning more about the movie, I
wonder if the issues reported for delaying its release was
to do with the use of poems rather than songwriters
(30:22):
of the DM catalog. Interesting exciting times ahead with good
wishes Jason. Thank you very much, Jason. Always great to
hear from you. Next up. Oh. Glenn nineteen sixty five
actually wrote in twice. Usually I combine when there's multiple comments,
so let me go back to him just briefly. He wrote,
great to see Martin and Dave together again. Imagine the
(30:43):
surprise being there watching the main event and then realizing
that you're hearing a new track and the frustration of
others not being quiet around you as you listen. Sounds promising,
exciting to hear all four songs in their glory soon.
And last, we hear from Chris Culpepper, who writes this,
(31:04):
I recently converted my friend Matt into a dmdvot nice.
I bought him the entire catalog. Wow, you're a good friend,
and it's interesting to hear his perspective as a new fan.
He's not biased like myself seeing the catalog as pre
Alan post Allen, et cetera. Matt noted that Music for
the Masses should have been an EP, although he liked
(31:27):
their record, He said, there seemed to be a lot
of filler, Agent Orange, nothing. Dare you call nothing filler? Pimp, Pleasure,
little treasure to have him to hold Oh gosh, his
word's not mine. Oh, Matt, I already know you're typing
(31:49):
so real quick, just to so my buddy, Matt right,
I mentioned him on the show a lot. Uh, let
me guess here what he's gonna So. I don't think
Matt is gonna take much issue with Agent Orange or Pimp,
but he's definitely gonna take issue with calling to have
him to hold pleasure, little Treasure, and especially nothing is filler.
(32:10):
I mean, I have issue with that. But uh. He
asked if DM perhaps felt rushed to capitalize on the
success of Black Celebration, causing music for the masses to
be lacking in quality tracks. Interesting, you know it's I'm
not gonna dismiss that question out right. I get what
(32:33):
he's saying. The strong songs, listen, those are all great tracks.
I love to have him to hold Pleasure, little Treasure
and nothing, make no mistake, And certainly at the time
I didn't feel that way. But at the same time,
there's also bias going on because you're such a big
fan of the band, you have such an open mind,
you do like what you like, and if the songs
weren't any good at all, that bias is only gonna
(32:55):
get you. So far, I've had bias listening to albums
on a first blow that I thought were up there
with Violator. As a matter of fact, when I was
doing my Memento Mariy review, when I got the advanced
copy of the album, I remember that there were fans
on the Depeche dash Mode home forum that had gone
(33:17):
back to my comments that I'd made in the past,
and specifically comments that I made after the first hearing
of Spirit where I said it was the best album
that they'd done since Violator. That was biased. At the time,
I was blinded by what I was hearing, especially and
more specifically, the electronic sounds and the production of the
(33:37):
album is what really drew me to it. But after
spending time with it, it nowhere near reaches the levels
of Violator, and I have completely changed my I mean,
I enjoyed the album, It's not one of my favorites,
but certainly changed my tune. Whereas Memento MORI now with
a couple of years on on the album, and I
can't believe it's been out that long. Still is up
there with me going back to the songs of faith
(33:59):
and Devotion and Ultra, so those songs I still absolutely
love on Music for the Masses, but I can imagine
as being a new fan you might feel differently. So
thanks for that, Chris cole Pepper. That was a nice
a nice email too. Everybody who wrote in this week,
thank you very much, And if you'd like to go
and comment again talkshow Nerd at gmail dot com. Isn't
(34:23):
there wraps to show up for this week? If you
are a new listener to the show, I hope you'll
support what I do weekly talking about the greatest band
on the planet, specifically, if you enjoy reading or listening
to science fiction. I'm a massive science fiction fan and
I wrote a seven book science fiction series called Embark,
(34:44):
set in the future where air and spaceflight culture has
replaced car culture and inspired in part by depeche Mode
life in the so called space age, the world will
be living in life in general. Depeche Mode is actually
embedded within the story as a lead character. Taft is
a massive depeche Mode fan at the time In the
(35:05):
story set in twenty one to seventy two, where the
music of the eighties through the two thousands is nostalgic
and popular among the characters of the story in it
features references to Depeche Mode both direct and indirect, along
with all the music alternative music from the eighties into
the nineties, all while telling most importantly and exciting science
(35:26):
fiction adventure story without an agenda, as Earth faces its
end to follow pilots half Keita and their crew on
a journey of survival across the galaxy as they fight
for humanity's future. It's available on Amazon dot com, so
do not miss this fun, fast paced, and action packed
science fiction adventure ebook kindle unlimited hardcover paperback and audiobook.
(35:53):
Just head on over to Amazon dot com and search
for John Joanjustice, and and Martin. Thank you so much
for checking out this week's episode. As always, I hope
wherever you are you're happy, you're healthy, and you're safe.
I look forward to hearing from you between now and
next of the week. God bless and I'll talk to
you then.
Speaker 1 (36:15):
I know.
Speaker 2 (36:18):
Twice. Depeche Mode the podcast
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