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Depeche Mode - 101 (1989) (FLAC-EAC-CUE)

Depeche Mode Biography From allmusic.com

Quote:

Biography by Jason Ankeny

Originally a product of Britain's new romantic movement, Depeche Mode went on to become the quintessential electro-pop band of the 1980s. One of the first acts to establish a

musical identity based completely around the use of synthesizers, Depeche Mode began their existence as a bouncy dance-pop outfit but gradually developed a darker, more dramatic

sound that ultimately positioned them as one of the most successful alternative bands of their era.

The roots of Depeche Mode date to 1976, when Basildon, England-based keyboardists Vince Clarke and Andrew Fletcher first teamed to form the group No Romance in China. The band

proved short-lived, and by 1979 Clarke had formed French Look, another duo featuring guitarist/keyboardist Martin Gore; Fletcher soon signed on, and the group rechristened

itself Composition of Sound. Initially, Clarke handled vocal chores, but in 1980 singer David Gahan was brought in to complete the lineup; after one final name change to Depeche

Mode, the quartet members jettisoned all instruments excluding their synthesizers, honing a slick, techno-based sound to showcase Clarke's catchy melodies.

After building a following on the London club scene, Depeche Mode debuted in 1980 with "Photographic," a track included on the Some Bizarre Album label compilation. After

signing to Mute Records, they issued "Dreaming of Me" in early 1981; while neither the single nor its follow-up, "New Life," caused much of a stir, their third effort, "Just

Can't Get Enough," became a Top Ten U.K. hit, and their 1981 debut LP, Speak and Spell, was also a success. Just as Depeche Mode appeared poised for a major commercial

breakthrough, however, principal songwriter Clarke abruptly exited to form Yazoo with singer Alison Moyet, leaving the group's future in grave doubt.

As Gore grabbed the band's songwriting reins, the remaining trio recruited keyboardist Alan Wilder to fill the technological void created by Clarke's departure; while 1982's A

Broken Frame deviated only slightly from Depeche Mode's earlier work, Gore's ominous songs grew more assured and sophisticated by the time of 1983's Construction Time Again.

Some Great Reward, issued the following year, was their artistic and commercial breakthrough, as Gore's dark, kinky preoccupations with spiritual doubt ("Blasphemous Rumours")

and psychosexual manipulation ("Master and Servant") came to the fore; the egalitarian single "People Are People" was a major hit on both sides of the Atlantic and typified the

music's turn toward more industrial textures.

Released in 1986, the atmospheric Black Celebration continued the trend toward grim melancholy and further established the group as a major commercial force. After the superb

single "Strangelove," Depeche Mode issued 1987's Music for the Masses; a subsequent sold-out tour yielded the 1989 double live set 101 as well as a concert film directed by the

legendary D.A. Pennebaker. Still, despite an enormous fan base, the group was considered very much an underground cult phenomenon prior to the release of 1990's Violator, a Top

Ten smash that spawned the hits "Enjoy the Silence," "Policy of Truth," and "Personal Jesus."

With the alternative music boom of the early '90s, Depeche Mode emerged as one of the world's most successful acts, and their 1993 LP Songs of Faith & Devotion entered the

charts in the number one slot. However, at the peak of its success, the group began to unravel; first Wilder exited in 1995, and then Gahan was the subject of a failed suicide

attempt. (He later entered a drug rehabilitation clinic to battle an addiction to heroin.) After a four-year layoff, Depeche Mode -- continuing on as a trio -- released 1997's

Ultra, which featured the hits "Barrel of a Gun" and "It's No Good." A year later, the band embarked on a tour in support of The Singles 86>98 greatest-hits album. Depeche Mode

played 64 shows in 18 countries for over a million fans. It also marked the end of a decade for the band. Each member took some considerable time off, and Depeche Mode would not

regroup for another three years.

Exciter, the band's follow-up to 1997's Ultra, was released in 2001. Singles such as "Dream On" and "I Feel Loved" did moderately well. Two years later, Gahan issued his debut

solo album, the dark and sultry Paper Monsters. Gore also followed suit by issuing his debut full-length, Counterfeit². Each member did respective tours of the U.S. and Europe;

however, it wouldn't be long until Depeche Mode came back together. Playing the Angel became a Top Ten hit upon release in October 2005, produced by Ben Hillier (Doves, Blur,

U2, Elbow). With the success of the "Precious" and "John (The Revelator)" singles, Playing the Angel topped the album charts in 18 countries and went multiple platinum and gold

in 20 countries. Depeche Mode went to on play to 2.5 million fans worldwide, and the special-edition three-disc set Touring the Angel: Live in Milan (2006) captured the essence

of one of the band's greatest shows.

CD Pressing Information

Label: Mute Records Ltd
Catalog#: CD STUMM 101
Format: 2 x CD
Country: UK
Released: 1989
Genre: Electronic
Style: Synth-pop

Credits

Engineer - Alan Moulder
Producer - Depeche Mode

Notes

Recorded live at The Pasadena Rose Bowl, California, 18-Jun-88..

101 album review from allmusic.com

Quote:

Review by by Ned Raggett

As an event, Depeche Mode's huge (attendance around 80,000) Los Angeles Rose Bowl concert in 1988 remains legendary; no single artist show had totally sold out the venue

since eight years beforehand, while the film documentary done by Dylan-filmer D.A. Pennebaker based around the show clearly demonstrated fans' intense commitment to a near-

decade-old band most mainstream critics continued to stupidly portray as a flash-in-the-pan synth pop effort. This start-to-final-encore record of the concert showcases a band

perfectly able to carry its music from studio to stage as well as any other combo worth its salt should be able to do. Understandably focused on Music for the Masses material,

the album shows Depeche experimenting with alternate arrangements at various points for live performance; big numbers like "Never Let Me Down Again," "Stripped," and

"Blasphemous Rumors" pack even more of a wallop here. Slower numbers and more than a couple of ballads help to vary the hit-packed set, including a fine "Somebody" and "The

Things You Said" combination sung by Martin Gore. "Pleasure Little Treasure," on record an okay B-side, becomes a monster rocker live, the type of unexpected surprise one could

expect from a solid band no matter what the music. With a triumphant set of closing numbers, including magnificent takes on "Never Let Me Down Again," "Master and Servant," and

the set-ending "Everything Counts," with what sounds like the entire audience singing the chorus well after the song has finally ended, 101 does far better at its task than most

might have guessed.

Track List

Depeche Mode - 101 (1989)

Disc 1

01. Pimpf 00:58
02. Behind The Wheel 05:55
03. Strangelove 04:49
04. Sacred 05:09
05. Something To Do 03:54
06. Blasphemous Rumours 05:09
07. Stripped 06:45
08. Somebody 04:34
09. Things You Said 04:21

Disc 2

01. Black Celebration 04:54
02. Shake The Disease 05:10
03. Nothing 04:36
04. Pleasure Little Treasure 04:38
05. People Are People 04:59
06. A Question Of Time 04:12
07. Never Let Me Down Again 06:40
08. A Question Of Lust 04:07
09. Master And Servant 04:30
10. Just Can't Get Enough 04:01
11. Everything Counts 06:31

Depeche Mode - 101 (1989) (FLAC-EAC-CUE) torrent

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