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Depeche Mode - Strangelove [Bomb The Bass! Mix]

Uploaded by: DJVlooXchannel
Video Description:
From 1987's Music For The Masses and a year later, 1988 well-known through US label records "Strangelove" by Depeche Mode made-up in my fav version of all called "Bomb The Bass Mix". If you were a DJ's professional at 80's then could remember about this one... =)
Review.- Depeche Mode are an electronic music band formed in 1980 in Basildon, Essex, England. The group's original lineup consisted of David Gahan (lead vocals), Martin Gore (keyboards, guitar, vocals, chief songwriter after 1981), Andrew Fletcher (keyboards) and Vince Clarke (keyboards, chief so
ngwriter 1980--81). Vince Clarke left the band after the release of their 1981 debut album; soon replaced by Alan Wilder (lead keyboards) who played with the band from 1982 to 1995. Following Wilder's departure, Gahan, Gore, and Fletcher have continued to perform as a trio. Review 1984--1988.- In th
eir early years, Depeche Mode had only really attained success in the UK, Europe, and Australia - however, this changed in March 1984, when they released the single "People Are People". The song - a comment on racism, climbed to #13 on the US charts, as well as reaching #4 on the UK and Swiss charts
- and gave them their first #1 (in Germany). To cash-in on the surprise success of the single, Sire, the band's North-American record label, released a compilation of the same name. A month later, the band's proper follow-up album "Some Great Reward" was released to generally positive reviews. Melo
dy Maker claimed that the album made one "sit up and take notice of what is happening here, right under your nose". "Some Great Reward" saw the band experimenting with even darker subject matter, exploring sexual politics ("Master and Servant"), adulterous relationships ("Lie to Me"), and arbitrary
divine justice ("Blasphemous Rumours"). Also included was the first Martin Gore ballad ("Somebody") - a concept that would become a staple on all following albums. The album was also their first to enter the US album charts, and made the Top 10 in several European countries. In 1985, Sire released a
second North American compilation "Catching Up with Depeche Mode" (called The Singles 81-85 in Europe with a different track listing, and released there by Mute Records), designed as a companion to the aforementioned "People Are People" compilation, and including the new hit singles : "Shake the Di
sease" (#4 in Germany, #5 in Sweden, #6 in Switzerland, #13 in France and #18 in the UK) and "It's Called a Heart" (#7 in Sweden and Switzerland, #8 in Germany, #18 in the UK and #29 in France). It was during this period that the band became associated with the gothic subculture, which had begun in
Britain, and was slowly gaining popularity in the United States. There, the band's music had first gained prominence on college radio and modern rock stations such as KROQ in Los Angeles, and WLIR on Long Island, New York, and hence, they appealed primarily to a decidedly cultish, alternative audie
nce who were disenfranchised with the predominance of "soft rock and "disco hell" on the radio. This view of the band was in sharp contrast to that in Europe and the UK, despite the increasingly dark and serious tone in their songs. In Germany (and other European countries), Depeche Mode were consid
ered teen idols, and were regularly featured in euro teen magazines, providing their detractors with more ammunition to use against them. 1987's Music for the Masses saw further alterations in the band's sound and working methods. Dave Bascombe (who had previously worked with Tears for Fears) was b
rought in as a producer (although his role ended up being more that of an engineer), and the band (for the most part) abandoned sampling in favour of more musical experimentation. Although the chart performance of the singles ("Strangelove", "Never Let Me Down Again" and "Behind the Wheel") was disa
ppointing in Great Britain (whereas those singles were big hits in countries such as West Germany, South Africa, Sweden or Switzerland, reaching there the Top 10), the album was almost universally praised by the music press - far more so than any other album the band had released. Record Mirror desc
ribed it as "the most accomplished and sexy Mode album to date" and, more important than that for the band, it made an impressive breakthrough in the American market, something which the band had failed to achieve with their previous albums. On the heels of Music for the Masses, the group played a
follow-up world tour in 1987--88. The tour culminated on 18 June in a concert at the Pasadena Rose Bowl with a sell-out attendance of 90,000 (the highest in eight years for the venue). The tour was documented in 101 - a concert film by D.A. Pennebaker, and its accompanying soundtrack album. In addi
tion, Depeche Mode are one of the longest-lived and most successful bands to have emerged from the New Romantic and New Wave era.

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