by Rinjo Nori

Depeche Mode have endured the fickle musical landscape for roughly twenty five years. Experiencing career highs (Violator), career lows (David Gahan's heroin problems), and a comeback or two (Exciter, Playing the Angel). To pay tribute to their longevity, Rhino has remastered three of Depeche Mode's album's from their 80's heyday: Speak & Spell, Music For The Masses, and Violator.



The remaster includes remixed stereo versions of the original recordings, additional songs, 5.1 surround sound and DTS versions on DVD, and a "Behind the Music" style "mini-film." However, because it was the record that kicked things off for the band, I'll focus on Speak and Spell.

Depeche Mode were unique when Speak and Spell was originally released and not simply because they disposed of the guitar, bass, and drum and replaced them with synthesizers. Thier uniqueness stemmed from matching all these sounds with their finely crafted pop songs. Vince Clarke, Andy Fletcher and Martin Gore manned the synths behind David Gahan's innocent vocals. "Just Can't Get Enough", a Depeche Mode classic and arguably their most recognizable tune on Speak and Spell, still has that heart thumping beat. That first record also included Depeche Mode classic's "New Life" and "Dreaming of Me."

Clarke's songs range from fluffy dance party song's to extremely dark and menacing. On the remaster they include the not so subtle, but upbeat, tale of heartbreak "I Sometimes Wish I Was Dead". The homoerotic "Boys Say Go" and "What's Your Name?" are almost laughable after 25 years of debate on the "sexuality" of Depeche Mode. The songs hold up as instrumental's, but I can't imagine Gahan or Gore even entertaining such light fare. "Puppets" and "Photographic" are much more indicative of the template that Gore would adopt in future Depeche Mode songs. These are the hidden gems of Speak and Spell.

Gore's infancy as a song writer is on full display for their first album. The forgettable "Big Muff" follows the somber "TORA! TORA! TORA!" - which is solid enough for repeat listens and hints ever so slightly at the musician that Gore would become. Gahan's vocals which seemed muffled on the original release gain a little more strength on the stereo remaster and are completely liberated in the 5.1 and DTS versions. More than on any other Depeche Mode release Gahan comes across more as a figurehead rather than a front man, especially on the aforementioned "Boys Say Go" and "What's Your Name?."

For pure and casual Depeche Mode fans, the retrospective mini-film Do We Really Have to Give Up Our Day Jobs?, makes this remaster worth it's weight. Clarke, Fletcher, Gore, and Gahan are positively giddy when they remember the genesis of Depeche Mode. Clarke, of course, left after Speak and Spell and went on to form Yazoo (Yaz in America) and later the hugely successful Erasure. Twenty five years has dispelled any acrimony that occurred at the time. Clarke's leaving the band is only mentioned in a textual epilogue at the close of the mini-film.

One of the other highlight's of the mini-film is the interview with Brian Griffin who conceptualized the cover photo for Speak and Spell. He owns up to the fact that the cellophane covered swan is a bit over the top and finally admits he has no idea what he prompted him to submit such a horrible cover to the band, though the band seem to give him a pass.

Never having heard Dolby 5.1 or DTS sound I was rather impressed at how much more life the process gives to the music. Depeche Mode's electronic sound is more vibrant in the surround sound digital format. Gahan's vocal's, as previously mentioned, are placed in front of the music rather than in between the groups monophonic keyboards. "Just Can't Get Enough" and "Dreaming of Me" are revived with the new format and "Photographics" dark robotic melody simmers.

This refresher in Depeche Mode circa 80-81 makes you a little better for the effort you put into the listening experience. Producer Daniel Miller said it best, "They were never New Romantics, they were Futurists." Twenty plus years, the future has arrived and now Depeche Mode helps us romanticize about the not too distant past.