Depeche Mode's "Violator" (1990): Track by Track!

<v Speaker 1>Res outa.
<v Speaker 2>Hello everybody, and welcome back to the Shirley You Can't
<v Speaker 2>Be Serious Podcast. I am here with my standard co host,
<v Speaker 2>mister Jason Colvin. A very special guest with us today,
<v Speaker 2>our Patreon Jeanie Alexander. Hold on, hold on, Okay, I'm sorry.
<v Speaker 2>I was just trying to enjoy the silence.
<v Speaker 1>Come on, guys, do I have to buy the laugh here?
<v Speaker 1>Come on?
<v Speaker 2>All right, Genie, thank you so much for joining us
<v Speaker 2>today to talk about depeche Mode.
<v Speaker 1>Genie, tell us what depeche Mode means to you?
<v Speaker 3>Well, first, let me say thank you for having me today.
<v Speaker 3>This is kind of old hat for you all. It's
<v Speaker 3>very much bucket list for me. If I enjoyed the show,
<v Speaker 3>enjoy being a Patreon member. When Jason called me, I
<v Speaker 3>was super excited to be here. What depeche Mode means
<v Speaker 3>to me is great music, lots of dancing.
<v Speaker 2>Jason gave me a little history about you, and I
<v Speaker 2>feel confident that we're going to get some magical mind
<v Speaker 2>blowing tidbits.
<v Speaker 1>Oh okay, I seen your notes over there already.
<v Speaker 3>I've studied up. I'm ready and prepared.
<v Speaker 1>So Jeanie is actually one of my wife's very best
<v Speaker 1>friends in college, roommate, yes, yeah, and we went to
<v Speaker 1>high school together.
<v Speaker 3>We went to high school together. And then it was
<v Speaker 3>after college at Jason and Katherine Kathy for their wedding,
<v Speaker 3>their marriage that Chris and I met my husband in
<v Speaker 3>twenty six years later. Here we are twenty seven years later.
<v Speaker 1>Right, so you.
<v Speaker 2>Met your future husband at Jason and Catherine's wedding.
<v Speaker 3>Yes, we were both in the wedding party. He caught
<v Speaker 3>the boutineer, I caught the bouquet. We went out the
<v Speaker 3>next night, and we've been together ever since.
<v Speaker 1>Wow, how about that. That's some magic, right?
<v Speaker 2>How about that that bouquet boot neeer thing. Nobody really
<v Speaker 2>buys that, but turns out it can be true.
<v Speaker 3>And the funny thing is is, I don't know if
<v Speaker 3>Kathy will remember this, but I can remember phone conversations
<v Speaker 3>when we were kids talking about, Oh, we're going to
<v Speaker 3>marry best friends, We're going to live right next door
<v Speaker 3>to each other. And we did marry best friends. We
<v Speaker 3>live a few miles apart, but here.
<v Speaker 2>We are fantastic, pretty amazing. I'm excited to be a
<v Speaker 2>part of this happy family. Well, guys, we are here
<v Speaker 2>today to talk about depeche Mode and their album Violator. Now,
<v Speaker 2>this is an album long in their career, just like
<v Speaker 2>the album that we're comparing it to, which is Disintegration
<v Speaker 2>by the Cure. Now, last week we were joined by
<v Speaker 2>our other Patreon member, miss Amanda Janic. She was a
<v Speaker 2>Cure not just fan, but super fan, super freak fan
<v Speaker 2>if you will. And Jeanie when we asked you about
<v Speaker 2>these two albums, and I don't want you to give
<v Speaker 2>away what your final judgment is yet, but you were like,
<v Speaker 2>do I have.
<v Speaker 1>To pick depeche Mode.
<v Speaker 2>So it's going to be a surprise at the end
<v Speaker 2>of this whether you're going to fall on the depeche
<v Speaker 2>Mode side of things or on the Cure side of things.
<v Speaker 1>I'm excited. Guys.
<v Speaker 2>We're going to do a quick history on the band
<v Speaker 2>because there's a lot of great music to jump into here.
<v Speaker 2>The members of the band are Dave Gahan, Martin Gore,
<v Speaker 2>Andy Flescher, Vince Clark, and Alan Wilder. All Right, so
<v Speaker 2>nineteen seventy seven, Vince Clark and Andy Fletcher start a
<v Speaker 2>band together called No Romance in China.
<v Speaker 1>I got something for you on that. Yeah, the early
<v Speaker 1>formation of the band No Romance in China. Fletcher and
<v Speaker 1>Clark were members of the Methodist youth group, the local
<v Speaker 1>Methodist Youth group, and I heard him talk about how
<v Speaker 1>they would go to Wednesday club together. Uh huh. And
<v Speaker 1>it was birthed out of the church.
<v Speaker 2>Well, my first band was a church band too. It's
<v Speaker 2>a great place to start a band, it is.
<v Speaker 1>That you got lots of rooms to practice in. Turns
<v Speaker 1>out they were fans of the Cure.
<v Speaker 2>They were also fans of the Human League and of
<v Speaker 2>craftwork bands, which we've talked about in depth before and
<v Speaker 2>other episodes and in our Patreon episodes. By the way,
<v Speaker 2>thank you for being a Patreon Memborghini. Thank you Chris,
<v Speaker 2>who's sitting back in the back there with us.
<v Speaker 1>Guys.
<v Speaker 2>If you want to be an executive producer of one
<v Speaker 2>of our episodes, go to patreon dot com Backslash Shirley
<v Speaker 2>Podcast and for as little as five bucks a month,
<v Speaker 2>you can become a Patreon member and you will get
<v Speaker 2>access to all our exclusive episodes where we cover one
<v Speaker 2>hit wonders and other special songs and artists that we
<v Speaker 2>might not otherwise cover. That's right, So back to depeche
<v Speaker 2>Mode nineteen seventy eight, Martin Gore starts playing acoustic guitar
<v Speaker 2>for a duo. The duo is called Norman and the Worms.
<v Speaker 2>The other guy's name was Phil, so I'm not really
<v Speaker 2>sure who Norman is or who the Worms are. Nineteen eighty,
<v Speaker 2>Clark and Fletcher reform the band and they call it
<v Speaker 2>Composition of Sound. Gore soon joins them, and then Vince
<v Speaker 2>Clark sees Dave Gahan singing and says, we need this
<v Speaker 2>guy for our band.
<v Speaker 1>Jason, do you know what song news I do? And
<v Speaker 1>I'm glad you pointed out me because that is the
<v Speaker 1>type of chemistry we have. Jason's over here raising his hand,
<v Speaker 1>Miss Kata, Yeah, yes, he sings Heroes by David Vowie,
<v Speaker 1>which we covered last fall when we did Strangers Stranger Things.
<v Speaker 2>We actually covered the Peter Gabriel version, but yes, we
<v Speaker 2>talked about David Bowie quite expensive, we talked about that song.
<v Speaker 3>I believe Dave Gahan was a huge vote man.
<v Speaker 2>So as this four piece band still called Composition of Sound.
<v Speaker 2>They do their first live performance June fourteenth, nineteen eighty
<v Speaker 2>at Nicholas School in Basildon.
<v Speaker 3>I believe they were very into O and d As
<v Speaker 3>well maneuvers in the Dark, and then Susie and the
<v Speaker 3>ban Cheese as well. They were really into them, and
<v Speaker 3>she I don't know if you know this, but I
<v Speaker 3>guess was in Susie in the ban Cheese. And at
<v Speaker 3>one point Robert Smith was touring with Susie and the
<v Speaker 3>ban Cheese and ended up that By.
<v Speaker 1>The way, we talked about that last week.
<v Speaker 3>Yes, I know that Genie move on.
<v Speaker 1>That's okay.
<v Speaker 2>Robert Smith not only had to come in and cover
<v Speaker 2>for the guitarist who left, but ultimately finished the tour
<v Speaker 2>and then would come back and do shows with them frequently.
<v Speaker 2>His quote was Juan Sha Banshee.
<v Speaker 1>Always Banshee.
<v Speaker 2>So at some point they said, you know what, a
<v Speaker 2>composition of sound seems kind of pretentious, and they're a
<v Speaker 2>little embarrassed about that, and so they decided to change
<v Speaker 2>their name. One of the considerations was musical Movements. I
<v Speaker 2>don't really know how that's less pretentious or better in
<v Speaker 2>any way, shape or form, but they decided, no, we're
<v Speaker 2>going to go with this fashion magazine title called Depeche Mode.
<v Speaker 2>Depeche is an old term that means breaking news or dispatch,
<v Speaker 2>and mode is fashion so fesch Mode was a magazine
<v Speaker 2>about the latest fashion news. Now, the pasch sure is
<v Speaker 2>also a verb. He put an e in a verb
<v Speaker 2>when he said this that means to hurry. So, taking
<v Speaker 2>taken out of context, this could be translated as hurried fashion,
<v Speaker 2>which means nothing.
<v Speaker 1>Now, who gave you this information?
<v Speaker 2>This is Gautier, my French next door neighbor who's a
<v Speaker 2>good friend and always pitching ideas and fun stuff. Yeah, okay,
<v Speaker 2>So by nineteen eighty they do their first recording, but
<v Speaker 2>it is for an album called Some Bizarre Album, which
<v Speaker 2>is a bunch of unsigned bands that are affiliated with
<v Speaker 2>a record label called Some Bizarre Records. In the meantime,
<v Speaker 2>they make a demo tape, but instead of sending it
<v Speaker 2>out to people, they walk in the record studio's door
<v Speaker 2>and say we want you to listen to this tape
<v Speaker 2>and they're like FIDU, like what and they're like, okay,
<v Speaker 2>leave the tape and we'll listen. They're like no, it's
<v Speaker 2>our only one. We'll wait, and they usually got sent
<v Speaker 2>out the door. They said they're goodbyes, but ultimately they
<v Speaker 2>get signed with a record label. Now, Dave said that
<v Speaker 2>they had had a bunch of offers from major labels
<v Speaker 2>offering them loads of money and clothes, allowances and all
<v Speaker 2>this fantastic stuff. But since they ultimately sign with a
<v Speaker 2>virtually unknown, brand new label called Mute Records, guy named
<v Speaker 2>Dan Miller sees them perform and he has they have
<v Speaker 2>this following that's with them, And what I really noticed
<v Speaker 2>was that the following didn't just stand.
<v Speaker 1>There and watch the band.
<v Speaker 2>They were dancing, and he says, if they can pull
<v Speaker 2>that off, who knows what they can do. So this
<v Speaker 2>leads to their first single called Dreaming of Me. So
<v Speaker 2>that song reached number fifty seven, and it leads to
<v Speaker 2>their second single, which is called New Life. That one
<v Speaker 2>hit number eleven and got them on Top.
<v Speaker 1>Of the Pops. Now this is in the UK, right, This.
<v Speaker 2>Is in the UK, right, So real quick, we can
<v Speaker 2>listen to New Life here.
<v Speaker 1>So, Genie, you know this one.
<v Speaker 3>I know this one. Well, this is one of the
<v Speaker 3>first ones I remember of them, and I really love it.
<v Speaker 3>There's a lot of announcement the beach and it sounds
<v Speaker 3>very much like craft work and all the electronics and
<v Speaker 3>what was going on after most punk emmit.
<v Speaker 2>Yeah, so they got to play Top of the Pops,
<v Speaker 2>but they literally took the train from Basildon all the
<v Speaker 2>way to London, carrying their synthesizers with them.
<v Speaker 1>Wow.
<v Speaker 2>Vince Clark went out of his way to point out
<v Speaker 2>that his was the heaviest.
<v Speaker 1>Then came just Can't.
<v Speaker 2>Get Enough, their first top ten hit, and there's a
<v Speaker 2>video that comes out for this one. It is the
<v Speaker 2>only video that Vince Clark actually appears with the band in.
<v Speaker 2>So all three of those singles come out before their
<v Speaker 2>first album, but it is they're all included on that
<v Speaker 2>first album, which comes out in October nineteen eighty one,
<v Speaker 2>and it is called Speaking Spell.
<v Speaker 1>Do you have a speaking spell? I had a speaker.
<v Speaker 3>I had a speaking spell.
<v Speaker 2>I'm talking about the little thing that you could type
<v Speaker 2>in the words and they would talk back to you
<v Speaker 2>a B and it took you about five minutes to
<v Speaker 2>type in dirty words. Album number two comes out in
<v Speaker 2>nineteen eight two. It is called a Broken Frame. Nineteen
<v Speaker 2>eighty three, we get construction time again. They start changing
<v Speaker 2>their sound a little bit. At this point, Vince has
<v Speaker 2>left the band and they have Alan Wilder come in
<v Speaker 2>and join the band. Now, Allan was a classically trained
<v Speaker 2>pianist and he really kind of became the musical composer
<v Speaker 2>behind the band once he joined them in eighty two,
<v Speaker 2>and Construction Time is really cool because they really do
<v Speaker 2>something special with a sampler. Sampling had just started at
<v Speaker 2>that point, and so they were going out and they
<v Speaker 2>were trying to find anything they could to make weird
<v Speaker 2>sounds with so that they could translate that into music.
<v Speaker 2>Some of the sounds that you hear on that on
<v Speaker 2>those early albums are like banging a bar into a
<v Speaker 2>construction post at a job site. And I think one
<v Speaker 2>of them even ins with it's like a bang hey,
<v Speaker 2>because the foreman is like you kids, get out of here.
<v Speaker 2>And there was another one of there rolling a rock
<v Speaker 2>along a piece of metal just to get these weird
<v Speaker 2>sounds that they would then stick in a sequencer, give
<v Speaker 2>it a rhythm, and create the music that they had now.
<v Speaker 2>I said something about guitars earlier. These guys were not
<v Speaker 2>using guitars, they were not using drums. They were the,
<v Speaker 2>like you said, post punk kind of antithesis of that sound.
<v Speaker 2>We are not going to be a standard rock and
<v Speaker 2>roll band. We are doing something different.
<v Speaker 1>Before you leave, Vince Clark, I think it's important to
<v Speaker 1>mention where he ends up because that was mind blowing
<v Speaker 1>to me.
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<v Speaker 3>Right. He didn't just leave the band and go away
<v Speaker 3>off into the distance. He actually originally started with Yazoo.
<v Speaker 3>Know if you know this, do you know what their
<v Speaker 3>big song at the time was with yaz was don't Go.
<v Speaker 1>It's from a movie.
<v Speaker 3>It's from a movie. Can you tell me the movie? Okay,
<v Speaker 3>Dames shocked that you cannot tell me the movie. It
<v Speaker 3>is from Tango and Cash scene that I would think
<v Speaker 3>that every teenage boy in America at the time would remember.
<v Speaker 3>Terry Hatches is Sylvester Stallone's sister, I believe, and she
<v Speaker 3>comes out dancing. Yeah, this song it's a little risque.
<v Speaker 3>Yes she's yes, yes, yes she is. And that's where
<v Speaker 3>that song came from.
<v Speaker 1>More stripper music.
<v Speaker 3>So welcome glad.
<v Speaker 2>So Vince Clark is with yes, does that song? And
<v Speaker 2>then he goes on he leaves.
<v Speaker 3>Yes, he leaves, and he teams up with Andy Bell
<v Speaker 3>and they form Eraser. An Erasure is huge in its
<v Speaker 3>own right. One of the things that Vince Clark talked
<v Speaker 3>about when he left Depeche Mode was they were kind
<v Speaker 3>of going to from new wave to a dark wave.
<v Speaker 3>They were kind of taking a darker turn. He liked
<v Speaker 3>the light hearted stuff, and that is definitely where Erasure was.
<v Speaker 1>I mean, Respect and Chains of Love is what I know.
<v Speaker 3>Yeah from Yeah. Oh, they have so many hits, it's awesome.
<v Speaker 2>Okay, So we're to nineteen eighty four. In July of
<v Speaker 2>nineteen eighty four, just after the release of the single
<v Speaker 2>of the same name, they come out with their what
<v Speaker 2>I would call pivotal album called People Are People.
<v Speaker 1>So People Are People that actually put them on the
<v Speaker 1>global stage, right, this is their first hit in America.
<v Speaker 1>It goes to number fourteen on the Hot one hundred.
<v Speaker 1>You still hit us on the today, So this is
<v Speaker 1>a I mean, this is their stamp. They're coming out
<v Speaker 1>party in nineteen eighty four.
<v Speaker 2>So same year, they follow that album up with Some
<v Speaker 2>Great Reward, which comes out in September of eighty four.
<v Speaker 2>Then they take a little bit of time and in
<v Speaker 2>nineteen eighty six they come out with Black Celebration, and
<v Speaker 2>then in nineteen eighty seven they hit us with a
<v Speaker 2>big one called The Music for the Masses.
<v Speaker 1>Yeah, the song that I know for Music from the
<v Speaker 1>Mass is a strange level. Here's what I know about
<v Speaker 1>this time as well. So they've achieved some level of
<v Speaker 1>success in the US. They've got this following they have
<v Speaker 1>a concert at the Rose Bowl and they packed the
<v Speaker 1>place out.
<v Speaker 2>Yeah, the band had gone from being a club band
<v Speaker 2>in nineteen eighty being a stadium band by nineteen eighty seven,
<v Speaker 2>so they've become a stadium band, but they have never
<v Speaker 2>been all of these albums at a top ten on
<v Speaker 2>the Billboard two hundred. They decide it's time to change
<v Speaker 2>things up for this album. They get together with a
<v Speaker 2>guy they call Flood, So they change up who they're
<v Speaker 2>working with, they change up how they do things. They
<v Speaker 2>had kind of gotten a formula on how they created
<v Speaker 2>their album, and they decided, you know, we've gotten to
<v Speaker 2>a rut. And so their main song guy is Martin Gore.
<v Speaker 1>Right.
<v Speaker 2>He comes up with the stuff right, and he'll give
<v Speaker 2>them a demo and they'll they'll go through it and
<v Speaker 2>then they'll spend so long in the studio and they decide,
<v Speaker 2>you know what, we're going to change that.
<v Speaker 1>Martin.
<v Speaker 2>You still come up with songs but we want you
<v Speaker 2>to give it to its as basic as you can.
<v Speaker 2>Just a guitar and you singing, and that's it.
<v Speaker 3>So they definitely wanted to change things up. And from
<v Speaker 3>what I understand, at the end that final concert in Pasadena,
<v Speaker 3>Alan Wilder he said, for him it was like the
<v Speaker 3>band had reached a destination, that they had arrived and
<v Speaker 3>now it was time to change course.
<v Speaker 1>I've got something on Flood. His real name is Mark Ellis.
<v Speaker 1>Do you know how he got the name Flood? No?
<v Speaker 1>I do, Go ahead, fans, So here's what I heard.
<v Speaker 1>When he was a young engineer. They would, you know,
<v Speaker 1>the low man on the totable, Hey, go get his tea,
<v Speaker 1>go get us something to drink or whatever, and he
<v Speaker 1>would always overfill the cups. So every time you bring
<v Speaker 1>it back to it, it's spilling everywhere. And that's how
<v Speaker 1>they got his name Flood. You know you talked about
<v Speaker 1>how it was Martin Gore's job to write the songs.
<v Speaker 1>Alan Wilder was kind of the arranger and he and
<v Speaker 1>Flood would kind of work together to choose the direction
<v Speaker 1>of the song. And we're going to talk about a
<v Speaker 1>song here in a minute where Martin Gore brings it
<v Speaker 1>in at its basic state, intends to go a certain direction.
<v Speaker 1>They take it somewhere totally different, and you get one
<v Speaker 1>of the greatest songs of the nineteen nineties.
<v Speaker 2>Yeah, and then the other thing they decide to do
<v Speaker 2>is to do an in store autograph session in one
<v Speaker 2>of LA's most prominent record stores called Warehouse Music, just
<v Speaker 2>before the album's about to come out. Well, what ends
<v Speaker 2>up happening is about twenty thousand fans show up and
<v Speaker 2>its scenes from early Elvis days, in early Beatles days.
<v Speaker 2>They're losing their mind. People are getting smashed against the glass,
<v Speaker 2>people are jumping on cars, women are fainting and screaming.
<v Speaker 2>Because of the size of the crowd and what some
<v Speaker 2>were describing as riotous conditions. They were on every single
<v Speaker 2>news channel in the country that night, and the album
<v Speaker 2>came out the next That's huge, right. I think that
<v Speaker 2>means it's time to play on the tape player and
<v Speaker 2>let us hear song number one as we go track
<v Speaker 2>by track through Violator.
<v Speaker 1>Okay, the first song on Violator is called World in
<v Speaker 1>My Eyes. Okay, this is a fantastic kickoff to the album.
<v Speaker 2>Yeah, the music, I thought, well, this is they're starting
<v Speaker 2>kind of slow with this, Dave comes in with those vocals.
<v Speaker 2>It's fan freakingtastic. I realized. I realized that. I said
<v Speaker 2>they don't love songs, but they don't do stripper songs either.
<v Speaker 1>But my goodness, this is love and sex all over
<v Speaker 1>the place.
<v Speaker 3>I think they do a lot of Actually I.
<v Speaker 2>Meant like silly little love songs, deep love songs.
<v Speaker 3>Right to me, I think it's I know it was
<v Speaker 3>maybe the fourth single, reason okay, but I think it's perfect.
<v Speaker 3>It's the first song on the album because it's still
<v Speaker 3>kind of reminiscent of who they were in Music for
<v Speaker 3>the Masses at the beginning. But you're right when Dave
<v Speaker 3>starts singing, you're like, oh, but it's a little different.
<v Speaker 3>I really enjoyed this one.
<v Speaker 1>Well, it's almost like an invitation, let me take you
<v Speaker 1>on a trip, right, this is the introduction. Come on board,
<v Speaker 1>let me take you on a trip. We're gonna work
<v Speaker 1>our way through this album and it's gonna be great.
<v Speaker 1>That's sort of a womanly sigh on the on the
<v Speaker 1>beat sounds a lot like All she Wants Is by
<v Speaker 1>Duran Durant.
<v Speaker 2>I see it, Jason, thank you, Andy Fletcher said, that
<v Speaker 2>when they heard the demo on this one, he didn't
<v Speaker 2>really I think it stood out at all. But then,
<v Speaker 2>like you said, once they got it in the studio
<v Speaker 2>and started working with it, it said, it all came
<v Speaker 2>together brilliantly, and at this point it is my favorite
<v Speaker 2>track that we have.
<v Speaker 1>So Andy Fletcher's favorite pesh Mode song all time. Okay,
<v Speaker 1>So the interesting story I heard on this was Dave
<v Speaker 1>was supposed to record his vocals, but when he left,
<v Speaker 1>he left for a few days, took a couple of
<v Speaker 1>days off. When he had come back, they had slowed
<v Speaker 1>it down and he's like, guys, you ruined this song.
<v Speaker 1>But then it sort of worked on him and he
<v Speaker 1>came around to him.
<v Speaker 3>Are you aware of a cover of this song?
<v Speaker 1>Yes, because you texted it to us the other day. Well,
<v Speaker 1>tell us about it.
<v Speaker 3>The Cure actually covered this song in nineteen ninety eight
<v Speaker 3>on the tribute album for Music for the Masses We Take,
<v Speaker 3>And I think it's a great cover.
<v Speaker 1>It's fantastic, Martin Gore says about this song. Love, sex,
<v Speaker 1>pleasure are positive things.
<v Speaker 3>If I'm not mistaken, I believe Anton Corbin did the
<v Speaker 3>majority of the videos he did for Violator and This
<v Speaker 3>particular video has Dave and a convertible driving up to
<v Speaker 3>an old drive in. From what I saw, he is
<v Speaker 3>trying to convince a young woman that's in the car
<v Speaker 3>with him to be more physical and let's go ahead
<v Speaker 3>and do this. And for me, the first thing I
<v Speaker 3>thought of is the scene in Greece, Yes, when Danny
<v Speaker 3>Zuko is trying to convince Sandy that hey, it's all good,
<v Speaker 3>it's gonna feel so great, let's go for it, and
<v Speaker 3>she is having nothing to do with it, and she
<v Speaker 3>slams that door and gets out of that sin wagon.
<v Speaker 1>You're baking a phony and I never want to see.
<v Speaker 3>Yeh stranded at the drive in. He's branded a full.
<v Speaker 1>Hey, you know, when you talk about the videos for
<v Speaker 1>this album, listen, the songs are great. Let's put them
<v Speaker 1>in separate category for just second. The videos in this
<v Speaker 1>album they're dumb. They don't represent the grandeur of these songs.
<v Speaker 3>I would completely agree. I think Anton Corbyn is Dutch
<v Speaker 3>and has a very unique take on things, and they
<v Speaker 3>stick with him. They really like his style. But I
<v Speaker 3>don't believe you were the only person to point that out.
<v Speaker 3>In fact, I think some of their management or engineers
<v Speaker 3>someone somewhere said that same thing to them. It was like,
<v Speaker 3>they are not doing you any justice these videos.
<v Speaker 1>We're gonna talk about one here in a minute where
<v Speaker 1>Dave walks around in a preschool looking king outfit and
<v Speaker 1>he looks ridiculous. And we're talking first video pour some
<v Speaker 1>sugary type of stuff. I'm gonna go ahead and disagree
<v Speaker 1>with both of you guys.
<v Speaker 4>Oh my gosh, I okay, Yeah, I think that we
<v Speaker 4>are talking about a group that has a different sound
<v Speaker 4>than every other artist that's coming out in nineteen ninety.
<v Speaker 2>I mean, they just don't sound the same and I
<v Speaker 2>don't think their videos should look the same. Yeah, they
<v Speaker 2>don't have some great grand production value, but they have
<v Speaker 2>a very unique style to them. And just speaking about
<v Speaker 2>Anton Corbyn, he did the Nirvana video for Heart Shaped
<v Speaker 2>Box and he's done a couple of movies. One of
<v Speaker 2>them is called The American George Clooney. Have you guys
<v Speaker 2>seen that one?
<v Speaker 1>And that movie suck.
<v Speaker 2>But he also did this movie a couple of years
<v Speaker 2>before that in two thousand and seven called Control, and
<v Speaker 2>that is a movie about Ian Curtis, the lead singer
<v Speaker 2>for Joy Division Wow and the guy that they got
<v Speaker 2>to play Ian Curtis looks exactly like Ian Curtis.
<v Speaker 1>Interesting. Hey, before we move on to song number two,
<v Speaker 1>I just want to drop some stuff I learned on
<v Speaker 1>Dave Gahan. Okay, so he's born in May of nineteen
<v Speaker 1>sixty two. Found this interesting. At age nine, his father,
<v Speaker 1>Jack Gahan dies, and then at age ten, he comes
<v Speaker 1>home from school and there's a stranger in his living
<v Speaker 1>room with his mom, and his mom says, David, I'd
<v Speaker 1>like to introduce you to your father, and he says,
<v Speaker 1>what are you talking about? My father died. This impossible.
<v Speaker 1>He's like, well, this is your biological father. WHOA And
<v Speaker 1>he's like, world shook. Where have you been for nine years?
<v Speaker 1>What's going on here? This is ridiculous. This is not
<v Speaker 1>my dad, and it really rocks his world. And so
<v Speaker 1>that guy, his name is Lynn Colcott. He hangs around
<v Speaker 1>for a little while and then vanishes again for the
<v Speaker 1>rest of his life. And of course Dave gets into
<v Speaker 1>some trouble. He starts stealing cars and robbing, stealing stuff.
<v Speaker 1>He gets sent to like this juvenile detention area for
<v Speaker 1>six weeks. He joins depeche Mode at age eighteen. He'd
<v Speaker 1>already tried Heroin. So kind of a rough childhood for Dave,
<v Speaker 1>and as we'll see as we progress, it gets worse.
<v Speaker 3>Did you know that Martin Gore did not know his
<v Speaker 3>real father either?
<v Speaker 1>Oh? My gosh.
<v Speaker 3>But so these two individuals, who I think are the
<v Speaker 3>stronger personalities of the band, the two frontmen, basically have
<v Speaker 3>both this similar shared background with the men that they
<v Speaker 3>believed where their biological fathers were in fact not, and
<v Speaker 3>I think that probably influences the writing and the singing
<v Speaker 3>and writing.
<v Speaker 1>Okay, So the next song on the out song number two,
<v Speaker 1>This song is called Sweetest Perfection, the Sweetest Perfection. It's
<v Speaker 1>a calm mile, the slightest correction.
<v Speaker 5>I couldn't find me.
<v Speaker 1>Oh what do you think?
<v Speaker 3>Jing, It's not my favorite. I don't dislike it though.
<v Speaker 3>I think it's very ominous. It speaks to addiction and obsession.
<v Speaker 3>Martin Gore is singing it, not Dave. I typically really
<v Speaker 3>like Martin Gore's vocals. This one I could do without.
<v Speaker 2>Sweetest Perfection, Sweetest Infection, sweetest Injection.
<v Speaker 1>Yeah, it's a drug song, is right? Is that what
<v Speaker 1>it is? Yes? This is a drug? So are you sure? Yes? Okay?
<v Speaker 1>I talked to Amanda janek Uh huh. She says she
<v Speaker 1>hates this song. This is like the one that she
<v Speaker 1>was like, I can't stand it. I like total skipper.
<v Speaker 3>It's very like, yeah, it is a skipper. It's very
<v Speaker 3>dirty and dark.
<v Speaker 2>And yeah, I was legitimately surprised when this was number
<v Speaker 2>two on the outlays. It doesn't seem like it doesn't
<v Speaker 2>seem like in the first three songs, right, totally.
<v Speaker 1>Yeah, So you want the listener to go back and start.
<v Speaker 2>Over, right, right, So maybe this was filler that they said, Hey,
<v Speaker 2>this isn't our best song, so maybe we stick it
<v Speaker 2>between the World in My eyes and our best song.
<v Speaker 1>Surely they'll hang around for a song number three, right, Yeah,
<v Speaker 1>So let's go ahead and move on a song, don't
<v Speaker 1>we just go ahead? Because that's what everybody's here for anyway, Okay,
<v Speaker 1>And literally one of the best songs of the nineteen nineties.
<v Speaker 1>This song is called personal in Jesus, I better stop
<v Speaker 1>it or we'll just stay here and jam out to
<v Speaker 1>the whole song.
<v Speaker 2>I gotta tell you, I had Depeesche was not a
<v Speaker 2>huge band for me growing up, right. I like their songs,
<v Speaker 2>but it wasn't I didn't go buy their albums. As
<v Speaker 2>an adult, we have songs downloaded. I have one depeche
<v Speaker 2>Mode song on my phone.
<v Speaker 1>Is this song is. It's a frickin' banger. It is amazing.
<v Speaker 1>I absolutely love it.
<v Speaker 2>So when Elvis Presley is in Germany in the military,
<v Speaker 2>he meets a fourteen year old girl who he thinks
<v Speaker 2>is beautiful. But she's fourteen, right, So he decides to
<v Speaker 2>wait a couple of years to ask her to come
<v Speaker 2>over and visit a nice In that time, he becomes
<v Speaker 2>one of the biggest, most famous people in the world.
<v Speaker 2>Already had was pretty famous, but I'm mind blowingly big
<v Speaker 2>at that point. So sixteen year old Riscilla comes over
<v Speaker 2>to his house and every other woman who's there has
<v Speaker 2>just given her the evil eye. And as soon as
<v Speaker 2>Elvis Caesar two years later, by the way, as soon
<v Speaker 2>as he Caesar, he comes runs up, pulls her up
<v Speaker 2>in his arms, says he's been waiting so long to
<v Speaker 2>see her, kiss her, and within a very short amount
<v Speaker 2>of time they are married.
<v Speaker 1>Yeah. And why is that story important?
<v Speaker 2>Well, because in nineteen eighty five, Priscilla writes a book.
<v Speaker 2>It's called Elvis and Me, and she talks about which
<v Speaker 2>you would expect for a girl of sixteen getting married.
<v Speaker 2>How he was her everything. He was like her own
<v Speaker 2>little god. He was her personal Jesus. So Martin Gore
<v Speaker 2>reads these words and he's like, this does not seem
<v Speaker 2>like a healthy relationship, but it sounds like a great
<v Speaker 2>basis for a song.
<v Speaker 3>So my grandmother was a huge fan of Elvis and
<v Speaker 3>had this book, and somehow, at fourteen or fifteen years old,
<v Speaker 3>it ended up in my possession and I read the book. Yeah,
<v Speaker 3>and I totally agree with Martin Gore, that is one
<v Speaker 3>dysfunctional relationship. And I am, as a mom myself now
<v Speaker 3>shocked that her parents ever thought, sure, go to the US,
<v Speaker 3>we'll stay back here in the UK and go ahead
<v Speaker 3>and live with him, and he became her father figure,
<v Speaker 3>her husband, and like you said, the personal Jesus.
<v Speaker 1>Okay, I can't figure out, for the life of me
<v Speaker 1>why this is not a number one smash.
<v Speaker 2>What position did this reach in the charts?
<v Speaker 1>Number twenty eight on the hot one hundred. We don't
<v Speaker 1>have time for twenty seven. No, no, okay, let me
<v Speaker 1>just drop okay. So Escapade by Janet Jackson hits number
<v Speaker 1>one March third of nineteen ninety good song back than this,
<v Speaker 1>not better than this, not even close. Okay, this song
<v Speaker 1>only reaches number twenty eight. Okay, stop me when I
<v Speaker 1>hit one that you know or like? Okay, these are
<v Speaker 1>songs ranked higher than Personal Jesus on the Countdown. Here
<v Speaker 1>we Are by Gloria Estefan, we Can't Go Wrong by
<v Speaker 1>the Cover Girls, No More Lies by Michelle No, Too
<v Speaker 1>Late to Say Goodbye by Richard Mars, I've Heard of It,
<v Speaker 1>No Myth by Michael Penn. I'll Be Your Everything by
<v Speaker 1>Tommy Page. What the heck? These songs all ranked higher
<v Speaker 1>on the Hot one. Are you freaking kidding me? Bizarro world?
<v Speaker 1>It is? It's insane, got the chart upside down.
<v Speaker 3>It is considering that this was released as a single
<v Speaker 3>six months prior to the album release, and really the
<v Speaker 3>main reason why there was a riot in LA because
<v Speaker 3>that's the music they had heard, and that's why people
<v Speaker 3>were excited. So it's mind boggling to me that that's
<v Speaker 3>as high as it went.
<v Speaker 1>Rolling Stone ranked this number three sixty eight of their
<v Speaker 1>five hundred Greatest Songs of All Time.
<v Speaker 3>I disagree, too low higher, too low? Yes, too low,
<v Speaker 3>too low.
<v Speaker 1>So this was reached August twenty ninth, nineteen eighty nine.
<v Speaker 1>I still can't quite figure out why it's six months
<v Speaker 1>ahead of the album.
<v Speaker 3>So I had read that Warner Brothers that after Music
<v Speaker 3>for the Masses, those sales were really high for Depeche
<v Speaker 3>Mode and they started to go stagnant, they were starting
<v Speaker 3>to drop off, and so they wanted like this infusion
<v Speaker 3>of music and this was it personal Jesus, So they
<v Speaker 3>brought that out six months in advance. They did, like
<v Speaker 3>what you were talking about earlier, with the personal ads,
<v Speaker 3>just to drum up excitement for the album, and it
<v Speaker 3>obviously worked. I am shocked, shocked, shocked that it didn't
<v Speaker 3>go higher on the charts because this for me as
<v Speaker 3>a teenager, Jason, you and I grew up in the
<v Speaker 3>same town, Oklahoma. We did not a lot to do.
<v Speaker 3>It was basically either you were trying to find a
<v Speaker 3>little dance club to go to or you were driving
<v Speaker 3>around with half the high school on a caravan trying
<v Speaker 3>to find an open field to do something. Nothing nefarious,
<v Speaker 3>of course, yes, yes, just to chat. But I have
<v Speaker 3>a very distinct memory before Violator came out, listening to
<v Speaker 3>this song and we are driving around in Who's Wee Sweet?
<v Speaker 3>Your wife, your wonderful, lovely, beautiful wife, and our friend
<v Speaker 3>Mary Beth.
<v Speaker 1>Uh huh.
<v Speaker 3>And we're in mary best car and we're in a caravan.
<v Speaker 3>We're driving through a park with like thirty other cars
<v Speaker 3>with kids from my high school, and your wife and
<v Speaker 3>I are hanging up the sun roof dancing to Personal Jesus.
<v Speaker 3>I'm seventeen years old. I'm thinking life is good and
<v Speaker 3>I'm thinking I.
<v Speaker 1>Am super cool. Yes, it's all downhill. That is fantastic.
<v Speaker 1>I Kathy would love that story. Okay, let's talk about
<v Speaker 1>the personal ads real quick. We talked about it briefly,
<v Speaker 1>but in the personal ads in the newspaper for this
<v Speaker 1>song prior to this album being released, there's an ad
<v Speaker 1>I sent it to you, sent this to you, guys.
<v Speaker 1>It says your own personal Jesus, and it just a
<v Speaker 1>phone number and when you would call that number, it
<v Speaker 1>would play the song. How cool is that? Yeah?
<v Speaker 3>Very cool. But I believe people got upset by that
<v Speaker 3>so they had to stop doing it. Insane.
<v Speaker 1>I'm trying to rescue myself. I have life problems, and
<v Speaker 1>you're playing rock.
<v Speaker 3>Music to me to go back to your show about
<v Speaker 3>the cure. Do you know where this ranks with Robert
<v Speaker 3>Smith of The Cure. It is one of his favorite
<v Speaker 3>top thirty songs of the eighties. So Robert Smith has
<v Speaker 3>a healthy appreciation for Depeche Mode.
<v Speaker 1>So here's the thing I found interesting. I said this
<v Speaker 1>to you guys this week. People realized, Okay, this is
<v Speaker 1>a great song. It was covered by Marilyn Manson.
<v Speaker 5>Jesus, some Pass someone.
<v Speaker 1>Jazz, Johnny Cash.
<v Speaker 6>Your own personal Jesus.
<v Speaker 1>Sammy Hagar, Jesus, someone def Leopard to Jesus. By the way,
<v Speaker 1>if you listen to the Kate Bush song The Dreaming,
<v Speaker 1>I said this to you guys. Did you listen to it?
<v Speaker 3>Yes? I did, and I think you're spot on.
<v Speaker 1>The breathing at that point, totally stolen from that song
<v Speaker 1>and dropped into personal Jesus. Let's talk video.
<v Speaker 3>So this video again by Anton Corbin, is kind of strange.
<v Speaker 3>When the video they end up at a Spanish brothel. Yes,
<v Speaker 3>they do, totally wholesome and it's a little weird, true
<v Speaker 3>anti Corbyn and we've got the mechanical horse and some
<v Speaker 3>different things going on. And this is one of those
<v Speaker 3>videos that MTV actually edited because some of the parts
<v Speaker 3>of the video were a little too suggestive.
<v Speaker 1>I thought that was a little weird. So I saw
<v Speaker 1>the original video the breathing part and then the horses,
<v Speaker 1>but it was like, yeah, they kind of yeah, yeah,
<v Speaker 1>horses butt horses, but was too suggestive for MTV. Yeah what, Yeah,
<v Speaker 1>it's it's just weird. It just looks it's very odd.
<v Speaker 1>So if you're keeping track at home, Genie has talked
<v Speaker 1>about strippers and brothels and horses, bucks and horses.
<v Speaker 3>And after hours clubs.
<v Speaker 1>That's right. I do think it's interesting. So the big
<v Speaker 1>banging part of this chorus when you're in concert, this
<v Speaker 1>is what everybody screams. Is the reach out touch faith
<v Speaker 1>part that was stolen from the old telephone ads or
<v Speaker 1>reach out and touch someone.
<v Speaker 3>Oh I did not know that.
<v Speaker 2>There you go early lines in the song feeling Unknown,
<v Speaker 2>and you're all alone, flesh and bone by the telephone,
<v Speaker 2>lift up the receiver.
<v Speaker 1>I'll make you a belief. It's genius.
<v Speaker 2>I mean it's like you're calling out to somebody who's
<v Speaker 2>reading the personal ads.
<v Speaker 1>Yeah. I do think that his vocals get a little
<v Speaker 1>buried in the verses. I wish they were a little
<v Speaker 1>more prominent because the lyrics are so cool.
<v Speaker 2>There's a little breakdown on the song where it does
<v Speaker 2>this cool wishing sound or listen to it here.
<v Speaker 3>That absolutely makes the song for me.
<v Speaker 1>That is exactly how I felt. You're listening, you're like,
<v Speaker 1>this is pretty groovy, and then it hits that part
<v Speaker 1>and you're like, oh, yeah, they took it up a level.
<v Speaker 1>This is so good. By the way, Johnny Cash's comment
<v Speaker 1>on this song, this is quote, probably the most evangelical
<v Speaker 1>gospel song I have ever recorded. Wow. I don't know
<v Speaker 1>if the writer meant that, but it is what it is. Wow. Okay,
<v Speaker 1>are we done? With Personal Jesus? Truly one of the
<v Speaker 1>great songs of the nineteen nineties. The next song on
<v Speaker 1>the album is called Halo Okay, this one works for
<v Speaker 1>me too well.
<v Speaker 2>Speaking of songs that are confusing about the meaning and
<v Speaker 2>whether he was Sunday Club in it or not. With
<v Speaker 2>Personal Jesus, Martin Gore says, I'm almost obsessed with the
<v Speaker 2>idea of good and evil. I suppose my songs do
<v Speaker 2>seem to advocate immorality, but if you listen, there's always
<v Speaker 2>a sense of guilt. On Halo, I'm saying, let's give
<v Speaker 2>into this, but there's also a feeling of wrongfulness.
<v Speaker 3>I feel discom I don't understand why this song wasn't
<v Speaker 3>a single. I really like this song. I think it's
<v Speaker 3>one of the stronger ones.
<v Speaker 1>It's really good.
<v Speaker 3>It is. And the line you wear guilt like shackles
<v Speaker 3>on your feet like a verse halo, I mean to
<v Speaker 3>me that is poetic in the way that he understands
<v Speaker 3>what guilt is. And I agree. There's the back and
<v Speaker 3>forth between this is bad, this is gonna cause so
<v Speaker 3>many problems for us that I'm going to push through
<v Speaker 3>the guilt because it's completely worth it.
<v Speaker 1>So here's the interesting thing. We've come across this sometimes
<v Speaker 1>where they don't release it as a single, but they
<v Speaker 1>did make a video for this one.
<v Speaker 3>I watched the video. I'm it's all you.
<v Speaker 1>It stinks.
<v Speaker 3>It's odd. Did you pick up on the cameo in
<v Speaker 3>the video? No? Who oh my gosh?
<v Speaker 1>Really yes? Is it the pretty girl in clown makeup?
<v Speaker 3>No? Okay, it's one of the dancers, one of the
<v Speaker 3>female dancers. It is a young Jenna Elfman Woa. She
<v Speaker 3>trained as a classical dancer before she went into film.
<v Speaker 3>She is in the video.
<v Speaker 1>Okay, now that is really cool. There's even that is awesome.
<v Speaker 3>There's an interview out there where she talks about it.
<v Speaker 3>It was her first thing that she had done on film,
<v Speaker 3>was that video.
<v Speaker 1>Well, outside of the appearance of Jenna Elfman. You well,
<v Speaker 1>I mean, it's like it's weird.
<v Speaker 3>There's a donkey, there's strong men.
<v Speaker 1>It's like a circus. It looks like a traveling says
<v Speaker 1>say with Michael Jackson and Paul McCartney. Okay, Martin, no,
<v Speaker 1>but Martin gar is juggling in clown makeup with a
<v Speaker 1>with another girl, a pretty girl wearing clown makeup, and
<v Speaker 1>they're juggling.
<v Speaker 3>It's what Well, they're juggling because she's actually the strong
<v Speaker 3>man's girlfriend, Dave Gahan, and so she ends up telling
<v Speaker 3>him no, I'm gonna go with the clown and and
<v Speaker 3>then they end up sleeping underneath it like the circus
<v Speaker 3>car or something. I don't know. It's it's very very strange.
<v Speaker 3>I do have another bit of information that's cool about
<v Speaker 3>this song.
<v Speaker 1>Okay, well you got and it goes back.
<v Speaker 3>To the musical side of things they do. You know,
<v Speaker 3>depeche Mode is known for sampling. They sampled a led
<v Speaker 3>Zeppelin song. It's actually they sampled a rap song that
<v Speaker 3>sampled a Led Zeppelin song when the levee breaks.
<v Speaker 1>If you're gonna do it, you might as well go
<v Speaker 1>with the best, right, I dig it.
<v Speaker 3>I like it, just not the video.
<v Speaker 1>The video sucks. Bad effort, that's right, sucks, I said. Okay,
<v Speaker 1>next song on the album. This song is called Waiting
<v Speaker 1>for the Night. I'm waiting for the Night.
<v Speaker 6>I know that it will say.
<v Speaker 5>With everything stuck.
<v Speaker 3>Stuck.
<v Speaker 2>Like you said, they usually it's either one singing or
<v Speaker 2>the one, or maybe they're singing back and forth, but
<v Speaker 2>they harmonize on this one, and it's really it's really
<v Speaker 2>well done.
<v Speaker 1>I like this song too.
<v Speaker 2>This is much more similar to the soundscapes that we
<v Speaker 2>get off of Disintegration.
<v Speaker 1>Yeah, it's it's romantic, it's lovely, it's soft, it's beautiful.
<v Speaker 1>I'm gonna go this well again. It's like if you're
<v Speaker 1>watching Miami Vice and Crockett is being seduced. I had
<v Speaker 1>the same thought. Jason's going to say this for this song,
<v Speaker 1>Crockett is being seduced by the daughter of a Columbian
<v Speaker 1>drug lord and he's scared to give in. But it's
<v Speaker 1>very seductive and emotional and romantic.
<v Speaker 3>She's about to be killed.
<v Speaker 1>Of course she is.
<v Speaker 3>This reminds me of like something that you would have
<v Speaker 3>on a sleep app. I mean it is, so that's right.
<v Speaker 1>Yeah, that's cool man.
<v Speaker 3>The video is the same way. It's just very like
<v Speaker 3>black and white.
<v Speaker 1>It's six minutes of sleep app.
<v Speaker 3>It is. I agree, it works and this if this one.
<v Speaker 3>They go back to mainly electronics as far as instruments go.
<v Speaker 2>Okay, Jason, before we keep going, there is a podcast
<v Speaker 2>that you and I just discovered which is fan freakantastic
<v Speaker 2>that I wanted to tell everybody about.
<v Speaker 1>Yeah. It's called Famous and Gravy. Yeah.
<v Speaker 2>A couple of guys very much like ourselves, same generation.
<v Speaker 2>They have that kind of same talking back and forth chemistry.
<v Speaker 2>Michael Osborne and am At Kapor. They have this really
<v Speaker 2>awesome format and it just keeps you engaged in the
<v Speaker 2>podcast the whole freaking time.
<v Speaker 1>Yeah. So they talk about a person who is dead
<v Speaker 1>and whether or not you would want to have their life.
<v Speaker 1>It's kind of a cool thing. They're inspirational, they're very positive,
<v Speaker 1>thought provoking. I enjoy this.
<v Speaker 2>They break it up into like ten or eleven different categories.
<v Speaker 2>First one is the obituary of this person, right, and
<v Speaker 2>then the last one is the James Vanderbeet category of.
<v Speaker 1>I Don't Want Your Life and it's fantastic.
<v Speaker 2>And they've got a Malkovich category in there, which is
<v Speaker 2>my absolute favorite. But you guys should totally go check
<v Speaker 2>these guys out. They cover athletes, they cover rock stars,
<v Speaker 2>just I mean anybody and everybody.
<v Speaker 1>I mean, they've covered Eddie Money, Luke Perry, I even
<v Speaker 1>forgot he died, Brad Willard, Gene Wilder, Bill Paxton, Hank
<v Speaker 1>Aaron Alan Rickman.
<v Speaker 2>You told me you found a Bill Paxton nugget in
<v Speaker 2>one of their podcasts from.
<v Speaker 1>Them, according to their podcast, I learned this stuff, Yeah,
<v Speaker 1>Bill Paxton. Do you know the song fish Heads fish
<v Speaker 1>Head fish headish Yeah. Bill Paxton was the director of
<v Speaker 1>that music video. Shut up, yes, dude. I love these guys.
<v Speaker 1>They are fantastic guys.
<v Speaker 2>If you have not checked out the Famous and Gravy podcast,
<v Speaker 2>definitely go check that out.
<v Speaker 1>Definitely. All right, hit stop on your tape player, kick
<v Speaker 1>it out, flip it over for side two, and we
<v Speaker 1>are going to kick it off with another one of
<v Speaker 1>the pillars of the nineteen nineties. This song is called
<v Speaker 1>Enjoy the Silence Okay, once again, I've got to stop it,
<v Speaker 1>or we'll just sit here and listen to the whole thing.
<v Speaker 1>Absolutely fantastic.
<v Speaker 2>Started off as a ballad, started off as a slow,
<v Speaker 2>sweet ballad, and came back again. Martin gore just a
<v Speaker 2>guitar and his voice on the demo and they put
<v Speaker 2>it all together very and basically went out to the
<v Speaker 2>club one night and a couple of them said, you
<v Speaker 2>know this is you just feel like this isn't going
<v Speaker 2>where we wanted to go. And Flood was the guy
<v Speaker 2>who had been telling them. He'd been telling them the
<v Speaker 2>whole time. You have these rules, break the rules. If
<v Speaker 2>you have the rules that you don't do guitars, break
<v Speaker 2>that rule. Let's put some guitars in here.
<v Speaker 1>Yeah.
<v Speaker 2>And with this one, when they said we can't get
<v Speaker 2>to that spot that we want to be with this song,
<v Speaker 2>he said, okay, we're gonna delete everything that we've put
<v Speaker 2>in it so far and we're gonna start over again.
<v Speaker 1>They started over.
<v Speaker 2>They put this kind of techno dancy rhythm to it,
<v Speaker 2>and all of a sudden, the song took off.
<v Speaker 1>Yeah, so you're right. When he brought it, it was
<v Speaker 1>Organs and Martin singing and it was supposed to be
<v Speaker 1>a slow ballad, Alan Wilder and Flood said no, let's
<v Speaker 1>put a beat to it. Martin Gore said that he
<v Speaker 1>was initially very skeptical. He actually sulked for two days,
<v Speaker 1>he said, but he could see the crossover potential and
<v Speaker 1>how it was really coming together. This song is unbelievable.
<v Speaker 1>I don't know, I'm gonna keep gushing.
<v Speaker 2>So I'm gonna I have a vivid memory from this
<v Speaker 2>time period, Okay, riding in my buddy's truck. Grew up
<v Speaker 2>in uh Town in Arkansas, and We're listening to the
<v Speaker 2>radio and this song comes up and I'm like, oh yeah,
<v Speaker 2>And I turned the song up, and my buddy, who's
<v Speaker 2>driving the truck truck, he's like, you like this gay song?
<v Speaker 2>And I'm like what, And he's like, dude, all I
<v Speaker 2>ever needed was him in my arms. I'm like, it's
<v Speaker 2>here in my arms, you ignorant hick.
<v Speaker 1>Once they had completed the album, it was mixed by
<v Speaker 1>our man, Francois Covorkian Daniel Miller. You know, he's their manager.
<v Speaker 1>He's like, you know, guys, the song, the only song
<v Speaker 1>on the album that doesn't work for me is enjoy
<v Speaker 1>the silence. He's like, that song really needs to be
<v Speaker 1>more than it is. He's like, how would you feel
<v Speaker 1>if I took it and mixed it with my buddy
<v Speaker 1>Phil Legg? Okay, Phil Legg was a guy who would
<v Speaker 1>work with Daniel Miller, and he said they were so
<v Speaker 1>burned out. They were like, whatever, dude, just whatever, just
<v Speaker 1>take it. So Daniel Miller takes it. This is the
<v Speaker 1>only song on the album that is mixed by Daniel
<v Speaker 1>Miller and Phil Legg, not Francois Kavorkian. When they brought
<v Speaker 1>it back, they were like, that's it, the one right there.
<v Speaker 3>So are you going to tell us where it ended
<v Speaker 3>up on the charts?
<v Speaker 1>Of course? So this song hit number eight July fourteenth
<v Speaker 1>of nineteen ninety. Okay, so how the crap did this
<v Speaker 1>not hit number one in the US? There are seven
<v Speaker 1>quote unquote better songs than this, No, no.
<v Speaker 3>Chance, right, I do not agree at all?
<v Speaker 1>Okay, So here you go, number seven on the Hot
<v Speaker 1>one hundred. This is from July fourteenth, nineteen ninety. Rub
<v Speaker 1>You the Right Way by Johnny Gilly. You have number six.
<v Speaker 1>It must have been loved by Rockshead.
<v Speaker 3>Pretty woman. That's all that is.
<v Speaker 1>That's a big song in that summer.
<v Speaker 3>But that's what that is.
<v Speaker 1>Yeah. Yeah, Then you've got Cradle of Love by Billy Idol.
<v Speaker 1>That's that's a great So that's a great that's a
<v Speaker 1>great song. Number four is I'll Be Your Shelter by
<v Speaker 1>Taylor Dane. Taylor Dane was still making music in the nineties. Yeah,
<v Speaker 1>no chance, enjoy this as I don't think that's right, okay.
<v Speaker 1>Number three is hold On by in Vogue.
<v Speaker 3>Which your wife, Jason. I'm sure you know. This is
<v Speaker 3>a huge fan of in Vogue, and I remember listening
<v Speaker 3>to this one quite a bit too.
<v Speaker 1>She carried the kasingle around in her person. Yes, I know,
<v Speaker 1>I know it was she carried the KA single. Remember
<v Speaker 1>the single, Yeah, the k single Buckle up. This is
<v Speaker 1>where it gets rough right here. Number two She Ain't
<v Speaker 1>Worth It by Glenn Madernos and Bobby Brown.
<v Speaker 3>I don't even know what the song is. I actually
<v Speaker 3>remember who he is because he had some weird video
<v Speaker 3>where he was walking around on a beach. I obviously
<v Speaker 3>know who Bobby Brown is, but I could not tell
<v Speaker 3>you what that song is.
<v Speaker 2>She Ain't worth It, she ain't worth I can legitimately
<v Speaker 2>say I have no idea what that song is. And
<v Speaker 2>it was number two.
<v Speaker 1>Number two, Oh my gosh. By the way, Glenn Madernos
<v Speaker 1>is now a principle in Hawaii. Oh seriously, Oh my gosh,
<v Speaker 1>it's that guy.
<v Speaker 2>Yeah, you remember him, yes, because he had he did.
<v Speaker 1>Nothing's gonna change my love for you? Yeah. Wow. Okay.
<v Speaker 1>And then number one, step by Step by the New
<v Speaker 1>Kids on the Block.
<v Speaker 3>I actually have in my notes.
<v Speaker 1>Gag. There's no way those those songs. I mean, there's
<v Speaker 1>some good songs in that list, but for the most part,
<v Speaker 1>none of them are better than this one. No, okay.
<v Speaker 3>And that right there is why we ended up with
<v Speaker 3>songs like alternative rock and grunge because of songs by Step.
<v Speaker 1>Good point, good point. Okay. So we're ready to talk
<v Speaker 1>about the video in the song. There it is. Let's
<v Speaker 1>talk about it.
<v Speaker 2>I I number one, Yes, the King costume does look
<v Speaker 2>a bit ridiculous, but it is supposed to look a
<v Speaker 2>bit ridiculous. I think that's the point. But number two
<v Speaker 2>I just gotta laugh because I think it was. Fletcher says,
<v Speaker 2>this is actually a pretty good video for the band.
<v Speaker 2>We had to spend like an hour in the studio
<v Speaker 2>and it was really no problem.
<v Speaker 3>Is he in it? Are they in it?
<v Speaker 1>Yeah? Like I don't.
<v Speaker 2>I think they just did the music, that's all they
<v Speaker 2>had to do. And then Dave is walking around for
<v Speaker 2>five days in random, isolated, freezing stupid.
<v Speaker 3>It's dumb with his chair looking for a place of
<v Speaker 3>peace and quiet. It is based on the little prints
<v Speaker 3>and that chair. He's king of the world, but he's
<v Speaker 3>king of nothing.
<v Speaker 2>He comes to him and he's like, okay, I'm thinking
<v Speaker 2>crown and a deck chair, and they're like okay, and
<v Speaker 2>he's like, that's it. Crown, deck chair, King deep and
<v Speaker 2>a deck chair.
<v Speaker 1>So wrong. This is a grand song that needs to
<v Speaker 1>be like live concert type of stuff. We need to
<v Speaker 1>pour some sugar on me treatment on this one, Like,
<v Speaker 1>I hate it. It's so dumb. Tell me who covered
<v Speaker 1>this song, Geene.
<v Speaker 3>Oh my gosh. So I had to dig deep for
<v Speaker 3>this one, but it does. It's a good song. I
<v Speaker 3>was a little surprised at first that I would like it.
<v Speaker 3>It is covered by Carla Brune, the model and wife
<v Speaker 3>of former French president. It's cozy and.
<v Speaker 6>Wont hold.
<v Speaker 1>It in my own.
<v Speaker 6>Who's a very unnecessary They can only do harm yes,
<v Speaker 6>and it's it's actually like it.
<v Speaker 1>It's minimalized, right, it's minimalized.
<v Speaker 3>It's breathy.
<v Speaker 1>She kind of I know Carla Burdy like I've got Oh.
<v Speaker 3>She was huge.
<v Speaker 1>I dig it.
<v Speaker 3>I think it's really good and I do. She sounds
<v Speaker 3>a pot like that's very popular today.
<v Speaker 1>Wow, it's really good. Okay, onto the next song. This
<v Speaker 1>song is called Policy of Truth.
<v Speaker 2>Okay, So if you had if you said, pick one
<v Speaker 2>song that defines the sound of depeche Mode, and you
<v Speaker 2>took Personal Jesus off of the list, this would.
<v Speaker 1>Be the song that I picked. Okay.
<v Speaker 2>Yeah, I love the beginning sounds of this. This goes
<v Speaker 2>back to their synth sampling days, and I totally dig it.
<v Speaker 1>They've done great things. Yeah. This is the third single.
<v Speaker 1>This reach number fifteen on the Hot one hundred. This
<v Speaker 1>should have been a number one hit as well. This
<v Speaker 1>is the third of three titans on this album. I
<v Speaker 1>absolutely love it. I think it's a killer song, fantastic.
<v Speaker 1>There's a really cool guitar riff hook in this song.
<v Speaker 1>I heard somebody describe it as a six note switchblade.
<v Speaker 3>I read that it is a single note from a
<v Speaker 3>guitar that has been sampled and then looped on a keyboard.
<v Speaker 2>We've talked about how you know, Wednesday clubs personal Jesus.
<v Speaker 1>Imagine the lyrics of this song.
<v Speaker 2>Imagine them in the context of Ponscious Pilot talking to
<v Speaker 2>Jesus just before he's crucified. He's talking to him about
<v Speaker 2>paying the price for not listening to advice and deciding
<v Speaker 2>in your.
<v Speaker 1>Youth on the policy of truth.
<v Speaker 2>Whenever Jesus spoke to Ponscious Pilot from the truth the
<v Speaker 2>way he's about to be punished.
<v Speaker 1>And yeah, I mean you talk about Martin Gore. I
<v Speaker 1>mean he has intertwined religion and sex and politics and
<v Speaker 1>all these things, so I wouldn't sit it passed him
<v Speaker 1>on this type of thing. I sent you a clip
<v Speaker 1>from the movie Diamonds Are Forever, Yes, And I think
<v Speaker 1>that little stinger in for the Bad Guys and Diamonds
<v Speaker 1>Are Forever sounds similar to this song.
<v Speaker 3>Mister Kidd and mister is this the one with the
<v Speaker 3>scorpion in the sand?
<v Speaker 1>Yes, yes, Easter Wint and mister Kiddy, Yes, Okay, it's similar.
<v Speaker 3>Its that was the first James Bond movie I ever saw.
<v Speaker 3>I think you're a blues guy. Does the name Eric
<v Speaker 3>Tesmer sound familiar to you. Apparently he's a blues guitarist
<v Speaker 3>out of like the Austin area. He got together and
<v Speaker 3>did a collaboration with Nancy Wilson of Art and it
<v Speaker 3>is all guitar. The cover.
<v Speaker 1>Oh we got to hear that. It's just I'm joy.
<v Speaker 7>They're not.
<v Speaker 1>Deciding you. I like it. It's a great song. Okay.
<v Speaker 1>Moving on to the song called Blue Dress. Okay, skipper,
<v Speaker 1>it's not my favorite.
<v Speaker 2>It's not a skipper for me. This is one I
<v Speaker 2>I actually enjoy it, but it's not it doesn't fit.
<v Speaker 1>In with the rest of the songs on the album.
<v Speaker 2>This is kind of the jazz club romantic slow song,
<v Speaker 2>but they leave their they leave their kind of squelchy
<v Speaker 2>techno beat behind it, which I don't think does it justice.
<v Speaker 2>I think if they had lift that out and made
<v Speaker 2>it a little more like kissing a fool, yeah.
<v Speaker 1>Then a little shrill at the front of the.
<v Speaker 2>Song, yeah, I think they could have done it differently
<v Speaker 2>and it would have been a better song.
<v Speaker 1>But I still don't put it as a skipper.
<v Speaker 3>Martin Gore described this song in Pervy Pervyravy, and I
<v Speaker 3>would agree. I mean, if you look at the lyrics
<v Speaker 3>when you learn, you'll know what makes the world turn.
<v Speaker 3>He's basically saying, when I teach you what I want
<v Speaker 3>you to do. Yeah, it's very pervy. It's basically based
<v Speaker 3>on watching a young girl undress and then Helen or
<v Speaker 3>what to do, put on a.
<v Speaker 1>Blue dress, take it off, take off. The lyrics I'm
<v Speaker 1>looking at keep saying put it on, put it on?
<v Speaker 1>Is that not the lyrics?
<v Speaker 3>Probably is, But what I read was that it's about
<v Speaker 3>watching a girl undress.
<v Speaker 1>And once again Genmy talking about stripper stuff.
<v Speaker 3>He's kind of tied it into the comment theme here.
<v Speaker 1>You're fitting right in here, Shirley, can't be serious guests.
<v Speaker 2>Okay, So, Genie, you were telling us earlier about Bono
<v Speaker 2>and Adam from you two sneaking into a Violator concert.
<v Speaker 3>Yeah. So I think they were at Madison Square Garden
<v Speaker 3>and it was towards the end of the Violator tour
<v Speaker 3>and Flood is sitting backstage in a room just kind
<v Speaker 3>of chilling out, and Anton Corbin, the videographer, comes in
<v Speaker 3>with two of these scruffy looking guys and hoodies, and
<v Speaker 3>Flood's like, great, who are these people? Well, it turns
<v Speaker 3>out to be a no Bono, and I think Adam
<v Speaker 3>Clayton and Flood had previously worked with them some on
<v Speaker 3>You said the Joshua Tree, and they have heard Violator.
<v Speaker 3>They are impressed You two. Is always a colossal fan
<v Speaker 3>of you two. They are always changing their sound and
<v Speaker 3>moving forward. I'm a big fan of moving forward, not back.
<v Speaker 3>They basically are like, we love what you've done here,
<v Speaker 3>we want you to come produce our next album. And
<v Speaker 3>that next album was Octune Baby Fantastic.
<v Speaker 1>Yeah, it's awesome. Wow, Okay. Last song on the album,
<v Speaker 1>This song is called clean Okay.
<v Speaker 2>So listening to the beginning of this song, I'm wondering
<v Speaker 2>if they were working with the same guys who are
<v Speaker 2>working with Enigma the Gregorian chant thing that they did
<v Speaker 2>back in nineteen ninety as well. Yeah it was popular. Yeah,
<v Speaker 2>it's got that feel for it for sure. This is
<v Speaker 2>probably the skipper on the album for me. It's cool
<v Speaker 2>if you're chilling, I guess a little bit, but.
<v Speaker 1>It doesn't really do it for me.
<v Speaker 3>I wouldn't say it's one of my favorites, but I
<v Speaker 3>do think it's a good ending. I think it's we've
<v Speaker 3>gone through all this, We've purged all these thoughts about
<v Speaker 3>pleasure and guilt and here we are in nowur clean times,
<v Speaker 3>confession times. That's my favorite thing that he says in
<v Speaker 3>this song is when he goes really low.
<v Speaker 1>Sometimes it just doesn't finish as strong as I want
<v Speaker 1>it to. I don't think it. And if they had
<v Speaker 1>have finished with Policy of Truth, that'd have been perfect.
<v Speaker 3>Cap Yeah, it was inspired by Pink Floyd's One of
<v Speaker 3>These Days, I believe in nineteen seventy one. It was
<v Speaker 3>completely electronic the song, which was unheard of common at all.
<v Speaker 1>Yeah, cool, Okay, anything else on this one?
<v Speaker 3>I think it's very foreshadowing.
<v Speaker 1>Okay, how so.
<v Speaker 3>Well, I think this was right about the time I
<v Speaker 3>think Dave himself was going through a divorce, like the
<v Speaker 3>beginnings the breakdown of the marriage. I think within the
<v Speaker 3>next year or so he was divorced, which kind of
<v Speaker 3>spiraled him into self destruction and heroin addiction. So I
<v Speaker 3>really do think it's like, this is what's coming next.
<v Speaker 1>You like it at the end of the album, I do, because.
<v Speaker 3>I think we've wrapped all this up and now we're
<v Speaker 3>entering into the next phase and it's not going to
<v Speaker 3>necessarily be pretty Okay.
<v Speaker 1>So you mentioned that let's just talk about this real quick.
<v Speaker 1>So Dave has a rough go after this album. They
<v Speaker 1>have the world on a string at this point, after Violator,
<v Speaker 1>the success Violator, he said every velvet rope was open
<v Speaker 1>anything they wanted tons of money. So in October of
<v Speaker 1>nineteen ninety three, he collapses on stage from a drug
<v Speaker 1>induced heart attack in New Orleans. The band had to
<v Speaker 1>improvise a encore while he's being stretchered off. In August
<v Speaker 1>of nineteen ninety five, he attempts to kill himself by
<v Speaker 1>slitting his wrists. This is all after this success of
<v Speaker 1>this album. In May of nineteen ninety six, he overdoses
<v Speaker 1>on a speedball. His heart stops for two minutes. He
<v Speaker 1>has an out of body experience. He's revived, and the
<v Speaker 1>paramedics nickname him the Cat due to his nine lives.
<v Speaker 1>So he divorces the wife that was his heroin buddy.
<v Speaker 3>Second wife.
<v Speaker 1>Yeah. He meets another lady at this treatment facility in
<v Speaker 1>Arizona and they have been married ever since. And he's
<v Speaker 1>been sober. Now. I think he got his tenure coin
<v Speaker 1>not too long ago. So awesome. It's doing much better
<v Speaker 1>and the band is better than ever i've seen some
<v Speaker 1>live performances out there that just were amazing. Well, one
<v Speaker 1>of the band members is not.
<v Speaker 3>Doing better than ever, that's true. Yes, Angie Fletch Fletcher
<v Speaker 3>passed away in twenty twenty two of an aortic dissection.
<v Speaker 2>We usually talk about album artwork and we haven't yet
<v Speaker 2>on this one. Do you guys know who the artist
<v Speaker 2>is who did this? No, it's mister Anton Corporate. Really yeah.
<v Speaker 2>It is a striking cover. It is a red rose
<v Speaker 2>on a black other otherwise black album cover, and it
<v Speaker 2>was just well, let's see how this goes, and they
<v Speaker 2>loved it.
<v Speaker 3>That sort of ties into how they got the name
<v Speaker 3>for the album. Have you seen anything on that? No,
<v Speaker 3>they were actually poking fun at heavy metal, and so
<v Speaker 3>they went for the most heavy metals sounding name they
<v Speaker 3>could find, vio Later.
<v Speaker 1>Oh that's good, that's awesome.
<v Speaker 3>That's kind of what we were coming down from, was
<v Speaker 3>all that metal hair band.
<v Speaker 2>So the comparison of these two albums, it was the
<v Speaker 2>idea of Amanda Janet.
<v Speaker 1>She's the one who put this together for Yes.
<v Speaker 2>And then when we said do you want to do Violator,
<v Speaker 2>she was like, can I just do Disintegration please? Sure,
<v Speaker 2>no problem, and then we said, Genie, you like depeche Mode,
<v Speaker 2>how about you do it with this, and she graciously
<v Speaker 2>appeared for us. And so Amanda, since this was your idea,
<v Speaker 2>we're going to throw back and say, Amanda, which of
<v Speaker 2>these two albums?
<v Speaker 1>As if we didn't know, are you going to pick?
<v Speaker 8>I don't think this was going to surprise anybody, but
<v Speaker 8>one thing I didn't want to tell, you guys. Anytime
<v Speaker 8>I listen to either Disintegration or Violator on Spotify, they
<v Speaker 8>go directly to space Age bluff song by Black of Seagulls.
<v Speaker 7>So apparently I have a taste.
<v Speaker 8>But the winner to me, you guys, is just Ineperation
<v Speaker 8>all day, every day. This was not a surprise to anybody.
<v Speaker 8>I think it's a perfect album from start to finish.
<v Speaker 8>Just that roller coaster for the heart and mind just
<v Speaker 8>gets me every single time. Trent Reznor stated it perfectly
<v Speaker 8>in the Hall of Fame induction ceremony. It wasn't just
<v Speaker 8>the sounds or the words or the presentation. All of
<v Speaker 8>it was anchored by the most exquisite instruments.
<v Speaker 7>Robert Smith's voice.
<v Speaker 8>That voice is capable of such a range of emotion, form,
<v Speaker 8>and expression. For Rage sorrow and despair to beauty, frailty,
<v Speaker 8>and joy. That in a nutshell is disintegration, a range
<v Speaker 8>of emotion from an expression of rage, sorrow, and despair
<v Speaker 8>to beauty, frailty, and joy. I can't think of a
<v Speaker 8>better way to describe that album. Violator is a good album.
<v Speaker 8>It's not great, guys. I find it boring. You know,
<v Speaker 8>there's some great songs on their World in My Eyes
<v Speaker 8>is great, personal Jesus everything else. That song, you know,
<v Speaker 8>I used to teach cycling and it was one of
<v Speaker 8>the songs that we cycled to because it's a banger,
<v Speaker 8>you know, Policy of Truth.
<v Speaker 7>They're all killer songs.
<v Speaker 8>Sweetest Perfection makes me want to choke myself, Okay, And
<v Speaker 8>that's how I feel about a lot of other sums
<v Speaker 8>on that album.
<v Speaker 7>I played it for my husband last.
<v Speaker 8>Night, just eating, and you only got a couple of
<v Speaker 8>songs into it because it's just it doesn't do it
<v Speaker 8>for us.
<v Speaker 7>So zero surprise, Smike the football.
<v Speaker 8>In the words of Jason, disintegration all day, every day.
<v Speaker 2>Well, if you listen to our last episode, I don't
<v Speaker 2>think you're surprised, and the least by that final judgment
<v Speaker 2>by Amanda. But Amanda, thank you very much for coming
<v Speaker 2>back and doing that for us.
<v Speaker 1>Genie, why don't you tell us where you are on
<v Speaker 1>your final judgment between the Cures Disintegration album and Depeche
<v Speaker 1>Mode Violator.
<v Speaker 3>Okay, little back history. When you called me and said, hey,
<v Speaker 3>do you want to do this, and you said it's
<v Speaker 3>between Violator and The Cure Disintegration, I'm like, oh, Jason,
<v Speaker 3>I really like the Cure. I think I'm a little biased.
<v Speaker 3>I think this is going to be a problem. You're like, well,
<v Speaker 3>we'll see. And I got to tell you, I love Disintegration,
<v Speaker 3>I love the Cure. I think Lullaby is a fantastic song,
<v Speaker 3>love song, pictures of you. All those songs to me
<v Speaker 3>are the Cure. But I also think that the Cure
<v Speaker 3>has a real big habit of putting a lot of
<v Speaker 3>skippers or what I like to call stinkers on every
<v Speaker 3>one of their albums. And for me, those long drawn
<v Speaker 3>out music riffs. I don't want to go down the
<v Speaker 3>LSD trip with Robert Smith. I just don't, and so
<v Speaker 3>for me, I find myself skipping some songs. Violator, on
<v Speaker 3>the other hand, I really didn't know I knew all
<v Speaker 3>the songs until I started listening, and then I'm like,
<v Speaker 3>I know that one. I know that one. I like
<v Speaker 3>that one, and I think there are a couple of
<v Speaker 3>skippers on it as well. Here's the big difference between
<v Speaker 3>the two. Disintegration. Robert Smith was tired of the pop, happy,
<v Speaker 3>go lucky songs and he wanted to go back to
<v Speaker 3>the darker stuff, so he's moving backwards. And then at
<v Speaker 3>the same time, Depeche Mode is wanting to change and
<v Speaker 3>move forward. They've had great success, they're happy with it,
<v Speaker 3>but they want to like improve on it and move forward.
<v Speaker 3>So for me, it's Violator.
<v Speaker 5>Wow.
<v Speaker 1>So you changed your mind changed my mind?
<v Speaker 3>Wow? I love the Cure and I love Robert's bit.
<v Speaker 3>I gotta tell you, I think Violator is by far
<v Speaker 3>a better album.
<v Speaker 1>Okay, so before we started this, if you had offered
<v Speaker 1>me a million dollars to name more than five songs
<v Speaker 1>off of either of these albums, I probably would have
<v Speaker 1>come up with a few. But I didn't. I'm not
<v Speaker 1>what wasn't familiar with either of these albums. So thank
<v Speaker 1>you to Amanda for pushing us this direction. She's exposed
<v Speaker 1>me to the Cure. Now I love Disintegration. I think
<v Speaker 1>it's a great album. When I look at Violator, it's
<v Speaker 1>a little uneven. And when I say that, I think
<v Speaker 1>the three worst songs from either of these two albums
<v Speaker 1>is on Violator. But there are three absolute pillars from
<v Speaker 1>the nineteen nineties that are on Violator. And because of
<v Speaker 1>the strength of enjoy, the silence, personal Jesus, and policy
<v Speaker 1>of truth. If I'm walking out the door, I'm grabbing Violator.
<v Speaker 2>See Okay, So Violator has nostalgia points that you just mentioned,
<v Speaker 2>those pillars are a part of my teenage years.
<v Speaker 1>I would have said.
<v Speaker 2>When we very first started things that I was there's
<v Speaker 2>no question in my mind, I'm picking Violator. It's got
<v Speaker 2>to be Violator because I really liked a lot of
<v Speaker 2>this stuff on Violator. And as I said, even in
<v Speaker 2>the Cure episode, I didn't like the Cure. I can't
<v Speaker 2>believe I'm saying this right now. This is nuts. So
<v Speaker 2>so okay, So like Violator has all that nostalgia for me,
<v Speaker 2>but I mean the fact that listening to Disintegration within
<v Speaker 2>the first three minutes took me from I don't like
<v Speaker 2>the Cure too.
<v Speaker 1>Wow, this is really good. It's not just so this
<v Speaker 1>is okay. This was.
<v Speaker 2>I was like, holy crap, this is really good. And
<v Speaker 2>the whole album is really solid. I mean, there's a
<v Speaker 2>song or two in there that are not my favorites,
<v Speaker 2>but as a whole, it's really really strong. And as
<v Speaker 2>you said, on Violator, there are some there are some
<v Speaker 2>low spots. Valleys are deeper on Violator, and so I'm teetering.
<v Speaker 2>I'm teetering on the on the seesaw here. But I
<v Speaker 2>got to say, Amandaganic's love for the cure is so
<v Speaker 2>infectious that she has pushed me over the ass. All right,
<v Speaker 2>I am picking, Yes, I'm saying it. I am picking
<v Speaker 2>Disintegration as my pick.
<v Speaker 1>Of the Wow. Are you spiking the football.
<v Speaker 2>Just because she was so gracious and kind and sent
<v Speaker 2>us these awesome cups?
<v Speaker 1>Yes, I will spike the football. That is awesome. D
<v Speaker 1>that is awesome. So thank you, Amanda. We appreciate you
<v Speaker 1>for holding up that sign in June and bringing us,
<v Speaker 1>dragging us out of the finish line. Geenie, thank you
<v Speaker 1>for coming here today. You actually drove here in person,
<v Speaker 1>all those miles. You got a couple of hours. Friend,
<v Speaker 1>So anyway, thank you for being here and thank you
<v Speaker 1>for doing this for us. And thank you for bringing Chris.
<v Speaker 3>Yes, this was bucket list for me. Like I said,
<v Speaker 3>I know you guys do this all the time, but
<v Speaker 3>that's one of the things I'm like talking a podcast
<v Speaker 3>and now I've done it.
<v Speaker 1>I've achieved that goal and big time too.
<v Speaker 4>Huh, thank you.
<v Speaker 3>I'm a little wordy.
<v Speaker 2>It was on to hear you say this, so you
<v Speaker 2>send us a text. You know, we start texting when
<v Speaker 2>the partnership is you know, decided, and the album is decided,
<v Speaker 2>we start texting each other like.
<v Speaker 1>Oh did you hear this? And oh did you see
<v Speaker 1>this video?
<v Speaker 2>And all this right, And then at some point Jeanie says,
<v Speaker 2>on a side note, I absolutely love your show, but wow,
<v Speaker 2>it is crazy to me that you two do this
<v Speaker 2>time and time again. There are so many rabbit holes
<v Speaker 2>to go down. And my response was, I hate it.
<v Speaker 1>But I love it.
<v Speaker 2>Guys, if you have matchups that you want to hear
<v Speaker 2>us do that, we may not consider hit us up.
<v Speaker 2>It works, def Dave did it, and he's in our
<v Speaker 2>routine text threat at this point.
<v Speaker 1>So that's right. And you know, we talk about the
<v Speaker 1>biggest compliment that we receive is when somebody admits to
<v Speaker 1>us that we've moved the needle for them. So if
<v Speaker 1>you didn't like The Cure or you didn't like depeche
<v Speaker 1>Mode and we moved the needle for you, let us
<v Speaker 1>hear from you. We want to know that happy. Yeah,
<v Speaker 1>it does. Okay, So next week d we are diving in.
<v Speaker 1>We're gonna do kind of a special couple of top fives.
<v Speaker 1>We're gonna do our top five Halloween movies from the
<v Speaker 1>nineteen seventies October. It's the perfect time. It's the perfect time.
<v Speaker 1>And then the week after that, we're gonna do the
<v Speaker 1>top five Halloween movies from the nineteen eighties.
<v Speaker 2>Yeah, and then we're going to follow that up with
<v Speaker 2>nineteen eighty three's Stephen King Trilogy, Kujo, Dead Zone, and Christine.
<v Speaker 1>See you guys next week.
<v Speaker 3>In his lyrics, there's a lot of I can't say
<v Speaker 3>the word, ambiguity, ambiguity, thank you. There's a lot of
<v Speaker 3>amboo bit