Depeche Mode - Music For The Masses (Remaster 2006) [EAC-FLAC] [

******************************************************************************* Depeche Mode - Music For The Masses (Remaster 2006) ******************************************************************************* This torrent contains both the Audio CD in its remastered stereo form, as released in 2006, plus a short video, which tells the story of DM during the era. The video is presented in XviD with .mp3 sound. There are spanish and english subtitles already ripped and a subpack which also includes subs in Deutsch, Français and Italiano. You have to rip it yourself (I currently use SubRip on Windows), in order to use them. Note: There's no 5.1 audio here. I repeat: there's no 5.1 audio here. Only the 2.0 stereo album remastered. And sounds great! CD: Depeche Mode - Music For The Masses (Remastered - SACD) 01. Never Let Me Down Again [0:04:48.35] 02. The Things You Said [0:04:02.58] 03. Strangelove [0:04:54.49] 04. Sacred [0:04:49.58] 05. Little 15 [0:04:18.69] 06. Behind The Wheel [0:05:18.03] 07. I Want You Now [0:03:44.40] 08. To Have And To Hold [0:02:51.39] 09. Nothing [0:04:18.08] 10. Pimpf [0:04:55.47] DOCUMENTARY 87-88 Sometimes You Do Need Some New Jokes [0:37:06] ------------------------------------------------------------------------------- THE ALLMUSIC REVIEW ------------------------------------------------------------------------------- by Ned Raggett Initially the title must have sounded like an incredibly pretentious boast, except that Depeche Mode then went on to do a monstrous world tour, score even more hits in America and elsewhere than ever before, and pick up a large number of name checks from emerging house and techno artists on top of all that. As for the music the masses got this time around, the opening cut, "Never Let Me Down Again," started things off wonderfully: a compressed guitar riff suddenly slamming into a huge-sounding percussion/keyboard/piano combination, anchored to a constantly repeated melodic hook, ever-building synth/orchestral parts at the song's end, and one of David Gahan's best vocals (though admittedly singing one of Martin Gore's more pedestrian lyrics). It feels huge throughout, like they taped Depeche recording at the world's largest arena show instead of in a studio. Other key singles "Strangelove" and the (literally) driving "Behind the Wheel" maintained the same blend of power and song skill, while some of the quieter numbers such as "The Things You Said" and "I Want You Now" showed musical and lyrical intimacy could easily co-exist with the big chart-busters. Add to that other winners like "To Have and to Hold," with its Russian radio broadcast start and dramatic, downward spiral of music accompanied by Gahan's subtly powerful take on a desperate Gore love lyric, and the weird, wonderful choral closer, "Pimpf," and Depeche's massive success becomes perfectly clear. ------------------------------------------------------------------------------- SOME WIKIPEDIA INFORMATION ------------------------------------------------------------------------------- Music for the Masses is the sixth studio album by Depeche Mode. Released by Mute Records on September 28, 1987, it provided the band with mainstream success in the United States for the first time since Some Great Reward, and the new styles of music that appeared on the album and its predecessor Black Celebration formed the foundation for their breakthrough effort, Violator. It was supported by the Music for the Masses Tour, which compiles material into the band's first live album 101. The album became the band's highest-charting in the US upon its release, reaching #35 on the Billboard 200. It also contained more hit singles than any of their previous releases. While there was no extremely popular single from the album ("People Are People" from Some Great Reward reached #13 on the Billboard Hot 100), the three singles that were released all made it onto the Hot 100, a feat that hadn't been achieved by any Depeche Mode single after those from Some Great Reward. Moreover, all three singles achieved modest success on the chart. The first single from the album, "Strangelove", only reached #76 and spent 6 weeks on the chart upon its initial release. "Never Let Me Down Again" was then issued and hit #63, spending 10 weeks on the chart. Its success was duplicated by "Behind the Wheel" which had a similar chart run. This propelled a re- released "Strangelove" (as "Strangelove '88") to #50, making it the highest- charting single from the album. The story was similar in the United Kingdom. While no single reached the chart heights of Depeche Mode's early career, "Strangelove" narrowly became the band's second-highest charting single since 1984 when it hit #16. The two follow-up singles charted in the upper 20s. The album was less successful, reaching only #10, though it was a major success throughout Europe. Generally, this album and its extracted singles continued the trend for Depeche Mode's releases to chart higher in Continental Europe than in their home country: "Strangelove" and "Never Let Me Down Again" both hit #2 on the singles chart in what was then West Germany, "Behind The Wheel" hit #6 there, and "Little 15" reached #16. The Music for the Masses Tour was one of Depeche Mode's biggest, notably because of the sell-out Pasadena Rose Bowl show where the band performed to around 65,000 fans, cementing their place in United States alternative culture. This made the band question if they had reached the peak of their careers, according to the 101 DVD, a documentary on the concert, but put that notion to rest with Violator, which was even more successful. In 2006, Music For the Masses became one of the first Depeche Mode albums (along with Speak and Spell and Violator) to be released on a special 2-Disc SACD/CD Hybrid + DVD format, in the vein of their 2005 album Playing the Angel, which had a limited edition SACD + DVD release. The format was the same as Playing the Angel's, the first disc had a special digitally remastered version of the album, while the DVD had the album on three formats (PCM Stereo, 5.1 Surround Sound and DTS 5.1) plus bonus tracks, and a documentary on the album. The rerelease preserves the album as it was originally intended. Thus, the four bonus tracks do not appear on the SACD, but appear on the DVD. The DVD also features all B- Sides from the Music for the Masses era, but unlike the album and the bonus tracks, are only available in PCM Stereo. The documentary, a 37 minute short film called Depeche Mode: 1987-88 (Sometimes You Do Need Some New Jokes) is an extensive look at the album, featuring commentary from a wide variety of people, including the current Depeche Mode, former member Alan Wilder, producer Dave Bascombe, Daniel Miller, Daryl Bamonte, Martyn Atkins (who came up with the loudspeakers idea for the cover), Anton Corbijn, and others. The documentary features new facts on the album, and also an extensive look at the movie 101. The rerelease came out April 3, 2006 in Europe. The US version was delayed to June 2, 2006 and will only be available on a CD + DVD format, with no SACD. The DVD on all the versions are region independent however, so one can simply import the SACD version without worrying about the DVD being incompatible. ------------------------------------------------------------------------------- SOME TRACKS REVIEWED AT ALLMUSIC ------------------------------------------------------------------------------- NEVER LET ME DOWN AGAIN by Ned Raggett That the Smashing Pumpkins covered this in later years isn't too surprising -- but what is interesting is that they chose to do an acoustic version, perhaps figuring they couldn't top the original. It's doubtful anyone could; with Martin Gore's compressed guitar riff leading the way, Depeche here created not merely the calling card for its smash success Music for the Masses album, but an all- time anthem for the band and electronic music as a whole. About the only thing about the song that doesn't totally work is the lyrics, which are suggestive but not as intriguingly poisonous as so many of the band's other tunes. That one rhyme goes "Promises me I'm safe as houses/As long as I remember who's wearing the trousers" is a bit giggle-worthy. David Gahan's performance of the same, however, is big and strong, Gore's hidden harmony vocals an extra. What really makes the song is the overall delivery and arrangement, a massive beat echoing in the mix and the lead synth lines later accompanied by mock horns, strings, and more. It's as if Laibach were able to get one of its brutal post- Wagnerian epics onto the charts, and with a weird romantic patina at that. As Gore delivers the last "See the stars, they're shining bright" line with the song's fade, it's clear the band were on even more of a roll than ever. STRANGELOVE by Ned Raggett Released in a slightly different, more accessible remix than was originally found on Music for the Masses, "Strangelove" is still another big, strong number from Depeche Mode, with an attention-grabbing start and lead melody, reflecting member Alan Wilder's increasing skill at arrangements. Martin Gore's lyric is another one of his sly, aggressively wounded best, David Gahan's almost challenging vocal turn on it playing up the confessions of emotional guilt and sadism to an almost outrageous degree. Again, one has to wonder at how effortlessly Gore could make such material the open heart of a pop single, and a successful one at that. Gahan's overdubbed vocals make the "Pain -- will you return it?" section equally grabbing, the bell/chime-like lead melody continuing on relentlessly as much as the beat does, while Gore's spare, low guitar parts add a sharp, unexpected hook on top of things. Extra synth orchestrations fill out the mix toward the end, the song as a whole a brilliantly effective encapsulation of hooks, studio experimentation, and production. BEHIND THE WHEEL by Tim DiGravina Despite all of its imagery of driving and being a passenger, its opening sample of a wheel falling off a car, and its hypnotic beat symbolic of a car gliding down a roadway, "Behind the Wheel" isn't really about automobiles at all. It's a classic song of sexual submission or of just giving in to another person's control over any aspect of one's life. Martin Gore's favorite subject has proven to be relationships, and "Behind the Wheel" blends a little bit of bondage and a little bit of codependence to make for a quintessential Depeche Mode song. David Gahan seems completely and perfectly exhausted emotionally, singing "Do what you want; I don't care tonight/I hand myself over on a plate." He goes on to offer, "I prefer you behind the wheel/And me the passenger." The ravishing beat and high-tech synth sounds that engulf Gahan's voice suggest he's looking for love as long as he doesn't have to be the one in control. He wants "[his] little girl [to] come pull [his] strings." "Behind the Wheel" shares a sonic and thematic resemblance to "Never Let Me Down Again." Where the latter sees escape in drugs, the former finds similar comfort in giving up one's free will to a lover. A stylish promotional video for the song directed by Anton Corbijn was released in 1987. I WANT YOU NOW by Tim DiGravina "I Want You Now" couldn't be much more straight-forward. From its samples of lovers in ecstasy to Martin Gore's desperate pleas, the song has one focus and one focus only: sex. Gore offers his vocals as if he's just stepped front and center from a church choir. The heavy breathing and cries of joy that surround him work like pistons, adding texture, life, and a beat to the pensive keyboards and accordion musical backdrop. Without the moaning samples, "I Want You Now" would probably be Depeche Mode's most spare musical offering, so it really was imperative that Gore set just the right tone with his vocals. The song would be a study in atmosphere like "Pimpf" without Gore's vocals. Usually the songs that Gore assigns to himself as a vocalist express deeper emotions, but here he's concentrating on lust, even if he offers that he doesn't just "want to be like one of the boys." The wavering quiver in his voice paints his desperation and desires perfectly. His repeated declaration of "I want you now" drips passion and frustration. Even if "I Want You Now" isn't Depeche Mode's most high concept creation or most complex song, Martin Gore's captivating honesty makes the song an integral part of Music for the Masses. NOTHING by Tim DiGravina "Nothing" is Music for the Masses' brightest and most musically upbeat track, despite the fact that it expresses an unrelenting sense of indifference. When one thinks of Depeche Mode's energetic 101 film and album, the rollicking "Nothing" might pop to mind. One imagines Dave Gahan spinning in circles or raising his mic stand to the heavens, and it's difficult not to add his 101 shouts of "thank you" and his general exultations and grunts over the keyboard solos on the Music for the Masses version. The song consists of two primary segments: a percolating sampler section where Gahan sings of "sitting waiting" and "life's" unadvertised surprises and an addictively catchy quickening where Gahan tells listeners there's not really much new to say. All along the way, Martin Gore and company provide a backdrop of hushed harmonies, mostly singing the world "nothing" sweetly as a group. The contrast of "Nothing"'s bored lyrics and its jangling, jolly electronics makes for a humorous, interesting listen. That the album follows up the song with the atmospheric epic "Pimpf" only serves to make Music for the Masses a more compelling, varied experience. ------------------------------------------------------------------------------- EAC LOG EXTRACT ------------------------------------------------------------------------------- Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 2. August 2009, 14:16 Depeche Mode / Music For The Masses (Remastered) Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 102 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Installed external ASPI interface Gap handling : Appended to previous track Used output format : User Defined Encoder Selected bitrate : 1024 kBit/s Quality : High Add ID3 tag : No Command line compressor : F:Archivos de programaExact Audio CopyFLACFLAC.EXE Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d ------------------------------------------------------------------------------- ACCURIP REPORT ------------------------------------------------------------------------------- [Verification date: 02/08/2009 14:17:08] [Disc ID: 0010f6d4-0086d514-880a520a] Track [ CRC ] Status 01 [105bb268] (72/99) Accurately ripped as in pressing(s) #1 02 [8f252737] (73/101) Accurately ripped as in pressing(s) #1 03 [b0a78bdd] (72/100) Accurately ripped as in pressing(s) #1 04 [2cc8d3fa] (72/100) Accurately ripped as in pressing(s) #1 05 [d1df716b] (71/99) Accurately ripped as in pressing(s) #1 06 [a8025b39] (73/101) Accurately ripped as in pressing(s) #1 07 [ff0ab45f] (71/99) Accurately ripped as in pressing(s) #1 08 [0a708c0c] (72/100) Accurately ripped as in pressing(s) #1 09 [78e35a59] (70/98) Accurately ripped as in pressing(s) #1 10 [1e074075] (67/94) Accurately ripped as in pressing(s) #1 ------------------------------------------------------------------------------- IMPORTANT: PLEASE READ (A REQUEST) ------------------------------------------------------------------------------- It's usual to post comments only to complain about a torrent which doesn't work in your configuration. It's normal, after a few hours/days downloading and expecting a release, to feel deceived if it doesn't work properly, and expressing this is legitimate. I've often found one comment (negative) on a movie/CD downloaded by 2000+ people, and since that single negative feedback, people simply stop downloading and therefore, sharing. But a few times it was due not to the torrent itself, but to some issues on the downloader side (not updated codecs, misused tools...), and that's unfair for the person who took the time to share it for free. IF YOU FIND THIS RELEASE DESERVES TO BE RECOMMENDED TO OTHERS, HELP BY DROPPING A LINE AFTER YOU'VE CHECKED IT. This way, You'll help in keeping the torrent alive, almost as much as keeping it in your HDD until a 1:1 ratio is reached. Thanks ------------------------------------------------------------------------------- -------------------------------------------------------------------------------

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 miona45 (2009-08-05)

Sounds great...video too. Thanks repopo.

mauro145 (2009-08-21)

gracias

mauro145 (2009-08-21)

gracias viejita.