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People Are People: Difference between revisions

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==Notes ==
==Notes ==
Written by Martin Gore; recorded and mixed at Hansa Tonstudios in seven days.
Quotes from the documentary on the DVD of the Some Great Reward remaster from 2006:
Quotes from the documentary on the DVD of the Some Great Reward remaster from 2006:
<blockquote>
<blockquote>
Line 11: Line 14:
</blockquote>
</blockquote>


Alan says in Electronic Soundmaker & Computer Music magazine, issued April 1984:
Alan said in Electronic Soundmaker & Computer Music magazine, issued April 1984:
<blockquote>
<blockquote>
"When we do a single like this [People Are People] we mix for radio rather than for hi-fi. Danny [Miller] bought a little gadget which we're evaluating called the Ear Opener — it's supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave; one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That's how we did People Are People: I suppose you could call it Controlled Dirt."  
"When we do a single like this [People Are People] we mix for radio rather than for hi-fi. Danny [Miller] bought a little gadget which we're evaluating called the Ear Opener — it's supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave; one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That's how we did People Are People: I suppose you could call it Controlled Dirt."  
</blockquote>
Gareth Jones told [http://www.soundonsound.com/people/classic-tracks-depeche-mode-people-are-people Sound on Sound magazine] in 2007:
<blockquote>
"Martin made a demo for 'People Are People' — it was also the first time the band had done a pre-production session — and this had one ambient sound that he'd recorded with a Walkman on an airplane; a bit of laughter and noise. He looped this up on the demo, and we decided to somehow recreate that sound, but it was impossible to recreate because it was a 'found sound', full of texture and rhythm, so we ended up using what was on the demo. Nobody thinks anything of that now — found sounds are used all the time — but back then it was a bit of a breakthrough for us. The demos were all very lo-fi, recorded on four-track or whatever, yet somehow a tiny snippet of this sound still existed in the Emulator and it became a big part of the chorus. I remember that very clearly, because there was a moment's confusion when we thought, 'How are we going to recreate that?' and then suddenly we realised we didn't need to recreate it, we'd just use it."
</blockquote>
In the same interview, which focuses on 'People Are People', Gareth also says:
<blockquote>
"Radio play was really important to us, and we had a little box called an Ear Opener which was like a tiny domestic radio. It was bandwidth limited and attempted to emulate some of the [BBC] Radio One-type compression, and since the record company was so concerned about getting the song on the radio we spent a lot of time listening and mixing on a two- or three-inch speaker. However, listening to 'People Are People' now, I'd say we probably spent too much time doing this, because while it sounded absolutely amazing on a small system, on bigger systems I can hear all the faults. You know, 'Oh God, I could have got more bass on it,' or 'It would have been great if the high-end could have been a bit smoother.' Obvious things. If I'd been a more experienced engineer, I would have paid all the due attention to the little Ear Opener monitoring system and also paid a bit more attention to the big monitors, because the boundaries of the sound are, well, crude. Still, having said that, the track did of course have incredible energy and vibe coming out of a radio or little television set. It was like the radio was going to explode, and that's why it was a massive hit all over Europe, so overall I'm incredibly pleased and proud of that work. [...] That song was kind of a stepping stone between Construction Time Again and Some Great Reward. It signalled the band's transition towards more industrial sounds." 
</blockquote>
Martin Gore told [http://noyzelab.blogspot.com/2014/09/modes-of-operation-depeche-mode.html Electronics and Music Magazine] in 1986:
<blockquote>
"Usually we spend two or three days before recording just sampling sounds. Then we sample as we go. If somebody has a good idea, we just stop recording and do some sampling. Sometimes we use old favourites — like one sample which we first used on 'People Are People'. It’s a Hank Marvin-type guitar sound, an acoustic guitar plucked with a 50-pfennig piece. We’ve used that three or four times now."
</blockquote>
</blockquote>


{{Template:Song83|People Are People}}
{{Template:Song83|People Are People}}

Revision as of 01:06, 17 April 2017

Notes

Written by Martin Gore; recorded and mixed at Hansa Tonstudios in seven days.

Quotes from the documentary on the DVD of the Some Great Reward remaster from 2006:

Gareth Jones: "The acoustics of People Are People and the sound of the beats and the big fills things, is all the sound of the rooms, with the beats getting thrown around Hansa Studio: three floors down for the bass drum, snare drum one floor over, toms in another room over there that, kind of thing. The whole building was shaking."

Alan Wilder: "It gives quite a big sounding record, the biggest sort of in that sense [makes a large box with hand gestures], the biggest we've ever made, and it seemed that it had something going for it."

Daniel Miller: "We just basically pressed 'play' and just ran it, and everybody sang along, and it just seemed like it all sounded great, even before we recorded it properly.

Andy Fletcher: We thought it was a good song. Now, we're not too keen on it. It's probably... It's our biggest hit that we don't play."

Alan said in Electronic Soundmaker & Computer Music magazine, issued April 1984:

"When we do a single like this [People Are People] we mix for radio rather than for hi-fi. Danny [Miller] bought a little gadget which we're evaluating called the Ear Opener — it's supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave; one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That's how we did People Are People: I suppose you could call it Controlled Dirt."

Gareth Jones told Sound on Sound magazine in 2007:

"Martin made a demo for 'People Are People' — it was also the first time the band had done a pre-production session — and this had one ambient sound that he'd recorded with a Walkman on an airplane; a bit of laughter and noise. He looped this up on the demo, and we decided to somehow recreate that sound, but it was impossible to recreate because it was a 'found sound', full of texture and rhythm, so we ended up using what was on the demo. Nobody thinks anything of that now — found sounds are used all the time — but back then it was a bit of a breakthrough for us. The demos were all very lo-fi, recorded on four-track or whatever, yet somehow a tiny snippet of this sound still existed in the Emulator and it became a big part of the chorus. I remember that very clearly, because there was a moment's confusion when we thought, 'How are we going to recreate that?' and then suddenly we realised we didn't need to recreate it, we'd just use it."

In the same interview, which focuses on 'People Are People', Gareth also says:

"Radio play was really important to us, and we had a little box called an Ear Opener which was like a tiny domestic radio. It was bandwidth limited and attempted to emulate some of the [BBC] Radio One-type compression, and since the record company was so concerned about getting the song on the radio we spent a lot of time listening and mixing on a two- or three-inch speaker. However, listening to 'People Are People' now, I'd say we probably spent too much time doing this, because while it sounded absolutely amazing on a small system, on bigger systems I can hear all the faults. You know, 'Oh God, I could have got more bass on it,' or 'It would have been great if the high-end could have been a bit smoother.' Obvious things. If I'd been a more experienced engineer, I would have paid all the due attention to the little Ear Opener monitoring system and also paid a bit more attention to the big monitors, because the boundaries of the sound are, well, crude. Still, having said that, the track did of course have incredible energy and vibe coming out of a radio or little television set. It was like the radio was going to explode, and that's why it was a massive hit all over Europe, so overall I'm incredibly pleased and proud of that work. [...] That song was kind of a stepping stone between Construction Time Again and Some Great Reward. It signalled the band's transition towards more industrial sounds."

Martin Gore told Electronics and Music Magazine in 1986:

"Usually we spend two or three days before recording just sampling sounds. Then we sample as we go. If somebody has a good idea, we just stop recording and do some sampling. Sometimes we use old favourites — like one sample which we first used on 'People Are People'. It’s a Hank Marvin-type guitar sound, an acoustic guitar plucked with a 50-pfennig piece. We’ve used that three or four times now."

Dates with available recordings of People Are People

There are currently 186 recordings of People Are People available.

Dates where People Are People was played

1983-1984 Construction Time Again Tour

People Are People was played 2 times during this tour.

1984-1985 Some Great Reward Tour

People Are People was played 81 times during this tour.

1986 Black Celebration Tour

People Are People was played 75 times during this tour.

1987-1988 Music For The Masses Tour

People Are People was played 68 times during this tour.

1990 World Violation Tour

  • People Are People was not played during this tour.

1993 Devotional Tour

  • People Are People was not played during this tour.

1994 Exotic Tour

  • People Are People was not played during this tour.

1997 Ultra Parties

  • People Are People was not played during this tour.

1998 The Singles Tour

  • People Are People was not played during this tour.

2001 Exciter Tour

  • People Are People was not played during this tour.

2003 Paper Monsters Tour (Dave Gahan solo)

  • People Are People was not played during this tour.

2003 "A Night With Martin L. Gore" (Martin L. Gore solo)

  • People Are People was not played during this tour.

2005-2006 Touring The Angel

  • People Are People was not played during this tour.

2009-2010 Tour Of The Universe

  • People Are People was not played during this tour.

2013-2014 Delta Machine Tour

  • People Are People was not played during this tour.

2017-2018 Global Spirit Tour

  • People Are People was not played during this tour.
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