Depeche Mode sample sources: Difference between revisions
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== <i>[[Construction Time Again]]</i> (1983) == | == <i>[[Construction Time Again]]</i> (1983) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Everything Counts}} | |song={{S|Everything Counts}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 42: | Line 42: | ||
|ssample1=Breathing sound | |ssample1=Breathing sound | ||
|ssource1='''Kraftwerk - "Tour de France"''' - 1983 | |ssource1='''Kraftwerk - "Tour de France"''' - 1983 | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2=Intro sweep | |ssample2=Intro sweep | ||
|ssource2='''Kraftwerk - "Die Roboter"''' - 1978 | |ssource2='''Kraftwerk - "Die Roboter"''' - 1978 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=CTA | |colorscheme=CTA | ||
|}} | |}} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|The Landscape Is Changing}} | |song={{S|The Landscape Is Changing}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 55: | Line 55: | ||
|ssample1=Spoken word in German | |ssample1=Spoken word in German | ||
|ssource1='''Einstürzende Neubauten - "Merle (Die Elektrik)"''' - 1983 | |ssource1='''Einstürzende Neubauten - "Merle (Die Elektrik)"''' - 1983 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 63: | Line 63: | ||
== <i>[[Some Great Reward]]</i> (1984) == | == <i>[[Some Great Reward]]</i> (1984) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Blasphemous Rumours}} | |song={{S|Blasphemous Rumours}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 75: | Line 75: | ||
|colorscheme=SGR | |colorscheme=SGR | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Master And Servant}} (Slavery Whip Mix) | |song={{S|Master And Servant}} (Slavery Whip Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 81: | Line 81: | ||
|ssample1=Drum elements | |ssample1=Drum elements | ||
|ssource1='''Frankie Goes To Hollywood - "Relax"''' - 1983 | |ssource1='''Frankie Goes To Hollywood - "Relax"''' - 1983 | ||
|sstatus1= | |sstatus1=D | ||
|snotes1=Magazine ''The Face'' reported in February 1985: | |snotes1=Magazine ''The Face'' reported in February 1985: | ||
<blockquote> | <blockquote> | ||
| Line 101: | Line 101: | ||
|colorscheme=SGR | |colorscheme=SGR | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|People Are People}} (Are People People? Mix) | |song={{S|People Are People}} (Are People People? Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 107: | Line 107: | ||
|ssample1=Doo-wop vocal sample | |ssample1=Doo-wop vocal sample | ||
|ssource1='''The Citadels - "When I Woke Up This Morning"''' - 1964 | |ssource1='''The Citadels - "When I Woke Up This Morning"''' - 1964 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=Credit to <span class="plainlinks">[https://www.bratproductions.com/ Daniel Barassi]</span> for this discovery.<ref> Source: Depeche Mode archivist and webmaster Daniel Barassi ('fishureprice') [https://www.instagram.com/p/Bif2G7gD7ui/ Instagram] post</ref> | |snotes1=Credit to <span class="plainlinks">[https://www.bratproductions.com/ Daniel Barassi]</span> for this discovery.<ref> Source: Depeche Mode archivist and webmaster Daniel Barassi ('fishureprice') [https://www.instagram.com/p/Bif2G7gD7ui/ Instagram] post</ref> | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 116: | Line 116: | ||
== <i>Catching Up with Depeche Mode</i> (1985) == | == <i>Catching Up with Depeche Mode</i> (1985) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Shake The Disease}} | |song={{S|Shake The Disease}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 131: | Line 131: | ||
== <i>[[Black Celebration (album)|Black Celebration]]</i> (1986) == | == <i>[[Black Celebration (album)|Black Celebration]]</i> (1986) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Fly On The Windscreen}} | |song={{S|Fly On The Windscreen}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 139: | Line 139: | ||
|ssample1="Their living hell" vocal sample | |ssample1="Their living hell" vocal sample | ||
|ssource1='''Peter Jennings, ''ABC News''''' (television news report, unknown date) | |ssource1='''Peter Jennings, ''ABC News''''' (television news report, unknown date) | ||
|sstatus1= | |sstatus1=L | ||
|snotes1=Jennings was an active news anchor from 1 February 1965 to 1 April 2005. The exact date of the report this sample derived from is likely to have occurred sometime before or between November 1985 and December 1985. | |snotes1=Jennings was an active news anchor from 1 February 1965 to 1 April 2005. The exact date of the report this sample derived from is likely to have occurred sometime before or between November 1985 and December 1985. | ||
|ssample2=Sampled scratch | |ssample2=Sampled scratch | ||
|ssource2='''N.W.A. - "Fuck tha Police"''' - 1988 | |ssource2='''N.W.A. - "Fuck tha Police"''' - 1988 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=The scratch effect in the intro of "Fuck tha Police" by N.W.A. is sampled and played several notes down from its root key throughout the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen". Notably, this scratch sample is also used throughout the Devotional tour version of {{s|I Want You Now}}. | |snotes2=The scratch effect in the intro of "Fuck tha Police" by N.W.A. is sampled and played several notes down from its root key throughout the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen". Notably, this scratch sample is also used throughout the Devotional tour version of {{s|I Want You Now}}. | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Sometimes}} | |song={{S|Sometimes}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 155: | Line 154: | ||
|ssample1="Sometimes" vocal sample | |ssample1="Sometimes" vocal sample | ||
|ssource1='''Louis Armstrong - "Sometimes I Feel Like A Motherless Child"''' - 1958 | |ssource1='''Louis Armstrong - "Sometimes I Feel Like A Motherless Child"''' - 1958 | ||
|sstatus1= | |sstatus1=L | ||
|snotes1=A choir vocal singing the word "sometimes" is sampled from the one minute nineteen second mark of Louis Armstrong's "Sometimes I Feel Like A Motherless Child" and processed with reverb for use in the intro of {{s|Sometimes}}.<ref>Credit to '[https://www.depeche-mode.com/forum/index.php?topic=32731.msg760399#msg760399 personal cheese]' for this discovery.</ref> | |snotes1=A choir vocal singing the word "sometimes" is sampled from the one minute nineteen second mark of Louis Armstrong's "Sometimes I Feel Like A Motherless Child" and processed with reverb for use in the intro of {{s|Sometimes}}.<ref>Credit to '[https://www.depeche-mode.com/forum/index.php?topic=32731.msg760399#msg760399 personal cheese]' for this discovery.</ref> | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 161: | Line 160: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|It Doesn't Matter Two}} | |song={{S|It Doesn't Matter Two}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 170: | Line 169: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|A Question Of Time}} | |song={{S|A Question Of Time}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 178: | Line 177: | ||
|ssample1=Moan-like vocal sample | |ssample1=Moan-like vocal sample | ||
|ssource1='''The Chanters - "She Wants To Mambo"''' - 1954 | |ssource1='''The Chanters - "She Wants To Mambo"''' - 1954 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=A feminine "moan" vocal following the second chorus of "She Wants To Mambo" is sampled and played in a descending two note passage with EQ for added top-end during the chorus sections of {{s|A Question Of Time}}. {{MLG}} confirmed the use of the sample in the August 1986 issue of ''Electronics & Music Maker'': | |snotes1=A feminine "moan" vocal following the second chorus of "She Wants To Mambo" is sampled and played in a descending two note passage with EQ for added top-end during the chorus sections of {{s|A Question Of Time}}. {{MLG}} confirmed the use of the sample in the August 1986 issue of ''Electronics & Music Maker'': | ||
| Line 187: | Line 186: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Stripped}} | |song={{S|Stripped}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 207: | Line 206: | ||
|ssample1=Motorbike idling sound | |ssample1=Motorbike idling sound | ||
|ssource1='''Emulator I sample library disk #81: Motor Cycle Idling (08-001-117M1)''' | |ssource1='''Emulator I sample library disk #81: Motor Cycle Idling (08-001-117M1)''' | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=A loop of a motorbike engine idling played half an octave down from its original pitch is used as a primary rhythm element throughout the song.<ref>Source: {{EL|https://noyzelab.blogspot.com/2014/09/modes-of-operation-depeche-mode.html Modes of Operation}} - ''Electronics & Music Maker'' - August 1986.</ref> In addition to the album version, the loop is also present on [[Martin L. Gore|Martin Gore's]] demo recording. Wilder confirms the origin of the sample in a first-hand summary of the Emulator sample range on the Emulator II lot listing on ''The Alan Wilder / Depeche Mode Collection'' auction site: | |snotes1=A loop of a motorbike engine idling played half an octave down from its original pitch is used as a primary rhythm element throughout the song.<ref>Source: {{EL|https://noyzelab.blogspot.com/2014/09/modes-of-operation-depeche-mode.html Modes of Operation}} - ''Electronics & Music Maker'' - August 1986.</ref> In addition to the album version, the loop is also present on [[Martin L. Gore|Martin Gore's]] demo recording. Wilder confirms the origin of the sample in a first-hand summary of the Emulator sample range on the Emulator II lot listing on ''The Alan Wilder / Depeche Mode Collection'' auction site: | ||
<blockquote>I remember when we first inserted the huge floppy disc into the [Emulator I] and listened to the ‘Motorbike Idling’ sound (which later became the mainstay rhythm behind the song "Stripped"), I was hooked.<ref>Source: {{EL|http://auction.recoil.co.uk/emu-emulator-ii/ Emulator I}} - ''The Alan Wilder / Depeche Mode Collection''.</ref></blockquote> | <blockquote>I remember when we first inserted the huge floppy disc into the [Emulator I] and listened to the ‘Motorbike Idling’ sound (which later became the mainstay rhythm behind the song "Stripped"), I was hooked.<ref>Source: {{EL|http://auction.recoil.co.uk/emu-emulator-ii/ Emulator I}} - ''The Alan Wilder / Depeche Mode Collection''.</ref></blockquote> | ||
| Line 215: | Line 214: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Here Is The House}} | |song={{S|Here Is The House}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 226: | Line 225: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|But Not Tonight}} | |song={{S|But Not Tonight}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 245: | Line 244: | ||
|colorscheme=Celebration | |colorscheme=Celebration | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Fly On The Windscreen}} (Death Mix) | |song={{S|Fly On The Windscreen}} (Death Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 251: | Line 250: | ||
|ssample1="I don't care how you feel!" vocal sample | |ssample1="I don't care how you feel!" vocal sample | ||
|ssource1='''Richard Pryor - Unidentified film''' | |ssource1='''Richard Pryor - Unidentified film''' | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2="Help the dying" vocal sample | |ssample2="Help the dying" vocal sample | ||
|ssource2='''Steve Kroft, ''CBS News''''' (television news report, unknown date) | |ssource2='''Steve Kroft, ''CBS News''''' (television news report, unknown date) | ||
|sstatus2= | |sstatus2=L | ||
|snotes2=Kroft was an active television news anchor with ''CBS News'' starting in 1980. It is likely the exact date of the report sampled by Depeche Mode occurred sometime before or between November 1985 and December 1985 at the latest. | |snotes2=Kroft was an active television news anchor with ''CBS News'' starting in 1980. It is likely the exact date of the report sampled by Depeche Mode occurred sometime before or between November 1985 and December 1985 at the latest. | ||
|snumberofrows=2 | |snumberofrows=2 | ||
| Line 263: | Line 262: | ||
== <i>[[Music For The Masses]]</i> (1987) == | == <i>[[Music For The Masses]]</i> (1987) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Never Let Me Down Again}} | |song={{S|Never Let Me Down Again}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 290: | Line 289: | ||
|ssample1=Classic John Bonham drum one-shots | |ssample1=Classic John Bonham drum one-shots | ||
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | |ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=The heavy drums of Led Zeppelin's "When The Levee Breaks" sampled on the Beastie Boys song "Rhymin And Stealin" were subsequently sampled by Depeche Mode. One-shot samples of the bass drum and snare drum are sampled and sequenced to form the primary drum pattern of "Never Let Me Down Again". Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. The sampled parts would later be re-purposed for {{s|Halo}} and {{s|Get Right With Me}}. | |snotes1=The heavy drums of Led Zeppelin's "When The Levee Breaks" sampled on the Beastie Boys song "Rhymin And Stealin" were subsequently sampled by Depeche Mode. One-shot samples of the bass drum and snare drum are sampled and sequenced to form the primary drum pattern of "Never Let Me Down Again". Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. The sampled parts would later be re-purposed for {{s|Halo}} and {{s|Get Right With Me}}. | ||
| Line 300: | Line 299: | ||
|ssample2=Classic John Bonham drum one-shots | |ssample2=Classic John Bonham drum one-shots | ||
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | |ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | ||
|sstatus2= | |sstatus2=OC | ||
|snotes2=Wilder confirmed in a Q&A on the official Recoil project site that 'Never Let Me Down Again' employs some drum elements originally from Led Zeppelin's "When The Levee Breaks", which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). | |snotes2=Wilder confirmed in a Q&A on the official Recoil project site that 'Never Let Me Down Again' employs some drum elements originally from Led Zeppelin's "When The Levee Breaks", which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). | ||
|ssample3=Orchestral strings and choir pads | |ssample3=Orchestral strings and choir pads | ||
|ssource3='''Carl Orff - ''Carmina Burana'' - "O Fortuna"''' (unspecified recording) | |ssource3='''Carl Orff - ''Carmina Burana'' - "O Fortuna"''' (unspecified recording) | ||
|sstatus3= | |sstatus3=OC | ||
|snotes3=In an April 2020 interview with ''Piano & Keyboard Artist'' producer {{EL|https://www.vaughngeorge.com/ Vaughn George}}, Bascombe confirms the origin of the cinematic orchestral samples used in the outro of 'Never Let Me Down Again': | |snotes3=In an April 2020 interview with ''Piano & Keyboard Artist'' producer {{EL|https://www.vaughngeorge.com/ Vaughn George}}, Bascombe confirms the origin of the cinematic orchestral samples used in the outro of 'Never Let Me Down Again': | ||
<blockquote> | <blockquote> | ||
| Line 316: | Line 315: | ||
|ssample4=Guitar riff and drum elements | |ssample4=Guitar riff and drum elements | ||
|ssource4='''3rd Bass - "Wordz Of Wisdom, Pt. 2"''' - 1989 | |ssource4='''3rd Bass - "Wordz Of Wisdom, Pt. 2"''' - 1989 | ||
|sstatus4= | |sstatus4=OC | ||
|snotes4=American hip-hop group 3rd Bass employed an uncredited sample of the opening guitar riff from Depeche Mode's "Never Let Me Down Again" for their 1989 track "Wordz Of Wisdom, Pt. 2". Depeche Mode were fond of their use of the sample, and would in turn sample it back from "Wordz Of Wisdom, Pt. 2" and employ it during the live interlude of "Never Let Me Down Again" as performed on the [[:Category:1990 World Violation Tour|World Violation]] tour. Wilder would later use this sample and other elements from "Wordz Of Wisdom, Pt. 2" in the live production of {{S|In Your Room}} as part of Recoil's 2010-2011 [[:Category:2010-2011_Selected_Events Tour|Selected Events]] tour. | |snotes4=American hip-hop group 3rd Bass employed an uncredited sample of the opening guitar riff from Depeche Mode's "Never Let Me Down Again" for their 1989 track "Wordz Of Wisdom, Pt. 2". Depeche Mode were fond of their use of the sample, and would in turn sample it back from "Wordz Of Wisdom, Pt. 2" and employ it during the live interlude of "Never Let Me Down Again" as performed on the [[:Category:1990 World Violation Tour|World Violation]] tour. Wilder would later use this sample and other elements from "Wordz Of Wisdom, Pt. 2" in the live production of {{S|In Your Room}} as part of Recoil's 2010-2011 [[:Category:2010-2011_Selected_Events Tour|Selected Events]] tour. | ||
|ssample5=N/A | |ssample5=N/A | ||
|ssource5='''Gary Wright - "Love Is Alive"''' - 1976 | |ssource5='''Gary Wright - "Love Is Alive"''' - 1976 | ||
|sstatus5= | |sstatus5=UC | ||
|snumberofrows=4 | |snumberofrows=4 | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Strangelove}} | |song={{S|Strangelove}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 333: | Line 332: | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|I Want You Now}} | |song={{S|I Want You Now}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 347: | Line 346: | ||
|ssample1=Female orgasm vocal samples (x2) | |ssample1=Female orgasm vocal samples (x2) | ||
|ssource1='''Unidentified pornographic film''' | |ssource1='''Unidentified pornographic film''' | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=The pornographic film sampled by Depeche Mode for use in the production of "I Want You Now" is likely to have enjoyed an official release on VHS or Betamax cassette and would have been in widespread circulation by July 1987. | |snotes1=The pornographic film sampled by Depeche Mode for use in the production of "I Want You Now" is likely to have enjoyed an official release on VHS or Betamax cassette and would have been in widespread circulation by July 1987. | ||
|ssample2=Sampled scratch | |ssample2=Sampled scratch | ||
|ssource2='''N.W.A. - "Fuck tha Police"''' - 1988 | |ssource2='''N.W.A. - "Fuck tha Police"''' - 1988 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=The scratch effect heard in the opening moments of "Fuck tha Police" by N.W.A. is sampled and played sporadically throughout the 1994 [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" layered with the scratch sample from {{S|Get Right With Me|U}}. | |snotes2=The scratch effect heard in the opening moments of "Fuck tha Police" by N.W.A. is sampled and played sporadically throughout the 1994 [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" layered with the scratch sample from {{S|Get Right With Me|U}}. | ||
| Line 358: | Line 357: | ||
|snumberofrows=2 | |snumberofrows=2 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|To Have And To Hold}} | |song={{S|To Have And To Hold}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 369: | Line 368: | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Nothing}} | |song={{S|Nothing}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 383: | Line 382: | ||
|ssample1=Classic John Bonham drum one-shots | |ssample1=Classic John Bonham drum one-shots | ||
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | |ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). The "Bonham" snare drum sample is processed and re-purposed for the snare sequence of "Nothing". The primary fill sequence features the snare playing a descending "melody" of 3-3-2, where each number corresponds to the number of snare hits and the key of the snare descends by one note from its root key every three hits. | |snotes1=Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). The "Bonham" snare drum sample is processed and re-purposed for the snare sequence of "Nothing". The primary fill sequence features the snare playing a descending "melody" of 3-3-2, where each number corresponds to the number of snare hits and the key of the snare descends by one note from its root key every three hits. | ||
|ssample2=Classic John Bonham drum one-shots | |ssample2=Classic John Bonham drum one-shots | ||
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | |ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). | |snotes2=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. (Beastie Boys - "Rhymin And Stealin"). | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Pimpf}} | |song={{S|Pimpf}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 403: | Line 402: | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|To Have And To Hold}} (Spanish Taster) | |song={{S|To Have And To Hold}} (Spanish Taster) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 414: | Line 413: | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Route 66}} (Beatmasters Mix) | |song={{S|Route 66}} (Beatmasters Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 420: | Line 419: | ||
|ssample1="They come from everywhere to take the challenge", "If they can name it they can claim it", "It's big money, high hopes, near misses, and love and kisses", "So, join host Tom Kennedy, tonight at 7:30, and 'Name That Tune!'" vocal samples | |ssample1="They come from everywhere to take the challenge", "If they can name it they can claim it", "It's big money, high hopes, near misses, and love and kisses", "So, join host Tom Kennedy, tonight at 7:30, and 'Name That Tune!'" vocal samples | ||
|ssource1=Unspecified television advertisement for ''Name That Tune'' (game show) | |ssource1=Unspecified television advertisement for ''Name That Tune'' (game show) | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=MFTM | |colorscheme=MFTM | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Strangelove}} (The Fresh Ground Mix) | |song={{S|Strangelove}} (The Fresh Ground Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 431: | Line 430: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Cameo - "Word Up"''' - 1986 | |ssource1='''Cameo - "Word Up"''' - 1986 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 439: | Line 438: | ||
== <i>[[Violator]]</i> (1990) == | == <i>[[Violator]]</i> (1990) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|World In My Eyes}} | |song={{S|World In My Eyes}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 453: | Line 452: | ||
|ssample1=Bell tree sample | |ssample1=Bell tree sample | ||
|ssource1='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | |ssource1='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=This sample is used for two distinct sounds in the production of "World In My Eyes": | |snotes1=This sample is used for two distinct sounds in the production of "World In My Eyes": | ||
* One version of the sample features oscillating pitch with added reverb that is reversed and played in chorus with a separate sample, producing an exciting "whirl" effect that occurs during the verses and throughout the song. | * One version of the sample features oscillating pitch with added reverb that is reversed and played in chorus with a separate sample, producing an exciting "whirl" effect that occurs during the verses and throughout the song. | ||
| Line 460: | Line 459: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Sweetest Perfection}} | |song={{S|Sweetest Perfection}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 466: | Line 465: | ||
|ssample1=Bell tree sample | |ssample1=Bell tree sample | ||
|ssource1='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | |ssource1='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=This sample is looped and manipulated to produce a ghostly pad with oscillating pitch and creative panning effects during the verses. | |snotes1=This sample is looped and manipulated to produce a ghostly pad with oscillating pitch and creative panning effects during the verses. | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 472: | Line 471: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Personal Jesus}} | |song={{S|Personal Jesus}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 484: | Line 483: | ||
|ssample1=Vocal huffing rhythm | |ssample1=Vocal huffing rhythm | ||
|ssource1='''Kate Bush - "The Dreaming"''' - 1982 | |ssource1='''Kate Bush - "The Dreaming"''' - 1982 | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2="I'm not crazy anymore!" vocal sample | |ssample2="I'm not crazy anymore!" vocal sample | ||
|ssource2='''<i>A Cry In The Wilderness</i> (film)''' - 1974 | |ssource2='''<i>A Cry In The Wilderness</i> (film)''' - 1974 | ||
|sstatus2= | |sstatus2=L | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Halo}} | |song={{S|Halo}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 503: | Line 502: | ||
|ssample1=Classic John Bonham drum loop | |ssample1=Classic John Bonham drum loop | ||
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | |ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Never Let Me Down Again}} employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. The sampled parts would later be re-purposed for "Halo": | |snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Never Let Me Down Again}} employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record. The sampled parts would later be re-purposed for "Halo": | ||
| Line 509: | Line 508: | ||
|ssample2=Classic John Bonham drum break | |ssample2=Classic John Bonham drum break | ||
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | |ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | ||
|sstatus2= | |sstatus2=OC | ||
|snotes2=Wilder confirmed that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin") in a Q&A on Shunt, the official Recoil website. These samples were later re-purposed for use in "Halo" and "[[Get Right With Me]]". | |snotes2=Wilder confirmed that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin") in a Q&A on Shunt, the official Recoil website. These samples were later re-purposed for use in "Halo" and "[[Get Right With Me]]". | ||
|ssample3=Looped orchestral strings (x2) | |ssample3=Looped orchestral strings (x2) | ||
|ssource3='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | |ssource3='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | ||
|sstatus3= | |sstatus3=C | ||
|snotes3="Halo" employs two looped orchestral phrases sampled from the fourth movement of a pre-1989 performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). Both samples are looped on a sustained phrase to produce a dramatic orchestral part. Notably, each of these samples are re-used to dramatic effect in the respective outros of {{S|My Joy}} and {{S|Clean}}.<ref name="MahlerCredit">Credit to {{EL|https://discord.gg/NAnGGfD Discord for the Masses}} user 'Udeilu' for this discovery.</ref> | |snotes3="Halo" employs two looped orchestral phrases sampled from the fourth movement of a pre-1989 performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). Both samples are looped on a sustained phrase to produce a dramatic orchestral part. Notably, each of these samples are re-used to dramatic effect in the respective outros of {{S|My Joy}} and {{S|Clean}}.<ref name="MahlerCredit">Credit to {{EL|https://discord.gg/NAnGGfD Discord for the Masses}} user 'Udeilu' for this discovery.</ref> | ||
|ssample4="Soaring" orchestral strings | |ssample4="Soaring" orchestral strings | ||
|ssource4='''Edward Elgar - Unidentified composition''' | |ssource4='''Edward Elgar - Unidentified composition''' | ||
|sstatus4= | |sstatus4=C | ||
|snotes4=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar: | |snotes4=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar: | ||
| Line 526: | Line 525: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Waiting For The Night}} | |song={{S|Waiting For The Night}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 540: | Line 539: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Enjoy The Silence}} | |song={{S|Enjoy The Silence}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 549: | Line 548: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Policy Of Truth}} | |song={{S|Policy Of Truth}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 563: | Line 562: | ||
|ssample1=Main riff | |ssample1=Main riff | ||
|ssource1='''Unknown Asian instrument sample library CD''' | |ssource1='''Unknown Asian instrument sample library CD''' | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=In a 2016 podcast with author and former pastor {{EL|https://en.wikipedia.org/wiki/Rob_Bell Rob Bell}}, [[Martin L. Gore|Martin Gore]] was asked about the origin of this sound: | |snotes1=In a 2016 podcast with author and former pastor {{EL|https://en.wikipedia.org/wiki/Rob_Bell Rob Bell}}, [[Martin L. Gore|Martin Gore]] was asked about the origin of this sound: | ||
| Line 579: | Line 578: | ||
|ssample2=Looped guitar rhythm | |ssample2=Looped guitar rhythm | ||
|ssource2='''Tony Halliday - "Time Turns Around"''' - 1989 | |ssource2='''Tony Halliday - "Time Turns Around"''' - 1989 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=A looped guitar rhythm used during the verses of Toni Halliday's "Time Turns Around" is re-purposed for use during the chorus sections of "Policy Of Truth".<ref>Credit to Home user [https://www.depeche-mode.com/forum/index.php?topic=32731.msg761072#msg761072 'Alex'] for this discovery.</ref> The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release. | |snotes2=A looped guitar rhythm used during the verses of Toni Halliday's "Time Turns Around" is re-purposed for use during the chorus sections of "Policy Of Truth".<ref>Credit to Home user [https://www.depeche-mode.com/forum/index.php?topic=32731.msg761072#msg761072 'Alex'] for this discovery.</ref> The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release. | ||
|ssample3=Guitar solo | |ssample3=Guitar solo | ||
|ssource3='''Tony Halliday - "Time Turns Around"''' - 1989 | |ssource3='''Tony Halliday - "Time Turns Around"''' - 1989 | ||
|sstatus3= | |sstatus3=C | ||
|snotes3=Various cuts of the guitar solo from Toni Halliday's "Time Turns Around" are sampled and subsequently looped to form the sustained guitar pads heard during the outro of {{S|Policy Of Truth}}. The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release. | |snotes3=Various cuts of the guitar solo from Toni Halliday's "Time Turns Around" are sampled and subsequently looped to form the sustained guitar pads heard during the outro of {{S|Policy Of Truth}}. The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release. | ||
|snumberofrows=3 | |snumberofrows=3 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Clean}} | |song={{S|Clean}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 596: | Line 595: | ||
|ssample1=Bass guitar | |ssample1=Bass guitar | ||
|ssource1='''Pink Floyd - "One Of These Days"''' - 1971 | |ssource1='''Pink Floyd - "One Of These Days"''' - 1971 | ||
|sstatus1= | |sstatus1=D | ||
|snotes1=Wilder confirmed in a Q&A on the official Recoil project site that "Clean" does not employ a sample from Pink Floyd: "I recognise the similarity but It's not a Floyd sample. It was programmed using a combination of analogue synth and sampled bass [guitar]."<ref>Source: [http://oldsite.recoil.co.uk/forum/qa/dviol2.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR]</ref> | |snotes1=Wilder confirmed in a Q&A on the official Recoil project site that "Clean" does not employ a sample from Pink Floyd: "I recognise the similarity but It's not a Floyd sample. It was programmed using a combination of analogue synth and sampled bass [guitar]."<ref>Source: [http://oldsite.recoil.co.uk/forum/qa/dviol2.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR]</ref> | ||
|ssample2=Looped orchestral strings | |ssample2=Looped orchestral strings | ||
|ssource2='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | |ssource2='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | ||
|sstatus2= | |sstatus2=C | ||
|snotes2="Clean" employs a looped orchestral phrase sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. In "Clean", the sample is first heard playing one note below its root key in the outro of the song, alternating with another as-yet unidentified sampled orchestral phrase, and is the last sound to be heard at the tail end of the song's fade out (and is therefore the final sound to be heard on the ''[[Violator]]'' album). Notably, this sample is also used to dramatic effect in {{S|Memphisto}}, the chorus sections of {{S|Halo}}, and the outro of {{S|My Joy}}. Additionally, a separate sample from this same piece of music is also used to equally dramatic effect in both "Halo" and "My Joy".<ref name="MahlerCredit"></ref> | |snotes2="Clean" employs a looped orchestral phrase sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. In "Clean", the sample is first heard playing one note below its root key in the outro of the song, alternating with another as-yet unidentified sampled orchestral phrase, and is the last sound to be heard at the tail end of the song's fade out (and is therefore the final sound to be heard on the ''[[Violator]]'' album). Notably, this sample is also used to dramatic effect in {{S|Memphisto}}, the chorus sections of {{S|Halo}}, and the outro of {{S|My Joy}}. Additionally, a separate sample from this same piece of music is also used to equally dramatic effect in both "Halo" and "My Joy".<ref name="MahlerCredit"></ref> | ||
|ssample3=Orchestral string elements | |ssample3=Orchestral string elements | ||
|ssource3='''Unidentified classical music recording, possibly Edward Elgar''' | |ssource3='''Unidentified classical music recording, possibly Edward Elgar''' | ||
|sstatus3= | |sstatus3=C | ||
|snotes3="Clean" utilises two looped sections of orchestral strings during its outro, one of which is derived from a performance of Gustav Mahler's Symphony No. 5. The other loop is presumably derived from an as yet unidentified piece of classical music written by British composer Edward Elgar. Notably, both sampled string loops as heard in the outro of "Clean" are re-purposed for use throughout the verse and chorus sections of "Halo". | |snotes3="Clean" utilises two looped sections of orchestral strings during its outro, one of which is derived from a performance of Gustav Mahler's Symphony No. 5. The other loop is presumably derived from an as yet unidentified piece of classical music written by British composer Edward Elgar. Notably, both sampled string loops as heard in the outro of "Clean" are re-purposed for use throughout the verse and chorus sections of "Halo". | ||
|snumberofrows=3 | |snumberofrows=3 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Memphisto}} | |song={{S|Memphisto}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 619: | Line 618: | ||
|ssample1=Looped orchestral strings | |ssample1=Looped orchestral strings | ||
|ssource1='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | |ssource1='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | ||
|sstatus1= | |sstatus1=C | ||
|snotes1='Memphisto' employs a looped orchestral phrase sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. Notably, this sample is also used to dramatic effect in "Clean", the chorus sections of "Halo", and the outro of "My Joy". Additionally, a separate sample from the same piece of music is used to equally dramatic effect in "Halo" and "My Joy".<ref name="MahlerCredit"></ref> | |snotes1='Memphisto' employs a looped orchestral phrase sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. Notably, this sample is also used to dramatic effect in "Clean", the chorus sections of "Halo", and the outro of "My Joy". Additionally, a separate sample from the same piece of music is used to equally dramatic effect in "Halo" and "My Joy".<ref name="MahlerCredit"></ref> | ||
|ssample2=Looped orchestral strings | |ssample2=Looped orchestral strings | ||
|ssource2='''Unidentified classical music recording, possibly Edward Elgar''' | |ssource2='''Unidentified classical music recording, possibly Edward Elgar''' | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=Both sampled string loops best heard in the outro of "Clean" are also used throughout "Memphisto", notably during the second chorus section onward. One of the two is derived from a performance of Gustav Mahler's Symphony No. 5. | |snotes2=Both sampled string loops best heard in the outro of "Clean" are also used throughout "Memphisto", notably during the second chorus section onward. One of the two is derived from a performance of Gustav Mahler's Symphony No. 5. | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Kaleid}} | |song={{S|Kaleid}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 634: | Line 633: | ||
|ssample1=Tremolo guitar | |ssample1=Tremolo guitar | ||
|ssource1='''Steve Harley & Cockney Rebel - "What Ruthy Said"''' - 1973 | |ssource1='''Steve Harley & Cockney Rebel - "What Ruthy Said"''' - 1973 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=A rhythmic tremolo guitar element heard in the opening moments of Steve Harley & Cockney Rebel's "What Ruthy Said" is sampled and used throughout "Kaleid". | |snotes1=A rhythmic tremolo guitar element heard in the opening moments of Steve Harley & Cockney Rebel's "What Ruthy Said" is sampled and used throughout "Kaleid". | ||
|ssample2=Distorted wah guitar fill | |ssample2=Distorted wah guitar fill | ||
|ssource2='''Borghesia - "Message"''' - 1990 | |ssource2='''Borghesia - "Message"''' - 1990 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=A "slurry" guitar sound processed with wah and distortion heard during the opening moments of Borghesia's "Message" is sampled, pitched down 100 cents, time-stretched, processed with a chorus or flanger effect to widen the stereo image and EQ'd for use as a fill throughout "Kaleid".<ref name="FC">Credit to 'Fatherless Child' for this discovery.</ref> | |snotes2=A "slurry" guitar sound processed with wah and distortion heard during the opening moments of Borghesia's "Message" is sampled, pitched down 100 cents, time-stretched, processed with a chorus or flanger effect to widen the stereo image and EQ'd for use as a fill throughout "Kaleid".<ref name="FC">Credit to 'Fatherless Child' for this discovery.</ref> | ||
|snumberofrows=2 | |snumberofrows=2 | ||
| Line 644: | Line 643: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Happiest Girl}} (Pulsating Orbital Mix) | |song={{S|Happiest Girl}} (Pulsating Orbital Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 650: | Line 649: | ||
|ssample1=Engine idling/orchestral hit sample | |ssample1=Engine idling/orchestral hit sample | ||
|ssource1='''The Tornadoes - "Telstar"''' - 1962 | |ssource1='''The Tornadoes - "Telstar"''' - 1962 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=Credit to <span class="plainlinks">[https://www.bratproductions.com/ Daniel Barassi]</span> for this discovery.<ref>Source: Home user 'BRATMix' forum [https://www.depeche-mode.com/forum/index.php?topic=32731.msg760525#msg760525 post]</ref> | |snotes1=Credit to <span class="plainlinks">[https://www.bratproductions.com/ Daniel Barassi]</span> for this discovery.<ref>Source: Home user 'BRATMix' forum [https://www.depeche-mode.com/forum/index.php?topic=32731.msg760525#msg760525 post]</ref> | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 656: | Line 655: | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Policy Of Truth}} (Trancentral Mix) | |song={{S|Policy Of Truth}} (Trancentral Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 662: | Line 661: | ||
|ssample1="I'm not a politician, I'm a businessman" Robert Hoskins vocal (spoken) | |ssample1="I'm not a politician, I'm a businessman" Robert Hoskins vocal (spoken) | ||
|ssource1='''<i>The Long Good Friday</i> (film)''' - 1980 | |ssource1='''<i>The Long Good Friday</i> (film)''' - 1980 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Richard Nixon vocal (spoken) | |ssample2=Richard Nixon vocal (spoken) | ||
|ssource2='''The "Checkers" Speech''', Richard M. Nixon speech broadcast, 1952''' | |ssource2='''The "Checkers" Speech''', Richard M. Nixon speech broadcast, 1952''' | ||
|sstatus2= | |sstatus2=C | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Policy Of Truth}} (Pavlov's Dub) | |song={{S|Policy Of Truth}} (Pavlov's Dub) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 676: | Line 675: | ||
|ssample1="I must not conceal from you tonight...the truth as I see it" Winston Churchill vocal (spoken) | |ssample1="I must not conceal from you tonight...the truth as I see it" Winston Churchill vocal (spoken) | ||
|ssource1='''{{EL|https://winstonchurchill.org/resources/speeches/1946-1963-elder-statesman/mit-mid-century-convocation/ MIT Mid-Century Convocation}}''' - Winston Churchill speech at Mass. Institute of Technology, Thursday, March 31, 1949 | |ssource1='''{{EL|https://winstonchurchill.org/resources/speeches/1946-1963-elder-statesman/mit-mid-century-convocation/ MIT Mid-Century Convocation}}''' - Winston Churchill speech at Mass. Institute of Technology, Thursday, March 31, 1949 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|World In My Eyes}} (Oil Tank Mix) | |song={{S|World In My Eyes}} (Oil Tank Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 687: | Line 686: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Kraftwerk - "Musique Non-Stop"''' - 1986 | |ssource1='''Kraftwerk - "Musique Non-Stop"''' - 1986 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Violator | |colorscheme=Violator | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Sea Of Sin}} (Sensoria Mix) | |song={{S|Sea Of Sin}} (Sensoria Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 698: | Line 697: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Madonna - "Vogue"''' - 1990 | |ssource1='''Madonna - "Vogue"''' - 1990 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 706: | Line 705: | ||
== ''Until The End Of The World (soundtrack)'' (1991) == | == ''Until The End Of The World (soundtrack)'' (1991) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Death's Door}} | |song={{S|Death's Door}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 719: | Line 718: | ||
== <i>[[Songs Of Faith And Devotion]]</i> (1993) == | == <i>[[Songs Of Faith And Devotion]]</i> (1993) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|I Feel You}} | |song={{S|I Feel You}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 730: | Line 729: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Walking In My Shoes}} | |song={{S|Walking In My Shoes}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 738: | Line 737: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''Fancy - "Feel Good"''' - 1974 | |ssource1='''Fancy - "Feel Good"''' - 1974 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=The classic "Feel Good" drum break is used during the chorus, middle eight, and outro sections of 'Walking In My Shoes'. The loop is resampled to match the approximate 94 BPM tempo of {{S|Walking In My Shoes|U}}, with the drum break sliced to start from the first beat on a bass drum hit, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then looped to repeat every two beats. | |snotes1=The classic "Feel Good" drum break is used during the chorus, middle eight, and outro sections of 'Walking In My Shoes'. The loop is resampled to match the approximate 94 BPM tempo of {{S|Walking In My Shoes|U}}, with the drum break sliced to start from the first beat on a bass drum hit, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then looped to repeat every two beats. | ||
|ssample2=Drum loop | |ssample2=Drum loop | ||
|ssource2='''Funkadelic - "Nappy Dugout"''' - 1973 | |ssource2='''Funkadelic - "Nappy Dugout"''' - 1973 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Condemnation}} | |song={{S|Condemnation}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 761: | Line 760: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Mercy In You}} | |song={{S|Mercy In You}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 767: | Line 766: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''The Headhunters - "God Make Me Funky"''' - 1975 | |ssource1='''The Headhunters - "God Make Me Funky"''' - 1975 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=Multiple sections of the classic "God Make Me Funky" drum break are sliced and looped to form a funky percussive rhythm that plays throughout {{S|Mercy In You}}. The bulk of the loop is comprised of a bar of the "God Make Me Funky" break, featuring an open hi-hat on the third step of every third beat. The sample is then sliced and sequenced to match the approximate 96 BPM tempo of {{S|Mercy In You|U}}. A second part of the break, featuring a double bass drum hit, is sliced and sequenced in with the main loop, with the softer bass drum hit on the third step of every second beat and the harder hit sequenced in time with the open hi-hat. The result is then looped throughout the introduction and verse sections of {{S|Mercy In You|U}}. | |snotes1=Multiple sections of the classic "God Make Me Funky" drum break are sliced and looped to form a funky percussive rhythm that plays throughout {{S|Mercy In You}}. The bulk of the loop is comprised of a bar of the "God Make Me Funky" break, featuring an open hi-hat on the third step of every third beat. The sample is then sliced and sequenced to match the approximate 96 BPM tempo of {{S|Mercy In You|U}}. A second part of the break, featuring a double bass drum hit, is sliced and sequenced in with the main loop, with the softer bass drum hit on the third step of every second beat and the harder hit sequenced in time with the open hi-hat. The result is then looped throughout the introduction and verse sections of {{S|Mercy In You|U}}. | ||
|ssample2=Drum loop | |ssample2=Drum loop | ||
|ssource2='''Five Stairsteps - "Don't Change Your Love"''' - 1968 | |ssource2='''Five Stairsteps - "Don't Change Your Love"''' - 1968 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=The live version of "Mercy In You" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] tour features a sample of the classic Five Stairsteps' "Don't Change Your Love" drum break. Due to the composition of the loop as it is used on this live arrangement of "Mercy In You", which features a reflection of a tambourine hit on the second beat of every bar and possesses distinct characteristics that differ somewhat from the original break, it is assumed the loop was taken secondhand from another song that sampled the original drum break (likely a rap record). Candidates for possible secondhand sample sources include the "JMJ Telephone Tap Groove" remix of Public Enemy's "Louder Than A Bomb" (the loop is exposed in the instrumental version of the remix, which was commercially available on the 1992 {{EL|https://www.discogs.com/Public-Enemy-Louder-Than-A-Bomb/release/186319 12"}} release) and the 1992 rap track "Taste of the Bass" by Hustlers Of Culture featuring EQ (2), which exposes the drum break in the intro. | |snotes2=The live version of "Mercy In You" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] tour features a sample of the classic Five Stairsteps' "Don't Change Your Love" drum break. Due to the composition of the loop as it is used on this live arrangement of "Mercy In You", which features a reflection of a tambourine hit on the second beat of every bar and possesses distinct characteristics that differ somewhat from the original break, it is assumed the loop was taken secondhand from another song that sampled the original drum break (likely a rap record). Candidates for possible secondhand sample sources include the "JMJ Telephone Tap Groove" remix of Public Enemy's "Louder Than A Bomb" (the loop is exposed in the instrumental version of the remix, which was commercially available on the 1992 {{EL|https://www.discogs.com/Public-Enemy-Louder-Than-A-Bomb/release/186319 12"}} release) and the 1992 rap track "Taste of the Bass" by Hustlers Of Culture featuring EQ (2), which exposes the drum break in the intro. | ||
|ssample3=Variphone pad | |ssample3=Variphone pad | ||
|ssource3='''Talk Talk - "The Rainbow"''' - 1988 | |ssource3='''Talk Talk - "The Rainbow"''' - 1988 | ||
|sstatus3= | |sstatus3=C | ||
|snotes3="Mercy In You" employs a Variophon<ref name="shuntSOFAD"></ref> pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (approximately 0:55). The pad is EQ'd to slightly reduce high frequencies above approximately 4000Hz and slightly boost the lower mid-range. The sample is then looped, tuned approximately thirty cents above its root key, and played with a long release time. Notably, a differently-processed version of this sample is used during the first verse and outro of "In Your Room".<ref name="BairdCredit"></ref> | |snotes3="Mercy In You" employs a Variophon<ref name="shuntSOFAD"></ref> pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (approximately 0:55). The pad is EQ'd to slightly reduce high frequencies above approximately 4000Hz and slightly boost the lower mid-range. The sample is then looped, tuned approximately thirty cents above its root key, and played with a long release time. Notably, a differently-processed version of this sample is used during the first verse and outro of "In Your Room".<ref name="BairdCredit"></ref> | ||
|snumberofrows=3 | |snumberofrows=3 | ||
| Line 781: | Line 780: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Judas}} | |song={{S|Judas}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 792: | Line 791: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|In Your Room}} | |song={{S|In Your Room}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 809: | Line 808: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''Rusty Bryant - "Fire Eater"''' - 1971 | |ssource1='''Rusty Bryant - "Fire Eater"''' - 1971 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=A classic drum break consisting of a funky bass drum, snare, and hi-hat is lifted from "Fire Eater" for use with "In Your Room" starting from the second verse. The loop is sequenced in an "evolving" way, so that more of the loop is heard as the song progresses: | |snotes1=A classic drum break consisting of a funky bass drum, snare, and hi-hat is lifted from "Fire Eater" for use with "In Your Room" starting from the second verse. The loop is sequenced in an "evolving" way, so that more of the loop is heard as the song progresses: | ||
| Line 820: | Line 819: | ||
|ssample2=Exotic percussion loop | |ssample2=Exotic percussion loop | ||
|ssource2=Unknown | |ssource2=Unknown | ||
|sstatus2= | |sstatus2=UC | ||
|snotes2="In Your Room" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard in the "Apex" remix starting from 1:45. Notably, this loop is also used throughout Nitzer Ebb's "I Give To You" (also produced by Wilder), and is best heard around the three minute mark of its "Elemental" remix. | |snotes2="In Your Room" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard in the "Apex" remix starting from 1:45. Notably, this loop is also used throughout Nitzer Ebb's "I Give To You" (also produced by Wilder), and is best heard around the three minute mark of its "Elemental" remix. | ||
|ssample3=Drum loop | |ssample3=Drum loop | ||
|ssource3='''Simtec & Wylie - "Bootleggin"''' - 1971 | |ssource3='''Simtec & Wylie - "Bootleggin"''' - 1971 | ||
|sstatus3= | |sstatus3=UC | ||
|ssample4=Drum loop | |ssample4=Drum loop | ||
|ssource4='''Melvin Bliss - "Synthetic Substitution"''' - 1973 | |ssource4='''Melvin Bliss - "Synthetic Substitution"''' - 1973 | ||
|sstatus4= | |sstatus4=UC | ||
|ssample5=Variphone pad | |ssample5=Variphone pad | ||
|ssource5='''Talk Talk - "The Rainbow"''' - 1988 | |ssource5='''Talk Talk - "The Rainbow"''' - 1988 | ||
|sstatus5= | |sstatus5=C | ||
|snotes5='In Your Room' employs a Variophon<ref name="shuntSOFAD"></ref> pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (at approximately 0:55). The pad is equalised to lower frequencies above approximately 6700Hz and slightly boost the lower mid-range. The resulting pad is subsequently looped and played with a slow release during the first verse and outro of "In Your Room". Notably, a differently-processed version of this sample is used during the final verse of "Mercy In You".<ref name="BairdCredit"></ref> | |snotes5='In Your Room' employs a Variophon<ref name="shuntSOFAD"></ref> pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (at approximately 0:55). The pad is equalised to lower frequencies above approximately 6700Hz and slightly boost the lower mid-range. The resulting pad is subsequently looped and played with a slow release during the first verse and outro of "In Your Room". Notably, a differently-processed version of this sample is used during the final verse of "Mercy In You".<ref name="BairdCredit"></ref> | ||
|snumberofrows=5 | |snumberofrows=5 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Get Right With Me}} | |song={{S|Get Right With Me}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 841: | Line 840: | ||
|ssample1=Classic John Bonham drum one-shots | |ssample1=Classic John Bonham drum one-shots | ||
|ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | |ssource1='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Never Let Me Down Again}} employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in {{S|Halo}} and {{S|Get Right With Me}}. Massive Attack would use the sampled drum elements from "Get Right With Me" on the song "Man Next Door" from their 1998 album ''[https://en.wikipedia.org/wiki/Mezzanine_(album) Mezzanine]'', bringing the number of times this famous drum sound had been directly sampled by an artist only to then be sampled from their record by another artist to a total of three. | |snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Never Let Me Down Again}} employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in {{S|Halo}} and {{S|Get Right With Me}}. Massive Attack would use the sampled drum elements from "Get Right With Me" on the song "Man Next Door" from their 1998 album ''[https://en.wikipedia.org/wiki/Mezzanine_(album) Mezzanine]'', bringing the number of times this famous drum sound had been directly sampled by an artist only to then be sampled from their record by another artist to a total of three. | ||
|ssample2=Classic John Bonham drum one-shots | |ssample2=Classic John Bonham drum one-shots | ||
|ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | |ssource2='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | ||
|sstatus2= | |sstatus2=OC | ||
|snotes2=Wilder confirmed in a Q&A on Shunt, the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in "Halo" and "Get Right With Me". | |snotes2=Wilder confirmed in a Q&A on Shunt, the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in "Halo" and "Get Right With Me". | ||
|ssample3=N/A | |ssample3=N/A | ||
|ssource3='''N.W.A. - Unspecified song''' | |ssource3='''N.W.A. - Unspecified song''' | ||
|sstatus3= | |sstatus3=UC | ||
|snumberofrows=3 | |snumberofrows=3 | ||
|sround=1 | |sround=1 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Higher Love}} | |song={{S|Higher Love}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 862: | Line 861: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''U2 - "So Cruel"''' - 1991 | |ssource1='''U2 - "So Cruel"''' - 1991 | ||
|sstatus1= | |sstatus1=OC | ||
|snotes1=Wilder indirectly confirmed in a response to a question regarding the sonic similarity between the drums of [[Depeche Mode|Depeche Mode's]] "Higher Love" and U2's "So Cruel" in a Q&A on {{Shunt}} (the official [[Recoil]] website_ that a drum loop from U2's "So Cruel" was sampled for use in "Higher Love" by reiterating that album producer [[Flood]] assisted in the production of both records. Depeche Mode would later cover this song, see '[[So Cruel]]'): "Didn't Flood work on both LP's?....."<ref name="shuntSOFAD"></ref> | |snotes1=Wilder indirectly confirmed in a response to a question regarding the sonic similarity between the drums of [[Depeche Mode|Depeche Mode's]] "Higher Love" and U2's "So Cruel" in a Q&A on {{Shunt}} (the official [[Recoil]] website_ that a drum loop from U2's "So Cruel" was sampled for use in "Higher Love" by reiterating that album producer [[Flood]] assisted in the production of both records. Depeche Mode would later cover this song, see '[[So Cruel]]'): "Didn't Flood work on both LP's?....."<ref name="shuntSOFAD"></ref> | ||
| Line 869: | Line 868: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|My Joy}} | |song={{S|My Joy}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 877: | Line 876: | ||
|ssample1=Snare drum fill | |ssample1=Snare drum fill | ||
|ssource1='''Beastie Boys - "Funky Boss"''' - 1992 | |ssource1='''Beastie Boys - "Funky Boss"''' - 1992 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=The "rolling" snare drum fill audible in the intro of the Beastie Boys' "Funky Boss" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy", with light distortion/saturation added to introduce a "dirty" quality to the part. As it was in the Beastie Boys original, this sample is used as a drum fill. | |snotes1=The "rolling" snare drum fill audible in the intro of the Beastie Boys' "Funky Boss" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy", with light distortion/saturation added to introduce a "dirty" quality to the part. As it was in the Beastie Boys original, this sample is used as a drum fill. | ||
|ssample2=Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence | |ssample2=Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence | ||
|ssource2='''Beastie Boys - "Pass The Mic"''' - 1992 | |ssource2='''Beastie Boys - "Pass The Mic"''' - 1992 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing and additional drum parts added. For drum fills, the final beat of the first bar containing a snare hit is sliced and placed prior to the start of the loop. For bars containing reverse percussion fills, a brief snippet of the second bar including just the first bass drum hits and the snare drum is sampled, reversed, stretched, and played from the seventh step in the bar. | |snotes2=The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing and additional drum parts added. For drum fills, the final beat of the first bar containing a snare hit is sliced and placed prior to the start of the loop. For bars containing reverse percussion fills, a brief snippet of the second bar including just the first bass drum hits and the snare drum is sampled, reversed, stretched, and played from the seventh step in the bar. | ||
| Line 890: | Line 889: | ||
|ssample3=Looped orchestral strings (x2) | |ssample3=Looped orchestral strings (x2) | ||
|ssource3='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | |ssource3='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)''' | ||
|sstatus3= | |sstatus3=C | ||
|snotes3="My Joy" employs two looped orchestral phrases sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). The two string elements are looped on a sustained phrase to produce dramatic orchestral pads. Notably, both string samples are also used throughout {{S|Halo}}, {{S|Memphisto}}, and {{S|Clean}}. | |snotes3="My Joy" employs two looped orchestral phrases sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). The two string elements are looped on a sustained phrase to produce dramatic orchestral pads. Notably, both string samples are also used throughout {{S|Halo}}, {{S|Memphisto}}, and {{S|Clean}}. | ||
|ssample4="Soaring" orchestral strings | |ssample4="Soaring" orchestral strings | ||
|ssource4='''Edward Elgar - Unidentified composition''' | |ssource4='''Edward Elgar - Unidentified composition''' | ||
|sstatus4= | |sstatus4=C | ||
|snotes4=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" (and "My Joy" by extension) employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar: | |snotes4=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" (and "My Joy" by extension) employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar: | ||
| Line 903: | Line 902: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|My Joy}} (Slow Slide Mix) | |song={{S|My Joy}} (Slow Slide Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 909: | Line 908: | ||
|ssample1=Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence | |ssample1=Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence | ||
|ssource1='''Beastie Boys - "Pass The Mic"''' - 1992 | |ssource1='''Beastie Boys - "Pass The Mic"''' - 1992 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing added, creating the loop that plays for eight bars in chorus with a loop from Dexter Wansel's "Theme From The Planets". A reversed percussion effect created by sampling, reversing, and stretching a brief snippet from bar two of the "Pass The Mic" loop can be heard throughout the "Slow Slide" remix. The sampled percussive element plays from the seventh step on the first beat on every other bar throughout the remix, and is processed through a phaser effect to widen the sound and add character to the part. | |snotes1=The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing added, creating the loop that plays for eight bars in chorus with a loop from Dexter Wansel's "Theme From The Planets". A reversed percussion effect created by sampling, reversing, and stretching a brief snippet from bar two of the "Pass The Mic" loop can be heard throughout the "Slow Slide" remix. The sampled percussive element plays from the seventh step on the first beat on every other bar throughout the remix, and is processed through a phaser effect to widen the sound and add character to the part. | ||
|ssample2=Drum loop | |ssample2=Drum loop | ||
|ssource2='''Fancy - "Feel Good"''' - 1974 | |ssource2='''Fancy - "Feel Good"''' - 1974 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=The classic "Feel Good" drum break is used throughout the "Slow Slide" remix of "My Joy". The loop is sliced to begin on a bass drum, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then repeated for the remaining two beats of the bar, with the second open hi-hat hit removed on the fourth beat. | |snotes2=The classic "Feel Good" drum break is used throughout the "Slow Slide" remix of "My Joy". The loop is sliced to begin on a bass drum, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then repeated for the remaining two beats of the bar, with the second open hi-hat hit removed on the fourth beat. | ||
|ssample3=Drum loop | |ssample3=Drum loop | ||
|ssource3='''James Brown - "Funky Drummer"''' - 1970 | |ssource3='''James Brown - "Funky Drummer"''' - 1970 | ||
|sstatus3= | |sstatus3=C | ||
|ssample4=Drum loop | |ssample4=Drum loop | ||
|ssource4='''Dexter Wansel - "Theme From The Planets"''' - 1976 | |ssource4='''Dexter Wansel - "Theme From The Planets"''' - 1976 | ||
|sstatus4= | |sstatus4=C | ||
|snumberofrows=4 | |snumberofrows=4 | ||
|sround=1 | |sround=1 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|In Your Room}} (Jeep Rock Mix) | |song={{S|In Your Room}} (Jeep Rock Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 931: | Line 930: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''Skull Snaps - "It's A New Day"''' - 1973 | |ssource1='''Skull Snaps - "It's A New Day"''' - 1973 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Walking In My Shoes}} (Extended Twelve Inch Mix) | |song={{S|Walking In My Shoes}} (Extended Twelve Inch Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 942: | Line 941: | ||
|ssample1=Drum loop with distinct bass drum, "roomy" snares, and ethnic percussion | |ssample1=Drum loop with distinct bass drum, "roomy" snares, and ethnic percussion | ||
|ssource1='''The Disposable Heroes of Hiphoprisy - "Language Of Violence"''' - 1992 | |ssource1='''The Disposable Heroes of Hiphoprisy - "Language Of Violence"''' - 1992 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Walking In My Shoes}} (Grungy Gonads Mix) | |song={{S|Walking In My Shoes}} (Grungy Gonads Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 953: | Line 952: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''Mountain - "Long Red"''' - 1972 | |ssource1='''Mountain - "Long Red"''' - 1972 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Orchestral string passage | |ssample2=Orchestral string passage | ||
|ssource2='''Ennio Morricone - "In Chiesa" - <i>Ad Ogni Costo</i> (film) soundtrack''' - 1967 | |ssource2='''Ennio Morricone - "In Chiesa" - <i>Ad Ogni Costo</i> (film) soundtrack''' - 1967 | ||
|sstatus2= | |sstatus2=OC | ||
|snotes2=The string passage in the introduction to this orchestral piece was sampled by the late trip-hop pioneer Jonny Dollar and Portishead member Geoff Barrow.<ref>Source: Alan Wilder [https://www.facebook.com/groups/recoilshunt/permalink/2485386374806770/ Facebook comment]</ref> for use in the '[[Walking In My Shoes (Grungy Gonads Mix)]]'. The sample is stretched to match the tempo of {{S|Walking In My Shoes}}, with sixteen manual scratches on the third bar producing an exciting scratch effect. The sample appears in multiple "Walking In My Shoes" remixes from the period, and has commonly been employed in many performances of this song since its live introduction on the [[:Category:1993 Devotional Tour|Devotional]] tour.<ref name="BairdCredit"></ref> | |snotes2=The string passage in the introduction to this orchestral piece was sampled by the late trip-hop pioneer Jonny Dollar and Portishead member Geoff Barrow.<ref>Source: Alan Wilder [https://www.facebook.com/groups/recoilshunt/permalink/2485386374806770/ Facebook comment]</ref> for use in the '[[Walking In My Shoes (Grungy Gonads Mix)]]'. The sample is stretched to match the tempo of {{S|Walking In My Shoes}}, with sixteen manual scratches on the third bar producing an exciting scratch effect. The sample appears in multiple "Walking In My Shoes" remixes from the period, and has commonly been employed in many performances of this song since its live introduction on the [[:Category:1993 Devotional Tour|Devotional]] tour.<ref name="BairdCredit"></ref> | ||
|snumberofrows=2 | |snumberofrows=2 | ||
| Line 962: | Line 961: | ||
|colorscheme=SOFAD | |colorscheme=SOFAD | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Walking In My Shoes}} (Random Carpet Mix) | |song={{S|Walking In My Shoes}} (Random Carpet Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 968: | Line 967: | ||
|ssample1=Orchestral string samples | |ssample1=Orchestral string samples | ||
|ssource1='''<i>Doctor Zhivago</i> (film)''' - 1965 | |ssource1='''<i>Doctor Zhivago</i> (film)''' - 1965 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 976: | Line 975: | ||
== <i>[[Ultra]]</i> (1997) == | == <i>[[Ultra]]</i> (1997) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Painkiller}} | |song={{S|Painkiller}} | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 982: | Line 981: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Vanessa Paradis - "The Future Song"''' - 1992 | |ssource1='''Vanessa Paradis - "The Future Song"''' - 1992 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Ultra | |colorscheme=Ultra | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|It's No Good}} (Hardfloor Mix) | |song={{S|It's No Good}} (Hardfloor Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 993: | Line 992: | ||
|ssample1=Drum elements | |ssample1=Drum elements | ||
|ssource1='''Fat Larry's Band - "Down In The Avenue"''' - 1976 | |ssource1='''Fat Larry's Band - "Down In The Avenue"''' - 1976 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=Credit to Christopher Baird for this discovery.<ref name="BairdCredit"></ref> | |snotes1=Credit to Christopher Baird for this discovery.<ref name="BairdCredit"></ref> | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 999: | Line 998: | ||
|colorscheme=Ultra | |colorscheme=Ultra | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Useless}} (The Kruder & Dorfmeister Session) | |song={{S|Useless}} (The Kruder & Dorfmeister Session) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 1,009: | Line 1,008: | ||
|colorscheme=Ultra | |colorscheme=Ultra | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Useless}} (Cosmic Blues Mix) | |song={{S|Useless}} (Cosmic Blues Mix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 1,015: | Line 1,014: | ||
|ssample1="I want to hear you play some bass" vocal sample | |ssample1="I want to hear you play some bass" vocal sample | ||
|ssource1='''National Lampoon's <i>That's Not Funny, That's Sick</i> (Sketch comedy album)''' - 1977 | |ssource1='''National Lampoon's <i>That's Not Funny, That's Sick</i> (Sketch comedy album)''' - 1977 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 1,023: | Line 1,022: | ||
== <i>[[Exciter]]</i> (2001) == | == <i>[[Exciter]]</i> (2001) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Dream On}} (Remix) | |song={{S|Dream On}} (Remix) | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 1,029: | Line 1,028: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Kraftwerk - "The Robots"''' - 1978 | |ssource1='''Kraftwerk - "The Robots"''' - 1978 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 1,057: | Line 1,056: | ||
== <i>[[1 + 2]]</i> (1986) == | == <i>[[1 + 2]]</i> (1986) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|1}} & {{S|2}} | |song={{S|1}} & {{S|2}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,063: | Line 1,062: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Depeche Mode – "[[Any Second Now]]" (Altered)''' - 1981 | |ssource1='''Depeche Mode – "[[Any Second Now]]" (Altered)''' - 1981 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=N/A | |ssample2=N/A | ||
|ssource2='''Depeche Mode – "[[If You Want]]"''' - 1984 | |ssource2='''Depeche Mode – "[[If You Want]]"''' - 1984 | ||
|sstatus2= | |sstatus2=C | ||
|ssample3=N/A | |ssample3=N/A | ||
|ssource3='''Depeche Mode – "[[The Sun & The Rainfall]]"''' - 1982 | |ssource3='''Depeche Mode – "[[The Sun & The Rainfall]]"''' - 1982 | ||
|sstatus3= | |sstatus3=C | ||
|ssample4=N/A | |ssample4=N/A | ||
|ssource4='''Depeche Mode – "[[Oberkorn (It's A Small Town)]]"''' - 1982 | |ssource4='''Depeche Mode – "[[Oberkorn (It's A Small Town)]]"''' - 1982 | ||
|sstatus4= | |sstatus4=C | ||
|ssample5=N/A | |ssample5=N/A | ||
|ssource5='''Depeche Mode – "[[The Great Outdoors]]"''' - 1983 | |ssource5='''Depeche Mode – "[[The Great Outdoors]]"''' - 1983 | ||
|sstatus5= | |sstatus5=C | ||
|ssample6=N/A | |ssample6=N/A | ||
|ssource6='''Depeche Mode – "[[Shouldn't Have Done That]]"''' - 1982 | |ssource6='''Depeche Mode – "[[Shouldn't Have Done That]]"''' - 1982 | ||
|sstatus6= | |sstatus6=C | ||
|ssample7=N/A | |ssample7=N/A | ||
|ssource7='''Depeche Mode – "[[Tora! Tora! Tora!]]"''' - 1981 | |ssource7='''Depeche Mode – "[[Tora! Tora! Tora!]]"''' - 1981 | ||
|sstatus7= | |sstatus7=C | ||
|ssample8=N/A | |ssample8=N/A | ||
|ssource8='''Depeche Mode – "[[Shake The Disease]]" (Edit the Shake)''' - 1985 | |ssource8='''Depeche Mode – "[[Shake The Disease]]" (Edit the Shake)''' - 1985 | ||
|sstatus8= | |sstatus8=C | ||
|ssample9=N/A | |ssample9=N/A | ||
|ssource9='''Depeche Mode – "[[Pipeline]]"''' - 1983 | |ssource9='''Depeche Mode – "[[Pipeline]]"''' - 1983 | ||
|sstatus9= | |sstatus9=C | ||
|ssample10=N/A | |ssample10=N/A | ||
|ssource10='''Depeche Mode – "[[Blasphemous Rumours]]"''' - 1984 | |ssource10='''Depeche Mode – "[[Blasphemous Rumours]]"''' - 1984 | ||
|sstatus10= | |sstatus10=C | ||
|ssample11=N/A | |ssample11=N/A | ||
|ssource11='''Kraftwerk – "Radioaktivität"''' - 1975 | |ssource11='''Kraftwerk – "Radioaktivität"''' - 1975 | ||
|sstatus11= | |sstatus11=UC | ||
|ssample12=N/A | |ssample12=N/A | ||
|ssource12='''Kraftwerk – "Uran"''' - 1975 | |ssource12='''Kraftwerk – "Uran"''' - 1975 | ||
|sstatus12= | |sstatus12=UC | ||
|ssample13=N/A | |ssample13=N/A | ||
|ssource13='''Kraftwerk – "Radioland"''' - 1975 | |ssource13='''Kraftwerk – "Radioland"''' - 1975 | ||
|sstatus13= | |sstatus13=UC | ||
|ssample14=N/A | |ssample14=N/A | ||
|ssource14='''Duet Emmo – "Or So It Seems"''' - 1983 | |ssource14='''Duet Emmo – "Or So It Seems"''' - 1983 | ||
|sstatus14= | |sstatus14=UC | ||
|ssample15=N/A | |ssample15=N/A | ||
|ssource15='''Duet Emmo – "Heart of Hearts"''' - 1983 | |ssource15='''Duet Emmo – "Heart of Hearts"''' - 1983 | ||
|sstatus15= | |sstatus15=UC | ||
|ssample16=N/A | |ssample16=N/A | ||
|ssource16='''The Hitmen – "Shade in, fade out"''' - 1981 | |ssource16='''The Hitmen – "Shade in, fade out"''' - 1981 | ||
|sstatus16= | |sstatus16=UC | ||
|ssample17=N/A | |ssample17=N/A | ||
|ssource17='''Hard Corps - "Je Suis Passée"''' - 1985 | |ssource17='''Hard Corps - "Je Suis Passée"''' - 1985 | ||
|sstatus17= | |sstatus17=UC | ||
|snumberofrows=17 | |snumberofrows=17 | ||
|sround=1 | |sround=1 | ||
| Line 1,119: | Line 1,118: | ||
== <i>[[Hydrology]]</i> (1988) == | == <i>[[Hydrology]]</i> (1988) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Grain}} | |song={{S|Grain}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,128: | Line 1,127: | ||
|colorscheme=Hydrology | |colorscheme=Hydrology | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Stone}} | |song={{S|Stone}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,134: | Line 1,133: | ||
|ssample1=French vocal sample | |ssample1=French vocal sample | ||
|ssource1='''French train announcer, unidentified source''' | |ssource1='''French train announcer, unidentified source''' | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Stone}} employs a vocal sample of a French train station announcer, but is unsure of its origin.<ref>Source: [http://www.recoil.co.uk/evidence/qa-vault/qa-recoil/qa-recoil-1-2-hydrology/ Shunt Q&A: ARCHIVES : Recoil : 1 + 2 / HYDROLOGY]</ref> The announcer says: "Attention! Attention! Quai n°5, départ imminent du Nord-Express à destination de Moscou [...]" | |snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Stone}} employs a vocal sample of a French train station announcer, but is unsure of its origin.<ref>Source: [http://www.recoil.co.uk/evidence/qa-vault/qa-recoil/qa-recoil-1-2-hydrology/ Shunt Q&A: ARCHIVES : Recoil : 1 + 2 / HYDROLOGY]</ref> The announcer says: "Attention! Attention! Quai n°5, départ imminent du Nord-Express à destination de Moscou [...]" | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 1,141: | Line 1,140: | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|The Sermon}} | |song={{S|The Sermon}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,167: | Line 1,166: | ||
Nitzer Ebb's Bon Harris on Wilder's musical prowess in 1991: "Alan has a very musical ear. He's classically trained, so he knows what he's doing when it comes to melody, but has no tolerance for pop - that's quite a good combination."<ref> Source: [https://www.americanradiohistory.com/Archive-RandR/1990s/1991/RR-1991-07-05.pdf?fbclid=IwAR3TO7hG8RsWxZVVK0O6h0k82la4HyoAQl85shlWHc-qURs4XWnnfckFFuU American Radio History : Archive: 1991-07-05]</ref> | Nitzer Ebb's Bon Harris on Wilder's musical prowess in 1991: "Alan has a very musical ear. He's classically trained, so he knows what he's doing when it comes to melody, but has no tolerance for pop - that's quite a good combination."<ref> Source: [https://www.americanradiohistory.com/Archive-RandR/1990s/1991/RR-1991-07-05.pdf?fbclid=IwAR3TO7hG8RsWxZVVK0O6h0k82la4HyoAQl85shlWHc-qURs4XWnnfckFFuU American Radio History : Archive: 1991-07-05]</ref> | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|I Give To You}} | |song={{S|I Give To You}} | ||
|artist=Nitzer Ebb | |artist=Nitzer Ebb | ||
| Line 1,175: | Line 1,174: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''Fancy - "Feel Good"''' - 1974 | |ssource1='''Fancy - "Feel Good"''' - 1974 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=The classic "Feel Good" drum break is used throughout "I Give To You". This loop is also notably used in the chorus sections of {{S|Walking In My Shoes}}, {{S|My Joy}}, and its "Slow Slide" remix. | |snotes1=The classic "Feel Good" drum break is used throughout "I Give To You". This loop is also notably used in the chorus sections of {{S|Walking In My Shoes}}, {{S|My Joy}}, and its "Slow Slide" remix. | ||
|ssample2=Classic John Bonham drum one-shots | |ssample2=Classic John Bonham drum one-shots | ||
|ssource2='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | |ssource2='''Beastie Boys - "Rhymin' And Stealin"''' - 1982 | ||
|sstatus2= | |sstatus2=OC | ||
|snotes2=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "[[Never Let Me Down Again]]" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in a variety of Depeche Mode songs. The snare is used throughout "I Give To You". | |snotes2=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "[[Never Let Me Down Again]]" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in a variety of Depeche Mode songs. The snare is used throughout "I Give To You". | ||
|ssample3=Classic John Bonham drum one-shots | |ssample3=Classic John Bonham drum one-shots | ||
|ssource3='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | |ssource3='''Led Zeppelin - "When The Levee Breaks"''' - 1971 | ||
|sstatus3= | |sstatus3=OC | ||
|snotes3=Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in Depeche Mode's {{S|Halo}}, {{S|Get Right With Me}}, and later Nitzer Ebb's "I Give To You". | |snotes3=Wilder confirmed in a Q&A on the official Recoil project site that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin"). These samples were later re-purposed for use in Depeche Mode's {{S|Halo}}, {{S|Get Right With Me}}, and later Nitzer Ebb's "I Give To You". | ||
|ssample4=Various one-shot orchestral strings | |ssample4=Various one-shot orchestral strings | ||
|ssource4=Unknown, presumably an orchestral performance recorded and commercially released prior to 1991. | |ssource4=Unknown, presumably an orchestral performance recorded and commercially released prior to 1991. | ||
|sstatus4= | |sstatus4=UC | ||
|snotes4="I Give To You" utilises a variety of one-shot orchestral string parts, including a solo violin string staccato with a root key of C5; a brief solo viola recording playing a descending A4 > A♭4 > G4 phrase; and a brief violin trill with a root key of G♯6. | |snotes4="I Give To You" utilises a variety of one-shot orchestral string parts, including a solo violin string staccato with a root key of C5; a brief solo viola recording playing a descending A4 > A♭4 > G4 phrase; and a brief violin trill with a root key of G♯6. | ||
|ssample5=Exotic percussion loop | |ssample5=Exotic percussion loop | ||
|ssource5=Unknown | |ssource5=Unknown | ||
|sstatus5= | |sstatus5=UC | ||
|snotes5="I Give To You" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard around the three minute mark of the "Elemental" remix. This loop appears to also be used throughout {{S|In Your Room}}, and is most clearly heard in the "Apex" remix starting from 1:45. | |snotes5="I Give To You" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard around the three minute mark of the "Elemental" remix. This loop appears to also be used throughout {{S|In Your Room}}, and is most clearly heard in the "Apex" remix starting from 1:45. | ||
|snumberofrows=5 | |snumberofrows=5 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Godhead}} | |song={{S|Godhead}} | ||
|artist=Nitzer Ebb | |artist=Nitzer Ebb | ||
| Line 1,201: | Line 1,200: | ||
|ssample1=Drum/synth loop | |ssample1=Drum/synth loop | ||
|ssource1='''Kraftwerk - "Home Computer (The Mix Version)"''' - 1991 | |ssource1='''Kraftwerk - "Home Computer (The Mix Version)"''' - 1991 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song=Unidentified song | |song=Unidentified song | ||
|artist=Nitzer Ebb | |artist=Nitzer Ebb | ||
| Line 1,210: | Line 1,209: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Prince - "Kiss"''' - 1990 | |ssource1='''Prince - "Kiss"''' - 1990 | ||
|sstatus1= | |sstatus1=UC | ||
|snotes1=In 1991, a fan contest was held where the winner would have the chance to spend a day in the studio with the members of Nitzer Ebb and Wilder during the recording of ''Ebbhead''. During their time in the studio, the contest winner was played back a variety of samples by the group to see if they were able to identify their origin. One sample played to the contest winner was from Prince's 1990 single "Kiss", which the fan had difficulty identifying. This sample may or may not have made it onto the completed album. | |snotes1=In 1991, a fan contest was held where the winner would have the chance to spend a day in the studio with the members of Nitzer Ebb and Wilder during the recording of ''Ebbhead''. During their time in the studio, the contest winner was played back a variety of samples by the group to see if they were able to identify their origin. One sample played to the contest winner was from Prince's 1990 single "Kiss", which the fan had difficulty identifying. This sample may or may not have made it onto the completed album. | ||
|snumberofrows=1 | |snumberofrows=1 | ||
| Line 1,218: | Line 1,217: | ||
== <i>[[Bloodline (album)|Bloodline]]</i> (1992) == | == <i>[[Bloodline (album)|Bloodline]]</i> (1992) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Faith Healer}} | |song={{S|Faith Healer}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,236: | Line 1,235: | ||
|ssample1=Guitar riff and other elements | |ssample1=Guitar riff and other elements | ||
|ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973 | |ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Bell tree sample | |ssample2=Bell tree sample | ||
|ssource2='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | |ssource2='''Fleetwood Mac - "Black Magic Woman"''' - 1982 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=This sample was originally sampled for use in Depeche Mode's "World In My Eyes", and is re-used to atmospheric effect in "Faith Healer". | |snotes2=This sample was originally sampled for use in Depeche Mode's "World In My Eyes", and is re-used to atmospheric effect in "Faith Healer". | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Electro Blues For Bukka White}} | |song={{S|Electro Blues For Bukka White}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,252: | Line 1,251: | ||
|ssample1=Bukka White vocal performance | |ssample1=Bukka White vocal performance | ||
|ssource1='''Bukka White - "Shake 'Em On Down"''' - 1937 | |ssource1='''Bukka White - "Shake 'Em On Down"''' - 1937 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Filtered synth percussion | |ssample2=Filtered synth percussion | ||
|ssource2='''The Human League - "Being Boiled"''' - 1980 | |ssource2='''The Human League - "Being Boiled"''' - 1980 | ||
|sstatus2= | |sstatus2=C | ||
|snotes2=A sample of filtered percussive noise derived from a synthesizer heard in the intro of The Human League's "Being Boiled" is utilised throughout "Electro Blues For Bukka White" starting from the fourteen second mark. | |snotes2=A sample of filtered percussive noise derived from a synthesizer heard in the intro of The Human League's "Being Boiled" is utilised throughout "Electro Blues For Bukka White" starting from the fourteen second mark. | ||
|ssample3=N/A | |ssample3=N/A | ||
|ssource3='''David Bowie - "Aladdin Sane"''' - 1973 | |ssource3='''David Bowie - "Aladdin Sane"''' - 1973 | ||
|sstatus3= | |sstatus3=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|The Defector}} | |song={{S|The Defector}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,269: | Line 1,268: | ||
|ssample1=Anthony Hopkins "Closer...", "That is his nature", "No, no, no, no, no" vocal samples | |ssample1=Anthony Hopkins "Closer...", "That is his nature", "No, no, no, no, no" vocal samples | ||
|ssource1='''<i>Silence Of The Lambs</i> (film)''' - 1991 | |ssource1='''<i>Silence Of The Lambs</i> (film)''' - 1991 | ||
|sstatus1= | |sstatus1=L | ||
|ssample2=N/A | |ssample2=N/A | ||
|ssource2='''LFO - "El Ef Oh"''' - 1991 | |ssource2='''LFO - "El Ef Oh"''' - 1991 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Edge To Life}} | |song={{S|Edge To Life}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,291: | Line 1,290: | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Curse}} | |song={{S|Curse}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,299: | Line 1,298: | ||
|ssample1=Diamanda Galás vocal sample | |ssample1=Diamanda Galás vocal sample | ||
|ssource1='''Diamanda Galás - Unidentified source''' | |ssource1='''Diamanda Galás - Unidentified source''' | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2=Fat, punchy snare | |ssample2=Fat, punchy snare | ||
|ssource2='''Digital Underground - 'The Humpty Dance'''' - 1990 | |ssource2='''Digital Underground - 'The Humpty Dance'''' - 1990 | ||
|sstatus2= | |sstatus2=L | ||
|ssample3=High pitch "wailing" police siren-based scratch effect | |ssample3=High pitch "wailing" police siren-based scratch effect | ||
|ssource3='''Super Cat - "Ghetto Red Hot (Hip Hop Mix)"''' - 1992 | |ssource3='''Super Cat - "Ghetto Red Hot (Hip Hop Mix)"''' - 1992 | ||
|sstatus3= | |sstatus3=L | ||
|snotes3="Curse" employs a sampled scratch effect as a fill element throughout the song which bears some similarity to the initial transient of a wailing police siren loop that occurs throughout "Ghetto Red Hot (Hip Hop Mix)" by Jamaican DJ Super Cat. Beyond its sonic similarity, the likelihood of this source is furthered given it released on January 4, 1992, coincidentally 101 days prior to the 14 April 1992 release of ''[[Bloodline (album)|Bloodline)]]''. Coupled with the supplemental nature of the scratch effect, which is not integral to the musical structure of "Curse", it is possible but difficult to conclusively state if this part was sampled from "Ghetto Red Hot" and included as a late addition on "Curse". | |snotes3="Curse" employs a sampled scratch effect as a fill element throughout the song which bears some similarity to the initial transient of a wailing police siren loop that occurs throughout "Ghetto Red Hot (Hip Hop Mix)" by Jamaican DJ Super Cat. Beyond its sonic similarity, the likelihood of this source is furthered given it released on January 4, 1992, coincidentally 101 days prior to the 14 April 1992 release of ''[[Bloodline (album)|Bloodline)]]''. Coupled with the supplemental nature of the scratch effect, which is not integral to the musical structure of "Curse", it is possible but difficult to conclusively state if this part was sampled from "Ghetto Red Hot" and included as a late addition on "Curse". | ||
|ssample4="You're blind, you're blind from the facts" vocal | |ssample4="You're blind, you're blind from the facts" vocal | ||
|ssource4='''Public Enemy - "She Watch Channel Zero?!"''' - 1988 | |ssource4='''Public Enemy - "She Watch Channel Zero?!"''' - 1988 | ||
|sstatus4= | |sstatus4=C | ||
|snumberofrows=4 | |snumberofrows=4 | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="[[Bloodline (song)|Bloodline]]" | |song="[[Bloodline (song)|Bloodline]]" | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,322: | Line 1,321: | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Faith Healer}} (Trance Mix) | |song={{S|Faith Healer}} (Trance Mix) | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,336: | Line 1,335: | ||
|ssample1=Guitar riff and other elements | |ssample1=Guitar riff and other elements | ||
|ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973 | |ssource1='''The Sensational Alex Harvey Band - "The Faith Healer"''' - 1973 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=N/A | |ssample2=N/A | ||
|ssource2='''LFO - "Love Is The Message"''' - 1991 | |ssource2='''LFO - "Love Is The Message"''' - 1991 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Bloodline | |colorscheme=Bloodline | ||
| Line 1,345: | Line 1,344: | ||
== <i>[[Unsound Methods]]</i> (1997) == | == <i>[[Unsound Methods]]</i> (1997) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Incubus}} | |song={{S|Incubus}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,353: | Line 1,352: | ||
|ssample1=Shouting vocal | |ssample1=Shouting vocal | ||
|ssource1='''Peter Gabriel - "Rhythm Of The Heat"''' - 1982 | |ssource1='''Peter Gabriel - "Rhythm Of The Heat"''' - 1982 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Drifting}} | |song={{S|Drifting}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,364: | Line 1,363: | ||
|ssample1=Marimba loop | |ssample1=Marimba loop | ||
|ssource1='''Peter Gabriel - "Slow Marimbas"''' - 1985 | |ssource1='''Peter Gabriel - "Slow Marimbas"''' - 1985 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Luscious Apparatus}} | |song={{S|Luscious Apparatus}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,375: | Line 1,374: | ||
|ssample1=Introductory guitar chord | |ssample1=Introductory guitar chord | ||
|ssource1='''The Cure - "Club America"''' - 1996 | |ssource1='''The Cure - "Club America"''' - 1996 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Stalker}} | |song={{S|Stalker}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,386: | Line 1,385: | ||
|ssample1="Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato | |ssample1="Versus Christus, ave Satani!" vocal chant with orchestral string and trumpet ostinato | ||
|ssource1='''Jerry Goldsmith - ''The Omen'' (film soundtrack) - "Killer's Storm"''' - 1976 | |ssource1='''Jerry Goldsmith - ''The Omen'' (film soundtrack) - "Killer's Storm"''' - 1976 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=A sample of an orchestral ostinato and Latin vocal chant from "Killer's Storm", a musical score from the 1976 horror film ''The Omen'' are used to enhance the rhythm of {{S|Stalker}} starting from the three minute sixteen second mark. The sample is sliced so that the orchestral ostinato, which consists of strings and trumpets playing a repeated one note phrase, is played on the first beat for several bars. Cuts of the sample containing the Latin choral chants "Versus Christus" and "Ave Satani" are then played in respective order once on the third beat for two bars. The score from which the sample is derived is notable for its use in the scene featuring disgraced priest Father Brennan (Patrick Troughton), who flees in horror to a nearby church to escape the Devil's punishment for Brennan having informed Robert Thorn (Gregory Peck), the unknowing adopted father of the Antichrist, of his son's unholy origin. | |snotes1=A sample of an orchestral ostinato and Latin vocal chant from "Killer's Storm", a musical score from the 1976 horror film ''The Omen'' are used to enhance the rhythm of {{S|Stalker}} starting from the three minute sixteen second mark. The sample is sliced so that the orchestral ostinato, which consists of strings and trumpets playing a repeated one note phrase, is played on the first beat for several bars. Cuts of the sample containing the Latin choral chants "Versus Christus" and "Ave Satani" are then played in respective order once on the third beat for two bars. The score from which the sample is derived is notable for its use in the scene featuring disgraced priest Father Brennan (Patrick Troughton), who flees in horror to a nearby church to escape the Devil's punishment for Brennan having informed Robert Thorn (Gregory Peck), the unknowing adopted father of the Antichrist, of his son's unholy origin. | ||
|ssample2=Ambient pads | |ssample2=Ambient pads | ||
|ssource2='''Peter Gabriel - ''Birdy'' (film soundtrack)''' - Unidentified source song - 1985 | |ssource2='''Peter Gabriel - ''Birdy'' (film soundtrack)''' - Unidentified source song - 1985 | ||
|sstatus2= | |sstatus2=UC | ||
|ssample3=911 operator vocal | |ssample3=911 operator vocal | ||
|ssource3='''<i>The Last Seduction</i> (film)''' - 1994 | |ssource3='''<i>The Last Seduction</i> (film)''' - 1994 | ||
|sstatus3= | |sstatus3=L | ||
|snumberofrows=3 | |snumberofrows=3 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Red River Cargo}} | |song={{S|Red River Cargo}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,404: | Line 1,403: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''<i>Wild At Heart</i> (film)''' - 1990 | |ssource1='''<i>Wild At Heart</i> (film)''' - 1990 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Control Freak}} | |song={{S|Control Freak}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,414: | Line 1,413: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Marvin Gaye and Tammi Terrell - "You're All I Need To Get By"''' - 1968 | |ssource1='''Marvin Gaye and Tammi Terrell - "You're All I Need To Get By"''' - 1968 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Missing Piece}} | |song={{S|Missing Piece}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,435: | Line 1,434: | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Last Breath}} | |song={{S|Last Breath}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,445: | Line 1,444: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''The Incredible Bongo Band - "Last Bongo in Belgium"''' - 1973 | |ssource1='''The Incredible Bongo Band - "Last Bongo in Belgium"''' - 1973 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|colorscheme=Unsound | |colorscheme=Unsound | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Shunt}} | |song={{S|Shunt}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,455: | Line 1,454: | ||
|ssample1=Gated synth | |ssample1=Gated synth | ||
|ssource1='''Piquet - "Caress"''' - 1996 | |ssource1='''Piquet - "Caress"''' - 1996 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Sub bass and bass drum | |ssample2=Sub bass and bass drum | ||
|ssource2='''Massive Attack - "Better Things"''' - 1994 | |ssource2='''Massive Attack - "Better Things"''' - 1994 | ||
|sstatus2= | |sstatus2=L | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|sround=1 | |sround=1 | ||
| Line 1,466: | Line 1,465: | ||
== <i>[[Liquid]]</i> (2000) == | == <i>[[Liquid]]</i> (2000) == | ||
{{Sample | {{Testing Sample Source | ||
|song="[[Black Box (Pt. 1)]]" & "[[Black Box (Pt. 2)]]" | |song="[[Black Box (Pt. 1)]]" & "[[Black Box (Pt. 2)]]" | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,474: | Line 1,473: | ||
|ssample1=Orchestral strings | |ssample1=Orchestral strings | ||
|ssource1='''Symphony No. 3 (Górecki)''' - 1992 | |ssource1='''Symphony No. 3 (Górecki)''' - 1992 | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2=N/A | |ssample2=N/A | ||
|ssource2='''Plastikman - "Consumed"''' - 1998 | |ssource2='''Plastikman - "Consumed"''' - 1998 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=Liquid | |colorscheme=Liquid | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Want}} | |song={{S|Want}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,487: | Line 1,486: | ||
|ssample1=Drum loop | |ssample1=Drum loop | ||
|ssource1='''PJ Harvey - "Is This Desire?"''' - 1998 | |ssource1='''PJ Harvey - "Is This Desire?"''' - 1998 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=Liquid | |colorscheme=Liquid | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="[[Jezebel (Recoil song)|Jezebel]]" | |song="[[Jezebel (Recoil song)|Jezebel]]" | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,498: | Line 1,497: | ||
|ssample1=Vocals | |ssample1=Vocals | ||
|ssource1='''Golden Gate Quartet - "Jezebel"''' - 1976 | |ssource1='''Golden Gate Quartet - "Jezebel"''' - 1976 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|colorscheme=Liquid | |colorscheme=Liquid | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Last Call for Liquid Courage}} | |song={{S|Last Call for Liquid Courage}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,514: | Line 1,513: | ||
== <i>[[SubHuman]]</i> (2007) == | == <i>[[SubHuman]]</i> (2007) == | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Allelujah}} | |song={{S|Allelujah}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,522: | Line 1,521: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Tangerine Dream - "Rubycon"''' - 1975 | |ssource1='''Tangerine Dream - "Rubycon"''' - 1975 | ||
|sstatus1= | |sstatus1=UC | ||
|ssample2=Drum loop | |ssample2=Drum loop | ||
|ssource2='''Elbow - "Fugitive Motel"''' - 2003 | |ssource2='''Elbow - "Fugitive Motel"''' - 2003 | ||
|sstatus2= | |sstatus2=UC | ||
|snumberofrows=2 | |snumberofrows=2 | ||
|colorscheme=SubHuman | |colorscheme=SubHuman | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|The Killing Ground}} | |song={{S|The Killing Ground}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,535: | Line 1,534: | ||
|ssample1=Harmonica and drum elements | |ssample1=Harmonica and drum elements | ||
|ssource1='''Talk Talk - "The Rainbow"''' - 1988 | |ssource1='''Talk Talk - "The Rainbow"''' - 1988 | ||
|sstatus1= | |sstatus1=L | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
|colorscheme=SubHuman | |colorscheme=SubHuman | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|99 To Life}} | |song={{S|99 To Life}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,546: | Line 1,545: | ||
|ssample1=N/A | |ssample1=N/A | ||
|ssource1='''Digital Intervention - "La Louve"''' - 2003 | |ssource1='''Digital Intervention - "La Louve"''' - 2003 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
|sround=1 | |sround=1 | ||
| Line 1,554: | Line 1,553: | ||
== Miscellaneous remixes == | == Miscellaneous remixes == | ||
{{Sample | {{Testing Sample Source | ||
|song="Time Turns Around" (Eurotech Version) | |song="Time Turns Around" (Eurotech Version) | ||
|artist=Toni Halliday | |artist=Toni Halliday | ||
| Line 1,566: | Line 1,565: | ||
|snumberofrows=3 | |snumberofrows=3 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="Come Alive" | |song="Come Alive" | ||
|artist=Nitzer Ebb | |artist=Nitzer Ebb | ||
| Line 1,572: | Line 1,571: | ||
|ssample1=Rhythmic synth | |ssample1=Rhythmic synth | ||
|ssource1='''Bassomatic - "Set the Controls for the Heart of the Bass"''' - 1990 | |ssource1='''Bassomatic - "Set the Controls for the Heart of the Bass"''' - 1990 | ||
|sstatus1= | |sstatus1=C | ||
|snotes1=A filtered rhythm element derived from a synthesizer heard in the intro of the 1990 Bassomatic song "Set the Controls for the Heart of the Bass" for the album of the same name is time-stretched and re-pitched for use in "Come Alive" starting from the four minute ten second mark. Notably, ''Set the Controls for the Heart of the Bass'' album producer William Orbit would later provide the Random Carpet Mix of {{s|Walking In My Shoes}} for its 1993 single release.<ref name="FC"></ref> | |snotes1=A filtered rhythm element derived from a synthesizer heard in the intro of the 1990 Bassomatic song "Set the Controls for the Heart of the Bass" for the album of the same name is time-stretched and re-pitched for use in "Come Alive" starting from the four minute ten second mark. Notably, ''Set the Controls for the Heart of the Bass'' album producer William Orbit would later provide the Random Carpet Mix of {{s|Walking In My Shoes}} for its 1993 single release.<ref name="FC"></ref> | ||
|snumberofrows=1 | |snumberofrows=1 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="[[In Chains (Alan Wilder Remix)]]" | |song="[[In Chains (Alan Wilder Remix)]]" | ||
|artist=[[Depeche Mode]] | |artist=[[Depeche Mode]] | ||
| Line 1,582: | Line 1,581: | ||
|ssample1=Ambient pads | |ssample1=Ambient pads | ||
|ssource1='''Depeche Mode - "[[I Want It All]]"''' - 2005 | |ssource1='''Depeche Mode - "[[I Want It All]]"''' - 2005 | ||
|sstatus1= | |sstatus1=C | ||
|ssample2=Orchestral string arrangement | |ssample2=Orchestral string arrangement | ||
|ssource2='''Depeche Mode - "[[I Am You]]"''' - 2001 | |ssource2='''Depeche Mode - "[[I Am You]]"''' - 2001 | ||
|sstatus2= | |sstatus2=C | ||
|ssample3=Drum loop | |ssample3=Drum loop | ||
|ssource3='''UNKLE - "Keys to the Kingdom"''' - 2007 | |ssource3='''UNKLE - "Keys to the Kingdom"''' - 2007 | ||
|sstatus3= | |sstatus3=C | ||
|snumberofrows=3 | |snumberofrows=3 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="[[I Am Undone (Alan Wilder Remix)]]" | |song="[[I Am Undone (Alan Wilder Remix)]]" | ||
|artist=Nitzer Ebb | |artist=Nitzer Ebb | ||
| Line 1,597: | Line 1,596: | ||
|ssample1=Percussion elements | |ssample1=Percussion elements | ||
|ssource1='''Scott Walker - "Manhattan"''' - 1995 | |ssource1='''Scott Walker - "Manhattan"''' - 1995 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song={{S|Inheritance}} | |song={{S|Inheritance}} | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,606: | Line 1,605: | ||
|ssample1=Percussion elements | |ssample1=Percussion elements | ||
|ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005 | |ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005 | ||
|sstatus1= | |sstatus1=UC | ||
|snumberofrows=1 | |snumberofrows=1 | ||
}} | }} | ||
{{Sample | {{Testing Sample Source | ||
|song="[[Dum Dum Girl]]" feat. Shara Worden | |song="[[Dum Dum Girl]]" feat. Shara Worden | ||
|artist=[[Recoil]] | |artist=[[Recoil]] | ||
| Line 1,615: | Line 1,614: | ||
|ssample1=Percussion elements | |ssample1=Percussion elements | ||
|ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005 | |ssource1='''Depeche Mode - "[[Nothing's Impossible]]"''' - 2005 | ||
|sstatus1= | |sstatus1=C | ||
|snumberofrows=1 | |snumberofrows=1 | ||
}} | }} | ||
Revision as of 19:33, 3 May 2020
 |
This is a featured article. This means that it has been identified as one of the best articles on DM Live. |
In audio production, sampling refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the electronic music genre in the early 1980's, Depeche Mode were among the first acts to make use of new sampling technology within a traditional pop music format.
Among the thousands of original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of the group.
| Glossary Terms used in this article |
Information
| Key | ||||
|---|---|---|---|---|
|
|
The sample is confirmed to have been used in the specified song by a past/present member of Depeche Mode, an individual involved in its production, or band archivist Daniel "BRAT" Barassi. | |||
|
|
The sample is independently confirmed to have been used in the specified song. | |||
|
|
The sample is likely to have been used in the specified song but has not yet been confirmed. | |||
|
|
The sample is not yet confirmed to have been used in the specified song. | |||
|
|
The sample is confirmed to not have been used in the specified song. | |||
|
|
It is unclear if the sample was used in the specified song. | |||
Within reason, this page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their studio albums, official remixes, and live performances, as well as the samples used in the production of former Depeche Mode member Alan Wilder's Recoil studio albums, official remixes, live performances, and other works.
Due to the passage of time, fading memories, and the inherent nature of the samples described in this article (which were often transposed, reversed, tweaked, processed, layered, and otherwise manipulated nearly beyond recognition), there is unavoidable potential for journalistic error or misattribution. To combat this, the content of this article is comprised of verified quotes from band members and recording personnel, verifiable sources with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. It exists to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as being used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error or wish to request the removal of a sample source in this article, please feel free to contact us.
Depeche Mode
Speak & Spell (1981)
Speak And Spell does not contain samples from any identifiable sources.
A Broken Frame (1982)
A Broken Frame does not contain samples from any identifiable sources.
Construction Time Again (1983)
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Some Great Reward (1984)
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Catching Up with Depeche Mode (1985)
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Black Celebration (1986)
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Music For The Masses (1987)
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Violator (1990)
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Until The End Of The World (soundtrack) (1991)
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Songs Of Faith And Devotion (1993)
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Ultra (1997)
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Exciter (2001)
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Playing The Angel (2005)
Playing The Angel does not contain samples from any identifiable sources.
Sounds Of The Universe (2009)
Sounds Of The Universe does not contain samples from any identifiable sources.
Delta Machine (2013)
Delta Machine does not contain samples from any identifiable sources.
Spirit (2017)
Spirit does not contain samples from any identifiable sources.
Recoil
Upon his departure from Depeche Mode in 1995, Alan Wilder would expand upon the creative sampling techniques he perfected through the years as a member of Depeche Mode for his Recoil music project, utilising samples from contemporary music, films, film soundtracks, and samples from his own past work with Depeche Mode.
1 + 2 (1986)
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Hydrology (1988)
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Ebbhead (Nitzer Ebb album)
Between the conclusion of the World Violation Tour and the recording of Songs Of Faith And Devotion, Alan Wilder would enter London's KONK Studios to record Recoil's Bloodline between January and March 1991. A month later, he would return to the studio to produce Depeche Mode support act Nitzer Ebb's Ebbhead record in collaboration with producer Flood and mix engineer Steve Lyon. As was characteristic of his work in Depeche Mode and Recoil, Wilder would employ samples from a wide variety of sources in the production of Ebbhead.
Nitzer Ebb's Bon Harris on Wilder's musical prowess in 1991: "Alan has a very musical ear. He's classically trained, so he knows what he's doing when it comes to melody, but has no tolerance for pop - that's quite a good combination."[1]
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Bloodline (1992)
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Unsound Methods (1997)
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Liquid (2000)
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SubHuman (2007)
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Miscellaneous remixes
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References
