List of Depeche Mode sample sources by album: Difference between revisions

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== <i>[[Violator|Violator]]</i> (1990) ==
== <i>[[Violator|Violator]]</i> (1990) ==
{{#lst:List_of_Depeche_Mode_sample_sources_by_album/Violator|DM-SS-Violator}}


== <i>[[Songs Of Faith And Devotion|Songs Of Faith & Devotion]]</i> (1993) ==
== <i>[[Songs Of Faith And Devotion|Songs Of Faith & Devotion]]</i> (1993) ==
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== <i>[[Spirit|Spirit]]</i> (2017) ==
== <i>[[Spirit|Spirit]]</i> (2017) ==
= Notes =
<references group="footnotes" />
= References =
<references />


<metadesc>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, live performances, and other works.</metadesc><nowiki/>
<metadesc>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, live performances, and other works.</metadesc><nowiki/>

Revision as of 16:32, 26 December 2022

This article is about the various sample sources used on Depeche Mode songs recorded between 1986 and 1998. For sample sources used on Depeche Mode songs recorded between 1981 and 1985, see Depeche Mode sample sources 81>85. For sample sources used on Depeche Mode songs recorded between 2000 and the present day, see Depeche Mode sample sources 2000-present. For sample sources used on Recoil works, see Recoil sample sources.
Glossary
Terms used in this article

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. As pioneers of the electronic music genre, Depeche Mode are among the most prolific acts to utilise sampling technology within a traditional pop music format. Among the many 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.

Key
Official
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.
Confirmed
The sample is independently confirmed to have been used in the specified song.
Likely
The sample is likely to have been used in the specified song but has not yet been confirmed.
Unconfirmed
The sample is not yet confirmed to have been used in the specified song.
Disproven
The sample is confirmed to not have been used in the specified song.
Unknown
It is unclear if the sample was used in the specified song.

Information

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, live performances, and other works released between 1986 and 1998.

Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.

This article differentiates samples by origin: Self-made samples, which describe any material initially recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples not initially recorded by either group. In addition to confirmed samples, this article also covers samples commonly misreported as having been used but directly refuted by a member or associate of Depeche Mode or Recoil.

If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to contact us.

Speak & Spell (1981)

A Broken Frame (1982)

Construction Time Again (1983)

Some Great Reward (1984)

Catching Up With Depeche Mode (1985)

Black Celebration (1986)

Music For The Masses (1987)

Violator (1990)

Violator (1990)

1. "World In My Eyes"

"World In My Eyes"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Synthesizer elements The origin of the bass is a combination of a series of unique synthesized parts. According to Wilder, the bass parts are likely to have originated from the Minimoog and Flood's ARP 2600.[1]
Vocal elements A series of solo vocal "ahh" samples likely derived from vocals by Martin Gore play an oscillating melody during the outro of "World In My Eyes".[footnotes 1]

Sample sources
Sample Source Status Notes Audio
Drum, snare drum elements Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980
Confirmed
A manipulated snare derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout "World In My Eyes". Notably, this sample would also see use in the outro of "Personal Jesus". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."[1]

Click to display/hide audio example

Guitar elements Fleetwood Mac - "Black Magic Woman" - 29 March 1968
Confirmed
A guitar chord featured in the intro of Fleetwood Mac's 1968 single "Black Magic Woman" is utilised sporadically throughout "World In My Eyes". The guitar sound was performed by Fleetwood Mac founder Peter Green, who achieved its distinct shimmering effect by playing a D minor triad on the 17th fret with vibrato. A manipulated copy of the sample is played with an oscillating pitch bend layered with a separate sample (derived from Emulator II factory library disk #37: Electric Guitar) to produce a wavering verse section riff. A second copy of the sample appears on the first beat after each chorus section.[footnotes 2]

Click to display/hide audio example

Drum elements Bryan Ferry - Boys and Girls - "Don't Stop The Dance" - 1985
Confirmed
A drum element derived from the album version of Bryan Ferry's "Don't Stop The Dance" is utilised throughout "World In My Eyes" as a drum fill.

Click to display/hide audio example

Synthesizer elements Thomas Dolby - The Golden Age of Wireless - "She Blinded Me with Science" - 1982
Confirmed
A synth hit derived from the final moments of Thomas Dolby's 1982 single "She Blinded Me with Science" is utilised as an orchestral hit during the final bar of each chorus section of "World In My Eyes".

Click to display/hide audio example

Drum elements Kraftwerk - The Man-Machine - "The Man-Machine" ("Die Mensch-Maschine") - May 1978
Confirmed
"World In My Eyes" utilises a timestretched "clicking" percussion rhythm throughout its verse, chorus, and outro sections that is derived from the opening moments of Kraftwerk's "The Man-Machine".

Click to display/hide audio example

Drum elements Kraftwerk - Computer World - "Home Computer" ("Heimcomputer") - 1981
Confirmed
"World In My Eyes" employs a manipulated sample derived from the latter half of Kraftwerk's "Home Computer".[footnotes 3]

Click to display/hide audio example

Bass elements Sound Ideas - Series 1000 General Effects Library - CD #1018 Naval Boats, Ships, Motorcycles - Track #35 "SHIP, HORN" (filename "ShipHorn 1018_35") - 1983[footnotes 4]
Confirmed
A truncated sample of a naval ship horn derived from Sound Ideas's 1983 sound effects library Series 1000 General Effects Library CD #1018 Naval Boats, Ships, Motorcycles is utilised throughout the chorus sections of "World In My Eyes" as a bass layer. The library is notable for debuting as the first commercially available sound effects library of its kind on compact disc.

Click to display/hide audio example

Synthesizer elements Akai S1000/S1100 Sound Library - Violin Ensemble SL1093 - "E5 VL-E"
Likely
A processed sample of a violin derived from Akai S1000/S1000 sound library disk "Violin Ensemble SL1093" is likely utilised as a pre-chorus section riser throughout "World In My Eyes".

Click to display/hide audio example

Orchestral elements Emulator II factory library disk #05: Marcato Strings
Confirmed
The verse, chorus and outro sections of "World In My Eyes" feature orchestral string chords played using the "Marcato Strg" preset of Emulator II factory library disk #05 "Marcato Strings".

Click to display/hide audio example

Ambient elements Emulator II factory library disk #36: Lead Guitar
Confirmed
An electric guitar sample derived from Emulator II factory library disk #36 "Lead Guitar" is played in reverse with an oscillating pitch bend and layered with a separate sample (derived from Fleetwood Mac's "Black Magic Woman") to produce the "whirl" effect that occurs during the verse sections.
Organ elements Emax I factory library disk #ZD703: Rock Organ - SAMPLE 4
Confirmed
A manipulated sample of an organ derived from Emax I factory library disk #ZD703 "Rock Organ" is utilized throughout the chorus sections of "World In My Eyes".
Drum elements, rimshot, open hi-hat, closed hi-hat Roland Corporation - Roland TR-808 Rhythm Composer - 1980
Confirmed
A series of processed drum elements audible throughout "World In My Eyes" are derived from the Roland TR-808 drum machine.

2. "Sweetest Perfection"

"Sweetest Perfection"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Drum elements, tom drum A manipulated drum sample originally recorded for use with 1983's "Pipeline" is utilised sporadically throughout "Sweetest Perfection".

Sample sources
Sample Source Status Notes Audio
Guitar elements Fleetwood Mac - "Black Magic Woman" - 29 March 1968
Confirmed
This sample is looped and manipulated to produce a ghostly pad with oscillating pitch and creative panning effects during the verses.

3. "Personal Jesus"

"Personal Jesus"
Depeche Mode
1989
Self-made samples
Sample Notes Audio
Drum elements Wilder recalls in separate Q&A and Editorial features on Shunt, the official Recoil project site: "The main stomps... [were] a recording of 2 or 3 people jumping up and down on flight cases."[1][2]
Guitar, vocal elements Album producer Flood recalled the unique slide guitar sound recorded on the second day of production on "Personal Jesus" in his 2011 Mute Short Circuit presentation:

I'd said, well, I always thought that on the original demo [for Personal Jesus], [the slide guitar part] sounded like voices. Somebody going "Rahh!" And they all looked at me as though I was mad. I said [...] if we just combine the two sounds, it would be unique, it won't be just a slide guitar [...] And [Dave Gahan] finally turned around and goes "What, like this? Rahhh!" I went "Yes, exactly like that!" So Dave went, alright then, sample this then: "Rahhh!" I went "Yep, that's perfect!" They were all looking at me as though I was mad! But, that is half of the sound that you hear when you hear the finished article.

Vocal elements Album producer Flood describes the origin of the "Personal Jesus" breathing rhythm recorded on the third day of the song's production in his 2011 Mute Short Circuit presentation:

The next day, we [started] to do the famous breath. And the breath came about because we wanted to do, we were trying harmonica actually, to do the bass part and that type of sound. And the sound just wasn't right, but what we did like was the sound of someone going "Haah", and so we got a load of "Haah" from [Martin Gore], and I think [Alan Wilder] as well, and then chucked them all together. And that makes up the "ooh-ooh-ooh-ahh-ahh-ahh", it's all from trying to get the harmonica for a bass sound.

Drum elements, tom drum An ambient drum sample originally recorded for use with 1983's "Pipeline" is utilised in combination with a tom drum sound originally recorded for use with 1987's "I Want You Now" to form a series of two unique drum fills preceding each verse section.

Sample sources
Sample Source Status Notes Audio
Drum elements Emulator II factory library disk #71: DAS Synth
Confirmed
A lo-fi synthesizer sample derived from Emulator II factory library disk #71 "DAS Synth" is played several keys above its root key to produce a metallic ticking sound that is used in place of a hi-hat starting from the second chorus section of "Personal Jesus".

Click to display/hide audio example

Drum elements Emulator III OMI Universe of Sounds - Volume 2 - Tough Tones - "NOISE BURST"
Confirmed
A treated copy of a clap-like percussive sound derived from the Emulator III OMI Universe of Sounds "Tough Tones" voice is utilised throughout "Personal Jesus" starting from the second chorus section.

Click to display/hide audio example

Drum elements, snare drum Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980
Confirmed
A manipulated snare sound derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout the outro of the album version of "Personal Jesus". Notably, this sample would also see use throughout "World In My Eyes". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."[1]
Bass guitar elements Emulator III OMI Universe of Sounds - Volume 1 - Machine Set - "Stein Bass A1", "Stein Bass D2"
Confirmed
A series of bass guitar samples derived from the Emulator III OMI Universe of Sounds "Machine Set" voice are utilised throughout "Personal Jesus".

Click to display/hide audio example

Vocal elements Anthony Thomas - Thy Kingdom Come... Thy Will Be Done (1988 TV Movie) - 6 April 1988 (television release)
Confirmed
A series of audio excerpts derived from filmmaker Anthony Thomas's 1988 TV movie Thy Kingdom Come... Thy Will Be Done featuring sermons delivered by American televangelists Jim Bakker, W.A. Criswell, Jerry Falwell, Pat Robertson, James Robison, Jimmy Swaggart, and motivational speaker Zig Ziglar, originally sampled for use in the "Pump Mix" of "Personal Jesus", are utilised sporadically throughout the outro section of all live performances of "Personal Jesus" since its debut.[footnotes 5] The phrases sampled for use in live performances of "Personal Jesus" include: "[...] the lord Jesus Christ Himself"; "I'm not crazy anymore!"; "Listen to me!"; Pat Robertson exclaiming: "[...] because the bible's the truth"; filmmaker Anthony Thomas inquiring: "Tell me what you've learned about God's love [...]"; and "[personal] [Jesus!]".

Violator engineer Pino Pischetola describes the origin of these samples in Kevin May and David McElroy's 2022 book Halo: The Story Behind Depeche Mode's Classic Album Violator:

During another mix of "Personal Jesus", I remember François listened to it many times and then he had this idea to put American-style preachers as a sample. That’s what became [the] "The Lord Jesus Christ himself" sample. In order to get that, François called a friend in Los Angeles that had a recording of everything you might want. So he calls him late at night and says, "Listen, I need something very quick. Something with preachers speaking." And his friend says, "Okay. I will FedEx it to you in a couple of hours." So two days later, using what must have used the fastest courier in the world [...] we got a cassette from LA with all the preachers on it. We spent two hours listening to all the preachers and different phrases, and then François picked up on that one and a few others to put into a sampler and fly in the song at a certain moment. That was really a fun thing to do.[3]

Click to display/hide audio example

4. "Halo"

"Halo"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Synthesizer elements The origin of the bass is a combination of likely two or more unique synthesized parts, including a 'dark' velocity-sensitive synth bass layered with an additional bass part. According to Wilder, these bass parts are likely to have originated from the Minimoog and producer Flood's ARP 2600.[1]
Vocal elements The choir stabs heard during the first chorus are comprised of a series of solo vocal "ahh" samples.[footnotes 6]

Sample sources
Sample Source Status Notes Audio
Melodic elements Sound Ideas - Series 1000 General Effects Library - CD #1018 Naval Boats, Ships, Motorcycles - Track #35 "SHIP, HORN" (filename "ShipHorn 1018_35") - 1983 (originally available on reel-to-reel tape, 1979)
Confirmed
The lead riff heard throughout "Halo" employs a truncated sample of a naval ship horn derived from Sound Ideas's 1983 sound effects library Series 1000 General Effects Library CD #1018 Naval Boats, Ships, Motorcycles. The library is notable for debuting as the first commercially available sound effects library of its kind on compact disc.

Click to display/hide audio example

Orchestral elements Barry Adamson - Moss Side Story - "The Swinging Detective" - 6 March 1989
Confirmed
An orchestral string staccato derived from Barry Adamson's 1989 instrumental "The Swinging Detective" is utilised throughout "Halo".[footnotes 7]

Click to display/hide audio example

Orchestral elements Gustav Mahler, Zubin Mehta - Symphony No.5 in C sharp minor - IV Adagietto: Sehr Langsam. V. Rondo - Finale: Allegro - Los Angeles Philharmonic - 1977
Confirmed
"Halo" employs orchestral phrases sampled from a 1977 performance of the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Zubin Mehta and performed by the Los Angeles Philharmonic.
Orchestral elements Gustav Mahler, Georg Solti - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970
Confirmed
"Clean" employs two looped orchestral phrases sampled from the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Georg Solti and performed by the Chicago Symphony Orchestra at Medinah Temple in March 1970.

Click to display/hide audio example

Drum elements Tone Lōc - Lōc-ed After Dark - "Don't Get Close" - 1989
Confirmed
The main drum loop used throughout "Halo" is derived from the intro drum solo of "Don't Get Close" by American rapper Tone Lōc from his 1989 debut album Lōc-ed After Dark (itself derived from the intro drum solo of "Rock Candy" by Montrose for their 1973 debut album of the same name).

Click to display/hide audio example

Note: In this example, the drum break as heard in "Rock Candy" by Montrose is compared to its use case in Tone Lōc's "Don't Get Close", and is then compared to relevant sections of audio in "Halo".
Drum elements Montrose - "Rock Candy" - 1973
Confirmed
The main drum loop used throughout "Halo" is derived from the intro drum solo of "Don't Get Close" by American rapper Tone Lōc from his 1989 debut album Lōc-ed After Dark (itself derived from the intro drum solo of "Rock Candy" by Montrose for their 1973 debut album of the same name).

Click to display/hide audio example

Note: In this example, the drum break as heard in "Rock Candy" by Montrose is compared to its use case in Tone Lōc's "Don't Get Close", and is then compared to relevant sections of audio in "Halo".
Drum elements, snare drum Fine Young Cannibals - The Raw & the Cooked - "She Drives Me Crazy" - 26 December 1988
Confirmed
A manipulated snare drum audible during the chorus sections of "Halo" is derived from the opening moments of the Fine Young Cannibals 1988 single "She Drives Me Crazy".[footnotes 8][4] Notably, this sound is also used throughout Wilder's 1989 "Eurotech Version" remix of Toni Halliday's "Time Turns Around", as well as the 2012 Recoil cover of Talk Talk's "Inheritance".

Click to display/hide audio example

Orchestral elements Edward Elgar - Unidentified composition
Unconfirmed
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:

For the end choruses, there are some string samples which I think were derived from Elgar. One of my techniques is to find sections of classical strings and transpose / stretch these, then add my own samples, in order to formulate new and unusual arrangements. This was a case in point. The [Depeche Mode] track "Clean" utilised classical strings in a similar way.[5]

The classical recording sampled would have been recorded and released during or prior to 1989.

Vocal elements Unidentified pornographic film
Unknown
The rhythmic vocal rhythm audible in the opening moments of "Halo" is confirmed by Violator engineer Roberto Baldi as having been sampled from a pornographic film. The film is likely to have released on VHS or Betamax cassette and would have been in circulation by May 1989.

5. "Waiting For The Night"

"Waiting For The Night"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Synthesizer elements Wilder describes the production of this bass part in a Q&A on Shunt, the official Recoil website:

Flood and I had been listening to Tangerine Dream and decided to try and create a similar atmosphere for this track. The main sequence was put together using his [ARP 2600] and the sequencer that accompanies the synth. Due to its many velocity and filtering possibilities, this unit has a unique quality which is difficult to replicate using a modern-day sequencer triggered by MIDI. Once it has been set-up, in order for the sequence to be transposed to follow the chord structure of the song, I needed to play in each chord change from an external keyboard. A similar principal was applied to achieve the bubbling bass part which, together with the main sequence, forms the backbone of the track. The charm of the ARP sequencer stems from the slight tuning and timing variations that occur each time the part is played. This gives a sense of fluidity and continual change which seems to suit the song. [6]

Bass sequence Musician and remixer Ehron VonAllen confirmed in a YouTube analysis of his remix collaboration with Alan Wilder that Wilder employed a bass sequence originally recorded for use with "Waiting For The Night" in "Electro Blues For Bukka White".[7]

Sample sources
Sample Source Status Notes Audio
Vocal elements Dmitry Damba-Darzhaa - "Край Артыы сайыр / Artyy Sayir Area" - 1969 or earlier
Confirmed
A looped chant-like sample used starting from the bridge section of "Waiting For The Night" is derived from a Tuvan throat singing recording performed by Dmitry Damba-Darzhaa, originally released on Melodii Tuvi - Throat Songs And Folk Tunes From Tuva, a 1969 collection of Tuvan music published in the Soviet Union.[footnotes 9]

Click to display/hide audio example

Vocal elements Emulator II factory library disk #12: Voices - SAMPLE 8
Confirmed
A vocal pad heard throughout "Waiting For The Night" utilises a vocal sample derived from Emulator II factory library disk #12 "Voices"

Click to display/hide audio example

Synthesizer elements Emulator III OMI Universe of Sounds - Guitar Chimes - "CHIME A4"
Confirmed
The bell-like arpeggio audible during the verse sections of "Waiting For The Night" as it was performed on the World Violation and Exotic tours is comprised of a series of edited samples derived from the "Guitar Chimes" voice featured in Emulator III OMI Universe of Sounds.

Click to display/hide audio example

Note: In this example, a sample from the Emax II sound bank containing the musical parts performed by Alan Wilder for live use with "Waiting For The Night" is compared to the equivalent sample in the "Guitar Chimes" voice featured in Emulator III OMI Universe of Sounds. The two parts are then played together, producing audible phasing artifacts when superimposed.

6. "Enjoy The Silence"

"Enjoy The Silence"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Synthesizer elements The synthesized bassline audible throughout "Enjoy The Silence" is produced on the Roland System 700 modular analog synthesizer.
Vocal elements The textured choral stabs heard on the first beat of every measure throughout "Enjoy The Silence" are comprised of a series of sampled choir sounds each playing individual notes of a chord. Among these sounds are two sourced samples derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)", the first of which is played on the first beat per measure throughout the song, the second of which is played on the first beat of every fourth chorus measure (in time with the lyric "In my arms"); a choir sound previously used for live performances of "Never Turn Your Back On Mother Earth" on the Music For The Masses tour; and a series of custom vocal "ahh" samples likely produced by sampling vocal sustains sung by Martin Gore, which are notably also used to play the choir melody heard in the song's outro.
Vocal elements The vocal "ahhs" heard during the outro of "Enjoy The Silence" are comprised of a series of solo vocal "ahh" samples likely produced by sampling vocal sustains sung by Martin Gore.[footnotes 10] For live performances of "Enjoy The Silence", these choir elements were employed from its live debut through 2009, when it was replaced with new choir parts for use on the Tour Of The Universe and later tours (with one exception in 2013, when it returned for a live performance as part of a television promotion).
Synthesizer elements A melancholic bell or "water droplet-like" sequence audible during the intro and middle eight sections of "Enjoy The Silence" is comprised of a sample derived from the opening moments of "Blasphemous Rumours". Notably, this sample would later be utilised for a melody heard during the verse sections of "Walking In My Shoes".

Click to display/hide audio example

Choir elements A choir pad comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Gore for use during the middle eight section of "Waiting For The Night" is played during the chorus sections of "Enjoy The Silence" as it has been performed on all live arrangements since its live debut (as well as the intro of its World Violation tour arrangement).[footnotes 11]

Sample sources
Sample Source Status Notes Audio
Choir elements Bulgarian State Television Female Vocal Choir - Le Mystère des Voix Bulgares - "Sableyalo mi Agontze (The Bleating Lamb)" - 1975
Confirmed
A series of choir pads which partly comprise the choir stabs audible throughout "Enjoy The Silence" are derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)" as performed with Bulgarian traditional singer Kalinka Valcheva. The Bulgarian State Television Female Vocal Choir is notable for its membership, who are chosen from country villages for the beauty and fullness of their voices.

Click to display/hide audio example

Drum elements, snare drum, conga drum elements Ten City - Foundation - "That's The Way Love Is (Deep House Mix / Extended Version)" - 1989
Confirmed
A series of manipulated, treated samples of audio (including a snare drum, a looped section of audio featuring a conga rhythm, and, likely, a bass drum part) derived from the "Deep House Mix / Extended Version" remix of Ten City's 1989 single "That's The Way Love Is" are utilised throughout "Enjoy the Silence".[footnotes 12] Violator producer Flood briefly described the use of sampled drum elements utilised for "Enjoy the Silence" on 14 May 2011 at the 2011 Short Circuit presents Mute festival event:

So we've done a couple of songs, and then it was time to hack into "Enjoy the Silence". So, I said, "Well, why don't we just copy an old disco classic, the rhythm of it?" So we started off doing that [...][8] [We] started off with [the drums], here we go. [drum rhythm plays] Which are, some of them are actually lifted from the original song. I mean, I shouldn't say that, but I just did. [audience laughs] So, that's just a copy, a complete copy of this track [...][9]

Alan Wilder would later critique the snare drum in an undated Q&A on Shunt: "Funnily enough, our most successful single ever was one of the flattest, dullest sounding mixes with a snare drum that sounds like a sticky toffee pudding."[10]

Click to display/hide audio example

Harpsichord elements Emulator III OMI Universe of Sounds: Volume 2 - Harpsichord - "B1 HARPSIC"
Confirmed
The harpsichord instrument used to accent the bassline of "Enjoy The Silence" starting from the middle eight section is partly derived from the Emulator III Universe of Sounds: Volume 2 voice "Harpsichord".[footnotes 13] The harpsichord sample is layered with a detuned copy of itself to produce a chorusing effect. A sampled bass synth part heard prominently in the opening moments of "Clean" is then layered with the harpsichord part on most notes used throughout the song. Notably, this sound is also used throughout Nitzer Ebb's "I Give To You".

Click to display/hide audio example

Brass elements Emax I factory library disk #ZD705: French Horn - Preset #1: "French Horns", SAMPLE 6
Confirmed
The middle eight and outro sections of "Enjoy The Silence" feature a french horn melody derived from the "French Horns" preset of Emax I factory library disk #ZD705 "French Horn".

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Choir, orchestral elements Emulator II factory library disk #12: Voices and Emulator II factory library disk #05: Marcato Strings
Likely
A choir pad featured in the chorus sections of "Enjoy The Silence" is likely comprised of samples derived from Emulator II factory library disk #12 "Voices" and Emulator II factory library disk #05 "Marcato Strings". The pad is prominently featured in the opening moments of the "Hands And Feet" remix of "Enjoy The Silence".

Click to display/hide audio example

Note: In this example, the two Emulator II voices are first played separately. They are then layered together, then played with an upper mid-frequency EQ boost to approximately match the equivalent sound in the "Hands And Feet" remix of "Enjoy The Silence", which prominently features the choir pad with added phasing effects/processing.

7. "Policy Of Truth"

"Policy Of Truth"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Guitar elements The guitar rhythm prominently used during the first two verses is produced by a single note played from a guitar, which is processed and looped to provide a built-in vibrato effect. The sample is then allocated across the keyboard for playback. Though unconfirmed, a second sample is likely used to produce the faux guitar lick-esque stab with an ascending pitch bend heard on every other bar. Wilder recalled in a Q&A on Shunt, the official Recoil website: "It's a single note sampled from a guitar and then looped and played from a keyboard. The loop is what gives it the vibrato effect."[1]
Hi-hat elements "Policy Of Truth" employs sampled hi-hat rhythms sequenced in an alternating pattern to form dynamic loops. Wilder explains the benefits of using loops over one-shot samples in a Q&A on Shunt, the official Recoil website:

[...] No two snare beats sound the same when played by a drummer - I like that. That's why I prefer to use lots of drum loops with all the feel (and flaws) of the original performance. Most of the drum sounds on Violator were sampled (apart from obvious electro sounds) but the rhythms were still programmed. Some hi-hat patterns ("[Policy Of Truth]" for example) were played and sampled as loops and in the case of "Halo" and "Clean" it's all loops. Again, I prefer the looped parts because of the performance element.[1]

Vocal elements The lead melody of "Policy Of Truth" is comprised of a series of layered sounds, one of which is a repurposed "ahh" vocal sample most clearly heard during the outro of "Enjoy The Silence".[footnotes 14]

Sample sources
Sample Source Status Notes Audio
Melodic elements Unknown Asian instrument sample library CD
Official
During a 2016 podcast with author Rob Bell, Martin Gore was asked about the origin of this sound:

Martin Gore: I think it's more organic than that. I think part of the sounds that you're talking about are samples that we... even during Violator we were doing quite a bit of sampling, so it probably came from some weird Asian instrument sample CD or a classical Asian music CD, with a [pitch] bend in it.[11][footnotes 15]

Bass guitar, piano elements Emulator III OMI Universe of Sounds Volume 1 - Funk Bass - "Funk Bass E1", "Funk Bass G1", "Funk Bass A1", "Funk Bass C2", "Funk Bass D2", "Funk Bass F2"
Confirmed
A dark piano/bass guitar stab heard throughout the chorus sections of "Policy Of Truth" is partly comprised of a series of bass guitar samples derived from the Emulator III Universe Of Sounds Volume 1 voice "Funk Bass".[footnotes 16]

Click to display/hide audio example

Note: In this example, the raw samples are played. The samples are then layered and finally detuned.
Guitar elements Toni Halliday - "Time Turns Around" - 1989
Confirmed
A looped guitar rhythm used during the verses of Toni Halliday's "Time Turns Around" is re-purposed for use within the chorus sections of "Policy Of Truth".[footnotes 17][footnotes 18]

Click to display/hide audio example

Guitar elements Toni Halliday - "Time Turns Around" - 1989
Confirmed
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 "Policy Of Truth".[footnotes 19]
Drum elements, snare drum Tone Lōc - "Funky Cold Medina" - March 1989
Confirmed
A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album Lōc-ed After Dark, is used following the first chorus and leading up to the outro of the "Policy Of Truth (7" Version)" remix.[footnotes 20]
Organ elements Emulator II factory library disk #38: Pipe Organ - Preset #1: "Pipe Organ"
Confirmed
Emulator II factory library disk #38 "Pipe Organ" is used to play a series of ascending pipe organ pads during the chorus sections of "Policy Of Truth".

Click to display/hide audio example

Note: In this example, chords played using the Emulator II factory disk #38 "Pipe Organ" are compared to the equivalent audio heard during the second chorus of "Policy Of Truth" derived from the center channel of the 2006 Violator 5.1 reissue.
Ambient elements Emulator III OMI Universe of Sounds - Bowed Psaltery - "PSALTERY B3" and Emulator III OMI Universe of Sounds - Rebel Victory - "GIANT 5"
Confirmed
The pads performed during the chorus sections of the Devotional tour arrangement of "Policy Of Truth" utilise a series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in Emulator III OMI Universe of Sounds.

Click to display/hide audio example

Note: In this example, two samples derived from Emulator III OMI Universe of Sounds voices "Bowed Psaltery" and "Rebel Victory" are layered and played back via a sampling keyboard. The result is then compared to a selection of live audio from the first chorus section of "Policy Of Truth" as heard in the Devotional video release (played out of phase to more clearly expose the relevant sound).
Vocal elements Hildegard of Bingen, Gothic Voices, Emma Kirkby, Christopher Page - A Feather on the Breath of God - "Columba aspexit" - April 1985 (recorded 14 September 1981)
Confirmed
A sample of an operatic vocal derived from a September 1981 performance of "Columba aspexit", a piece of sacred vocal music written in the 12th century by German abbess Hildegard of Bingen originally featured throughout Depeche Mode's 1986 instrumental "Christmas Island" and as a layer in the outro of "Stripped". Performed by the British vocal ensemble Gothic Voices with soprano Emma Kirkby, the sampled performance is re-purposed as a layer with one or more sounds to form a synth string pad heard throughout the chorus sections of "Policy Of Truth".

8. "Blue Dress"

"Blue Dress"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Vocal elements In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by Music For The Masses co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Falsetto Voice (19)", features a preset titled "Falsetto Vox" containing a sample of a vocalist singing a high falsetto note that is used to play a legato vocal part audible throughout "Blue Dress".
Guitar elements A guitar-like pluck sample is layered with a separate sound to form the dramatic chorus melody. Notably, this sample is also used as a layer of the lead melody of "Never Let Me Down Again", a melodic fill throughout "Strangelove", and as a layer for the harpsichord-like lead melody of the "Spanish Taster" mix of "To Have And To Hold".
Synthesizer elements A warm synth-like pad sample is utilised throughout "Blue Dress".[footnotes 21]
Melodic elements A steel drum-like sample most prominently heard during the verses of "Stripped" is repurposed for use as a melodic arpeggio during the second verse section of "Blue Dress".

Sample sources
Sample Source Status Notes Audio
Ambient elements David Lynch - Eraserhead (film audio) - 1977
Confirmed
A manipulated, partly reversed section of audio derived from the 1977 David Lynch film Eraserhead (audible around the 1:16:00 mark in the Criterion Collection release of the film) is audible throughout the instrumental "Interlude No. 3". The audio is edited to first play in reverse, then forwards.

Click to display/hide audio example

9. "Clean"

"Clean"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Vocal elements "Clean" employs an exhaled "ah" vocal part originally recorded for use throughout 1987's "I Want You Now". The part is performed in time with the snare starting from the second verse. Wilder recalled the performers responsible for this vocal part in a Q&A on Shunt, the official Recoil website: "...I think it was a couple of girls who were hanging around the studio - thought we'd make use of them ;-)"[12]

Sample sources
Sample Source Status Notes Audio
Orchestral strings, orchestral elements Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970
Confirmed
"Clean" employs two looped orchestral phrases sampled from the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Georg Solti and performed by the Chicago Symphony Orchestra at Medinah Temple in March 1970.

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Bass guitar elements Pink Floyd - "One Of These Days" - 1971
Disproven
Wilder confirmed in a Q&A on Shunt, 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]."[10]

B-sides, bonus tracks and remixes

"Dangerous"

"Dangerous"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Guitar elements Jimi Hendrix - "Foxey Lady" - 1990[footnotes 22]
Confirmed
A series of manipulated sections of audio featuring guitar elements originally performed by Jimi Hendrix for the February 1967 BBC recording of "Foxey Lady"[footnotes 23] are utilised sporadically throughout "Dangerous".

Click to display/hide audio example

"Memphisto"

"Memphisto"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Vocal elements Unlooped versions of the samples comprising the solo vocal "ahh" melody heard in the outro of "Enjoy The Silence" are re-used to dramatic effect as a vocal element in "Memphisto".[footnotes 24]
Bass stabs A sampled synth bass stab most prominently heard throughout "Clean" is employed as a bass layer throughout "Memphisto". Notably, this part is used to similar effect throughout "Enjoy The Silence".

Sample sources
Sample Source Status Notes Audio
Orchestral elements Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970
Confirmed
"Memphisto" employs two looped orchestral phrases sampled from the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Georg Solti and performed by the Chicago Symphony Orchestra at Medinah Temple in March 1970.
Orchestral elements Richard Strauss, Unknown artists - Also sprach Zarathustra, Op. 30 - "Sonnenaufgang" (Sunrise) - ?
Unconfirmed
A section of audio derived from an as-yet unidentified performance of "Sonnenaufgang", the opening section of Richard Strauss's 1896 tone poem Also sprach Zarathustra, Op. 30, is utilised mid-way through "Memphisto".

"Sibeling"

"Sibeling"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Choir elements The sampled vocal "ahhs" most clearly heard during the outro of "Enjoy The Silence" are re-purposed as a melodic layer audible throughout "Sibeling".[footnotes 25]

"Kaleid"

"Kaleid"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Throat singing, vocal elements David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa - "Sangwa Düpa" - 1975[footnotes 26]
Confirmed
A manipulated sample of Tibetan throat singing derived from the intro of "Sangwa Düpa" as performed by the Monks Of The Monastery of Gyütö, Tibet with David Lewiston is utilised sporadically throughout all versions of "Kaleid".

Click to display/hide audio example

Guitar elements Steve Harley & Cockney Rebel - "What Ruthy Said" - 1973
Confirmed
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".

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Guitar elements Jimi Hendrix - Are You Experienced - "Hey Joe" - 12 May 1967
Confirmed
A manipulated guitar sample derived from the 1967 Jimi Hendrix cover of "Hey Joe" is utilised throughout all versions of "Kaleid".
Guitar elements Borghesia - Resistance - "Message" - 1989
Confirmed
A guitar sound audible during the opening moments of Borghesia's "Message" is sampled for use as a fill throughout "Kaleid".[footnotes 27]

Click to display/hide audio example

Synthesizer elements Borghesia - Resistance - "Young Prisoners" - 1989
Confirmed
A synth string pad sound derived from the opening moments of Borghesia's "Young Prisoners" is utilised throughout "Kaleid" and its various remixes.

"Kaleid (Remix)"

"Kaleid (Remix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Throat singing, vocal elements David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa - "Sangwa Düpa" - 1975[footnotes 28]
Confirmed
A manipulated sample of Tibetan throat singing derived from the intro of "Sangwa Düpa" as performed by the Monks Of The Monastery of Gyütö, Tibet with David Lewiston is utilised sporadically throughout all versions of "Kaleid".

Click to display/hide audio example

Guitar elements Steve Harley & Cockney Rebel - "What Ruthy Said" - 1973
Confirmed
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".

Click to display/hide audio example

Guitar elements Jimi Hendrix - Are You Experienced - "Hey Joe" - 12 May 1967
Confirmed
A manipulated guitar sample derived from the 1967 Jimi Hendrix cover of "Hey Joe" is utilised throughout all versions of "Kaleid".
Guitar elements Borghesia - Resistance - "Message" - 1989
Confirmed
A guitar sound audible during the opening moments of Borghesia's "Message" is sampled for use as a fill throughout "Kaleid".[footnotes 29]

Click to display/hide audio example

Synthesizer elements Borghesia - Resistance - "Young Prisoners" - 1989
Confirmed
A synth string pad sound derived from the opening moments of Borghesia's "Young Prisoners" is utilised throughout "Kaleid" and its various remixes.

"Kaleid (When Worlds Mix)"

"Kaleid (When Worlds Mix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Throat singing, vocal elements David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa - "Sangwa Düpa" - 1975[footnotes 30]
Confirmed
A manipulated sample of Tibetan throat singing derived from the intro of "Sangwa Düpa" as performed by the Monks Of The Monastery of Gyütö, Tibet with David Lewiston is utilised sporadically throughout all versions of "Kaleid".

Click to display/hide audio example

Guitar elements Steve Harley & Cockney Rebel - "What Ruthy Said" - 1973
Confirmed
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".

Click to display/hide audio example

Guitar elements Jimi Hendrix - Are You Experienced - "Hey Joe" - 12 May 1967
Confirmed
A manipulated guitar sample derived from the 1967 Jimi Hendrix cover of "Hey Joe" is utilised throughout all versions of "Kaleid".
Guitar elements Borghesia - Resistance - "Message" - 1989
Confirmed
A guitar sound audible during the opening moments of Borghesia's "Message" is sampled for use as a fill throughout "Kaleid".[footnotes 31]

Click to display/hide audio example

Synthesizer elements Borghesia - Resistance - "Young Prisoners" - 1989
Confirmed
A synth string pad sound derived from the opening moments of Borghesia's "Young Prisoners" is utilised throughout "Kaleid" and its various remixes.

"Sea Of Sin (Tonal Mix)"

"Sea Of Sin (Tonal Mix)"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Choir pad "Sea Of Sin (Tonal Mix)" utilises a choir pad during its verse and chorus sections. The pad is comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Martin Gore for use during the middle eight section of "Waiting For The Night".[footnotes 32]

Sample sources
Sample Source Status Notes Audio
Drum elements Tuff City Squad - Breakmania 2 - "Hard Damage"[footnotes 33] - 1989
Confirmed
A manipulated drum loop derived from the third bar of "Hard Damage" by Tuff City Squad as featured on the 1989 hip-hop instrumental album Breakmania 2 is utilised throughout all versions of "Sea Of Sin", including the "Tonal" and "Sensoria" mixes. A drum element audible in the loop derived from "Hard Damage" is itself a sample derived from Pieces Of A Dream's 1982 "Mt. Airy Groove".[footnotes 34]

Click to display/hide audio example

"Sea Of Sin (Sensoria Mix)"

"Sea Of Sin" (Sensoria Mix)
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Choir pad All versions of "Sea Of Sin" utilise a "ghostly" choir pad during its verse and chorus sections. The pad is comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Martin Gore for use during the middle eight section of "Waiting For The Night".

Sample sources
Sample Source Status Notes Audio
Drum elements Tuff City Squad - Breakmania 2 - "Hard Damage"[footnotes 35] - 1989
Confirmed
A manipulated drum loop derived from the third bar of "Hard Damage" by Tuff City Squad as featured on the 1989 hip-hop instrumental album Breakmania 2 is utilised throughout all versions of "Sea Of Sin", including the "Tonal" and "Sensoria" mixes. A drum element audible in the loop derived from "Hard Damage" is itself a sample derived from Pieces Of A Dream's 1982 "Mt. Airy Groove".[footnotes 36]

Click to display/hide audio example

"Personal Jesus (Pump Mix)"

"Personal Jesus (Pump Mix)"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Vocal melody A vocal melody heard sporadically throughout the "Pump Mix" of "Personal jesus" is partly comprised of a series of solo vocal "ahh" samples likely produced by sampling vocals performed by Martin Gore.[footnotes 37] For live performances of "Enjoy The Silence", these choir elements were employed from its live debut through 2009, when it was replaced with new choir parts for use on the Tour Of The Universe and later tours (with one exception in 2013, when it returned for a live performance as part of a television promotion).
Breathing rhythm Album producer Flood describes the origin of the "Personal Jesus" breathing rhythm recorded on the third day of the song's production in his 2011 Mute Short Circuit presentation:

The next day, we [started] to do the famous breath. And the breath came about because we wanted to do, we were trying harmonica actually, to do the bass part and that type of sound. And the sound just wasn't right, but what we did like was the sound of someone going "Haah", and so we got a load of "Haah" from [Martin Gore], and I think [Alan Wilder] as well, and then chucked them all together. And that makes up the "ooh-ooh-ooh-ahh-ahh-ahh", it's all from trying to get the harmonica for a bass sound.

Tom drum fills An ambient drum sample originally recorded for use with 1983's "Pipeline" is utilised in combination with a tom drum sound originally recorded for use with 1987's "I Want You Now" to form a series of two unique drum fills preceding each verse section.

Sample sources
Sample Source Status Notes Audio
Preaching, vocal elements Anthony Thomas - Thy Kingdom Come... Thy Will Be Done (1988 TV Movie) - 6 April 1988 (television release)
Confirmed
A series of audio excerpts derived from filmmaker Anthony Thomas's 1988 TV movie Thy Kingdom Come... Thy Will Be Done featuring sermons delivered by American televangelists Jim Bakker, W.A. Criswell, Jerry Falwell, Pat Robertson, James Robison, Jimmy Swaggart, and motivational speaker Zig Ziglar are utilised throughout the "Pump Mix" of "Personal Jesus".[footnotes 38] The phrases sampled for use in the "Pump Mix" of "Personal Jesus" include "[...] the lord Jesus Christ Himself" and "Listen to me!".

Violator engineer Pino Pischetola describes the origin of these samples in Kevin May and David McElroy's 2022 book Halo: The Story Behind Depeche Mode's Classic Album Violator:

During another mix of "Personal Jesus", I remember François listened to it many times and then he had this idea to put American-style preachers as a sample. That’s what became [the] "The Lord Jesus Christ himself" sample. In order to get that, François called a friend in Los Angeles that had a recording of everything you might want. So he calls him late at night and says, "Listen, I need something very quick. Something with preachers speaking." And his friend says, "Okay. I will FedEx it to you in a couple of hours." So two days later, using what must have used the fastest courier in the world [...] we got a cassette from LA with all the preachers on it. We spent two hours listening to all the preachers and different phrases, and then François picked up on that one and a few others to put into a sampler and fly in the song at a certain moment. That was really a fun thing to do.[13]

Click to display/hide audio example

Snare drum Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980
Confirmed
A manipulated snare sound derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout the outro of the album version of "Personal Jesus". Notably, this sample would also see use throughout "World In My Eyes". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."[1]
"Metallic" hi-hat Emulator II factory library disk #71: DAS Synth
Confirmed
A lo-fi synthesizer sample derived from Emulator II factory library disk #71 "DAS Synth" is played several keys above its root key to produce a metallic ticking sound that is used in place of a hi-hat starting from the second chorus section of "Personal Jesus".
Clap-like percussion Emulator III OMI Universe of Sounds - Volume 2 - Tough Tones - "NOISE BURST"
Confirmed
A treated copy of a clap-like percussive sound derived from the Emulator III OMI Universe of Sounds "Tough Tones" voice is utilised throughout "Personal Jesus" starting from the second chorus section.

"Personal Jesus (Telephone Stomp Mix)"

"Personal Jesus (Telephone Stomp Mix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Drum elements, rimshot snare drum E-mu Systems - Emulator III Factory Library - Factory Sounds 1-44 > DRUMS/PERCUSSION > 20. Kyodai Bang > "Beal Rimshot 2"
Confirmed
A rimshot snare based on "Beal Rimshot 2", a sample featured on Emulator III factory library patch "Kyodai Bang" is utilised throughout the "Telephone Stomp" remix of "Personal Jesus".[footnotes 39]

"Happiest Girl (Pulsating Orbital Mix)"

"Happiest Girl" (Pulsating Orbital Mix)
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Engine idling/orchestral hit sample The Tornadoes - "Telstar" - 1962
Official
Credit to Daniel Barassi for this discovery.[14]

"Enjoy the Silence (Ecstatic Dub Mix)"

"Enjoy the Silence (Ecstatic Dub Mix)"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Choir stabs The textured choral stabs heard on the first beat of every measure throughout "Enjoy The Silence" are comprised of a series of sampled choir sounds each playing individual notes of a chord. Among these sounds are two sourced samples derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)", the first of which is played on the first beat per measure throughout the song, the second of which is played on the first beat of every fourth chorus measure (in time with the lyric "In my arms"); a choir sound previously used for live performances of "Never Turn Your Back On Mother Earth" on the Music For The Masses tour; and a series of custom vocal "ahh" samples likely produced by sampling vocal sustains sung by Martin Gore, which are notably also used to play the choir melody heard in the song's outro.
Outro choir melody The vocal "ahhs" heard during the outro of "Enjoy The Silence" are comprised of a series of solo vocal "ahh" samples likely produced by sampling vocal sustains sung by Martin Gore.[footnotes 40] For live performances of "Enjoy The Silence", these choir elements were employed from its live debut through 2009, when it was replaced with new choir parts for use on the Tour Of The Universe and later tours (with one exception in 2013, when it returned for a live performance as part of a television promotion).
Melodic "water droplet" sequence A melancholic bell or "water droplet-like" sequence audible during the intro and middle eight sections of "Enjoy The Silence" is partly comprised of a sample derived from the opening moments of "Blasphemous Rumours". Notably, this sample would later be utilised for a melody heard during the verse sections of "Walking In My Shoes".

Sample sources
Sample Source Status Notes Audio
Choir elements Bulgarian State Television Female Vocal Choir - Le Mystère des Voix Bulgares - "Sableyalo mi Agontze (The Bleating Lamb)" - 1975
Confirmed
A series of choir pads which partly comprise the choir stabs audible throughout "Enjoy The Silence" are derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)" as performed with Bulgarian traditional singer Kalinka Valcheva. The Bulgarian State Television Female Vocal Choir is notable for its membership, who are chosen from country villages for the beauty and fullness of their voices.
Punchy harpsichord bass Emulator III OMI Universe of Sounds: Volume 2 - Harpsichord - "B1 HARPSIC"
Confirmed
The harpsichord instrument used to accent the bassline of "Enjoy the Silence" as well as "Enjoy the Silence (The Quad: Final Mix)" is partly derived from the Emulator III Universe of Sounds: Volume 2 voice "Harpsichord".
Snare drum, drums, conga drum elements Ten City - Foundation - "That's The Way Love Is (Deep House Mix / Extended Version)" - 1989
Confirmed
A series of manipulated, treated samples of audio (including a snare drum, a looped section of audio featuring a conga rhythm, and, likely, a bass drum part) derived from the "Deep House Mix / Extended Version" remix of Ten City's 1989 single "That's The Way Love Is" are utilised throughout the "Ecstatic Dub" remix of "Enjoy the Silence".
Brass melody Emax I factory library disk #ZD705: French Horn - Preset #1: "French Horns", SAMPLE 6
Confirmed
The middle eight and outro sections of "Enjoy The Silence" feature a french horn melody derived from the "French Horns" preset of Emax I factory library disk #ZD705 "French Horn".

"Enjoy the Silence (The Quad: Final Mix)"

"Enjoy the Silence (The Quad: Final Mix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Choir stabs Bulgarian State Television Female Vocal Choir - "Sableyalo mi Agontze (The Bleating Lamb)" - 1975
Confirmed
A series of choir pads which partly comprise the choir stabs audible throughout "Enjoy The Silence" are derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)" as performed with Bulgarian traditional singer Kalinka Valcheva. The Bulgarian State Television Female Vocal Choir is notable for its membership, who are chosen from country villages for the beauty and fullness of their voices.

Click to display/hide audio example

Punchy harpsichord bass Emulator III OMI Universe of Sounds: Volume 2 - Harpsichord - "B1 HARPSIC"
Confirmed
The harpsichord instrument used to accent the bassline of "Enjoy the Silence" as well as "Enjoy the Silence (The Quad: Final Mix)" is partly derived from the Emulator III Universe of Sounds: Volume 2 voice "Harpsichord".
Drum, synthesizer elements Ryuichi Sakamoto - Esperanto - "A Wongga Dance Song" - 1985
Confirmed
A section of audio featuring an abstract electronic drum and synthesizer pattern derived from "A Wongga Dance Song" by Japanese composer Ryuichi Sakamoto is utilised mid-way through "Enjoy the Silence (The Quad: Final Mix)".
Guitar, drum, vocal elements Bernard Parmegiani - "La Ville En Haut De La Colline II" - ?[footnotes 41]
Confirmed
A section of audio featuring guitar, drum, and vocal elements derived from "La Ville En Haut De La Colline II" by French composer Bernard Parmegiani is utilised mid-way through "Enjoy the Silence (The Quad: Final Mix)".
Drums, synthesizer elements Ivo Malec - Reflets - 1961
Confirmed
A section of audio derived from Reflets by Croatian-born French composer Ivo Malec is utilised mid-way through "Enjoy the Silence (The Quad: Final Mix)".
Drums, synthesizer elements Luc Ferrari - Visage V - 1958-1959
Confirmed
A section of audio derived from Visage V by French composer Luc Ferrari is utilised mid-way through "Enjoy the Silence (The Quad: Final Mix)".
Synthesizer elements The Mothers of Invention - We're Only in It for the Money - "Are You Hung Up?" - 1968
Confirmed
A section of audio derived from The Mothers of Invention's 1968 "Are You Hung Up?" featuring multiple elements is utilised mid-way through "Enjoy the Silence (The Quad: Final Mix)".
Drum elements The Mothers of Invention - We're Only in It for the Money - "What's The Ugliest Part Of Your Body? - Reprise" - 1968
Confirmed
A section of audio derived from the outro of The Mothers of Invention's 1968 "What's The Ugliest Part Of Your Body? - Reprise" is utilised as a drum fill sporadically throughout the mid-section of "Enjoy the Silence (The Quad: Final Mix)".
Snare drum, drums, conga drum elements Ten City - Foundation - "That's The Way Love Is (Deep House Mix / Extended Version)" - 1989
Confirmed
A series of manipulated, treated samples of audio (including a snare drum, a looped section of audio featuring a conga rhythm, and, likely, a bass drum part) derived from the "Deep House Mix / Extended Version" remix of Ten City's 1989 single "That's The Way Love Is" are utilised throughout the "Ecstatic Dub" remix of "Enjoy the Silence".

"World In My Eyes (Dub Mix)"

"World In My Eyes" (Dub Mix)
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Snare drum Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980
Confirmed
A manipulated snare derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout "World In My Eyes". Notably, this sample would also see use in the outro of "Personal Jesus". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."[1]
"Clicking" verse percussion rhythm Kraftwerk - "The Man-Machine" ("Die Mensch-Maschine") - 1978
Confirmed
"World In My Eyes" utilises a timestretched "clicking" percussion rhythm throughout its verse, chorus, and outro sections that is derived from the opening moments of Kraftwerk's "The Man-Machine".
"Squelchy" snare accent Kraftwerk - "Home Computer" ("Heimcomputer") - 1981
Confirmed
"World In My Eyes" employs a manipulated sample derived from the latter half of Kraftwerk's "Home Computer".[footnotes 42]
Punchy drum fill Bryan Ferry - "Don't Stop The Dance" - 1985
Confirmed
A drum element derived from the album version of Bryan Ferry's "Don't Stop The Dance" is utilised throughout "World In My Eyes" as a drum fill.
Guitar elements Fleetwood Mac - "Black Magic Woman" - 29 March 1968
Confirmed
A guitar chord featured in the intro of Fleetwood Mac's 1968 single "Black Magic Woman" is utilised sporadically throughout "World In My Eyes". The guitar sound was performed by Fleetwood Mac founder Peter Green, who achieved its distinct shimmering effect by playing a D minor triad on the 17th fret with vibrato. A manipulated copy of the sample is played with an oscillating pitch bend layered with a separate sample (derived from Emulator II factory library disk #37: Electric Guitar) to produce a wavering verse section riff. A second copy of the sample appears on the first beat after each chorus section.[footnotes 43]
Pitch bending verse section fill Emulator II factory library disk #36: Lead Guitar
Confirmed
An electric guitar sample derived from Emulator II factory library disk #36 "Lead Guitar" is played in reverse with an oscillating pitch bend and layered with a separate sample (derived from Fleetwood Mac's "Black Magic Woman") to produce the exciting "whirl" effect that occurs during the verse sections.

"World In My Eyes (Oil Tank Mix)"

"World In My Eyes" (Oil Tank Mix)
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Snare drum Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980
Confirmed
A manipulated snare derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout the "Oil Tank" remix of "World In My Eyes". Notably, this sample would also see use in the outro of "Personal Jesus".
"Clicking" verse percussion rhythm Kraftwerk - "The Man-Machine" ("Die Mensch-Maschine") - 1978
Confirmed
The "Oil Tank" remix of "World In My Eyes" utilises a timestretched "clicking" percussion rhythm throughout its verse, chorus, and outro sections that is derived from the opening moments of Kraftwerk's "The Man-Machine".
"Squelchy" snare accent Kraftwerk - "Home Computer" ("Heimcomputer") - 1981
Confirmed
The "Oil Tank" remix of "World In My Eyes" employs a manipulated sample derived from the latter half of Kraftwerk's "Home Computer".[footnotes 44]
Drum elements Bryan Ferry - Boys and Girls - "Don't Stop The Dance" - 1985
Confirmed
A drum element derived from the album version of Bryan Ferry's "Don't Stop The Dance" is utilised throughout the "Oil Tank" remix of "World In My Eyes" as a drum fill.
Synthesizer elements Thomas Dolby - The Golden Age of Wireless - "She Blinded Me with Science" - 1982
Confirmed
A synth hit derived from the final moments of Thomas Dolby's 1982 single "She Blinded Me with Science" is utilised as an orchestral hit during the final bar of each chorus section of the "Oil Tank" remix of "World In My Eyes".
Guitar elements Fleetwood Mac - "Black Magic Woman" - 29 March 1968
Confirmed
A guitar chord featured in the intro of Fleetwood Mac's 1968 single "Black Magic Woman" is utilised sporadically throughout the "Oil Tank" remix of "World In My Eyes".[footnotes 45]
Bass elements Sound Ideas - Series 1000 General Effects Library - CD #1018 Naval Boats, Ships, Motorcycles - Track #35 "SHIP, HORN" (filename "ShipHorn 1018_35") - 1983[footnotes 46]
Confirmed
A truncated sample of a naval ship horn derived from Sound Ideas's 1983 sound effects library Series 1000 General Effects Library CD #1018 Naval Boats, Ships, Motorcycles is utilised throughout the chorus sections of the "Oil Tank" remix of "World In My Eyes" as a bass layer. The library is notable for debuting as the first commercially available sound effects library of its kind on compact disc.
Drum elements, rimshot, open hi-hat, closed hi-hat Roland Corporation - Roland TR-808 Rhythm Composer - 1980
Confirmed
A series of processed drum elements audible throughout the "Oil Tank" remix of "World In My Eyes" are derived from the Roland TR-808 drum machine.
Ambient elements Emulator II factory library disk #36: Lead Guitar
Confirmed
An electric guitar sample derived from Emulator II factory library disk #36 "Lead Guitar" is played in reverse with an oscillating pitch bend and layered with a separate sample (derived from Fleetwood Mac's "Black Magic Woman") to produce the "whirl" effect that occurs during the verse sections.
N/A Kraftwerk - "Musique Non-Stop" - 1986
Unconfirmed

"Policy Of Truth (Beat Box Mix)"

"Policy Of Truth (Beat Box Mix)"
Depeche Mode
1990
Self-made samples
Sample Notes Audio
Lead melody layer The lead melody of "Policy Of Truth" is comprised of a series of layered sounds, one of which is a repurposed "ahh" vocal sample most clearly heard during the outro of "Enjoy The Silence".[footnotes 47]

Sample sources
Sample Source Status Notes Audio
Snare drum fill Tone Lōc - "Funky Cold Medina" - March 1989
Confirmed
A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album Lōc-ed After Dark, is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth".
Looped guitar rhythm Toni Halliday - "Time Turns Around" - 1989
Confirmed
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".[footnotes 48][footnotes 49]
Guitar solo Toni Halliday - "Time Turns Around" - 1989
Confirmed
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 "Policy Of Truth".[footnotes 50]
Synth string Akai S1000/S1100 Sound Library - Violin Ensemble SL1093 - SLOW+CHORUS - "E5 VL-E"
Likely
A processed sample of a violin derived from the "SLOW+CHORUS" program featured on Akai S1000/S1000 sound library disk "Violin Ensemble SL1093" is likely utilised for the duration of the refrain sections of "Policy Of Truth".
Chorus pad Emulator II factory library disk #38: Pipe Organ - Preset #1: "Pipe Organ"
Confirmed
Emulator II factory library disk #38 "Pipe Organ" is used to play a series of ascending pipe organ pads during the chorus sections of "Policy Of Truth".
Chorus pad Emulator III OMI Universe of Sounds - Bowed Psaltery - "PSALTERY B3" and Emulator III OMI Universe of Sounds - Rebel Victory - "GIANT 5"
Confirmed
The pads performed during the chorus sections of the Devotional tour arrangement of "Policy Of Truth" utilise a series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in Emulator III OMI Universe of Sounds.

"Policy Of Truth (Capitol Mix)"

"Policy Of Truth (Capitol Mix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
Vocal elements, "Everybody can't get what they want" Tony Schwartz - Tony Schwartz On How To Record The Sound Of Children - "Children And God" - 1967
Confirmed
A manipulated section of audio derived from "Children And God", a field recording of children stating their opinions on God as recorded by sound archivist Tony Schwartz for the 1967 field recording Tony Schwartz On How To Record The Sound Of Children is utilised mid-way through the "Capitol" remix of "Policy Of Truth".
Conga drum rhythm William DeVaughn - "Be Thankful for What You Got" (single edit) - March 1974[15]
Confirmed
A manipulated conga drum rhythm performed by musician Larry Washington for American R&B/soul singer William DeVaughn's 1974 "Be Thankful for What You Got" is utilised throughout the "Pavlov's Dub" and "Capitol" remixes of "Policy Of Truth".
Drum elements The Cecil Holmes Soulful Sounds - The Black Motion Picture Experience - "Also Sprach Zarathrustra (2001)" - 1973
Confirmed
A manipulated drum fill derived from the intro of "Also Sprach Zarathrustra (2001)" by The Cecil Holmes Soulful Sounds is utilised throughout the "Capitol" remix of "Policy Of Truth".
Snare drum fill Tone Lōc - "Funky Cold Medina" - March 1989
Confirmed
A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album Lōc-ed After Dark, is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth".
Bass guitar/piano Emulator III OMI Universe of Sounds Volume 1 - Funk Bass - "Funk Bass E1", "Funk Bass G1", "Funk Bass A1", "Funk Bass C2", "Funk Bass D2", "Funk Bass F2"
Confirmed
A dark piano/bass guitar stab heard throughout the chorus sections of "Policy Of Truth" is partly comprised of a series of bass guitar samples derived from the Emulator III Universe Of Sounds Volume 1 voice "Funk Bass".[footnotes 51]
Chorus pad Emulator III OMI Universe of Sounds - Bowed Psaltery - "PSALTERY B3" and Emulator III OMI Universe of Sounds - Rebel Victory - "GIANT 5"
Confirmed
The pads performed during the chorus sections of the Devotional tour arrangement of "Policy Of Truth" utilise a series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in Emulator III OMI Universe of Sounds.
Richard Nixon vocal (spoken) The "Checkers speech", Richard M. Nixon speech broadcast, 1952
Confirmed
Synth string Akai S1000/S1100 Sound Library - Violin Ensemble SL1093 - SLOW+CHORUS - "E5 VL-E"
Likely
A processed sample of a violin derived from the "SLOW+CHORUS" program featured on Akai S1000/S1000 sound library disk "Violin Ensemble SL1093" is likely utilised for the duration of the refrain sections of "Policy Of Truth".

"Policy Of Truth (Pavlov's Dub)"

"Policy Of Truth" (Pavlov's Dub)
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
"I must not conceal from you tonight...the truth as I see it" Winston Churchill vocal (spoken) MIT Mid-Century Convocation - Winston Churchill speech at Mass. Institute of Technology, Thursday, March 31, 1949
Confirmed
Vocal elements, "Everybody can't get what they want" Tony Schwartz - Tony Schwartz On How To Record The Sound Of Children - "Children And God" - 1967
Confirmed
A manipulated section of audio derived from "Children And God", a field recording of children stating their opinions on God as recorded by sound archivist Tony Schwartz for the 1967 field recording Tony Schwartz On How To Record The Sound Of Children is utilised in the outro of the "Pavlov's Dub" remix of "Policy Of Truth".
Conga drum elements William DeVaughn - "Be Thankful for What You Got" (single edit) - March 1974[15]
Confirmed
A manipulated conga drum rhythm performed by musician Larry Washington for American R&B/soul singer William DeVaughn's 1974 "Be Thankful for What You Got" is utilised throughout the "Pavlov's Dub" and "Capitol" remixes of "Policy Of Truth".
Drum elements Belinda Carlisle - Heaven on Earth - "Circle In The Sand" - 5 October 1987
Confirmed
A manipulated section of audio featuring drums derived from the intro of American musician Belinda Carlisle's 1987 single "Circle In The Sand" is utilised throughout the "Pavlov's Dub" remix of "Policy Of Truth".
Snare drum, drum fill Tone Lōc - "Funky Cold Medina" - March 1989
Confirmed
A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album Lōc-ed After Dark, is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth".
Drum elements The Cecil Holmes Soulful Sounds - The Black Motion Picture Experience - "Also Sprach Zarathrustra (2001)" - 1973
Confirmed
A manipulated drum fill derived from the intro of "Also Sprach Zarathrustra (2001)" by The Cecil Holmes Soulful Sounds is utilised mid-way through the "Pavlov's Dub" remix of "Policy Of Truth".

"Policy Of Truth (Trancentral Mix)"

"Policy Of Truth (Trancentral Mix)"
Depeche Mode
1990

Sample sources
Sample Source Status Notes Audio
"I'm not a politician, I'm a businessman" Robert Hoskins vocal (spoken) The Long Good Friday (film) - 1980
Confirmed
Richard Nixon vocal (spoken) The "Checkers speech", Richard M. Nixon speech broadcast, 1952
Confirmed


Songs Of Faith & Devotion (1993)

Ultra (1997)

Exciter (2001)

Playing The Angel (2005)

Sounds Of The Universe (2009)

Delta Machine (2013)

Spirit (2017)

Notes

  1. Other songs to feature these vocal elements include "Enjoy The Silence", "Policy Of Truth" (as a layer mixed in with the lead melody), "Memphisto", as well as the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  2. Credit to Christopher Baird for this discovery.
  3. Credit to fan Heiko Brune for this discovery.
  4. Originally available on reel-to-reel tape, 1979.
  5. Excerpts from Thy Kingdom Come... Thy Will Be Done would later see use in several Recoil songs, including "Faith Healer" and its remixes, the "Poison Dub" remix of "Drifting", and "5000 Years".
  6. Other songs to feature these vocal elements include "Enjoy The Silence","World In My Eyes", "Policy Of Truth" (as a layer mixed in with the lead melody), "Memphisto", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  7. Notably, Depeche Mode and frequent Recoil collaborator Paul Kendall performed mixing, engineering, and general production assistance for Adamson's 1989 debut concept album Moss Side Story. A sample from another song featured on the same album, "The Man with the Golden Arm", would be utilised on the 1991 Nitzer Ebb album Ebbhead as produced by Alan Wilder.
  8. Prior to any editing applied post-sampling, the original snare's characteristic "pop" effect was achieved by recording the snare separately, then placing a speaker on top of the snare drum and a microphone below it, with the original recording played through the speaker and re-recorded.
  9. The recording was included in a 2016 compilation album АНТОЛОГИЯ НАРОДНОЙ МУЗЫКИ: ТУВИНСКАЯ МУЗЫКА / Anthology Of Folk Music: Tuvan Music, which features reissued recordings of Tuvan music performed between 1958 and 1984.
  10. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Policy Of Truth" (as a layer mixed in with the lead melody), "Halo", "Sibeling" (layered quietly as a melodic element), and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  11. Notably, this sound is also utilised for the main choir pad heard throughout all versions of "Sea Of Sin", as well as a chorus pad layered with several of the vocal "ahh" sounds most obviously heard in the outro of "Enjoy The Silence" for use during the chorus sections of "Halo" as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 Delta Machine tour).
  12. Credit to fan Heiko Brune for this discovery.
  13. Fan credit: Richard López.
  14. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Halo", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  15. The sample library or classical release in question that was sampled for the main riff components would have been in circulation by 1989.
  16. Fan credit: Richard López.
  17. Credit to Home user 'Alex' for this discovery.
  18. 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.
  19. 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.
  20. Notably, this snare fill is also used in the "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth", as well as the live arrangement of "Policy Of Truth" as it was performed on the World Violation tour.
  21. Notably, this sample is also performed during the third verse section of "World In My Eyes" as it was performed on the Devotional tour. It is also used as a layer of the six note melody performed sporadically throughout the instrumental outro of "Personal Jesus" in all live concert performances since its live debut.
  22. Previously unreleased, recorded for the BBC on 13 February 1967.
  23. The recording sampled by Depeche Mode for "Dangerous" is occasionally listed on streaming services as "Foxy Lady (alternate take, BBC Sessions)").
  24. Other notable uses of these vocal elements include the choir stabs audible during the first chorus of "Halo", a quietly-mixed melody in the outro of "World In My Eyes", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  25. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Policy Of Truth" (as a layer mixed in with the lead melody), "Halo", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  26. Recorded in 1972 by David Lewiston and the monks of the monastery of Gyütö, Tibet at Gyütö Tantric College, Dalhousie, Himachal Pradesh. Both sides of this LP were reissued in 1988 as a single track on David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa / Mahakala.
  27. Credit to 'Fatherless Child' for this discovery.
  28. Recorded in 1972 by David Lewiston and the monks of the monastery of Gyütö, Tibet at Gyütö Tantric College, Dalhousie, Himachal Pradesh. Both sides of this LP were reissued in 1988 as a single track on David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa / Mahakala.
  29. Credit to 'Fatherless Child' for this discovery.
  30. Recorded in 1972 by David Lewiston and the monks of the monastery of Gyütö, Tibet at Gyütö Tantric College, Dalhousie, Himachal Pradesh. Both sides of this LP were reissued in 1988 as a single track on David Lewiston - Tibetan Buddhism - Tantras Of Gyütö: Sangwa Düpa / Mahakala.
  31. Credit to 'Fatherless Child' for this discovery.
  32. Notably, this sound is also played live during the chorus sections of "Enjoy The Silence" as it has been performed on all live arrangements since its live debut (as well as the intro of its World Violation tour arrangement). This sound is also layered with several of the vocal "ahh" sounds most famously used during the outro of "Enjoy The Silence" for use during the chorus sections of "Halo" as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 Delta Machine tour).
  33. Due to a transpositional error during publishing, as of February 2023, "Hard Damage" is currently mislabeled as the preceding album song "Prop" in some digital releases of Breakmania 2.
  34. Credit to 'garx' for this discovery.
  35. Due to a transpositional error during publishing, as of February 2023, "Hard Damage" is currently mislabeled as the preceding album song "Prop" in some digital releases of Breakmania 2.
  36. Credit to 'garx' for this discovery.
  37. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Policy Of Truth" (as a layer mixed in with the lead melody), "Halo", "Sibeling" (layered quietly as a melodic element), and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  38. Excerpts from Thy Kingdom Come... Thy Will Be Done would later see use in several Recoil songs, including "Faith Healer" and its remixes, the "Poison Dub" remix of "Drifting", and "5,000 Years".
  39. Fan credit: Richard López.
  40. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Policy Of Truth" (as a layer mixed in with the lead melody), "Halo", "Sibeling" (layered quietly as a melodic element), and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  41. Likely recorded between 1966 and 1989
  42. Credit to fan Heiko Brune for this discovery.
  43. Credit to Christopher Baird for this discovery.
  44. Credit to fan Heiko Brune for this discovery.
  45. Credit to Christopher Baird for this discovery.
  46. Originally available on reel-to-reel tape, 1979.
  47. Other songs to feature these vocal elements include "Memphisto", "World In My Eyes", "Halo", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
  48. Credit to Home user 'Alex' for this discovery.
  49. 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.
  50. 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.
  51. Fan credit: Richard López.

References

  1. 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 Wilder, Alan. "Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR". recoil.co.uk. https://web.archive.org/web/20181128152225/http://oldsite.recoil.co.uk/forum/qa/dmviol.htm. Archived 28 November 2018, p. 1.
  2. Source: SHUNT : ARCHIVES : REPORT : EDITORIAL : VIOLATOR
  3. May, Kevin, and David McElroy. Halo: The Story Behind Depeche Mode's Classic Album Violator. Grosvenor House Publishing, 2022, p. 112.
  4. Daley, Dan. "Classic Tracks: Fine Young Cannibals' 'She Drives Me Crazy'." Mix Online, 1 March 2001. https://www.mixonline.com/recording/classic-tracks-fine-young-cannibals-she-drives-me-crazy-375247.
  5. Gray, Steve and Chi Ming Lai. "ALAN WILDER Interview." electricityclub.co.uk. 27 July 2011. http://www.electricityclub.co.uk/the-alan-wilder-interview/
  6. Wilder, Alan. "Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR". recoil.co.uk. https://web.archive.org/web/20170906204256/http://oldsite.recoil.co.uk/forum/qa/dviol2.htm. Archived 6 September 2017, p. 2.
  7. Source: Recoil - Jezebel (Seductress Mix) by Ehron VonAllen with collaboration details 1080p HD - Ehron VonAllen
  8. "FLOOD about the making of Enjoy the Silence @ Short Circuit Presents Mute festival" - youtube.com - Video uploaded by YouTube user "Blank" on 29 May 2011
  9. "Flood talks about Enjoy the Silence (Soundedit 2011)" - youtube.com - Video uploaded by YouTube user "de-mo ralizacja" on 11 November 2014
  10. 10.0 10.1 Wilder, Alan. "Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR". recoil.co.uk. https://web.archive.org/web/20181128152225/http://oldsite.recoil.co.uk/forum/qa/dmviol.htm. Archived 28 November 2018, p. 1.
  11. Source: 2016-01-25 The RobCast 2016-01-25 Martin Gore interview
  12. Source: Shunt Q&A: ARCHIVES : DEPECHE MODE : MUSIC FOR THE MASSES
  13. Kevin May, David McElroy. Halo: The Story Behind Depeche Mode's Classic Album Violator. (Grosvenor House Publishing, 2022) p. 112
  14. Source: 'BRATMix' Home forum post
  15. 15.0 15.1 "Record Details" - 45cat.com. 45cat.