List of Recoil sample sources by album/Liquid

From DM Live - the Depeche Mode live encyclopedia for the masses
Jump to navigationJump to search
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. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of sampling technology within a traditional pop music format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.

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 utilised by Alan Wilder in the production of the 2000 Recoil album Liquid.

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 across the world. This article serves to provide 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 the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.

This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, 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 having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.

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

Liquid (2000)

"Black Box (Pt. 1)"

"Black Box (Pt. 1)" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Dissonant choir Terry Edwards, London Sinfonietta Voices - "Magány" - 11 December, 1996
Likely
A dissonant choir sample derived from the final moments of Terry Edwards's "Magány" as performed by the London Sinfonietta Voices is likely utilised throughout "Black Box (Pt. 1)".
Saxophone Joe Maneri - "Gardenias For Gardenis" - 25 May 1998
Confirmed
A manipulated section of audio derived from "Gardenias For Gardenis" by Joe Maneri is utilised in the outro of "Black Box (Pt. 1)".
Orchestral strings Symphony No. 3 (Górecki) - 1992
Unconfirmed
N/A Plastikman - "Consumed" - 1998
Unknown

"Want"

"Want" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Orchestral brass stab Gustav Holst, CSR Symphony Orchestra, Bratislava, Viktor Simcisko, Adrian Leaper - Holst: The Planets & Suite de Ballet, Op. 10 - I. Mars, the Bringer of War - 15 December 1989 (recorded 26-30 November 1988)
Confirmed
A dramatic orchestral brass stab audible in the final moments of "Want" is derived from a 1988 performance of the first movement of Gustav Holst's seven-movement orchestral suite The Planets, Op. 32 by the CSR Symphony Orchestra with Viktor Simcisko.
Drum, bass guitar, guitar elements Kevin Ayers - Whatevershebringswesing - "There is Loving/Among Us/There is Loving" - 1972
Confirmed
A reversed sample featuring guitar, bass, and drum elements utilised throughout "Want" is derived from "There is Loving/Among Us/There is Loving", the opening song on Kevin Ayers's 1972 solo album Whatevershebringswesing.
Guitar elements Alice In Chains - Facelift - "Sea of Sorrow" - 1990 (recorded December 1989 – April 1990)
Confirmed
A reversed sample featuring guitar, bass, and drum elements derived from the opening moments of Alice In Chain's 1990 single "Sea of Sorrow" is utilised mid-way through "Want".
Vocal element Polestar Magnetics - X-Static Goldmine - Track 60 "Star-Trekking" > "7. To Shape D Future" - 1992
Confirmed
A manipulated vocal derived from "To Shape D Future", a sample featured on track 60 of the 1992 Polestar Magnetics sample CD X-Static Goldmine is utilised in the intro of the live arrangement of "Want" as it was performed on Recoil's 2010-2011 Selected Events tour.
Drum loop PJ Harvey - "Is This Desire?" - 1998
Likely

"Jezebel"

"Jezebel" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Vocals Golden Gate Quartet - "Jezebel" - 1941
Official
The lead vocal audible throughout Recoil's "Jezebel" is officially confirmed by Alan Wilder as a manipulated long-form sample of a 1941 recording of "Jezebel" by the Golden Gate Quartet.
Scratch effect Arrested Development - 3 Years, 5 Months and 2 Days in the Life Of... - "Man's Final Frontier" - 24 March 1992[1]
Confirmed
A percussive scratch effect derived from the intro of "Man's Final Frontier" by Arrested Development is utilised sporadically throughout "Jezebel". The sampled scratch as heard on "Man's Final Frontier" is partly comprised of a brass element, itself a sample taken from the intro of Enoch Light's 1959 "Perhaps, Perhaps, Perhaps".

Click to display/hide audio example

Guitar elements Ry Cooder - Music by Ry Cooder - "Feelin' Bad Blues" - 1995
Confirmed
A sample of audio featuring guitar elements derived from "Feelin' Bad Blues" as featured on the 1995 film soundtrack compilation album Music by Ry Cooder is utilised throughout "Jezebel". Notably, a separate sound derived from "Feelin' Bad Blues" saw use on "Last Breath" as featured on the 1997 Recoil album Unsound Methods.

Click to display/hide audio example

Dialogue, vocal elements William M. Branham - "Jezebel Religion" sermon - Middletown, OH 19 March 1961
Confirmed
A series of edited excerpts from American Christian minister William M. Branham's "Jezebel Religion" sermon delivered in Middletown, Ohio on 19 March 1961 are utilised in the intro of the 2010-2011 Selected Events tour live medley of Recoil's "Jezebel" and Depeche Mode's "Walking In My Shoes". The sampled phrases are as follows:

[...] Jezebel, she calls herself a "prophetess," [...] and she says that she is "the only voice of God on the earth." [...] Jezebel took everything! [She] took everything! She wiped it all up, and she'll do it again!

Click to display/hide audio example

Dissonant choir Terry Edwards, London Sinfonietta Voices - "Magány" - 11 December 1996
Likely
A dissonant choir sample derived from the final moments of Terry Edwards's "Magány" as performed by the London Sinfonietta Voices is likely utilised throughout "Jezebel".

"Breath Control"

"Breath Control" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Ambient pads Peter Gabriel - Passion - "Sandstorm" - 1989
Confirmed
A reversed, manipulated section of audio featuring ambient pads derived from "Sandstorm" by Peter Gabriel is utilised throughout and features prominently in the outro of "Breath Control".
Ambient pad Massive Attack - Mezzanine - "Group Four (Mad Professor Remix)" - 20 April 1998
Confirmed
A section of audio derived from "Group Four (Mad Professor Remix)" by Massive Attack is utilised throughout "Breath Control".

"Last Call for Liquid Courage"

"Last Call for Liquid Courage" - Recoil
2000
Self-made samples
Sample Notes Audio
Tambourine loop A tambourine loop is utilised throughout "Last Call for Liquid Courage". Notably, this tambourine loop is also used starting from the middle eight section of the Exotic tour version of "I Want You Now".

Sourced samples
Sample Source Status Notes Audio
Brass, orchestral strings Eartha Kitt - "Lovin' Spree" - 1957
Confirmed
A section of audio derived from "Lovin' Spree" by Eartha Kitt is utilised throughout "Last Call for Liquid Courage".
Orchestral strings Eartha Kitt - "Oh, John!" - 1955
Confirmed
A section of audio derived from "Oh, John!" by Eartha Kitt is utilised throughout "Last Call for Liquid Courage".

"Strange Hours"

"Strange Hours" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Orchestral strings Bessie Smith - "Them's Graveyard Words" - 3 March, 1927
Confirmed
A manipulated sample of orchestral strings derived from the opening moments of "Them's Graveyard Words" by Bessie Smith is utilised throughout "Strange Hours".
Bass and guitar elements Tortoise - Millions Now Living Will Never Die - "Goriri" - 30 January 1996 (recorded June–September 1995)
Confirmed
A manipulated section of audio featuring bass and guitar elements derived from the outro of "Goriri" by Tortoise is utilised throughout "Strange Hours".
Electronic drums, ambience Cabaret Voltaire - "Taxi Music" - 1980
Confirmed
A section of audio derived from "Taxi Music" by Cabaret Voltaire is utilised throughout "Strange Hours".
Guitar, drums, multiple elements Earl King - "Darling Honey Angel Child" - 1960
Confirmed
A section of audio derived from "Darling Honey Angel Child" by Earl King is utilised in the intro of "Strange Hours".

"Vertigen"

"Vertigen" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Arabic singing with orchestral instrumentation Eric Martinez, Pascal Morel - Earth: Travels & Documentaries - "Mirage" - 1995
Likely
A section of audio featuring Arabic vocal stylings and orchestral instrumentation derived from "Mirage", a piece of production music featured on the 1995 Universal Production Music CD Earth: Travels & Documentaries, is likely utilised throughout "Vertigen".
Dissonant choir György LigetiLux Aeterna
Likely
A series of dissonant, sustained choir chants derived from György Ligeti's Lux Aeterna is likely utilised throughout "Vertigen".
Throat singing Dmitry Damba-Darzhaa - "Край Артыы сайыр / Artyy Sayir Area" - 1969 or earlier
Likely
A sampled Tuvan throat singing recording derived from a 1969 or earlier performance of "Край Артыы сайыр" ("Artyy Sayir Area") by Dmitry Damba-Darzhaa is likely utilised throughout "Vertigen". Notably, this throat singing performance was previously utilised by Depeche Mode during Wilder's tenure in the group for "Waiting For The Night" on 1990's Violator.
Synthesizer arpeggio Tangerine Dream - "Rubycon, Part One" - 1975
Likely
"Vertigen" likely employs a manipulated sample of a synth arpeggio derived from Tangerine Dream's "Rubycon, Part One". This sample would later see use on Recoil's "Allelujah".

"Supreme"

"Supreme" - Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Orchestral strings Henryk Górecki, London Sinfonietta - Górecki – Kleines Requiem Für Eine Polka / Harpsichord Concerto / Good Night: III Lento - Largo: Dolcissimo - Cantabillissimo - 13 June, 1995 (recorded 1990)
Likely
An orchestral strings sample derived from the opening moments of "Good Night: III. Lento - largo: dolcissimo - cantabilissimo" by Henryk Górecki is likely utilised throughout "Supreme".

"Chrome"

- Recoil
2000

Sourced samples
Sample Source Status Notes Audio
Breathing, ambience John Cage, Theatre Of Voices, Paul Hillier, Terry Riley - Litany For The Whale - "Song Books, Volumes I: Solo for Voice 22 (Two Voices and Electronics)" - 1998
Confirmed
A section of audio derived from "Song Books, Volumes I: Solo for Voice 22 (Two Voices and Electronics)" by John Cage with Paul Hillier, Terry Riley and the Theatre Of Voices is utilised throughout "Chrome".

B-sides, bonus tracks and remixes

"Electro Blues for Bukka White (2000 Mix)"

"Electro Blues for Bukka White (2000 Mix)" - Recoil
1992
Self-made samples
Sample Notes
Bass sequence Musician Ehron VonAllen confirmed in a YouTube analysis of his remix collaboration with Alan Wilder that the latter employed a bass sequence originally recorded for use with "Waiting For The Night" in "Electro Blues For Bukka White".[2]

Sourced samples
Sample Source Status Notes
Bukka White vocal performance Bukka White - The Sonet Blues Story - "Shake 'Em On Down" - 1963
Confirmed
The sung vocals audible throughout "Electro Blues For Bukka White" are derived and manipulated from a 1963 recording of "Shake 'Em On Down" by American delta blues musician Bukka White.
Bukka White spoken phrases Bukka White - The Sonet Blues Story - "Remembrance Of Charlie Patton" - 1963
Confirmed
The various vocal phrases present throughout "Electro Blues For Bukka White" are derived and manipulated from a 1963 recording of "Remembrance Of Charlie Patton" by American delta blues musician Bukka White.
Filtered synth percussion The Human League - "Being Boiled" - 1980
Confirmed
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.
Ambient pad Peter Gabriel - Birdy - "Slow Water" - 18 March 1985
Confirmed
A section of audio derived from "Slow Water" by Peter Gabriel is utilised throughout the "2000 Mix" of "Electro Blues for Bukka White".

Notes

References