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Tag: songwriting

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the end of Depeche Mode Dave Gahan shocks a French Journalist with an exclusive

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Dave Gahan annonce la fin de Depeche Mode - Le Grand Journal du 03/11
 

Depeche Mode has sold more than 100 million records during a career that’s not had a lull over the course of three decades. Arguably the most popular and successful electronic band of all time, they still release albums that debut in the top 10 and continue to draw arena-sized crowds. Their influence can be heard in house, techno, industrial,

mainstream journalists and their stupid cliché questions, it’s a recurring problem for every musician.

Dave shocked a Journalist TV station Canal+by exclusively announcing the end of the band on the talk show Le Grand Journal  what do you think of your new album, is this the final release of your band, etc..

Dave Gahan decided to play ‘cavalier soul’ announcing the end of Depeche Mode. The ‘journalist Journal. Talking of a (non) exclusive! For a few seconds her face was set on disbelief until ...

You can watch the ‘interview’ fragment below.

But first the before (when Dave says he has an exclusive), during (when he announces the end of Depeche Mode)

In related Depeche Mode news,

  Depeche Mode /dɨˌpɛʃˈmd/ are an English electronic band formed in 1980 in Basildon, Essex. The group's original line-up consisted of Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (keyboards, guitar, vocals, chief songwriter after 1981), Andy Fletcher (keyboards), and Vince Clarke(keyboards, chief songwriter from 1980 until 1981). Depeche Mode released their debut record in 1981, Speak & Spell, bringing the band onto the British new wave scene. Clarke left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next thirteen years. The band's last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force on the mainstream electronic music scene. A highlight of this era was the band's concert at the Pasadena Rose Bowl, where they drew a crowd in excess of 60,000 people. In the new decade, Depeche Mode released Violator, a mainstream success. The subsequent album, Songs of Faith and Devotion, and the supporting Devotional Tour exacerbated tensions within the band to the point where Alan Wilder quit in 1995, leading to intense media and fan speculation that the band would split. Now a trio once again, the band released Ultra in 1997, recorded at the height of Gahan's near-fatal drug abuse, Gore's alcoholism and seizures and Fletcher's depression. The release of Exciter confirmed Depeche Mode's willingness to remain together, the subsequent, and very successful, Exciter Tour being their first tour in support of an original album in eight years since the Devotional Tour, although the band had toured in 1998 to support The Singles 86–98 compilation album. Depeche Mode have had fifty songs in the UK Singles Chart and thirteen top 10 albums in the UK charts, two of which debuted at No. 1. Depeche Mode have sold over 100 million records worldwide,[1] making them one of the most commercially successful electronic bands and one of the world's best-selling bands.[2] Qmagazine calls Depeche Mode "the most popular electronic band the world has ever known"[3] and included the band in the list of the "50 Bands That Changed the World!".[4] Depeche Mode also rank number 98 on VH1's "100 Greatest Artists Of All Time    
 

The Ramones Said ‘Adios’ With A Whimper, But At Least They Didn’t Embarrass Themselves

Ramones_-_Adios_Amigos_cover

Album Cover

The Ramones of the ’70s are iconic. They were at the vanguard of punk, and arguably pop punk, and created songs that are still considered classics of the genre today. You go to a sporting event, you hear “Blitzkrieg Bop.” Their look was easily recognizable, and influential. They appeared in Rock ‘N’ Roll High School. Then came 1980’s End of the Century which was, in its own way, the end of an era for the band. By 1995, when they released their final studio album Adios Amigos!, they were no longer part of the zeitgeist. They were an afterthought, and they weren’t even the same band. The change from Tommy to Marky on the drums had happened a while back, with a brief stay from Richie in there as well, and, in truth, changing the drummer isn’t really going to rile up many people. However, by the time of Adios Amigos!, Dee Dee was also all but gone, although his presence is still felt on the album, as he is credited as the writer on many of the songs, including a handful from other projects of his. He had been replaced with C.J. Ramone, who was given a lot of credit by his bandmates for bringing some much-needed youthful energy to the band. C.J. could only do so much, though. This was a band that had been releasing music for 20 years. Nobody could blame them for being burnt out. Adios Amigos! begins with the iconic “1, 2, 3, 4!” count off that was synonymous with the band, but after that it feels decidedly like warmed-over Ramones. Now, this could be where one would break out the old chestnut about how even bad pizza is pretty good, and how the same can be said for the Ramones. The Ramones were still making the music they’ve made for years. Charging guitars. Simple drumbeats. Although, they do slow it down a bit more than they did in the past, in part to ease the strain on Joey’s vocals. He gets to croon a bit, and he’s not half-bad at it. The album is hit-or-miss. In addition to the songs from Dee Dee, there is a cover of Tom Waits’ “I Don’t Want to Grow Up” and Johnny Thunders’ “I Love You.” They are both fine. “Fine” is about the highest level this album achieves. “Life’s a Gas” is pretty good, but also goes on a bit too long. In the end, the songs that Joey sings on are reminiscent of the glory days of the Ramones. The issue is that on four of the tracks, C.J. takes the lead vocals. One of the song, “Scattergun,” is OK, but the others are abysmal. Of course, one of those songs is “The Crusher” from Dee Dee’s brief time as a rapper, so C.J. can’t take all of the blame. Nevertheless, it’s one of the worst things ever recorded for posterity. Dee Dee’s impact on the album is felt in his songwriting, but his only tangible appearance is on the final song “Born to Die in Berlin,” wherein he (literally) phones it in from Germany. None of the original Ramones (Joey, Johnny, Dee Dee, and Tommy) would die in Berlin, but they have all now passed away. Three of them have been dead for over a decade now. However, those Ramones weren’t the Ramones by the time the band was winding it all down. Adios Amigos! isn’t a stain on their legacy by any means. It has its moments, and it sounds like the Ramones, which has merit. Based on their album title, obviously, they knew this was the end. They didn’t go down in a blaze of glory, but at least they said goodbye without embarrassing themselves.
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