The ones that nearly got away: Depeche Mode, Singles 81 > 85
Youth can be such a humorless time.
The only reason this compilation of early Depeche Mode singles slipped my grasp was because I found them too bright and airy.
For the longest time, Depeche Mode were my brother’s band, so I felt obligated to feel ambivalent toward them, if not downright hostile. My opinion didn’t turn around till Meat Beat Manifesto, Hooverphonic and Rammstein nailed covers of Depeche Mode songs on the tribute album, For the Masses.
Singles 86 > 98 followed soon afterward, and it spurred me to buy Violator and Music for the Masses.
My first stab at exploring Depeche Mode’s early singles was, of course, Catching Up with Depeche Mode. The weak mastering of the CD left me unimpressed, so I decided to wait if a remastered collection similar to Singles 86 > 98 would follow.
It did. I remained unimpressed.
Depeche Mode’s darker sound locked my perception of the band, to which the Vince Clarke-era material failed to conform. The early singles also sounded crude next to the richness of Violator. State of the art for 1980 was no match for state of the art for 1990.
Seventeen years would pass before I would give Depeche Mode’s early work another listen. The same trip to Lifelong AIDS Alliance Thrift Store that netted me True Blue by Madonna also caught me a vinyl copy of Catching Up with Depeche Mode.
I’ve mellowed out considerably since 1998.
I like the sunniness of those early singles now, and listening to them closely, they’re every bit as sophisticated as the later work. Perhaps more so, with synth lines in “Dreaming of Me” and “New Life” calling and answering each other in a post-modern form of counterpoint.
“Everything Counts” and “Shake the Disease” remain my favorite early singles, but “See You” and “Just Can’t Get Enough” join that list.
The second half of Catching Up is the point at which my brother foisted Depeche Mode on me. “Somebody” was pretty cringe-worthy when he overplayed it on the car stereo, and my opinion of the song has only dimmed with time. “Master and Servant” and “Blasphemous Rumors” thankfully wash out all that treacle.
Rather than remaster Catching Up with Depeche Mode for a CD reissue, the band’s label opted to give the UK-only Single 81 > 85 a proper US release. The result meant the loss of “Fly on the Windscreen”, which I prefer over “It’s Called a Heart”. (So too did the band.)
The remastering on Singles 81 > 85 do the songs justice, so skip Catching Up on CD and find it on vinyl instead.