Although I absolutely adore Depeche Mode, I didn’t really pay attention to the release of second single – Going Bacwards – from the latest platter, because I didn’t think it was anything special. Good, but not brilliant,
And then a few minutes ago I watched the video and noticed that they had considerably beefed up the song. It’s made all the difference! I think this version is very powerful.
Very interesting video too showing various things going backwards. If only Legs & Co were still around – their TOTP dance would surely have been them…dancing backwards! One of them would be dressed as Charlie Chaplin or someone trying to dance with one of the ladies….but they’re all going backwards! Cue quizzical but defeated shrug to camera at the end.
Anyway, the song has gone up considerably in my estimation. They open their recent shows with this so they obviously rate it. I am now converted to its triffic-ness.
Are there other ho-hum album tracks that became much better after being led into the spotlight?
Harold Holt says
I’m pretty sure familiarity changes my perceptions, but it’s pretty rare that I’ve known something on an album before it became a single. On the couple of occasions I’ve noticed it, I did come to like them more. Maybe it’s a herd instinct.
deramdaze says
The progress of time grants greater merit to the single.
Right now, a thousand Gold Radio hosts are confronted with the dilemmas of “Times They-Are A Changin'”/”Only A Pawn In Their Game,” “The Last Time”/”She Said Yeah” and “You Really Got Me”/”I Need You.”
Only they’re not dilemmas as they will ALL play the former in each case.
If just one of them did the opposite, music radio might be worth listening to.
deramdaze says
Now I come to think of it, whereas this was understandable in the 1970s and 1980s when 45s would still have been physically played by the DJ, the 100 plays of “Mr. Tambourine Man” to every 1 play of anything-else-by-The Byrds is even more unforgivable now.
Do they hate pop music that much? Are they that uninquisitive of anything else The Byrds (“Mr. Tambourine Man”), Van Morrison (“Brown Eyed Girl”), Julie Driscoll (“This Wheel’s On Fire”), Buffalo Springfield (“For What It’s Worth”) etc. have done?
Mike_H says
Mainstream radio DJs rarely have anything to do with the music at all these days.
The programme is just another timeslot to be filled, the DJs are “personalities”, e.g. just fillers of what would otherwise be dead air (hopefully in a way that keeps people listening and thus keeps the listener figures good) and a set of algorithms chooses the music the demographic are thought to favour.
This is especially so of group-owned commercial regional stations, which often play the exact same programme of records in the same sequence with timed gaps for different station DJs to “ad-lib” against the clock.
Sewer Robot says
The clue is in the name tho’ innit? “Gold” means rotating through maybe five or six Kinks songs ad nauseum. B sides? Gems from the albums? Really deep cuts? No chance.
There are Djs around who do provide that service – there was a very good soul programme over here for a few years. I say was – those kind of guys are a dying breed on big radio..
deramdaze says
If they ever existed at all, why are they a dying breed?
The amount of material that now exists on, say, the Kinks (actually, insert any act “here”), and, if we turned the radio dial for the next year, it’s unlikely we’d get up to 20 different songs. Bizarre.
I have more songs by the Kinks than the whole of British radio x 10!
It has always been like that. Why? Never understood it and never will.
Is the lure to be a DJ really so great that you have no say in anything and have to play shite at all times?
Why be one? It surely can’t be the money, and if everybody thinks you’re a k**b … ? Can’t really see the appeal.
Sewer Robot says
The one that immediately springs to mind is A Girl Like You by Edwyn Collins. EC is a curious case, in that he veers from writing clever and funny lyrics:
I’ve burned every bridge that spans the water just for you
Now I’ll never reach the other side – what am I to do?
Brunel’s phoned my lawyer he’s threatening to sue..
to relentless, almost perverse fondness for cliche
He turned his back and ran
And now people say “that’s the measure of that man”
He said “catch me if you can”
And now people say….
so the first few times I played his Gorgeous George album there were a few songs that stood out, but AGLY just seemed really lazy filler. But when it was sent out into the world at large the simple line/guitar response, the clop clop clop rhythm and the piano that lets it swing a bit all came to the fore. It helped that it sounded fresher than most things on the radio at the time, just by being somewhat anachronistic.
It’s still a long way down my list of Edwyn favourites, but at least now I “get it”.
Oh – and, conversely, there have been times when I’ve really dug a song on an album in a “that would be a good single” way, then the song was subsequently released on 7 inch and, in the harsh light of the chart ecosystem, it revealed itself as being much happier snuggled up in the grooves of the Lp.
Black Celebration says
I remember being underwhelmed by A Girl Like You – and feeling a bit sorry for him. I was amazed that it became such a monster hit. Then I heard it really loud somewhere and it made sense.
napaj says
Black Celebration
I agree it actually sounds a bit more like the Depeche Mode I (used to) like, but I’m afraid what you posted is not an official mix or an official video.
As of today, DM have “released” the album version + the Highline Sessions version as a ‘single’ which is kind of like a studio live version.
There’s also a horrendous “radio edit” going around that, believe it or not, completely takes out the second verse.
From all the evidence I see of DM in recent years, they simply don’t really care all that much any more. Well, apart from raking it in by playing stadiums with an arena-sized show. One that features Dave gurning and doing a chicken dance and him also using a t-shirt gun, David Brent style.
Very sadly.
Black Celebration says
@napaj (heyyy this going backwards thing is really catching on…)
I assumed that the video was an official one but I should have done my research – thanks for putting me right. It’s still a really good remix though – far better than the version on Spirit.
napaj says
Yes, I quite like it too. 🙂
It sounds more DMish, something DM themselves seem to want to avoid.
Whether that is intentional, or rather just that Martin simply cannot write songs like he used to (I think that is it)….
I actually think Going Backwards is the best song on Spirit, which to me is just…bland. Production wise better than the Hillier trilogy, but seriously missing songs and melodies.
Makes me sad what they have become. Comparing the last few albums with their BC – Ultra output, it’s borderline distressing!!
Black Celebration says
Overall I agree but there are nuggets like Cover Me, Ghost, Wrong, The Sinner in Me, Lilian, Precious, Sweetest Condition that keep me coming back
Ralph says
Along with The Pet Shop Boys one of the few bands left that actually release physical single.
I think though a song can often benefit from being singled out from an album and getting stand alone focus. I find IPod shuffle will often do the same thing with tracks which I’ve not really appreciated in listening to the whole album
The Good Doctor says
I can’t remember the last time I bought a CD single but yes Depeche still put them out, and New Order released 4 singles from their last album with endless remixes. I guess it’s only these kind of bands who have a huge fanbase that can get away with pressing CD singles up with a bunch of remixes on – if I’m being cynical it’s an easy way to generate a bit of revenue – but I think with bands like DM and New Order it’s sort of expected of them by their fans (I have to say as much as I’m a fan of New Order the last single of theirs I bought was way back in the 1990s!)
Pessoa says
Wasn’t a classic case of this Simon & Garfunkel’s ‘Sound of Silence’? An acoustic album track beefed up by producer Tom Wilson for the folk rock single.
Black Type says
Two examples of the reverse scenario: The Smiths’ The Boy With The Thorn In His Side had a grittier, punchy production when released as a single a year before it was prettified and given a softer sheen on TQID; and the single version of Prince’s The Most Beautiful Girl In The World is straightforwardly gorgeous, and then he just about ruined it with the addition of gratuitous and very literal sound effects on the album cut.
slotbadger says
Oh I never realised there were two mixes! Cheers for the tip, will check it out to compare – assume the single version would be the one on The World Won’t Listen?
Black Type says
Hmmm, not sure. I just bought the original single on release.
Sewer Robot says
The version on TWWL is the single (+ SFX and minus Stephen Street smooveness). The version of Stretch Out And Wait is different to the b side of Shakespeare’s Sister..
dai says
No
moseleymoles says
Yes. It’s all about context. Listen to The Man Machine I put it to you that The Model is very much just an album track with standout tracks being (for me) The Robots, the epic melancholia of Neon Lights and the title track. Release it into the wild, even as a b-side, and the rest is history……
Deviant808 says
For me, it’s one of those Simple Pleasures to hear an album and pick out a favourite track, which then gets released as a single.
Happens less these days with the demise of the single, but I’ve done it once so far this year with this track that stood out on the album
(“Why Are You So Boring?” – Desperate Journalist)
The Good Doctor says
DJ are ace, really exciting live band – they really go for it.
Tiggerlion says
On The Beach Boys Today, Help Me Rhonda is a jaunty little tune sung by Brian that fills out side one, the longest track on the album. Cut out the ukelele, the harmonica and the tambourine. Add a dynamic bassline to whip up the pace and an ‘h’ to Rhonda, tighten up the harmonies and hand over the lead vocal to the unassuming Al Jardine. VoilĂ ! you have a great single for the radio and the dancefloor. Much better.
Neela says
Cotton Fields was also given two versions by the very same band. I prefer the album version on 20/20.
Neela says
In the case of DM it’s possible, since they remix a lot of their stuff for the single release. I had only heard the remixed versions on the Singles 86-98 of Personal Jesus, Strangelove and the rest. Quite surprised by the difference when I later bought Music For The Masses and Violator.
And on the album version of Barrel Of A Gun the chorus doesn’t appear until well into the song. Same with Dream On, I think.
Black Celebration says
Yes, the single versions are often better. Strangelove on the album is a bit of a plodder but the single version is exciting and immediate.