Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:06] Speaker B: Welcome to disability empowerment now season four bonus episode. Who knows anymore. I'm your host Keith Murphy Dickinsini with my co host and fairydale friend Elena Mallet. And we are again unpacking our deep love for all things the patch mode on our second miniseries aptly titled the Patch Love and devotion. Elena, welcome back to the show.
[00:00:51] Speaker A: A pleasure as always. I'm sure our fans are just loving this endless Depeche Motok.
[00:00:57] Speaker B: What we give judge something to do.
[00:01:03] Speaker A: We know. Oh my God, you and your puns.
How do you do it?
[00:01:10] Speaker B: How they have to apologize to my producer. I don't know how he's going to normalize that.
No, I love them.
[00:01:25] Speaker A: Keep them coming.
[00:01:26] Speaker B: That was actually very organic and unlike all of the other ones I did that was not planned. It is literally something we're doing on the alt season.
But we were talking before we jumped in to the recording how hard narrowing this list down to all of their albums because this is a over 30 plus year band, 15 albums in dozens of remixes, compilation albums. And as we've talked about before, as Martin Gore himself had said, I write about three things, relationships, faith and politics.
And I mean when you really think about it in life, what else is there?
So tell me how it was for you building this gigantic Spotify playlist that we're gonna tackle.
[00:03:12] Speaker A: Yeah, so first off, I'm just jealous of your puns by the way and that you can even think of. I, that's. Let's just revisit that. I'm just jealous because I can't think of them let alone like do them on the fly like you just did.
Secondly, this, this list was harder I think than, than going down the religious songs and I've avoided it for weeks. Right. Like we've had a break and go how about.
Yeah. And I, I finally got the list done last night mostly because I know their whole catalog, their 44 year catalogs like seared into my brain and I, I think it was hard because when it comes to them singing about love and devotion and devotion we more mean can be religious but also more like to a person. You know in this part, in this part of the series we're kind of leaving out the religion going more for like so there will be some repeat songs because some of the religious songs can also be about a person and just a loving relationship, a romantic relationship. And I think what makes it tough is there's songs like I left out that we just talked about. I was debating on Fools which is off the construction time fun song and kind of depressing at the same time. If people listen to. It sounds like you're at a circus. It's kind of exciting and disco y. And then all of a sudden you really realize the lyrics. And it's about a guy thinking his wife stepping out or girls stepping out. And he says, answer the phone and just tell me that you're home.
And how do you.
I didn't really feel like that was love because that more sounds like kind of can't even say heartbreak right. We're not even sure what the context of the relationship is. While that does cause heartbreak, that can also be. Jealousy can be kind of an assumption that she's stepping out and maybe she's not.
And there's this kind of.
I really think these songs were harder to choose because then there's a song that we'll get to later. Come back.
Just a plea for a romance to come back to their life, you know, a person they miss. And for me it was like, where do we draw the line? Right on. Like Love vs.
Depeche Men has a habit of sometimes talking about obsession, jealousy, you know, anger and all the things that come with relationships and liking women.
And so I think that's what made this list tough was when.
So that's why I found it tough.
[00:05:46] Speaker B: So Construction Time again, it's their third album and it's the album which Alan Wild eventually joined the band and played on.
And the album itself is their reemergence.
And they're drifting away from the electro pop that their first two albums, they don't quite shake it in Construction Time, they do with their follow some great reward. And they definitely do on Black Celebration and Onwards.
But the only other. The only song we're really talking about.
[00:06:59] Speaker A: On.
[00:07:02] Speaker B: Construction Time again, it's Lied To Me and so why don't you take that one?
[00:07:15] Speaker A: First off, love. Dave's baritone voice on this one.
He really goes deep with his voice in the chorus or I mean, in the verse.
Lie To Me is interesting because again, this was a teetering one versus, like obsession. And it. It is what it's titled. I mean, he sings a song about he'd rather her lay with. As Martin chants at. You know, the chorus. Lay with me, Lie to me and love me.
I love Mark. This is also an album where they really start to show the duel of the two of their voices.
[00:07:57] Speaker B: Hold on.
We're actually in some great reward.
[00:08:03] Speaker A: Oh, just. Did we not have any from Construction Time?
[00:08:07] Speaker B: Construction Time.
Love in itself.
[00:08:12] Speaker A: Can I pull up the list real quick? So I Can make sure I follow along.
[00:08:16] Speaker B: Yeah, I would.
Trying to do that myself.
[00:08:21] Speaker A: But Lie to Me is number two. No, Lie to Me is number two. So. But yeah, there's only one song. You're right. Lie to Me is. You're. You're right. Some great word. Listen. To your credit, the albums are both blue.
[00:08:33] Speaker B: Yeah. Yeah.
[00:08:34] Speaker A: And when you're. When you're just staring at it, you're like, that's. Oh, yeah. There's one with a guy with a sledgehammer and one with a married couple. Right, okay.
[00:08:42] Speaker B: Yeah, whatever.
[00:08:45] Speaker A: Getting married in a fascist, you know, regime in the background. No big deal. Yeah. So, okay. Sledgehammer man. Construction time. Love in itself is.
Is kind of a. It's an interesting song because they're young, still singing this song. They're under the age of 25, and they're like, it was a time.
Yeah. And then they sing There Once was a time where all. All of my mind was love.
And then they're singing, now I find that love's not enough itself.
I have never fully deeply dissected this song, but if I'm really thinking about it now and being forced to, I really think that he's singing. He wants more. He wants, you know, a spiritual connection, wants an intellectual connection, wants the lust connection.
I think there's kind of this thought that it's not just enough to love somebody, you know, I mean, again, this is where the passion gets a little weird and dark. Even. I. I think that point of, like, wanting obsession is what they're talking about, is that it's not enough to love them. You kind of need to worship them. And I could be wrong with my interpretation, but the song is really seedy sounding, you know what I mean? Like, and this is a banger on this album for anybody listening or actually caring about this podcast and Depeche Mode.
[00:10:06] Speaker B: Wild.
[00:10:08] Speaker A: No, I'm kidding. I just mean Depeche Mode's a wild trip.
Love in itself is this banger that opens up the album crashing in. It's, I think, the only album that does this almost every. Right. Every album starts out with a slow crawl. And this one is like, you know, it's like the.
It slams with those synths and I friggin love it.
And I think that there's something about how kind of dark the song sounds the whole time that tells me they want, like, worship. They want, like, borderline sadistic relationship. That love is not enough.
Yeah.
[00:10:48] Speaker B: And you wouldn't think of a dark, brooding, sedentic song by the title itself. Love in itself. And so let's.
Let's fudge forward back to Lie To Me. Because they're very.
They're in the same vein a little.
[00:11:21] Speaker A: It is. Yeah. Lie To Me is really about. Again, I like you so much that I don't care if you're not telling me the truth.
Just. Just pretend you love me. You don't need to be honest if you love me, just at least pretend you love me. Lay with me and lie to me about it. Because I like you. So I want you to lay with me.
[00:11:40] Speaker B: Yeah.
[00:11:40] Speaker A: And that's a really fascinating concept to be so obsessed with this person that you wouldn't even care if they weren't really in love with you.
[00:11:51] Speaker B: Yeah.
Yeah.
And so.
But.
It really doesn't matter.
[00:12:05] Speaker A: Are we going down this. Are we skipping it? We going to your favor?
[00:12:08] Speaker B: We're going down to it doesn't matter. Because really, it doesn't matter.
[00:12:17] Speaker A: Yeah. That's what the song's about.
[00:12:19] Speaker B: Yeah. It takes it away.
[00:12:23] Speaker A: You might need to elaborate on this one more because I personally like. It doesn't matter too. But with It Doesn't Matter on some great reward.
It really is kind of about this fleeting feeling of romance. Or like, as you were saying earlier, maybe unrequited love.
There is a situation at hand between him and the lover that it's not working.
It's like a quick, fleeting thought and it's. Again, they're kind of. This album is kind of seedy, you know, I mean, like, there, it's. It's. It's not a nice love album. This is kind of a bitter, you know, young men singing about kind of being a little feeling. Like, these women are playing us and we don't give a crap. You know, I mean, like, whatever.
[00:13:15] Speaker B: Yeah. I mean, like, there's lines like, I'm just grateful for our friendship.
[00:13:25] Speaker A: Yeah.
[00:13:26] Speaker B: I know you.
You won't be dreaming. I know you're sleeping and you're dreaming, but it's definitely not of me. And I know we will chance, which again, reminds me of unrequited love or a fleeting feeling.
And we don't get to the.
The checking part of the song until the next album. But this is where I take over, because it was when I heard somebody that I creatively fell head over heels for Margin L. Gore.
The lyrics, the.
The depth of the maturity, belonging, the loneliness, the sensitivity, and the gotcha.
At the end of the song, which we'll talk about later. I would just sing that a few times, trying to memorize it, because it also reminded Me of a lyric I could very easily write at any time. There's this envy of him writing it. Him or anyone writing something so personal and yet so damn relatable. I mean, it's like he's burying his soul. And I mean, they did a music video and Alden Wad, who was playing the piano, said that Martin actually sung this song naked.
[00:15:56] Speaker A: Yeah.
[00:15:57] Speaker B: And he just turned the piano around and so he wouldn't have to look at him like it's song. He can do what he wants.
And then you're wondering, why would a guy strip down to his birthday suit and sing a love song?
Well, when you listen to the conventional type lyrics, it becomes very evident very quickly. And you go on this emotional journey with him about what he really wants, what he really desires. Which when you think about it, if we're really being honest with ourselves, it's what everyone wants.
[00:17:05] Speaker A: Yeah.
[00:17:06] Speaker B: In a relationship and particularly in a marriage.
And the fact that at the end of the song, Vincent where the sarcasm comes out very bluntly because she's singing about these very personal, very intimate qualities that he wants in a part that.
And then he said.
And those things like that make.
[00:17:47] Speaker A: Yeah sick.
[00:17:49] Speaker B: Meaning One night stand Tonight I'll get away with it.
And I thought that that would. Such a beautiful homage and painfully ironic ending. And so it was that song, lyrically and musically that really hooked me as a solo songwriter where I would judge completely captivated and in absolute awe of Martin EL Gore as a songwriter and for writing that song when he was so young.
[00:18:52] Speaker A: Yeah.
[00:18:53] Speaker B: I mean it just boggled my mind.
So why don't we go on to the next one and let you have something else to say about that.
[00:19:09] Speaker A: I think if I did would just be dragging it out because you just covered it all. So it's. It is. It's a beautiful song and I think singing it naked shows gives him that vulnerability in his voice, you know?
[00:19:21] Speaker B: Yes. I mean it's like. And I think you would freezing on that day. I may be mis remembering that, but I mean, hats off to you, Margin. So Master and Servant where we can go into the seedy underground horn section debauchery.
But it's also a very beautiful song in itself. And if you listen to judge the music, it previews the type of music they will continue on Black Celebration, which is Judge. I don't know if they planned to do that, but it totally just foreshadowed their.
[00:20:36] Speaker A: I think. I think they don't like.
As they've said, they. They work on every album. Creatively at the time. Right. They're never, like, too intentional beforehand. I think it's just Depeche Mode sings what.
I think they're the ultimate guy band. I mean, I don't. I don't. I think a lot of men who aren't listening to Depeche Mode are missing out. You know what I mean? And a lot of women who want.
[00:21:01] Speaker B: To be turned on and preach. Say that again.
[00:21:04] Speaker A: Yeah. I think all men who aren't listening to Depeche Mode are missing out. And I think that women are missing out on their, like, fantasies, you know, coming to life in a song. I. I think that.
I think that Strange Love is their total intro and, like, daringly stepping the toes in to really what they wanted to sound like. And that's why we're starting with Time was because as. As the band has said, they don't feel like the first two albums were really strongly them. And while Construction Time is far more political.
[00:21:42] Speaker B: Yeah.
[00:21:42] Speaker A: And they said they felt that way at the time. England was going through a lot, you know, so for them, at home was hitting home. But I think some great reward is that. Dabble into the psyche, you know, I mean, and really what men are thinking about.
[00:21:58] Speaker B: And it's about chicks and sex, men young in particular.
Strange Love isn't until Music for the mad kids.
[00:22:12] Speaker A: Oh, yeah, sorry, but, I mean, Master. Yeah, sorry, I put Master and Servant and Strange Love in the same category.
Well, mass. Yeah.
Master and Servant.
Yeah. Sorry about that, folks. Master and Servant, I think, really gives us the foyer into a young man's mind. And I think that it's fun, it's playful. I mean, not only is it seedy and, you know, sexual in every way. And as I said last year, it could be a little bit political, too. It can certainly be seen as political.
I personally think it's more sexual. You know, when I think about the tonality of it and I think that again, the lines of, you know, let's play a game, or there's a new game I'd like to play. And I mean, that line alone is just hot. There's a game I like to play.
[00:23:09] Speaker B: With you on top. Let's forget equality.
It's like, oh, my.
[00:23:20] Speaker A: We forget all about equality and we call it Master and Servant. And it. Yeah, I mean, the lines are phenomenal. I love. Nobody says, you treat me like a dog and get me down on my knees. It's like, what's kind of hot is about. Again, all men should listen to this band and all chicks should hear it. If they need to warm up. Because, like, I mean, what dude says that? Yeah, you're gonna treat me like a dog. They reverse it. This is what I love about Dimash Mode. And when we get to the music for the masses, we're really going to see role reversal.
I mean, there is nothing hotter than Dave and Martin suggesting they want to be the ones who are kept.
You know what I mean? Like, that. That is hot. That a dude is like, I'm not in control. I'm asking you to be the master while I play the servant. And you're like, whoa, let's talk about kinky and strange. You know what I mean? Like, that's a. And as I say, it's a game with added reality. And I think that even adds to those lyrics even more. Right. Is like, it's almost a suggestion that, yeah, in reality, men are the masters. In. In reality, men are on top. And when they said that, an added reality meaning we're still. In reality, we're still, you know, we're not dogs. I'm going to use the dog as a metaphor. But here's the added reality is that you're on top. I'm gonna make you the master and I want you in control and to see everything you would do to me. And you're like, okay, yeah.
That's all I gotta say about it.
[00:25:01] Speaker B: Yeah.
[00:25:02] Speaker A: Okay.
[00:25:04] Speaker B: Yeah, yeah.
And so.
Okay. And so a Blood Celebration, which is really the first masterpiece of the album.
I've been listening to it a lot.
The Deluxe Virgin, which is often.
Deluxe versions are all being considered the definitive version of most albums.
Don't call me on that Internet.
But Celebration definitely is. And we have about half or three quarters of the album to get through.
So a question of what, as I said in the last part of the spiritual, it's.
The title is really a full on cheese.
It really is a full on cheese. Because you're thinking, oh, this is going to be another song like Mad Stern Servant, a very. See, very grungy debauchery song.
Because it had lust in the title.
You can't get more simple than that.
And yet Martin in his genius.
Yeah, again, Martin L. Gore, in his genius, holds a fake out and writes one of the most beautiful love songs where yet A question of what starts the chorus.
But it's fully a song about connection, about a man on the road staying faithful to the Persian he's with and not being the atypical rock star, just sleeping around with whoever will solve themselves.
[00:28:11] Speaker A: Yeah.
[00:28:12] Speaker B: Because is a question of lust.
But it's also questionable trust.
It's about protecting what we've built up together and not letting it crumble into dust. Yeah.
Paraphrased the call.
But it's just a hauntingly beautiful love song that you would not yet at all from the title.
And it leads into.
It doesn't matter too.
[00:29:06] Speaker A: Yeah.
A very thematic song. I just described it to you earlier that I think it feels like a ballet. You know, it's like. I actually always pictured Black Celebration. I probably said this on 100 podcasts because if everyone's listened up to now, Black Celebration.
But I picture this album as like a ballet I've always wanted. If anybody's listening, please just give me royalties. You can do it, but just let me know. I want a few cuts, you know, for giving you the folks the idea. But, like, I really picture this as an amazing ballet, like, with real ballerinas. And I want like some cool lights and shit because, like, this album is a roller coaster and I. This is the slower ballet. This is a kind of. Or not even slow. It's kind of a dancy one. You know, there's this, like, Martin's voice again really wins the song. And. And it's, you know, the. Like the. Oh, you know, I love the way he has his little. Like. Was a feeling. You know, it's like kind of this moving song, like river or ballet tool going, you know, drifting. And I think as we're revisiting, it doesn't matter in this one.
You know, they're much more descriptive with the Feeling might last only for an hour.
And I know it might only be for now, but if it's only for now, then it's only for now. It's like. It's kind of this very simple realization that the relationship is what it is.
And if all they can get is that hour, if all they can get is the.
It's almost revisits the last concept too, right.
This album is very together. It's a concept album. There's not a lot of songs that falter off the track. It's very much a thematic album that's singing about a very real situation.
And I think that there is this, like, maybe this relationship is never going to come to be what I wanted it to be.
[00:31:10] Speaker B: Yeah.
[00:31:10] Speaker A: But if it's just this way for. If you're only willing to connect with me for an hour, you know, I mean, that's okay too. Like, I can deal. And so I think that's really what it's about. It's. It's the kind of finalizing Touch of. They've accepted what it is. Yeah.
[00:31:24] Speaker B: I mean, Vincent's the only album in their catalog that a Heads a title track, which you have to wonder why Black Celebration.
And the song does.
Talks about nothing that we're going to talk about.
But it's also the only album where Margin Gore sings three different songs back to back.
A Question of Lust sometimes. And it doesn't matter, too.
[00:32:14] Speaker A: I never even thought about that. Yeah.
[00:32:17] Speaker B: Well, like I was saying before, I've listened to Black Celebration Large. So I've gotten to know this album a lot better than in our college years. And, I mean, it always struck me that block of songs.
Dave doesn't come back into the album vocally into A Question of Time.
[00:32:55] Speaker A: And it's.
[00:32:56] Speaker B: So what would you like to say about A Question of Time?
[00:33:04] Speaker A: You know, what I love is that we talked about this last time. I'm embarrassed to admit I did not ever think, oh, that he meant his daughter in this song. That they were talking as fathers. And this makes sense because Dave was a dad at the time.
[00:33:17] Speaker B: Yeah.
[00:33:17] Speaker A: I just had his. Well, he had a son, though.
So I don't know if maybe they're just thinking about babies in general. I haven't looked at the other band mates, if one did have a daughter at the time, maybe. But there's this fascinating aspect that I suddenly realized. It wasn't them singing about waiting for a girl to grow up. It was them acknowledging that the child they just created will eventually be wanted by lustful.
[00:33:44] Speaker B: Yeah.
[00:33:44] Speaker A: Turned on young men, you know, dirty young boys.
And that there's this inevitability to it that they'll have to lose that bond as a dad with their daughter and that they'll have to give her up to love or lust or both. You know, like, that she will have both in her life. And they're going to have to accept that.
And I really think the song.
I always misinterpreted it that because it was like, I've got to get to you first before they do.
And then it's a question of time before they get their hands on you. But then as I really started thinking about. And he's like.
And then they're just like the rest.
You know what I mean? And then I'm like, oh, now I think about it, it is. It's a dad talking. They're. They're. They're just like the rest. They're all gonna, you know, trick you. And it's a dad being kind of jealous of something that hasn't even happened yet.
[00:34:34] Speaker B: Yeah.
[00:34:34] Speaker A: The idea that this girl will not worship him with her object. Love. Right. A different kind of love, an affection of, you know, you being her number one and that someday he's gonna lose her being number one and that will feel like a loss to his heart. And I was like, dang, this song is so much cooler, actually, that these young dudes are talking about being dads. Yeah, Yeah.
[00:34:58] Speaker B: I mean, it makes sense that you thought of it incorrectly like that because, like, a lot of the songs we've talked about before and the previous two albums are very seedy, all very grungy, all very dirty thoughts, very not shy.
[00:35:36] Speaker A: Innuendos about a 15 year old on the next album. So it was easy to mistake.
[00:35:43] Speaker B: Yeah, very easy. And going into strip, which, I mean, the video.
Let's be real, the video is eye candy for women. I mean, and I think they could.
[00:36:04] Speaker A: Seduce men with that video. Come on, we talked about this last.
[00:36:07] Speaker B: No, absolutely. I just didn't want to come out and say it. Would you.
[00:36:15] Speaker A: I think men. I think men want to be with. Be them. You know what I mean? Like, you watch this video and you're like, damn, do I want to be with them or be them? Like, I think they. They make any dude feel that way.
[00:36:26] Speaker B: It's like seeing James Bond on the big Daniel Craig.
[00:36:33] Speaker A: James Bond. Thank you very much. Let's just put that out there.
[00:36:37] Speaker B: Yes. But I mean, the song, the lyrics can be interpreted much like master and servant, very multiple different ways. And I think that is, again, one of the genius aspects of the badge mode and of margin El Gore as legs it.
Because he's able to tap into several different topics in a song.
[00:37:22] Speaker A: Yeah.
[00:37:23] Speaker B: Almost ad foot. Let's play.
[00:37:27] Speaker A: Yeah.
And I. I think, you know, without dive. We've gone into this song a lot before because it's my fave on the album and probably second fave of all time with Depeche Mode. But it's.
I think you're right. Is. Is this is a pretty song and CD at the same time. This is a fine line. Depeche Mode walks of.
I want to hear you make decisions. Like you said, this is that role reversal. I want you as the woman to make decisions. I'm empowering you.
[00:37:57] Speaker B: Without your television.
[00:37:59] Speaker A: Yeah. He wants her to drop the row the rolls.
Stop being the woman. Stop being what everyone's telling you to be. I don't want you to hear the voices or. And he says that let's go back to the land, you know, like, drop. What does he say? Drop the list or whatever. It's like he wants her to let go of everything everyone's told her to be and to truly let her be herself. And that's great. I mean, sorry for this. Like, holy crap. Like, Tyler fan off here. As a dude tells you, like, I need you to be even. Like, you're not real. I need you to be real. Or you're like, all right, I'll do what you say, Dave. Thank you. That leather jacket's doing it for me.
[00:38:41] Speaker B: Just keep staring warm the fuck up.
[00:38:45] Speaker A: Yeah. And I don't know who I would take first. I mean, honestly, you're, like, seduced by Martin, but I don't know. If both were in front of me, I'd want Dave because of his looks and voice, but, like, Martin is like, he's his lyrics.
[00:38:58] Speaker B: Yeah.
[00:38:59] Speaker A: I'd be like, I don't know, man. I know what's going on in your head. And maybe I want that instead. Like, I wouldn't be able to pick the guy staring at me through my soul or the one talking through my soul.
[00:39:10] Speaker B: Yeah.
[00:39:10] Speaker A: Yeah.
[00:39:11] Speaker B: It's very, very evocative.
And like, World full of nothing. First of all, I love that title because, again, you have no fucking idea what that song is about. And the fact that the chords. It's just one line repeated over and over and over.
[00:39:47] Speaker A: No, it's not love. It means nothing yet.
[00:39:51] Speaker B: And it's.
[00:39:54] Speaker A: And then he says, and then it means something. They change it later.
[00:39:56] Speaker B: Yes. And it's like. It's such the word play. And of their titles, even, it's like, it blows my mind. And so what do you have to say about Dredged in Black.
[00:40:21] Speaker A: Dresden? Black is an obsessional song.
We're going dark. We thought the early part of the album was a little conflicted. This one is really about obsession with a woman who they can't reach.
This is straight up obsession, I think, this song. And yet it's pretty yo. Somehow. Justin Black is a haunting, like, interesting song. It keeps you hooked despite. It's operatic.
It's like a.
[00:40:49] Speaker B: It.
[00:40:50] Speaker A: This belongs in, like, Phantom of the Opera. I mean, it's a strange, weird, like, Andrew Lloyd Weber style composition.
And it's.
But I really. You can tell it's about men who are watching this woman, you know what I mean? From afar and intrigued by her. She might even be a little bit older, she might be wiser. She has something they aren't familiar with. And yet they're so hooked on it. And I. I think there's this obsession even with her maybe her depression or darkness or intrigue or mystery around. There's a mystery around this woman they're singing about. And they call her. You know, they say she's dressed in black again, meaning she's veiled. From what they can understand of her, that. That the veil is going forward and they just don't understand it. And again, I think this is crazy. This is like such a wonderful young man song again. So. Singing about how young men can feel so confused by women. You know what I mean? And that there's this woman who they really love and don't or like, not love a woman they have become obsessed with and yet can't reach because they have no clue where to start.
Like, so they're just gonna keep watching her.
[00:42:04] Speaker B: I mean, I. I ordered the collected edition of. Of this album, which is basically the deluxe edition with a DVD of the documentary and extra tracks.
Because of you.
You really.
Your hype and your love for this.
[00:42:33] Speaker A: Album should be their hype, girl.
[00:42:35] Speaker B: Yeah. Which I mean, vid seeds your songs of faith and devotion. And when we'll get to that album. I mean, that's my album. It was that.
But it's interesting because when you flip to the backside of the album, the album.
The album's large track.
It's new dreads.
[00:43:15] Speaker A: Yeah. The.
[00:43:17] Speaker B: The final track of the album But Not Tonight is on their beach sides for the album. And the only reason why they were probably forced to put the beach side on the album adds the closure to the album. It's because the Americans, in their wisdom quoting margin here, were not really stripped as a single in the US at the time.
They instead released But Not Tonight, which was a beach side to the single.
And they put it in a movie.
[00:44:22] Speaker A: Yeah, a movie called. I think it was called Modern Women.
It was horrible.
[00:44:27] Speaker B: My dad so much.
[00:44:30] Speaker A: My dad caught it on. Yeah, I'm gonna look it up. My dad caught it on, like one of those indie channels or whatever. And that was when we had like, TiVo became cool. And he called me at college and he's like, oh, my God, I found it. It has the But Not Tonight music video. Eddie, TiVo the whole thing for me. It was spectacularly bad. I love 80s movies. And that was.
That was.
It was rough. No. Was it my. I don't.
But Not Tonight.
Depeche Mode. Yeah. But Not Tonight movie. What was it called?
Modern Girls.
[00:45:07] Speaker B: But if you.
[00:45:09] Speaker A: If any of you ever check it out, it's got. What was her name? Virginia Madison. It had some good actresses. It had.
What was her Name?
Daphne Zell. Zellweger. Whatever. She was from Spaceball. She played the princess.
[00:45:25] Speaker B: Renee Zellweger.
[00:45:27] Speaker A: No, not Renee Zellweger. No, the woman's name was Daphne. I think she had the same last name. This was before Renee. No, this woman was from Spaceballs. And she plays the princess they rescue.
Yeah. And I think Virginia Madsen. And who was the other guy? He. The guy in it was from one of my. Was from my favorite 80s movie.
Just one of the guys. So I was so excited to see it. It was junk. It was garbage completely. Anyway.
But the song is so adorable. I love it.
[00:45:57] Speaker B: Yeah, the song. I talked about it in the last section.
How but not Tonight is the polar opposite of a album ender than the album final track for some great reward Blood from its rumors. You cannot get more fall apart musically in the bench mode canon than those two songs for closing out albums.
[00:46:48] Speaker A: But it's.
It's cute. It's like the whole album is so dark and then it's like, I love it, I love it, I love it.
[00:46:59] Speaker B: Totally cute. It's very, very chilled song. It's about regret. It's very simple.
And not every song needs to layer on layer on layer. And when you hear Martin do the outro backing vocals, you get the. Martin is very content in his role of writing the songs and letting someone else be the front man and sing them.
[00:47:46] Speaker A: Yeah. And it's just sweet. It's a self love song. Like you said. It's a self acceptance. Except accepting the past, accepting the regrets, finally being happy with yourself and your decisions. And it's. It's sweet. It's. It's just like. It's. I. I hate that they hate that song because it's. It's kind of this bizarre ending to the album. And I feel like it's the perfectly bizarre ending. It's so Depeche Mode. It's a quintessential to just be like, hey, you know how this album was really edgy.
We're just gonna end it with a sparkly 80s song. And you're like, cool. Thanks. A dance hit.
[00:48:22] Speaker B: So we're gonna take a break for a few minutes and come back with Part 1.5 to talk about the Red savage songs minute.
Welcome back to.
[00:48:49] Speaker A: You're like surprised it's three albums and then he just hits record.
[00:48:53] Speaker B: Welcome back to Disability Empowerment. Now I'm with my very dear friend and co host Elena Mallet and we're talking about the patch mode. Love and devotion.
We capped off a Black Celebration and we're going to the album they released before they released their big juggernaut album.
We're going to Music for the Mad.
Which again, is sarcastic pun that they used.
[00:49:48] Speaker A: For them because it did put them on the map as music for it really did become one of their big girls.
[00:49:54] Speaker B: Yes.
And the next one after that would even bigger them. So the things you Huge sad.
[00:50:09] Speaker A: I just wanted to sing, he says again. Martin's one of Martin's repetitive songs. I just wanted to sing his line, but I can't sing as deep as Martin gets on this one.
I think that it's.
This one can be kind of multi interpretation. But I think that Martin is singing about somebody.
His girlfriend presuming he's stepping out or doing something hurtful behind her back. And because he says the lines, you know me better than that. I heard about the things that you said, and you know me better than that.
[00:50:42] Speaker B: Yeah.
[00:50:43] Speaker A: So I think there's a heavy implication of she's going around telling people something that's not true, you know, and also maybe kind of presumed who he was. And maybe it's not a stepping out. Again, Depeche would, as a way of leaving it open that this could even be something she presumes about him, like, oh, you're controlling. He's controlling. You know, like, it just sounds like a woman went behind his back, told their friends or mom, you know, something kind of. That doesn't really describe them, but kind of puts them in a poor light. And he says, you know my weaknesses. I've never tried to hide them.
And it's. It's a vulnerable song again, but kind of a deep, dark thing that is common in relationships. Almost every relationship hits that point. Yeah. And so I think Depeche Months just singing those motions of, you know, that moment in. In a relationship.
[00:51:41] Speaker B: And so what about Strange Love, which is another banger that I often get confused with.
Actually, we didn't even finish Blackstone Region because we left off the two beach sites.
So we did.
[00:52:11] Speaker A: We just totally blew off Shape the Disease and it's called a Heart. I'm looking at my list. I'm like a heart. Dang.
[00:52:19] Speaker B: Pretty much.
[00:52:19] Speaker A: It was all a black celebration. The entire album is a love is a love fest.
[00:52:24] Speaker B: Yeah. And I mean.
And where we come to strange love is that I don't know about you, but I constantly get Strange Love and Shake the Disease.
Not confused.
Lyrically, they're just two banger songs.
[00:52:52] Speaker A: They are such bangers.
Oh, they're so good.
[00:52:57] Speaker B: I mean, and Jake the Disease and it's called A Heart.
They'll be sides on the deluxe album. And had they put them on the album proper, they would have walked like a charm. Yeah, you can hear.
[00:53:24] Speaker A: Yeah.
[00:53:25] Speaker B: It's called a hard all you want lyrically, but musically, it's a banger as well.
I mean. Yeah, but Jake the Disease. I mean, judge the title. It's a Mind this.
[00:53:48] Speaker A: Yeah, yeah. And. And sorry, I have to geek out over this one. I think I said this on the previous one. So, again, I apologize to our viewers, but my memory, like, with their songs is very distinct. My mom had been dating a guy from Hungary, so he was, like, Hungarian at. When I was 14 and really got into Depeche Mode. And he had that.
What was that called? Catching up with Depeche Mode alum.
[00:54:13] Speaker B: Yeah.
[00:54:13] Speaker A: And he just gave it to me, and it had Shake the Disease on it. So aside from receiving, like, Depeche Mode's, like, greatest hits, which had just come out at that time for Christmas because I wanted to enjoy the silence, but my mom and brother couldn't find Violator. And this, again, keeping in mind, this is the 90s, right? So 1999 and 98 is, like, you couldn't just go order everything constantly.
And record shops would charge an arm and a leg.
[00:54:42] Speaker B: It was time to be alive.
[00:54:45] Speaker A: It was really a time to be alive. And a record shop would charge you extra if they had to go out of their way to get a print. So if it wasn't, like, local, they were like, well, we're gonna charge you, like, $20 more because you gotta ship it and call this.
We gotta take time to call places and find it.
So he gave me that just to keep. He was like, you keep it. My brother lives in Germany. They're obsessed with Depeche Mode. I'll get as many records as I need.
[00:55:09] Speaker B: Oh, yeah. They are very upset.
[00:55:13] Speaker A: Yeah. And so Shake the Disease was like, you gotta keep in mind, this is one of my first songs.
[00:55:19] Speaker B: Yeah.
[00:55:19] Speaker A: I'm introduced to in Depeche Mode.
It is, like, so hot and sexy, it's not even funny. And yet it's weird because it's called Shake the Disease.
And, like. And there's like, why are they hitting pipes? You know what I mean? And, like, why is there steam in the background? And they're, like, in a bathroom with a broken mirror and, like, this camera sideways in the music video. And you're like, what is happening?
[00:55:49] Speaker B: Wow.
[00:55:50] Speaker A: And yet, like, Dave's voice is so baritone and so hot and so, like, mesmerizing and repetitive. And like. And Martin and his like seduction and soulful, you know, background vocals and the. Understand me. Understand me.
[00:56:12] Speaker B: Like ah.
[00:56:16] Speaker A: What? Like why are you requesting to understand me? Like it is so like oh no, get closer. Get again. This album is so obsessional and Shake the disease belonged on it. And it's such a freaking shame that it did not make the cut initially because no so belongs in the flow and it did not belong at the end. It belongs before but not tonight. And all of them. Yeah. And it needs to had its place. And I really think it is a shame they didn't just make a bigger album.
[00:56:49] Speaker B: I mean they could have put it before or after stripped and.
[00:56:56] Speaker A: Yeah, I agree. Right. I agree. I think it should have come around that I was going to say the same thing. It needs to come after. Like question the time or stripped or.
[00:57:05] Speaker B: Yeah.
[00:57:06] Speaker A: And for viewers who have not had me say anything coherent yet, it's.
It's a song about being obsessed.
[00:57:17] Speaker B: Yeah.
[00:57:18] Speaker A: Freaking obsessed with this person and utterly head over heel and love that they're saying I can't even shake the disease. I need you to understand me. I need you to like be inside me and get what I'm telling you and how in love with you I am. And you're like, yeah.
[00:57:34] Speaker B: And really the disease is the tongue.
The disease is the tongue. And it's again so freaking sexy the way the roller coaster you through that entire mega ball and I mean like they don't like it's called a heart because of the. Well, I'm assuming the juvenile lyrics.
But again we both have commented over the phone and over. Text a teenager to write those lyrics. A teenager would feel those lyrics. A young adult would feel those lyrics. There's nothing wrong with the lyrics.
[00:58:41] Speaker A: I think the lyrics work for any.
[00:58:43] Speaker B: Age group and the music, it's a pure rocker and so it's like fine, you hate, but not tonight. Okay, Whatever you hate, it's colder heart.
Whatever these songs in on this concept album.
Oh yeah.
Bloody brilliant. It's a mad stood stroke that they didn't take on an already fantastic album. So let's get back to. To music for the mad shit and strange love.
[00:59:38] Speaker A: Okay, so I was about to text you the other night and then I was like, I don't know if he's asleep or because of our time difference. I mean you're behind me so you're probably awake.
[00:59:47] Speaker B: Text me. But it was like time.
[00:59:50] Speaker A: It was like one in the morning because Matt's had surgery. Right. And he's not sleeping.
[00:59:56] Speaker B: I don't care. I don't care.
[00:59:59] Speaker A: And so like, Keith is going to be like, jesus, what is she doing? At one time texting me this. And but like in my head, I'm going down our music list because a poor guy, oh my God. It's like once I could get him asleep, I was so awake because I'd done so much. I got up and like cooked and got a meds and got him pumpkin, got him ice packs. And you're just like, I'm awake. And so I was thinking like, the line I'm always willing to learn if you have something to teach, says everything you need to know about this song. I'm like, how? And I just want to type to you. How hot is that line? Yeah, I'm always willing to learn if you have something to teach. I was literally gonna text him. I'm like, it's one in the morning. He's gonna be like, this is inappropriate. Why are you sending me this? No, but like, that line is so crazy good.
[01:00:45] Speaker B: Yeah. No, I've gotta tell you, I feel like the hoad of this show should just shut the up and watch you just geek the out over these songs and how hard steamy the lyrics are. How a turn on they all begin.
Incredible. Like, you write that one line in that song and for me, it's not that line that I remember, but it's the I'll make your heart smile.
[01:01:41] Speaker A: I'll make your heart smile straight.
[01:01:44] Speaker B: I just love that vigil and that connectiveness and that. I mean.
And so shake the disease and Strange Love, both of them were on the beds of the Pet Mode volume one. And back in college, that was the album that I filtered through.
[01:02:19] Speaker A: Did you.
Did I give you that or did you buy it? Because I had. That's the first album I had. So I'm curious.
[01:02:27] Speaker B: I don't remember.
[01:02:29] Speaker A: No, you hate that. That you don't remember these dumb little details anymore. You're like, oh, we're getting old.
[01:02:35] Speaker B: Well, I remember a lot of details about our friendship. Yeah, it's not my. My memory goes way back.
[01:02:55] Speaker A: Yeah.
[01:02:55] Speaker B: I remember how when a Delta Machine Fudge came out, you wrote big rant on Facebook.
And I still remember that. Rad.
[01:03:15] Speaker A: And.
[01:03:18] Speaker B: So, yeah, there are little details, but I mean, I remember those songs falling head over here for somebody and for songs Faith and Devotion.
And I remember the first music video I ever saw was project, which is to like.
[01:03:48] Speaker A: And I know you said you love that one, but it's too bad you weren't introduced to their Antoine Corbin Videos.
[01:03:54] Speaker B: Yeah, but I would eventually be. But so little. 15.
[01:04:04] Speaker A: Yeah, yeah, that's about it. That's what we're going to go over is again kind of the teetering line that men have with younger women is for some reason men, no matter how old they get, have a thing for younger girls. And there is the acknowledgment, the very real acknowledgment that it's inappropriate.
[01:04:25] Speaker B: Yeah.
[01:04:26] Speaker A: They don't act like it is, which is, you know, a relief.
So I'm not so questioning of them. But it's this admittal, like admitting that as men they still can't help it. They think about a 15 year old girl and he says, I think there's another interesting aspect though of the song. I guess if we're gonna go with the less creepy part, it's a. He says like if you could drive, you would drive her away to a happier place, to a different day.
And then he says do you see what I see? And do you know what I mean?
I think there's also this desire for the man to feel like the teacher. Yeah. You know what I mean? And I think in some sense they're talking about when women wanted to learn something from them. And I think that there is this acknowledgment that.
And this is real, right? This is a psychological effect with men and why they date younger women is they say, oh I feel alive. But really what they're saying is they're happy that a woman wants to learn from them and be spoiled by them and kind of see through their eyes. And when men are with women their age, right. And at the time, if you think about it, Dave's married, has a baby. Alexa. I don't, I don't think the other man grows were yet. But there is this sense of being tied down, right. And, and a lot of grown men talk about that is that the woman gets home and he, she's nagging him, right? Like oh, did you feed the baby? Did he help me? Why do the dishes? And you'll hear men, instead of realizing that's part of growing up, go into the fantasy of the 15 year old girl is like, well she would adore me and I could make her, I could make those tears go away. That that young 15 year old boy is giving her. He doesn't know what he's doing with her. I do, I know what she needs and wants. It's, it's kind of innocent and kind of not right. I think what they're seeing is, is if they were 15 again.
[01:06:15] Speaker B: Yeah.
[01:06:15] Speaker A: They could drive her away and do all the right things this time. And so I try not to take the song as creepy but rather I think grown men reflecting on the very real feeling that they're experiencing is I kind of long for that innocence. But being the man I am today, having the wisdom I can impart. I don't think they're saying they want to be a 27 year old man, you know, getting with a 15 year old. I think they're just saying they want to be.
I don't know. What's your intern? Am I on par with that one? It's a weird song. I tend to skip it. It's kind of operatic and weird.
[01:06:47] Speaker B: I'm skipping it because. Yeah, it's just not appealing.
Behind the wheel Hot.
[01:06:58] Speaker A: Hot, hot, hot, hot. It's a hot banger.
I suck. There's a reason why I've never been offered a TV show. I'm not entertaining.
Well, this is a world reversal.
The music video by Anton Corbin. This whole album is Antoine Corbin Music videos.
Is Dave literally getting on the back of a woman's Vespa, you know, or Scooter. Right. Whatever they have over in Europe and just letting her drive. You know. And it's very symbolic of a relationship is you're behind the wheel. And that's what he says. That the.
The seedy sounding banger, you know, sense is all right. There is this urgency and weirdness and strain. Why their songs are always so strange is just. They make love just sound so daunting and frightening and sexy. It's like the Red Room. It's like.
It's like the gray. Whatever that shows. Fifty shades of gray.
Potter. Because 50 shades of gray was dumb.
She was like. And she was in an abusive situation. And I refuse to believe David Martin would ever abuse a woman. I'm pretty positive they just want to do good things to her and make her feel good. And I think that's what that song is about. You know, is. It's.
I can't say more about it because really the lyrics are quite straightforward. You know. Is he. He just wants the woman to drive, you know, to be on top and. And let him see her world. And I don't think there's anything more to it other than a sexy role reversal.
[01:08:46] Speaker B: I want you Now. Which is a song title.
[01:08:52] Speaker A: Sexy written by.
[01:08:55] Speaker B: I believe out in wide.
Stop really me on.
[01:09:03] Speaker A: Oh dirty boy there.
[01:09:06] Speaker B: Don't quote me.
[01:09:08] Speaker A: Alan's just as dirty as the rest of them. Now we're finding out.
But okay. Granted, he did write all these dirty, seedy sins, so I believe it.
[01:09:21] Speaker B: So before we go on.
[01:09:27] Speaker A: Did we miss one?
[01:09:29] Speaker B: No, no, I did.
No, I want you now. It's written of chords by Margin Gore.
[01:09:39] Speaker A: I was like, come on. He's literally as dirty as he gets on this one. Like, you're telling me it's not him. This is Alan.
[01:09:47] Speaker B: Yeah. No, it's Margin all the way.
[01:09:52] Speaker A: Here's. Okay, I'm going to pull out a line just because we're on the list of boys being boys. Right. This album is boys being boys. By the way, like, he even says that I don't want to sound like one of the boys. And that's not what I'm trying to do.
[01:10:09] Speaker B: Yeah.
[01:10:10] Speaker A: Literally singing about just wanting her body and wanting her now. And it needs to says that I'm not trying to be like all the point.
[01:10:19] Speaker B: So we come.
We come to the Magdum Opit.
The aptly titled Violator and the Verge track, it's called World in My Eyes.
I seeing the music video was very seductive.
It's a very seductive video.
[01:10:55] Speaker A: I don't know if I remember this video. Describe it.
[01:10:58] Speaker B: Very seductive. So they're in a car. It's a convertible, top down.
[01:11:07] Speaker A: My. I need to watch this one.
[01:11:11] Speaker B: You really do. I mean, that's why I think they should have just titled the album Seduction Done Right or Seduction Time Again.
Because at the very start of the album, the song, it's right out. Yeah.
[01:11:38] Speaker A: It's a banger that goes right into. Let me show you. You know, show you a place.
[01:11:45] Speaker B: Yeah.
The video is dark at night.
They're just driving through. Whatever.
It's a beautiful song.
And so what about Swedish Perfection?
[01:12:05] Speaker A: Well, we're just blown over World of My Eyes that fast.
[01:12:09] Speaker B: No, no, we can wait.
[01:12:13] Speaker A: I just need to bring. I just need to bring up one more lie.
Let me take you on a trip. On a long, long trip. Your lips close to my lips. I mean, if that describes the song at all. It's hot. Yeah, hot.
[01:12:25] Speaker B: I mean, hard, Hard, hard. And I mean, that's the third song on the album. And I mean, that. That set the temple for a very seductive.
[01:12:45] Speaker A: Yeah. Miracle Facts, they have a lot of videos of cars. Again, this is a dude's d. Dudes band. I'm surprised more dudes aren't into them because I'm like, come on. Cars, chicks, sex.
What? What do you need?
Good Lord, people.
[01:13:06] Speaker B: What do I need to do to.
[01:13:07] Speaker A: Convince you to listen to these guys?
[01:13:09] Speaker B: Same thing.
[01:13:11] Speaker A: So sweetest.
Go ahead. No, go On Sweet is Perfection.
Think about this one very much. I, I like it and I don't, I don't tend to, like, dissect it, but this one is a combo song. I forget which one we're singing about. Oh, I want you now is another one. So, like.
Well, Dave and Martin are known to do, like, Martin is known to do backup vocals and, or just the full song by himself and vice versa. Dave will do I want you now and Sweetest Perfection.
So we're crossing over on albums here.
Martin is singing, but Dave is consistently in the background. These are two unique songs if you think about it.
I want, you know, is Dave breathing consistently in the background? Really sexy, might I add.
And then Martin singing.
And in Sweetest Perfection we do something where Martin is singing, but Dave's vocals are a complete reverb with him. Right. They're doing it at the same time. This is a unique song. Right. I think both are layered, Am I correct? And that they sound layered, like the two of them are singing it and I, he says, the sweetest perfection of body and mind and I stop and I stare too much. You know what I mean? And so I think there's again, kind of.
I think it's just about liking the body. Right. Yeah. I, I, I don't know. Am I wrong? I think it's just a song about admiring a woman's body and what it has to offer and, you know. Yeah.
[01:14:54] Speaker B: Yeah.
[01:14:55] Speaker A: I mean, like, I want you now. It's very simple, straightforward.
[01:15:00] Speaker B: Yeah. I mean, I'm surprised you don't have Enjoy the silence.
[01:15:08] Speaker A: Okay, let's go into it. Because it's my favorite song and it's not. I, I don't think the reason why I didn't was. I don't think it fits religion or love and devotion. I think.
[01:15:20] Speaker B: Interesting.
[01:15:22] Speaker A: It's a unique.
Yeah. And then I want to hear your interpretation. I really think. Enjoy. Oh, that's disgusting and dusty. Sorry. My office. Gonna put my feet down somewhere. And like, I could feel it through my sock. It was that bad.
I don't come into this room much. As you can see the mess behind me.
I think enjoy the silence, which is my favorite song. For anybody who hasn't heard that a thousand times yet, it's my favorite song of all time. Not just Depeche 1. It's my favorite song is about.
I really think it is about. What it is, is, he says, all I ever wanted and all I ever needed Is here in my arms.
[01:16:05] Speaker B: Yeah.
[01:16:06] Speaker A: Words are very unnecessary they can only do harm While I guess I'm seeing it as I'm saying it. It could be an interpretation of having a person in their arms and being happy. I've always just interpreted the song as happiness and contentment with life.
I've always just seen it as like, I'm happy with whatever is happening and whatever's in my arms could mean like I'm happy with being famous right now and on a tour. I'm happy that I purchased this home. I'm happy that I'm just sitting here enjoying my coffee and the squirrels outside are down, you know, running around and the birds are eating. Like, I've always seen it as whatever they're happy with. They're saying that words don't need to disrupt the moment and that words can only cause harm. But I definitely know that I'm saying it out loud. I guess see it as like, that can be romantic. And I think. I think if you ask me what phase of life I'm in, it's probably altered because I. I think before I do see it that way is that relationships often express too many words and that would kind of ruin.
[01:17:08] Speaker B: Yeah.
[01:17:09] Speaker A: The innocence of. Or acceptance of just feelings. And I don't know. I. I hate describing the song because I just freaking love it. Listen to it. It's a banger.
[01:17:18] Speaker B: I mean, what I keep coming back to is trying to pause away the song from the video and wondering if the song would be as iconic without the video.
Because the video by Antoine.
[01:17:53] Speaker A: Probably the best music video of all time.
[01:17:55] Speaker B: Yeah. But the guides thought it was a joke. They were waiting for the other shoe to drop for him to say, oh, I'm just kidding, guides.
But D went along with it and it. It's their beds music video. And it. It captured what he captured the music video.
[01:18:31] Speaker A: A king walking around with a beach chair.
[01:18:33] Speaker B: Yeah. And I mean, encounters the weird n the mighty Python movies.
[01:18:43] Speaker A: And yes, it is a very Monty Python quality. Even the quality is kind of poor. But like, even for the era, the video is kind of poor quality.
[01:18:52] Speaker B: No. And I think they absolutely planned that to a T. I mean, Personal Jesus was released before the album and it blew up the album.
And the only thing I would say about Personal Jesus and why I'm talking about it in this segment is because if you listen to Judson, the music.
[01:19:33] Speaker A: Yeah.
[01:19:33] Speaker B: And judge the music of the opener to the next album, Songs of Faith and Devotion and I feel you.
[01:19:46] Speaker A: Yeah.
[01:19:47] Speaker B: Both of those songs add instrumentals are pure medium Rob.
Like dirty, kinky, debauchery type love.
Yeah. You strip Away the lyrics of both of those songs and you. You 10.
You 10 times play the songs like on the collection, like extended style like you'd see in YouTube. You can just go at it with your partner for two hours straight. I mean, literally.
[01:20:41] Speaker A: Yeah.
[01:20:41] Speaker B: The. I mean, and that's not even the lyrics. That's judge the music.
It's seductive as all hell for getting that to enjoy the silence. I mean, it's.
Their songs are so open to so much interpretation.
And I mean, you really said it all. It's your favorite song. I have nothing to add. I.
I would just geek out over the strain it strangeness of the music video of seeing it for the birds time and being like, what the.
Why are they famous for that?
[01:21:50] Speaker A: Right.
[01:21:51] Speaker B: What did I miss?
Why this song did not hit me until much later.
And the music video and its brilliance.
[01:22:10] Speaker A: Yeah.
[01:22:11] Speaker B: Did not hit me as the audience.
[01:22:16] Speaker A: Yeah.
[01:22:17] Speaker B: Much later.
[01:22:20] Speaker A: And that's okay. I think I've met a lot of people like that. It's interesting. I've either met people who think it's absolutely one of the better songs ever made, and then I met people who said they didn't quite get the song till they heard it a few times.
[01:22:33] Speaker B: Yeah.
[01:22:33] Speaker A: I have a bandmate who told me the song was garbage. I literally told him it was my favorite song in the whole world. I played it for me. He's like, that was complete garbage. What. What did I even listen to? He goes, it was the same, like two chords the whole time. I was like, that's the brilliance of it.
[01:22:48] Speaker B: Yeah.
[01:22:49] Speaker A: Like, I actually think quite the opposite. I think the brilliance of the song is that it is so simple.
[01:22:56] Speaker B: Yeah.
[01:22:56] Speaker A: And as you said, what a simple song. You like this? And I was like, yeah, Wow. I think you can get lost in it. It's mesmerizing.
[01:23:06] Speaker B: You absolutely can.
[01:23:10] Speaker A: So not everybody gets it. Not everybody gets enjoy the silence. And then those who do. And when you go see it in concert and everyone freaks and there's not one person not enjoying it is always a good affirming feeling that at least that night there's 20,000 other human beings who think like me is that this is just the best banger they've ever heard in their lives.
[01:23:31] Speaker B: And so what about dangerous?
[01:23:35] Speaker A: Dangerous is hot.
That's hot.
[01:23:39] Speaker B: Do tell me more.
[01:23:41] Speaker A: Well, I was trying to think of how to describe the beginning sound when it's like it's supposed to be his voice kind of breathing, like almost like on I want you now. But then they like, re. They like, screw it up with Like a technique, you know what I mean? So it's like all edgy sounding but he just sings dangerous the way you leave me wanting more. You know, and the way you move isn't good for my health. I love what he says that like the things you say, you know, you say for yourself or whatever. He's like, I know your wicked words.
He says dangerous the way you leave me wanting more. I There's one way you could interpret it as a push pull relationship. That he feels the woman isn't good for him emotionally but he wants her physically or there's something about her that hooks him no matter how bad she is for him and. Or he just thinks she's dangerous because the addiction to the sexual nature of the relationship is so extreme. But either way, I mean tongue kind of cool and hot and seedy like usual. So, you know.
[01:24:49] Speaker B: So now we come to what I view as their magnum ops.
But I'm really glad no one went into the production of this album thinking hey, we're going to make fire later part two, because that would have been terrible. It wouldn't have worked.
[01:25:21] Speaker A: Yeah.
[01:25:23] Speaker B: Following Head over hills for this album, as I've said both last year and in our last mini series together, if this album was a fellow student at all calling at the time, no one would have had any chance in hell in battling my petrified for the job.
[01:26:06] Speaker A: Yeah, yeah.
[01:26:08] Speaker B: It's just the very fact that you can just smile, nod and say yep.
[01:26:18] Speaker A: I can attest to that.
[01:26:23] Speaker B: This album, it's just crendela criminal for me.
Ads Black celebration is for you.
I very much view the toe album adds a concept album.
It doesn't need a title track or any socats flippid album title. It just states itself like it is songs of faith and devotion.
And you get a album full of songs about faith and devotion and some very bluesy rock album. And it starts out with another banger akin to their smackshed on the last album Personal Jesus.
They started out with I feel you.
[01:27:42] Speaker A: And.
[01:27:46] Speaker B: Dave looks completely different. He's in his rock and roll rocker stage.
But the whole video is just pure primal.
Yeah, it's.
It's probably the best marriage.
[01:28:14] Speaker A: That.
[01:28:14] Speaker B: Enjoy the silence.
Yeah to be good but it's.
It's not weird and it's not simple but it's 12 in your veg that who we are on the job.
All of the music videos on this album are just pure sex for the odds.
I mean all leads in my mind. I mean even the weird and batshit craziness of the music video for Walking in my Shoes.
I just love it to death because it's.
I've been waiting to do a whole episode on Judge unpacking the weird najangle of that video.
It is just mind blowing. But then you have Condemnation, which is a beautiful song about judgment.
And Gabe looks like the Caucasian version of Jesus.
[01:29:54] Speaker A: Yeah.
[01:29:55] Speaker B: In the middle of the video there's him holding up a tablet. Very biblical ads with three words on it.
Condemned to love.
And I think the whole album if.
If I was managing the band at that time and could throw insane amount of money with at them, I would say make a video for every song on this album.
And at.
At that time no one would have thought of that. It was inconceivable.
But every song on this album is mind blowing. I mean it's just so. I feel you.
It's both the love song, a carnal, primal love song.
But it also addresses the long of faith, long to believe.
And it's like the perfect opener to that album. Just like rolled in my eyes. What's the perfect opener to Violator?
And then we have the.
The song and the video that really trans fixed me as fan.
In your room.
Yeah, in your room.
It's just a beautiful mind of every type of desire.
[01:32:24] Speaker A: Yeah.
[01:32:24] Speaker B: All in one.
You can steep it.
[01:32:29] Speaker A: Yeah.
[01:32:30] Speaker B: Don't even try.
And they captured so well on both the song and on the video.
Yeah, it's like a greeted hits video of all the other videos that Antoine did with them.
[01:32:53] Speaker A: And just to specify too which we talked about last year is there are two versions of this song.
So listeners need to be wary of that and. And understand that my favorite is the album version. So I think it's best just to listen to songs of faith and devotion. I still think the other one has its own credit and has its own place in the world. It was definitely more radio friendly, which is why it was made. It was a radio edit.
But I really think there's something about the album if we're talking about love and romance. There's a hauntingness to the album. One with crashing drums and voices in.
[01:33:33] Speaker B: The background and moody edge.
Yeah, I mean it's.
[01:33:39] Speaker A: It's a moody banger.
[01:33:41] Speaker B: Let Judge cut through all the.
And say moody.
[01:33:52] Speaker A: I think you're. I think I can also assume because you and I have talked about this line before that lead me to your armchair is probably the. The line of the song. Right. Would you lead me to your armchair?
[01:34:05] Speaker B: I mean, not only that, I mean the whole lyric of the show pretty particularly the chords, the line.
That really does it for me.
And this was my boy's song in college, by the way.
I think that.
Not hard to see.
[01:34:41] Speaker A: Yeah. You performed it in your band.
[01:34:43] Speaker B: Oh, yeah.
Homely, I should say.
[01:34:47] Speaker A: Skipped that right over.
[01:34:49] Speaker B: Yeah.
[01:34:50] Speaker A: You're like, yeah, yeah, yeah. Okay. Yeah.
[01:34:52] Speaker B: Thank you for bringing that up.
Thank you.
Well, now I'm confused by the pre chords and the chords.
I'm hanging on your wall Words Living in on your breath Feeling with your skin Will I always be here?
Four minds, four lines.
And they say they encompass every type of desire, every obsession, every primal instinct, every spiritual instinct.
This was the song that captured me before somebody.
This.
I mean, we could again just spin a whole episode analyzing this song and this video line by line, frame by frame. It's.
It's the masterpiece of the album for me.
And it's played right in the middle of the album. I think it's brilliantly placed. It was brilliantly shocked. It's just a masterpiece of that album and of that area, period.
No, because you said it.
[01:36:54] Speaker A: I think you nailed it. I can't taught that.
[01:36:57] Speaker B: Yeah.
Well, it. It's just.
And so what would you say about. L.
[01:37:12] Speaker A: I think again, it's kind of a sexy one. It's about.
I think it's lusty.
[01:37:19] Speaker B: Yeah.
[01:37:20] Speaker A: You know, he says when I come up and I rush, I rush for you. It's like that's. It's pretty sexual. Yep.
[01:37:26] Speaker B: Yeah.
Yeah.
[01:37:28] Speaker A: You know, and it's a sexual sounding song. It's. It's rushing, it's urging. Even the sound is urgent.
He said. What does he say? Walk with me, get down on the floor. Yeah, it's pretty. There's some pretty hefty, sexy, weird in that song.
And he says, open your delicate mouth hold out your delicate hand Open your delicate mouth. I'm not trying. What does he say? I'm not trying to. What? What does he say? I'm not trying to something you.
Yeah, it's. He's. It's dirty.
[01:38:02] Speaker B: Yeah.
[01:38:04] Speaker A: You're sensitive. Yeah. Hold out your delicate hands and open your delicate mouth. You're like, wow.
[01:38:10] Speaker B: Yeah. Yeah.
[01:38:11] Speaker A: Okay. Okay.
[01:38:13] Speaker B: Yeah. And so the album.
[01:38:19] Speaker A: The.
[01:38:22] Speaker B: The closure, it's Higher Love. But the song before that, it's One Caress.
[01:38:31] Speaker A: Yeah. I love. Sorry I'm so. Like. I haven't been sleeping well. I love One Caress.
It's pretty. It's thematic. It's a Martin song.
It's a bit of an odd fit on the album.
Kind of belongs more in ultra, in my opinion, but I think it's just very touching. Again, Martin can be very sensitive. Well, he can be very dirty. You know, he can also be very sensitive. And I think this is one of those songs that he says, just one crest from you and I'm blessed, I'm shy. What does he say? I'm shining and it's from your light. I always loved the light and now you offer me internal darkness. I think there's this sadness to it. Right. This song is about having been so in love and then maybe the love being shut down, you know, and losing it. And I think there's this. He says, you know, just one caress. He just kind of keeps singing that, you know, at the choruses. And I really think it's like this song about feeling heartbroken, that this isn't working or whatever it is. Right. Maybe he never had them. Maybe he did have them. Maybe it was, you know, romance that didn't work. Maybe it's going through a dark period. But it's sensitive and sweet. It's about real love. Yeah, real love. You know, I don't think he's singing in a dirty or incompassionate way. I think it's absolutely about.
Crest is such a pretty word, right?
[01:40:03] Speaker B: Yeah.
[01:40:05] Speaker A: It's not like the opening your mouth and you're delicate. Yeah. It's not that kind of sleazy. Yeah, it's.
It's. It's. You know, you think of somebody's caress as like a touch that is embracing and warm, you know, and kind. Not more of a connection. Not a.
Not a sexual thing.
[01:40:25] Speaker B: I didn't. We're going to hold Ultra to the next part because that's a big album.
[01:40:35] Speaker A: Yeah.
[01:40:36] Speaker B: We go through. And again, we've talked about 1, 2, 3, 4, 5 albums out of the six album problems that we were going to talk about.
Get some sleep, my friend.
Say I do.
I want to protect your husband.
[01:41:09] Speaker A: You can say Matt.
Well, I think I said it earlier.
I mean, it's one of the most generic names. You know, it's in the Bible, and everybody names their kid Matt.
[01:41:24] Speaker B: Didn't he work for the CIA or the FBI or something like.
[01:41:31] Speaker A: Oh, oh, sorry. All his siblings are named after religious figures, too. His parents were pastors. It's pretty dull. It's a really lame American story.
Well.
[01:41:45] Speaker B: Hunt being kids, get some slay. Both of you. You've been through quite a ordeal. And I'll check in with you later in the week and we'll hit Ultra very hard, like we do.
Thank you for your passion and your candor and it's always a delight to do an episode with you, my friend.
[01:42:21] Speaker A: Well, thank you. Always a pleasure.
[01:42:31] Speaker B: You have been listening to Disability Empowerment Now. I would like to thank my guest, you, Glitzener, and the Disability Empowerment now team that made this episode possible.
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