Various ‎– For The Masses

Label:
1500 Records ‎– 31454 0919 2, A&M Records ‎– 31454 0919 2
Format:
CD, HDCD, Album
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Tracklist Hide Credits

1 The Smashing Pumpkins Never Let Me Down Again
Engineer [Remix Engineer] – Jeff MoleskiProducer – Ted De BonoRemix – Billy Corgan
4:01
2 God Lives Underwater Fly On The Windscreen
Executive-Producer – Gary RichardsProducer – Gary Dobbins, God Lives UnderwaterRecorded By, Mixed By – David Reilly, Jeff Turzo, Master Frequency*
5:22
3 Failure Enjoy The Silence
Engineer, Mixed By – Ken AndrewsProducer – Failure
4:20
4 The Cure World In My Eyes
Engineer – Paul CorkettMastered By – Tony CousinsMixed By – Paul Corkett, Robert SmithProducer – Robert Smith
4:51
5 Dishwalla Policy Of Truth
Engineer – Jim WoodMixed By – David J. HolmanProducer – Dishwalla
3:45
6 Veruca Salt Somebody
Electric Piano – John San JuanRecorded By, Mixed By – Doug McBride
4:05
7 Meat Beat Manifesto Everything Counts
Producer [Pre-production] – Mark PistelProducer, Engineer – Jack Dangers
5:24
8 Hooverphonic Shake The Disease
Mastered By – Uwe*Mixed By – Frank Duchéne*Mixed By [Assistant] – Tim RoggemanProducer, Engineer – Hooverphonic
3:59
9 Locust Master And Servant
Engineer, Mixed By – Mark Van Hoen
3:40
10 Self Shame
Engineer – Bobby Dufresne Jr.Mixed By – Joe Baldridge, Matt MahaffeyProducer – Matt Mahaffey
4:12
11 Monster Magnet Black Celebration
Engineer – Joe Barisi*, Matt HydeMixed By – Dave Wyndorf, Gary Dobbins, Jeff TurzoProducer – Dave Wyndorf, Jeff Turzo
4:16
12 Rabbit In The Moon Waiting For The Night
Engineer – C. Hawkes*, ScapegoatMixed By – C. Hawkes*, Rabbit In The MoonProducer – Confucius, Monk*Vocals [Featuring] – Jacqui Walker
7:34
13 Apollo Four Forty* I Feel You
Engineer, Mixed By – Howard GrayProducer – Apollo Four Forty*
5:21
14 Gus Gus* Monument
Engineer – Palli Borg*Mixed By – Gus Gus*, Palli Borg*Producer – Alfred More, Biggi Veira, Daniel Agust*
5:21
15 Deftones To Have And To Hold
Mixed By – Terry Date, Ulrich WildProducer – Deftones, Terry Date
2:53
16 Rammstein Stripped
Mastered By – Bjorn Engelmann*Mixed By – Ronald PrentProducer – Jacob Hellner, Rammstein
4:44

Companies, etc.

Credits

Notes

A Depeche Mode tribute album.

Track 1: The Smashing Pumpkins appear courtesy of Virgin Records America, Inc. through arrangements with BBC Worldwide Music.
Track 2: Excerpts from "Rock And Roll Candy Man", as performed by Bloodrock, used under license from EMI-Capitol Entertainment Properties, a division of Capitol Records, Inc. Contains portions of "Rock And Roll Candy Man" written by Jim Rutledge and Eddie Grundy, published by Thunderthud Music, Inc. (BMI). God Lives Underwater appears courtesy of 1500 Records, a PolyGram company.
Track 3: Recorded & mixed at F.P.S. Studios, Los Angeles, CA. Failure appears courtesy of Slash Records/Warner Bros. Records in the U.S. and Canada and Slash Records/London Records, a PolyGram company, for the rest of the world.
Track 4: Recorded & mixed at Rak Studio 3, London. Mastered at Metropolis, London. The Cure appear courtesy of Fiction/Elektra (USA), Fiction/Warner Music Australia (Australia/New Zealand) and Fiction/Polydor (all other territories).
Track 5: Recorded at The Ranch, Santa Barbara, CA. Mixed at Cactus Studio, Los Angeles, CA. Dishwalla appears courtesy of A&M Records, Inc, a PolyGram company.
Track 6: Recorded & mixed at Gravity Studios, Chicago, IL. Veruca Salt appears courtesy of DGC Records.
Track 7: Recorded & mixed at Black Lab. Pre-production at Patchass. Meat Beat Manifesto appears courtesy of Play It Again Sam Records and Nothing.
Track 8: Recorded at The Firestation, St. Niklaas, Belgium and Galaxy Studios, Mol, Belgium. Mixed at Galaxy Studios, Mol, Belgium. Mastered at Electric City, Brussels, Belgium. Hooverphonic appears courtesy of Sony Music Entertainment (Belgium).
Track 9: Recorded at Prauda Studios, London, England. Locust appears courtesy of RS Records NV.
Track 10: Recorded at Ocean Way, Nashville, TN. Mixed at 16th Avenue Sound, Nashville, TN. Self appears courtesy of Spongebath/Dreamworks.
Track 11: Recorded at North Vine Studios, Hollywood, CA. Mixed at A&M Recording Studios, Hollywood, CA. Monster Magnet appears courtesy of A&M Records, Inc., a PolyGram company.
Track 12: Recorded & mixed at Hallucination Studios, Tampa, FL. Rabbit In The Moon appears courtesy of Hallucination Records.
Track 13: Recorded & mixed at Wessex Studio #1, London, England. Apollo Four Forty appears courtesy of Epic Records.
Track 14: Recorded & mixed at The Green Room, Reykjavik, Iceland. Gus Gus appears courtesy of 4AD.
Track 15: Recorded at Studio Litho, Seattle, WA. Mixed at Larrabee Studios, Hollywood, CA. Deftones appears courtesy of Maverick Records.
Track 16: Mastered at The Cutting Room, Stockholm. Rammstein appears courtesy of Motor Music.
This compilation ℗&©1998 1500 Records.
Printed in the U.S.A.

Barcode and Other Identifiers

  • Barcode (Text): 7 31454-0919-2 3
  • Barcode (Scanned): 731454091923
  • Matrix / Runout: 314 540 919-2 01@ MADE IN USA BY PMDC
  • Mastering SID Code: IFPI L006
  • Mould SID Code (Variant 1): IFPI 0380
  • Mould SID Code (Variant 2): IFPI 0368
  • Mould SID Code (Variant 3): IFPI 0365
  • Rights Society: BMI / PRS

Other Versions (5 of 36) View All

Cat# Artist Title (Format) Label Cat# Country Year
31454 0919 2 Various For The Masses(HDCD, Comp, Club) 1500 Records 31454 0919 2 US 1998 Sell This Version
540 919-2 Various For The Masses (Tribute To Depeche Mode)(CD, Comp, Unofficial) 1500 Records (2) 540 919-2 Russia Unknown Sell This Version
540 919 2 Various For The Masses(HDCD, Comp) 1500 Records, A&M Records 540 919 2 France 1998 Sell This Version
ALR 650 Various For The Masses(Cass, Comp, Unofficial) Always Records ALR 650 Russia 1998 Sell This Version
POCM-1247 Various For The Masses(HDCD, Comp) 1500 Records POCM-1247 Japan 1998 Sell This Version

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Crijevo

Crijevo

November 14, 2011

The title alone actually (and sadly) describes the nature of this very tribute album - despite the irony of the DM's classic album's title which it paraphrases.

It couldn't have chosen a better moment for release, as indie-music's rather shaky late 90s time progressed into the rise of trendy nu-metal/quasi-industrial/r'n'b mash up, while more genuine electro-pop that Depeche Mode are naturally initiators and informers of, experienced a certain downfall during that time. Furtherly, it's truly sad that Mute Records and the group themselves never considered "For the Masses" a more genuine concept affair (just look at the example of This Mortal Coil's amazing in-house approach regarding tributes), allowing the results this weak and shallow.

Depeche Mode themselves today are just as washed-down-the-drain institution that finally turned into a rock band. I always like to say that people seeing them in concert during their golden era of 101/Violator/SOFAD tours were the happiest girls and boys witnessing true qualities of this band. The progress DM made with 'Faith and Devotion" onwards, is perfectly reasonable, according to their career circumstances, equally exploring new trends of the era. Still, while they helped making trends and despite their omnipresence stayed fairly aside, DM became aware of how enslaved at the same time their music became by others emulating these trends.

I wish there isn't that much frustration with a DM tribute album, because at a single mention the idea sounds truly promising. However, instead of giving DM a deserved credit and more personal respect, most artists here truly sound like a waste of time. The Cure, Meat Beat Manifesto, Apollo 440 - even Gus Gus (who - despite their interestingly perverse rendition of "Monument" and Daniel Agust's beautiful vocals - managed to stretch their selection into a spineless, over-the-top "Polydistortion-esque" leftover), and not to mention examples like Hooverphonic, Veruca Salt (this is the ultimate death of "Somebody"), Rabbit in the Moon, God Lives Underwater, Monster Magnet (theirs is definitely "black" but no "celebration" at all) or Dishwalla among the chosen "lucky ones", all doing an utterly boring, pointless reminder's job.

But of course my personal listener's dislike, above all, goes towards the work of Rammstein alone, as their established industrial macho-travesty mercilessly devours "Stripped" like a bunch of rednecks, becoming the tasteless norm of it all (the worst result of this is their version is far more popular in clubs these days than the original). In a way, the decision that the very Rammstein were going to force their cliches onto this very song, was as predictable as the evolution of goth culture towards Eurodance.

Covers, let alone this one, should be done with more gut feeling (and here, the only light at the end of a 60-something minute long dreadful tunnel belongs to Smashing Pumpkins ("Never Let Me Down Again") and Locust with their Gainsborroughesque-bossa-nova style rendition of "Master And Servant" and this was years before Nouvelle Vague), than that of simple "target groups" practice. While even the earlier attempt ("I Sometimes Wish I was Famous" anyone?) failed to give a more consistent concept tribute to DM, "For the Masses" sums up one thing most people dislike regarding the original group with a reason - the pretentiousness of their horde of lousy imitators. Luckily for Depeche Mode, years later, Johnny Cash singlehandedly washed off these ugly stains in a true legend style, paying an honest, deserved tribute to the group (a "Personal Jesus" worth believing in - even though Depeche did an acoustic version themselves back in the day).
the_spoil

the_spoil

February 25, 2004

As much as I typically dislike tribute records this one is actually quite good. The tracks by God Lives Underwater, Failure, Dishwalla (surprisingly enough), Hooverphonic, Rabbit In The Moon, and Apollo Four Forty are excellent. The remaining tracks are all listenable with the exception of Rammstein's cover of "Stripped," which is definitely--to put it nicely--subpar.