Depeche Mode ‎– Music For The Masses

Label:
Mute ‎– STUMM 47
Format:
Vinyl, LP, Album, MPO Pressing
Country:
Released:
Genre:
Style:

Tracklist

A1 Never Let Me Down Again 4:47
A2 The Things You Said 3:55
A3 Strangelove 4:38
A4 Sacred 5:01
A5 Little 15 4:14
B1 Behind The Wheel 5:17
B2 I Want You Now 3:28
B3 To Have And To Hold 3:08
B4 Nothing 4:12
B5 Pimpf 3:56

Companies, etc.

Credits

Notes

Published by Grabbing Hands/Sonet.

Recorded at Studio Guilliame Tell, Paris and Konk, London.
Mixed at PUK Studios, Denmark.
Design & photography @ T&CP Assoc.

Thanks to Dave (stitch that) Powell, Henrik Nilsson, Peter Iverson Phillippe, Dean, Rico Conning.

[Inner sleeve]:
℗ & © Mute Records Limited @ 429 Harrow Road, London W10 4RE.

[Label]:
℗ + © 1987 Mute Records Ltd.
Made in England.

[Note on sleeve]:
"Spreading the News around the World"

Comes with a printed inner sleeve & textured picture sleeve.
Some copies include a "Mute/Documentary Evidence" 6 page insert with history and complete discography of Mute's releases.

There are currently 7 UK non promo versions:
1. This one.
2. 1987 MPO Withdrawn release.
3. 1987 MPO Clear vinyl.
4. 1987 Lyntone pressing.
5. 1987 Damont pressing.
6. MPO repress with plain sleeve.
7. MPO repress with plain sleeve and without printed innersleve.

Barcode and Other Identifiers

  • Barcode (Text): 5 016025 300471
  • Barcode (Scanned): 5016025300471
  • Matrix / Runout (Runout side A, etched, variant 1): STUMM 47 A¹ X MPO THE EXCHANGE CORBY YOU'RE SO JAZZ
  • Matrix / Runout (Runout side B, etched, variant 1): STUMM 47 B¹ MPO JONZ
  • Matrix / Runout (Runout side A, etched, variant 2): STUMM 47 A¹ MPO THE EXCHANGE CORBY ' YOU'RE SO JAZZ
  • Matrix / Runout (Runout side B, etched, variant 2): STUMM 47 B¹ ˣ MPO JONZ

Other Versions (5 of 384) View All

Cat# Artist Title (Format) Label Cat# Country Year
74321125062 Depeche Mode Music For The Masses(CD, Album, RP) Disques Vogue, Mute 74321125062 France Unknown Sell This Version
1309110-1 Depeche Mode Music For The Masses(CD, Album, RE) Mute, Paradoxx Music 1309110-1 Brazil 1997 Sell This Version
4-25614 Depeche Mode Music For The Masses(Cass, Album, Club, RP, Dol) Sire, Mute 4-25614 US Unknown Sell This Version
CD STUMM 47 Depeche Mode Music For The Masses(CD, Album) Mute CD STUMM 47 UK 1987 Sell This Version
656 590-4 Depeche Mode Music For The Masses(Cass, Album, RE) Mute, CNR Discos Venezuela, ToCo International 656 590-4 Venezuela 1993 Sell This Version

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rockadelic

rockadelic

September 1, 2020
Is there a version with orange coloured vinyl? Which country is it from?
Crijevo

Crijevo

March 10, 2010
Whether this is Depeche Mode's side to 'Songs From the Big Chair' or not, 'Music for the Masses' finally cemented their status as one of electro-pop's finest craftsmen.

As much as it dared tackling Tears For Fears' musical genius, 'Music For the Masses' can also be observed as an album Ultravox wanted to make. Here Depeche Mode aim at the grandiose, adding neo-classical elements to great effect (another perverse beauty called 'Little 15', followed by a string of equally impressive b-side instrumentals - 'St. Jarna' and Wilder's solo-interpretation of 'Moonlight Sonata'). Once again, the group offers convincing pop-chart successes; the aggressive 'Never Let Me Down Again', 'Strangelove' (I prefer the single over the album's version) and 'Behind the Wheel'. These three also helped Depeche Mode's sonic image turn more subversive in the video-context.

Although these videos still struggled with the group's lousy acting, in choosing to work with Anton Corbijn (previously on 'Black Celebration'), they finally stepped out of the mediocre public pose as a teenage poster-group. Corbijn gave them deserved monochromatic security - although the group's LP sleeves are still delivered by the impressive T&CP Associates team, Corbijn's inclusion started slowly to affect their image - so blame it on the megaphone.

While carrying its strengths on the back of three aforementioned singles, 'Music For the Masses' contains far stronger pieces on the very album - particularly 'Sacred', featuring a menacing choir intro and the fierce, closing piano-soundtrack - 'Pimpf', both flirting with 'The Omen' and 'Carmina Burana' respectively (the hidden outro to 'Pimpf' contains an equally frightening rendition of 'Strangelove') .

Not to forget 'I Want You Now', one of Gore's beautiful a capella episodes - once again questioning both, time and lust, built on a simplified male-female sigh-snippet - sliding into a spy-like theme, 'To Have And To Hold'; indecipherable radio message giving the impression of voices echoing in one's head, all paranoia with morally induced lyrics. 'Nothing' is another impressive standard which sadly wasn't given a chance as a single - its an effectively negative statement, which indirectly (in terms of lyrics) echoes Gore's spiritual and materialistic doubts, once expressed in 'Everything Counts' and 'Blasphemous Rumours'.

This album turned another big page in the group's history - the world tour culminating in Pasadena Rose Bowl's concert where reportedly around 70.000 people witnessed one of the finest live appearances ever.