Usually for a Depeche Mode recording we build the atmosphere first and then my vocals on top of it. We recorded it with me just singing to guitar and we actually kept it that way - built the atmosphere around that and some strings. Gahan added : "When The Body Speaks" was a demo where Martin added guitar. The results were really beautiful - the innocent guitar line with the 'knowing' lyrics and Dave's feeling - I love it! All the beats and sounds just followed the route."
I got Martin and Dave to just play together without headphones and enjoy the song. In Keyboard magazine in 2001, Mark Bell said "When the Body Speaks" was recorded in Electric Lady in New York, in an intimate live room where Jimmy the studio cat sleeps. It's also, unsurprisingly, a song where Fletch doesn't play, if there are any songs he does play on anymore. Taken in isolation, it's gorgeous and lovely and a gentle, delicate intimate song with the kind of tenderness Depeche rarely - if ever - exposed. Really this should be either last place, or second from last, on the album, ushering in - alongside the coming-up-in-a-bit Goodnight Lovers - as the last two songs on the album. Unfortunately, probably the worst place to put a snails pace, ethereal, cloudy wispy ballad that seems to gently fade in an out of existence is. Whilst not a great Depeche Mode song - in so much as instrumentally, it could be anyone, this is easily one of the best songs on the album. or Track 4 in CD days is When The Body Speaks. It was a tough time to be a fan of the band in 2001, as the album wasn't exactly great and the live shows presented probably the weakest selection of songs from a Depeche Mode setlist since around 1983 (which will get a specific mention when we get to One Night In Paris : Live 2001). It's a step up from Shine, but not by much. The song was played at near enough every show on the 2001 Exciter Tour, 82 shows, and hasn't been played since, which isn't exactly a surprise.
#Best depeche mode songs tv
Like Shine, the song kind of starts, circles the standard verse/chorus structure but with no variation between verses apart from the lyrics, so its difficult to get a sense of the song reaching a conclusion, more of the song kind of puttering out when its finished without a resolution : much like a TV show that gets cancelled before they wrap up the plotlines. There's no sense of spiritual drama that makes the best Depeche Mode songs the best Depeche Mode songs : the classics always seem to walk the tightrope between delirium and disaster, between pleasure and pain, and there doesn't seem to be any of that here. Production wise, its pretty good but lacking in drama, with Martin again relying on a blues/slide guitar motif, a monotonous drum rhythm that Christian must find repetitive, but no underlying drama or tension. Whilst Gahan's singing is nowhere near as emotional as Shine, it's dirtier, rawer, slinkier, backed up with a effective production which is also sadly, not as complex, as layered, or as interesting as songs like In Your Room, though clearly revisiting the same lyrical focus. It's better when its 20 years in the mirror than it was at the time. This time though, whereas 1990 seemed unrepentent ( and when it all falls apart, and when the walls come tumbling in, though we will deserve it, it will have been worth it), there seems a distinct maturity - adding in the concept of sex as a compulsion, an addiction, and a horned beast, making clearer that songs like Barrel Of A Gun, Walking In My Shoes, Rush, could just as much be about the destructive power of compulsive sex as much as drugs. Better, and more compelling than Shine, it follows a similar theme lyrically - yes, it's about sex - and revisiting also 1990's Sweetest Perfection, that of desire, connection, compulsion, and hmm, lovely silky bits of clothing worn by women.
0 kommentar(er)
