People are people depeche mode

03.09.202203.09.2022 admin 0 Comments

People are people depeche mode

People Are People – Depeche Mode

История современной музыки изобилует случаями, когда авторы суперпопулярных композиций недолюбливают свои творения и отказываются исполнять их на концертах. Чаще всего подобное происходит из-за того, что публика, влюбившись в один хит группы, игнорирует прочее творчество коллектива.

Но иногда музыканты просто считают какие-то песни слишком неудачными и не разделяют восторга поклонников относительно этих произведений. В подобную ситуацию попал Мартин Гор (Martin Gore), участник Depeche Mode. Он сочинил композицию People Are People, которая стала первым хитом группы в Соединенных Штатах. Только вот подобный успех не очень-то его обрадовал.

История создания и смысл

Дело в том, что большинство песен Depeche Mode дает повод задуматься над их смыслом и оставляет простор для фантазии, а в People Are People буквально прямым текстом выражено обращение к людям с призывом забыть о культурных и религиозных противоречиях и двигаться в сторону единения.

Именно такая простота и отсутствие подтекста вызывают недовольство Мартина, о чем он не раз говорил в интервью. People Are People настолько ему не нравится, что группа не исполняла ее на живых выступлениях с конца восьмидесятых годов.

Сингл People Are People, десятый по счету у группы Depeche Mode, был выпущен в 1984 году. В Великобритании он занял четвертое место в чартах, а в американском Billboard Hot 100 добрался до тринадцатой строчки. Большой популярностью песня пользовалась в Германии, где она возглавила местный хит-парад.

Песня стала третьим треком альбома Some Great Reward. Она также открывает сборник People Are People.

В 2011 году People Are People была включена в список 500 песен, сформировавших рок-н-ролл, составленный Залом славы рок-н-ролла.

Музыкальные видео

Видеоклип People Are People – Depeche Mode снял режиссер Клайв Ричардсон. Ролик был выпущен в двух вариантах: один предназначался для сингла, другой для ремикса.

Интересные факты

Текст песни People Are People – Depeche Mode

People are people, so why should it be
You and I should get along so awfully?
People are people, so why should it be
You and I should get along so awfully?

So we’re different colours and we’re different creeds
And different people have different needs
It’s obvious you hate me though I’ve done nothing wrong
I’ve never even met you, so what could I have done?

I can’t understand
What makes a man
Hate another man
Help me understand

And now you’re punching and you’re kicking and you’re shouting at me
I’m relying on your common decency
So far, it hasn’t surfaced but I’m sure it exists
It just take a while to travel from your head to your fist

Перевод песни People Are People – Depeche Mode

Люди есть люди, так почему же
Мы с тобой должны так ужасно ладить?
Люди есть люди, так почему же
Мы с тобой должны так ужасно ладить?

Итак, мы разного цвета и разного вероисповедания,
А у разных людей разные потребности
Само собой, ты ненавидишь меня, хотя я не сделал ничего плохого
Я даже никогда не встречался с тобой, так что я мог сделать?

Я не понимаю,
Что заставляет человека
Ненавидеть другого человека
Помоги мне понять

И вот ты бьешь меня кулаками и ногами и орешь на меня
Я надеюсь лишь на правила хорошего тона с твоей стороны
До сих пор они себя не обнаружили, но я уверен, они существуют
Просто нужно время, чтобы дойти от головы к кулакам

Перевод песни People are people (Depeche Mode)

People are people

Люди есть люди

People are people
So why should it be
You and I should get along so awfully

So we’re different colours
And we’re different creeds
And different people have different needs
It’s obvious you hate me
Though I’ve done nothing wrong
I’ve never even met you so what could I have done

I can’t understand
What makes a man
Hate another man
Help me understand

Help me understand

Now you’re punching
And you’re kicking
And you’re shouting at me
I’m relying on your common decency
So far it hasn’t surfaced
But I’m sure it exists
It just takes a while to travel
From your head to your fists

Люди есть люди.
Но как же может быть так,
Что мы с тобой так ужасно ладим друг с другом?

Мы разных цветов,
И у нас разное вероисповедание.
И у разных людей разные нужды.
Очевидно, что ты ненавидишь меня,
Хотя я не сделал ничего плохого.
Мы с тобой даже не встречались. Так что же я мог сделать?

Я не могу понять,
Что заставляет человека
Ненавидеть другого человека.
Помоги мне понять.

Помоги мне понять.

Сейчас ты стучишь кулаками,
И пинаешься,
И кричишь на меня.
Я рассчитываю на твое благоразумие.
Хотя пока оно никак не проявлялось,
Я уверен, что оно есть.
Просто ему нужно немного времени,
Чтобы добраться от твоей головы до твоих кулаков.

Данный перевод песни на русском языке является художественным, т.е. перевод недословный. Чтобы узнать дословный перевод песни, можете наводить мышкой на английские слова.

People are people

People are people
So why should it be
You and I should get along so awfully

I can’t understand
What makes a man
Hate another man
Help me understand

Help me understand

Люди есть люди

Люди есть люди.
Но как же может быть так,
Что мы с тобой так ужасно ладим друг с другом?

Я не могу понять,
Что заставляет человека
Ненавидеть другого человека.
Помоги мне понять.

Перевод песни People are people (Depeche Mode)

People are people

Люди есть люди

People are people
So why should it be
You and I should get along so awfully

I can’t understand
What makes a man
Hate another man
Help me understand

Help me understand

Люди есть люди.
Но как же может быть так,
Что мы с тобой так ужасно ладим друг с другом?

Я не могу понять,
Что заставляет человека
Ненавидеть другого человека.
Помоги мне понять.

Помоги мне понять.

Текст песни People Are People

Chorus x2
People are people
So why should it be
You and I should get along
So awfully?

So we’re different colours,
And we’re different creeds,
And different people
Have different needs,
It’s obvious you hate me
Though I’ve done nothing wrong,
I’ve never even met you
So what could I have done?

I can’t understand
What makes a man
Hate another man,
Help me understand.

Help me understand.

Now you’re punching,
And you’re kicking,
And you’re shouting at me,
I’m relying on your common decency,
So far it hasn’t surfaced
But I’m sure it exists,
It just takes a while to travel
From your head to your fist.

I can’t understand
What makes a man
Hate another man,
Help me understand.

Перевод песни People Are People

Да, мы разных цветов
И разных убеждений,
И у разных людей
Разные потребности,
Очевидно, что ты меня ненавидишь,
Хотя я ничего плохого не сделал,
Я даже и не встречал тебя никогда,
Так чем я мог тебе навредить?

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять.

Помоги мне понять.

И вот ты бьешь меня руками
И ногами,
И кричишь на меня,
А я рассчитываю на твою элементарную порядочность.
Пока что она не проявилась,
Но я уверен, она где-то есть,
Просто не так быстро подает сигнал
От головы к кулаку.

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять.

Depeche Mode — People Are People

Слушать Depeche Mode — People Are People

Текст Depeche Mode — People Are People

People are people so why should it be
You and I should get along so awfully?
People are people so why should it be
You and I should get along so awfully?

So we’re different colors, and we’re different breeds
And different people, have different needs
It’s obvious you hate me, though I’ve done nothing wrong
I’ve never even met you, so what I could I have done?

I can’t understand
What makes a man hate another man?
Help me understand

People are people so why should it be
You and I should get along so awfully?
People are people so why should it be
You and I should get along so awfully?

Help me understand (help me understand)
Help me understand

And now you’re punching, and you’re kicking
And you’re shouting at me
I’m relying on your common decency
So far it hasn’t surfaced but I’m sure it exists
It just takes a while to travel from your head to your fist

I can’t understand
What makes a man hate another man?
Help me understand

People are people so why should it be
You and I should get along so awfully?
People are people so why should it be
You and I should get along so awfully?

I can’t understand what make a man hate another man
Help me understand
I can’t understand what make a man hate another man
Help me understand
I can’t understand what make a man hate another man
Help me understand
I can’t understand what make a man hate another man
Help me understand
I can’t understand what make a man hate another man
Help me understand
I can’t understand what make a man hate another man
Help me understand

Depeche Mode People Are People Official Video

03:40 4.83 MB 31.3M

Depeche Mode People Are People 12 Version Official Video

07:16 9.56 MB 619.9K

Depeche Mode People Are People Best Live Version HQ

03:33 4.67 MB 1.4K

Depeche Mode People Are People Official Video

03:38 4.78 MB 3.5M

Depeche Mode People Are People Top Of The Pops 22 03 1984

03:45 4.94 MB 5.9K

Depeche Mode People Are People Live In Hamburg

04:13 5.55 MB 0.9K

Depeche Mode People Are People Live In Hamburg 1984

04:14 5.57 MB 12K

People Are People

03:45 4.94 MB 34.2K

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Depeche Mode People Are People Live 84

04:46 6.27 MB 462

Depeche Mode Live 1984 The Tube Full Set HD

08:49 11.60 MB 12K

Depeche Mode People Are People Live From 101 HD

03:31 4.63 MB 2.2K

Depeche Mode People Are People 101 Full Live Version 04 59

05:00 6.58 MB 5.3K

People Are People Live In Basel

04:17 5.64 MB 25.2K

Depeche Mode See You Official Video

03:53 5.11 MB 3.6M

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06:36 8.69 MB 2.5K

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02:33 3.36 MB 1.6K

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02:19 3.05 MB 1.1K

Depeche Mode People Are People Island Synth O Mix

06:24 8.42 MB 2.1K

Depeche Mode Hole To Feed Official Video

04:27 5.86 MB 1.9M

Depeche Mode People Are People 2020 Boris Nazarov Remix

03:40 4.83 MB 17K

DEPECHE MODE 101 People Are People Live 18 6 1988

05:01 6.60 MB 126.2K

Depeche Mode The World We Living And Live In Hamburg

01:22:29 108.55 MB 6.8K

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Depeche Mode 14 People Are People

Depeche Mode People Are People 1984

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11:25 15.03 MB 266.8K

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Depeche Mode Strangelove 88 Official Video

04:50 6.36 MB 31.6M

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03:16 4.30 MB 4.5M

DEPECHE MODE Live London 1982

54:27 71.66 MB 1.3M

Depeche Mode Policy Of Truth Official Video

04:09 5.46 MB 87.4M

Depeche Mode People Are People Live

03:48 5.00 MB 50K

Depeche Mode People Are People Trance Remix

04:12 5.53 MB 30.6K

Depeche Mode People Are People Remix Vladimir Islander By Alexandr Batiunin

04:40 6.14 MB 6.4K

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03:57 5.20 MB 5.6K

People Are People

03:45 4.94 MB 245K

Depeche Mode People Are People Live In Hamburg 1984

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Depeche Mode A Question Of Lust Official Video

Depeche Mode People Are People Live In Pasadena 1988

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Depeche Mode People Are People Laserdance Dub

08:16 10.88 MB 5.4K

Depeche Mode Shout Live In Hamburg 1984 50fps

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Depeche Mode People Are People

06:34 8.64 MB 1.3K

Depeche Mode People Are People 101 Version Remake

04:47 6.30 MB 2.9K

Piano ONLY Version People Are People Depeche Mode

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03:29 4.58 MB 1.7K

Depeche Mode People Are People By JP

Depeche Mode People Are People Laserdance Mix

04:20 5.70 MB 27.5K

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07:31 9.89 MB 174.9M

Для вашего поискового запроса Depeche Mode People Are People 1984 Hq мы нашли 50 песен, соответствующие вашему запросу. Теперь мы рекомендуем загрузить первый результат Depeche Mode People Are People Official Video который загружен Depeche Mode размером 4.83 MB, длительностью 3 мин и 40 сек и битрейтом 192 Kbps.

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People Are People

People are people
So why should it be
You and I should get along
So awfully?

I can’t understand
What makes a man
Hate another man,
Help me understand…

Help me understand…

I can’t understand
What makes a man
Hate another man,
Help me understand…

Все люди — люди

Все люди — люди,
Так почему так происходит,
Что ты и я не находим
Никакого понимания?

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять…

Помоги мне понять…

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять…

Перевод: Катя Чикиндина, г.Могилев, Беларусь

People Are People

People are people

So why should it be

Так почему так происходит,

You and I should get along

Что ты и я не находим

So we’re different colours,

Да, мы разных цветов

And we’re different creeds,

И разных убеждений,

And different people

И у разных людей

Have different needs,

It’s obvious you hate me

Очевидно, что ты меня ненавидишь,

Though I’ve done nothing wrong,

Хотя я ничего плохого не сделал,

I’ve never even met you

Я даже и не встречал тебя никогда,

So what could I have done?

Так чем я мог тебе навредить?

I can’t understand

Я не могу понять,

What makes a man

Что заставляет одного человека

Hate another man,

Ненавидеть другого человека,

Help me understand.

Помоги мне понять.

Help me understand.

Помоги мне понять.

Now you’re punching,

И вот ты бьешь меня руками

And you’re kicking,

And you’re shouting at me,

И кричишь на меня,

I’m relying on your common decency,

А я рассчитываю на твою элементарную порядочность.

Перевод песни People are people (Depeche Mode)

People are people

Люди есть люди

People are people
So why should it be
You and I should get along so awfully

I can’t understand
What makes a man
Hate another man
Help me understand

Help me understand

Люди есть люди.
Но как же может быть так,
Что мы с тобой так ужасно ладим друг с другом?

Я не могу понять,
Что заставляет человека
Ненавидеть другого человека.
Помоги мне понять.

Помоги мне понять.

People are people — Depeche Mode

Интересные факты о песне

Успеху песни в Западной Германии способствовал тот факт, что она широко использовалась на телевидении во время трансляции Олимпийских игр 1984 года, которые бойкотировали почти все страны социалистического лагеря (за исключением Румынии), включая ГДР.

Добавил: Андрей Домненко

Необычный звук в припеве записан Мартином Гором в самолёте: «Я летел куда-то из Англии и взял с собой „Sony Walkman“, чтобы записать звук взлета. Стюардесса объясняла всем правила безопасности, и посреди ее фразы „Check the instruction cards under your seat“ („Инструкция находится под сиденьем“) дверь в салон громко распахнулась от порыва ветра, и все засмеялись. В итоге я поставил на повтор отрывок ее фразы и смех, и получилось „…tion cards, ha, ha, ha, ha…tion cards, ha, ha, ha, ha“, что само по себе звучало смешно, но в сочетании с пением хора создало в бридже „People Are People“ отличную текстуру».

Группа обсуждала возможность воссоздания этого звука, но это оказалось невозможным.

Источник: Джонатан Миллер «Depeche Mode. Подлинная история»

Алан Уайлдер рассказал о происхождении трех хриплых ударов, которые слышны в конце каждого припева: «Сначала мы попросили Мартина побулькать горлом и записали сэмпл, а потом добавили к этому колокол и литавры, чтобы придать звуку глубину».

Источник: Джонатан Миллер «Depeche Mode. Подлинная история»

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Текст песни People Are People

Перевод песни People Are People

People Are People

Chorus x2
People are people
So why should it be
You and I should get along
So awfully?

I can’t understand
What makes a man
Hate another man,
Help me understand.

Help me understand.

I can’t understand
What makes a man
Hate another man,
Help me understand.

People Are People

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять.

Помоги мне понять.

Я не могу понять,
Что заставляет одного человека
Ненавидеть другого человека,
Помоги мне понять.

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People Are People

«People Are People» is a song from the 1984 album Some Great Reward by Depeche Mode. It was released as a lead single on 12 March 1984.

Notes

Written by Martin Gore; recorded and mixed at Hansa Tonstudios in seven days. According to Alan Wilder, it was pre-programmed at a rehearsal room in Dollis Hill, North London, elaborating: «We would have finished it sooner except that some of the work had to be redone after the infamous incident when a particular member of the band turned up, only to trip over the main power cable and pull the plug.»

Martin Gore in the 1984-03-10 issue of Record Mirror: «Although it’s a song about racism, that’s just one example of people not getting on. It’s about all sorts of differences between people.»

Quotes from the documentary on the DVD of the Some Great Reward remaster from 2006:

Gareth Jones: «The acoustics of People Are People and the sound of the beats and the big fills things, is all the sound of the rooms, with the beats getting thrown around Hansa Studio: three floors down for the bass drum, snare drum one floor over, toms in another room over there that, kind of thing. The whole building was shaking.»

Alan Wilder: «It gives quite a big sounding record, the biggest sort of in that sense [makes a large box with hand gestures], the biggest we’ve ever made, and it seemed that it had something going for it.»

Daniel Miller: «We just basically pressed ‘play’ and just ran it, and everybody sang along, and it just seemed like it all sounded great, even before we recorded it properly.

Andy Fletcher: We thought it was a good song. Now, we’re not too keen on it. It’s probably. It’s our biggest hit that we don’t play.»

Wilder stated in the April 1984 issue of Electronic Soundmaker & Computer Music magazine:

When we do a single like this [People Are People] we mix for radio rather than for hi-fi. Danny [Miller] bought a little gadget which we’re evaluating called the Ear Opener — it’s supposed to reproduce exactly the compression and re-equalization you have on radio. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren’t spunding all that great on medium-wave; one thing we’ve learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system — that’s why Hansa is so good, ‘cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. That’s how we did People Are People: I suppose you could call it Controlled Dirt.

Martin Gore told Electronics and Music magazine in 1986:

Usually we spend two or three days before recording just sampling sounds. Then we sample as we go. If somebody has a good idea, we just stop recording and do some sampling. Sometimes we use old favourites — like one sample which we first used on ‘People Are People’. It’s a Hank Marvin-type guitar sound, an acoustic guitar plucked with a 50-pfennig piece. We’ve used that three or four times now.

Martin and Alan say in the November 1984 issue of International Musician And Recording World:

Martin Gore: The bass drum at the beginning was just an acoustic bass drum sampled into a Synclavier then we added a piece of metal to that – just a sampled anvil type sound – to give it a slight click and make it sound a bit different. That’s the beauty of the Synclavier, you can edit sounds together to make what we call combination sounds. The main synth sound is the actual ‘synth’ sound on the Synclavier, that’s the one that plays the bass riff. But the bass sound is a combination sound too with part of it being an acoustic guitar plucked with a coin, which sounds very interesting when the two sounds are sequenced together. I took a stereo Walkman when I was going on a plane from England to somewhere. I originally brought it along to take the takeoff but while the air hostess was doing her safety speech at the start of the flight I decided I’d take that as well. But as she was telling everyone to ‘Check the instruction cards under your seat,’ the door flew open and all this air rushed in which made a real noise and everyone laughed. Anyway I looped the end of what she was saying and the laughter so it goes, ‘…tion cards ha ha ha ha …tion cards ha ha ha ha,’ which sounds funny but I used it in conjunction with a choir sound and it added a really nice texture to the bridge on People.

Alan Wilder: There’s very little playing going on in People [Are People], virtually everything is sampled into the Synclavier. With the guitar sounds we altered them slightly once they were in the Synclavier because you sample in one note and then you can alter the length and dynamic of every note in the sequence for the guitar part so it will give expression, but it will still be completely in time. You can justify all the rhythms, you see, so that you can have articulation but it’s all in time. There’s a Synclavier harp sound in the verses, and an ARP sequencer playing very fast in the chorus and there’s some Emulator sounds that we used for adding a few frills here and there. We got a lot of people singing the high, ‘It’s a lot,’ and then a low, ‘Like life.’ The choir sound on People, again, we used a combination sound of different choir sounds on different synths and then put them slightly out of time with each other. Like we took one sound from the Synclavier, one from the PPG and one was on the Emulator. [The three throaty clunks at the end of each chorus] was a combination sound. First of all we sampled Martin going, ‘Unk Unk Unk,’ with his throat then we added a bell sound and a timpani to give it depth. We only took those down a tone and it was unrecognisable as someone going, ‘Unk’, with their throat.

Martin: «I felt a bit of a berk doing that.»

Gareth Jones told Sound on Sound magazine in 2007:

Martin made a demo for ‘People Are People’ — it was also the first time the band had done a pre-production session — and this had one ambient sound that he’d recorded with a Walkman on an airplane; a bit of laughter and noise. He looped this up on the demo, and we decided to somehow recreate that sound, but it was impossible to recreate because it was a ‘found sound’, full of texture and rhythm, so we ended up using what was on the demo. Nobody thinks anything of that now — found sounds are used all the time — but back then it was a bit of a breakthrough for us. The demos were all very lo-fi, recorded on four-track or whatever, yet somehow a tiny snippet of this sound still existed in the Emulator and it became a big part of the chorus. I remember that very clearly, because there was a moment’s confusion when we thought, ‘How are we going to recreate that?’ and then suddenly we realised we didn’t need to recreate it, we’d just use it.

In the same interview, which focuses on «People Are People», Jones also says:

Radio play was really important to us, and we had a little box called an Ear Opener which was like a tiny domestic radio. It was bandwidth limited and attempted to emulate some of the [BBC] Radio One-type compression, and since the record company was so concerned about getting the song on the radio we spent a lot of time listening and mixing on a two- or three-inch speaker. However, listening to ‘People Are People’ now, I’d say we probably spent too much time doing this, because while it sounded absolutely amazing on a small system, on bigger systems I can hear all the faults. You know, ‘Oh God, I could have got more bass on it,’ or ‘It would have been great if the high-end could have been a bit smoother.’ Obvious things. If I’d been a more experienced engineer, I would have paid all the due attention to the little Ear Opener monitoring system and also paid a bit more attention to the big monitors, because the boundaries of the sound are, well, crude. Still, having said that, the track did of course have incredible energy and vibe coming out of a radio or little television set. It was like the radio was going to explode, and that’s why it was a massive hit all over Europe, so overall I’m incredibly pleased and proud of that work. [. ] That song was kind of a stepping stone between Construction Time Again and Some Great Reward. It signalled the band’s transition towards more industrial sounds.

When Depeche Mode was interviewed about the songs on the 101 CD for the April 1989 issue of French magazine Best, Andy Fletcher said (translated from French): «This is one of our biggest hits, but we had a long discussion before deciding if we were going to play it on tour. Martin and I were against it. Martin cannot stand this song now. He finds it too commercial, not subtle enough. I think that, next time, it will not be on the setlist.»

This was the first song of ours that made a dent, really, into popular radio. We were using all these tape loops to create rhythms and the technology was quite advanced, but it wasn’t anything like it is today, the things that you can do. [. ] It’s not one of Martin’s particular favorites, this one, and I don’t think we’ve done it live since the mid ’80s. It’s quite literal, very poppy, all major chords — something Martin doesn’t like so much these days [laughs]. But the song really propelled us into a new cosmos at that particular time. [T]he song became a no. 1 hit in a lot of countries in Europe, and it allowed us to then go off and create the music that we wanted to create.

Martin Gore echoes this in the April 2009 issue of Rolling Stone Germany (translated from German):

Lyrics

People Are People

People are people

So why should it be

You and I should get along so awfully

So we’re different colours

And we’re different creeds

And different people have different needs

It’s obvious you hate me

Though I’ve done nothing wrong

I’ve never even met you so what could I have done

I can’t understand

What makes a man

Hate another man

Help me understand

Now you’re punching

And you’re kicking

And you’re shouting at me

I’m relying on your common decency

So far it hasn’t surfaced

But I’m sure it exists

It just takes a while to travel

From your head to your fists

I can’t understand

What makes a man

Hate another man

Help me understand

People are people

So why should it be

You and I should get along so awfully

I can’t understand

What makes a man

Hate another man

Help me understand

Music video

People Are People (песня)

«People Are People» (в переводе с англ. — «Люди есть люди») — песня британской группы Depeche Mode, первый сингл из их четвёртого студийного альбома Some Great Reward, десятый в дискографии группы. Записан на студии Hansa Mischraum в Берлине, вышел 12 марта 1984 года.

Содержание

О песне

«People Are People» была написана Мартином Гором как танцевальная песня. «Попсовости» в песню, возможно, добавил Алан Уайлдер, он же является автором би-сайда, «In Your Memory». Обе песни имеют удлинённые версии — «Different Mix» и «Slik Mix» соответственно («Slik Mix» часто неверно называют «Slick Mix»).

В Западной Германии песня стала хитом номер один, и использовалась западногерманским телевидением как тема при освещении летних Олимпийских игр 1984 года, намекая на бойкот игр Восточной Германией под давлением СССР.

Также песня была использована BBC в качестве темы в детской научно-популярной передаче It’ll Never Work.

Музыкальное видео

Снятое Клайвом Ричардсоном [6] музыкальное видео на «People Are People» доступно в двух версиях. Оригинальный клип был снят на сингл-версию песни, для альтернативной версии была использована версия «Different Mix». Клип содержит кадры различных военных сцен, перемежающихся с кадрами, на которых группа пребывает на борту британского крейсера «Белфаст». В клипе присутствуют кадры парада на Красной площади и кадры работы цеха по производству грампластинок. Клип на версию «Different Mix» доступен на сборнике Some Great Videos.

Сборник

Сборник с названием People Are People был выпущен 2 июля 1984 года в Северной Америке лейблом Sire Records с целью закрепить успех сингла. Сборник предварял выход альбома Some Great Reward и содержал несколько ранее недоступных для североамериканской аудитории треков.

Списки композиций

«People Are People» написана Мартином Гором. «In Your Memory» написана Аланом Уайлдером.

CLASSIC TRACKS: Depeche Mode ‘People Are People’

‘People Are People’ perfectly combined Depeche Mode’s love of pop music and experimentalism, and gave them their first US hit single.

Having evolved from new romantic to electro-pop, and survived the departure of co-founder and chief composer Vince Clarke (the keyboardist/composer formed Yazoo with singer Alison Moyet shortly after the UK-top-ten success of the single ‘Just Can’t Get Enough’), Depeche Mode began to hit their stride on the all-synth outfit’s third album, Construction Time Again. Released in 1983, this signalled a growing sophistication in terms of Martin Gore’s introspective songwriting and the arrangements of fellow keyboard player Alan Wilder, alongside the contributions of keyboardist Andrew Fletcher and vocalist David Gahan.

Gareth Jones engineered this record, and the following year he fulfilled the same role on Some Great Reward whilst also co-producing it with the band and Mute Records A&R exec Daniel Miller. The Basildon quartet’s industrial-fusion apotheosis, this featured the classic dance track ‘Master and Servant’, as well as ‘People Are People’ which scored big on both sides of the Atlantic following its recording and release as a stand-alone single in April 1984.

«That song was kind of a stepping stone between Construction Time Again and Some Great Reward,» Jones explains. «It signalled the band’s transition towards more industrial sounds.»

Beginnings

Basing himself in London after having grown up in the small Midlands market town of Evesham, Worcestershire, Gareth Jones gained his formal training at BBC Radio during the late-’70s. In his spare time, he also worked at a small eight-track studio named Pathway, in Stoke Newington, North London, and it was after moving there on a full-time basis in 1979 that he engineered Metamatic, the minimalist synth-pop solo debut of singer/keyboardist and former Ultravox frontman John Foxx.

Depeche Mode 1984. Left to right: Alan Wilder, Martin Gore, Dave Gahan and Andy Fletcher. This album, as well as Foxx’s 1981 follow-up, The Garden, subsequently brought Jones to the attention of Daniel Miller and Depeche Mode, and Construction Time Again was actually recorded at John Foxx’s newly built London studio, also named The Garden and now part of the Miloco complex.

«We felt that a lot of what we were doing was defining new sonic territories,» says Jones with regard to the Depeche Mode perspective when he began working with the band. «Even on Construction Time, one of the things I brought to the table was to put the synthesizers through guitar amps. That wasn’t being done very much back then — as far as we were concerned, we were the first people to do it — and that was part of the gradual darkening of the Depeche Mode sound. The band members wanted to experiment and they wanted to grow, and they were fed up with their synth-pop image. They didn’t feel it did justice to what they wanted to express. They clearly wanted to go a long way, and at that time they were starting out on the journey towards Violator and Songs of Faith and Devotion.»

Embracing Samplers

Having mixed Construction Time Again at Hansa Tonstudios in Berlin due to the appeal of that city, the esteemed reputation of the then state-of-the-art facility and the favourable exchange rate between the pound and the Deutschmark, Depeche Mode and Daniel Miller also opted to use Hansa for the recording and mix of ‘People Are People’. The studio was equipped with a custom ‘Hansa Blue’ 48-channel SSL 4000E Series console and 24-track Studer A800 tape machine. The band brought their own BBC Micro computer-based sequencer along, and Miller’s own Synclavier was used to sample and edit audio while also serving as a great additive synth.

«That song was a lot about sampling and the room,» says Gareth Jones. «The monophonic Synclavier was a big part of the sound — we didn’t have the polyphonic sampler until the fifth album [1986’s Black Celebration] — and we also had an Emulator II and my own AMS. These were used all the time, and since only the Synclavier stored samples, a lot of what we did was recorded onto tape; track by track.

«Martin made a demo for ‘People Are People’ — it was also the first time the band had done a pre-production session — and this had one ambient sound that he’d recorded with a Walkman on an airplane; a bit of laughter and noise. He looped this up on the demo, and we decided to somehow recreate that sound, but it was impossible to recreate because it was a ‘found sound’, full of texture and rhythm, so we ended up using what was on the demo. Nobody thinks anything of that now — found sounds are used all the time — but back then it was a bit of a breakthrough for us. The demos were all very lo-fi, recorded on four-track or whatever, yet somehow a tiny snippet of this sound still existed in the Emulator and it became a big part of the chorus. I remember that very clearly, because there was a moment’s confusion when we thought, ‘How are we going to recreate that?’ and then suddenly we realised we didn’t need to recreate it, we’d just use it.

«One of the big things we were using samplers for at that time was to sample the world and make our own melodies and rhythms out of it. In my work with Depeche and others, I’ve never been that interested in using samplers to recreate conventional instruments. Instead, when the sampler came out it was like opening a door of perception. We could sample almost sound and turn it into a rhythm or melody, or even use the intrinsic rhythm within a sound — during that period there were lots of sounds on Depeche Mode records (although not on ‘People Are People’) that consisted of spinning saucepan lids, things falling downstairs, ping-pong balls bouncing, and loads of things with inherent rhythm that we twisted and warped into Martin’s songs. The fragment of sound from the aircraft cabin was part of that.»

Of particular note in this regard was ‘Pipeline’, which appeared on the Construction Time Again album, featuring drumsticks and hammers beating steel plates, pipes and various other metal objects, as recorded at a disused train station in Shoreditch, East London, with a cassette machine and assorted mics. The story of such sounds being captured by Jones at a German junkyard is apocryphal, yet it does have some basis in reality, and some of the aformentioned Shoreditch tapes were also utilised for the jerky rhythm on ‘People Are People’.

«I was working with Einsturzende Neubaten, who in the early days made a lot of art music that featured the sound of banging metal,» he says, referring to the German band whose name means Collapsing New Buildings. «I didn’t use their sounds on ‘People Are People’, but certainly I embraced their aesthetic. It was a very fertile time, because I was introducing Einsturzende Neubaten to sequencers and we were using sampled metal with Depeche Mode, and having had that one expedition into the industrial wilderness with hammers and sticks we were then taking sounds from anywhere. Of course, as reflected later in the ‘People Are People’ video that was shot on HMS Belfast, we felt that banging metal was a very brutal and intense noise, and so a lot of that was built into the song.»

Mode-us Operandi: The Production Team

Having enjoyed a good working relationship with Depeche Mode during the Construction Time sessions, Jones plucked up the courage to ask if he could thereafter be on the production team. The response was positive.

«I felt I’d made a massive contribution to the sound of that album,» he says. «With Depeche, the studio was very much an instrument, too, and since that’s what I played I felt entitled to ask if I could produce as well. Luckily for me, they said yes. The guy who’d founded Mute Records, Daniel Miller, was also the de facto manager — the band didn’t have management at that time — and so he was the boss. He was fascinated by synthesizers and electronic music, and much of what he did musically was based on synthesizer sounds. Once those sounds came out of the synths I’d take over and build acoustic spaces around them, and at the same time we’d all work on the arrangements. Still, looking back, I’d say I was a very junior co-producer.

«Daniel did a lot of hands-on crafting of those sounds, as did Martin Gore and Alan Wilder, who was also a major production figure within the band. Alan was extremely invoved in the crafting of the studio product; a full-on, very musical guy, very interested in beats programming, and very interested in every aspect of the studio, be it compression or equalisation or reverb or delays or anything. So, there was a trio of us all the time in the studio, with Alan representing the band, Daniel overseeing everything while crafting many of the sounds, and me taking care of the engineering side. I had no repsonsibility for schedule or budget, and I was only starting to really understand how pop songs worked. I was on a big learning curve. In fact, I think we were all on a learning curve — that’s one of the things that was so exciting.

«Sonically, I was contributing to the record big-time, and that’s why I asked to be on the production team. I was just a young engineer, also with a long way to go, who knew I could add greatly to the production side of things, too, and the band and the record label obviously felt the same way because they took me on board.»

Synchronicity

«Everything was layered one instrument at a time,» explains Jones. «Because of our relatively limited resources and because we couldn’t save any of the analogue synths, we didn’t have the whole song playing at the same time. It was very different to how we work now. We had the demo, so we knew where the song was going, and then we’d record something — for instance, guide drums, followed by a guide bass from something like a Minimoog, then a rhythm sequence from a triggered ARP sequencer running an ARP 2600, and then maybe something else.

«Nowadays, with soft synths and big racks of hardware synths, everybody just builds up the whole song and has it running all the time, but it was almost impossible to work like that back then because sounds would get lost, the power would go off. So parts were created one layer at a time, with the demo and pre-production serving as a reference as to where the song was, and some of those layers could also be changed — if you got further down the road and thought the bass wasn’t very good, you could always redo it.»

Depeche Mode relaxing in Berlin. Photo: Michael Putland Likening the whole process to building a house, Jones states that very little subtraction took place.

«If you did need to dig the basement out, that was a really big deal,» he says. «At least, it seemed to be at the time. We were becoming masters of synchronizing stuff up, but it wasn’t so easy back then, whereas now we think nothing of changing the drums on electronic music at any stage of the process. That would have seemed like more of a big deal then, because we’d get paranoid and nervous — ‘Oh God, if we change the drums, everything’s been built on those drums!’ It was a bit like a live track, almost. So, there wasn’t all that much subtraction going on; only occasionally, if we thought, ‘Oh shit, we’ve erected that wall in the wrong place.’

«Don’t forget, sync was still a bit flakey, and we spent a lot of time trying to get these machines to play in sync. You’d make half a track and then you’d find out that the latency of some of the gear was varying. It wasn’t just like an offset — we had the technology to handle that. You know, you’d find out that the Synclavier appeared to have a variable latency, so then you’d spend half a day hooking up an oscilloscope and looking at the click — you had a track of timecode and a track of click which you’d believe was absolutely marking the bar where things should be, because you’d made it in a very primitive way and it was repeatable. But then you’d have this huge challenge to make all this other stuff fit in with it. I can tell you, this was not trivial at the time, especially for us.

«A lot of the sequenced music was very Kraftwerk-inspired, and it was supposed to be precise. Well, the longer you listened, the more the irritating discrepancies upset you. The varying latencies’ jitter was all over the place, we found out, especially with some of the digital stuff, and that was very shocking to us because we’d come from an analogue world where jitter didn’t really occur — there might be a latency, but it would be constant. So, that was an enormous challenge, although if we were all to go back now, even with the very same technology, it probably would be a lot easier because we’d know every pitfall and we’d know exactly what to do. Back then we felt like explorers.»

A United Front

«Working with Martin over the years, I’ve seen him become much more interested in how the demo evolves into the final product. At that time, however, his attention span was a bit shorter. After he’d written a song, I think he considered it tedious to be endlessly playing around with synthesizers and making different versions. Maybe we were just too slow for him, but even if he was bored with the process we at least had his demo as the guiding light, and different people tried different things. Because it was all played with machines, it was open to experimentation.

«It didn’t really matter who programmed what machine. Someone could create something on a machine and then someone else could alter it and everyone could listen to it. There was a sense in which performance ego was irrelevant, because the performance was in the vocal and the programming. Once the sequencers were programmed, that was it, and if need be they were infinitely tweakable. So, it was the song that was in charge, up on the altar, enthroned, with everybody paying serious attention to getting the best out of it. The harcore consisted of Daniel, Alan and myself, in studio all the time, focussing on driving things forward.

«We were all quite young and so it was very much a question of just working endless hours until we all felt we’d achieved something that felt right. We were really into it, and while Dave and Martin were very passionate about the songs as well, they’d be more likely to go off to a bar at 10 in the evening and leave us in the studio for another six hours to puzzle over some aspect of how we were going to create this effect or that effect or what else we were going to do. In fact, to me it just felt like a massive outpouring of effort and energy and commitment rather than some very clear and focussed game-plan. There was a fantastic synergy.

«All we knew was that we wanted to make a groundbreaking piece of work, we wanted to make something we’d never heard before, we wanted to make something with a catchy hook and we wanted to make something that sounded amazing on the radio. Obviously, we had a whole load of objectives, but I’m not sure how much objectivity we actually had. We were buried inside our own little world, and then when we finished it we’d come away and be wondering, ‘Is that any good? Is it pop genius or is it crap?’ Especially when you’re younger, it’s hard to have any kind of objectivity. I find it a lot easier now, but then I’ve got much more experience.»

Vocal Recording, Processing & Compiling

While Dave Gahan performed the fairly vociferous lead vocal, Martin Gore sang the far more gentle bridge section, and both men teamed up on the chorus refrain.

«They were recorded separately,» Jones remarks. «Later on, that’s the kind of thing they might have tackled together, but at that time it was a case of first just focussing on getting Dave’s vocals down to set the stage for Martin to then do his parts. In fact, we’d put a guide vocal down as soon as we could, very early in the process. So if, for instance, we had guide drums, bass and one rhythm sequencer down, we would then put a guide vocal on straight away. Sometimes, being the songwriter, Martin would sing the guide vocal — Dave seemed to have a tough attitude and a tough voice, whereas Martin had more of a soft and delicate voice, so Martin’s voice would be recorded not so much for the vibe as for the melody and the lyric.

«I recorded the vocals with an AKG tube mic in the live room — it was only later that we started doing hand-held in the control room — and I was also using an ADR Compex Vocal Stressor at the time. Sadly, I sold that many years ago and I’d like to have it back now. At that stage, I was rather foolishly printing many effects to tape as well, and on ‘People Are People’ I think there was a bit of slap from the chorus echo. No plate reverb or anything — that would be added maybe later at the mix stage. As always, it was about making Dave comfortable, and we’d think nothing of saying, ‘Okay, these effects sound great on Dave,’ and because that’s what went with the performance we’d put them on tape with the vocal. That’s not something I would do now.

«Dave was very committed and hard-working and absolutely wanted to get it right. He was still very much developing as a vocalist. Nowadays, he’s more experienced and really serious about it — he does a lot of warm-ups and training and vocal exercises, but at that time he wasn’t doing that. It was more raw, from the gut, and he was very keen to get it right, which obviously meant being in tune as well as nailing down Martin’s melody. In fact, although we all worked hard, looking back we probably could have spent proportionately a bit more time on the vocals and a little less on all the synthesizers.

«What I considered to be another of my talents at that time was the ability to give the vocalist a great sound in his headphones, make him feel comfortable by giving him all my attention, and do everything to help him deliver his very best. At the same time, Dave worked harder at his vocal than Martin worked at his vocal — Martin would just kind of go in and bash his vocals out, whereas sometimes it was more of a struggle for Dave. However, the vocals were always comp’d [compiled from multiple takes], and even though we were more limited then, comp’ing on analogue rather than in Pro Tools, we could still do quite a lot.

«Dave wouldn’t take part in the vocal comp’ing, because like many singers he found it a bit soul destroying. For him, as for most vocalists, it was like ripping his performance apart, so we’d try to get a number of great takes, and then Alan and Martin would select the lines that they wanted from each take and I’d put it together on the multitrack. Not that Dave did all that many takes — we didn’t have enough tracks for that. The lead vocal tended to happen as the song was built up, and we were still 24-track while mixing automated, so even though the bass drum, for example, went all the way through on its own track, some tracks might have six synthesizer parts on them.

«For that reason, it was hard for us to hear where we were going until we got to the mix room, where we could split all the outputs and automate them so that every instrument came back in rough balance. This was common for people working 24-track at that time and trying to do quite big productions. Especially with synth music — you’d say, ‘Oh, wait a minute, there’s space on the tom track on the middle eight. We’ll use that to put a melody on.’ The tape would just get packed, some of the tracks were like a jigsaw puzzle, and we’d usually get to the proper vocals when there were only five or six tracks left. That would at least give Dave the opportunity to lay down five or six really good ones. Using slave reels arrived with the Black Celebration album [1986].»

Drums In Every Room

According to Gareth Jones, the chief aim when recording and layering all the parts for ‘People Are People’ was to maximise the excitement. And to that end, whereas drum machines such as the Emu Drumulator and Roland TR808 had loomed large during sessions for the Construction Time Again album, sampling took precedence when creating drum sounds for the stand-alone single.

Using Martin Gore’s cassette demo as the template, Jones initially focussed on placing the sounds of samplers and synthesizers in real rooms, running through guitar amps and PA’s.

«Hansa’s Studio 2 was massive, like a huge ballroom with very high ceilings,» he recalls, «and I rented a very large P.A. from the local hire company and put it in there because I basically wanted to use it as an echo chamber for some elements of the drums, while other elements went into different rooms. We rented the mix room, as well as Studio 2 downstairs, and as we were big clients by then, we got the maintenance guy to hook them up with tie-lines. Those didn’t exist at that time, because no one had realised that the combination of the hi-tech mix room and old recording room would be great.

«A lot of the rooms and the gated rooms were all running live for a long time as we worked on the mix, with some of the fills on that song featuring every drum hit going into a different room. It was like we were throwing drum sounds around three floors of the studio.

«Alan was very much the chief rhythm programmer,» says Jones, «and while he probably had a rhythm sketched out in his Drumulator, we’d then replace and enhance the sounds. Some of those sounds were sampled dry and others were sampled with natural acoustics — the context of the samples was very important to us, so quite a lot of the sampling that we did was done with two mics, one close and one distant, because we had two-track tape recorders. I actually used a couple of Neumann U87s with the Stellavox, but I had also invested in some Schoeps CMTS501s [stereo condenser mics], which I was attracted to partly because they had boundary-layer capsules that went with them. The Schoeps boundary-layers were higher quality than the Crown boundary-layer mics that I’d used, and they were particularly great at capturing ambiences, which I was certainly obsessed with at the time.

«Anyway, from a sketched Drumulator rhythm, the beats were going down essentially one drum at a time. We’d record a kick drum on tape and then we’d record a snare drum using our arsenal of high-quality samplers; most especially the Synclavier. There was not a lot of dynamic in those drums, and the same applied to the heads and toms. Again, the bass part was played on a Minimoog or ARP 2600, and overall at this stage it seemed to us like we had quite a lot of equipment. Of course, no one had anything like the amount of equipment that’s around now, but still we had a control room packed with all of the available analogue sequencers.»

Synths & Guitar Amps

In an ongoing effort to give ‘People Are People’ more grit and greater edge, the synths were recorded through a variety of guitar amps set at different levels of distortion within real acoustic spaces. What’s more, the limited availability of tracks necessitated some serious sub-mixing.

«We’d all come from eight-track and 16-track environments, so we were very used to doing that,» says Jones. «We would take the clean sound of the synth, the close mic on the guitar amp and the distant mic, mix them all together onto one track, and that would be the sound for that part.»

Gareth Jones today. Photo: Michael Putland The aforementioned massive PA that was hired for some of the drum sounds during the mix was miked with a combination of Neumanns; some U47s up close, a stereo SM69 about 10 feet away in the center of the huge live room and a couple of U87s in the corners, all on 40-foot-high stands.

«I was really getting into omni mics at that time,» Jones recalls. «I was enjoying how omni mics and boundary-layer mics captured the rooms, and that was so much a part of moving on from the ’80s gated snare to having ambiences layered onto all the synths. Omni mics seemed to be great for that, so I was using a lot of them and, in this case, sending them back to the SSL upstairs. There were also lots of gates, of course, because we were obsessed with getting rid of tape hiss, as well as closing down the rooms even if they weren’t gated abruptly along the lines of that classic gated reverb sound. All of the ambiences were tailored, so when the instruments or vocals stopped, the ambience would have a controlled shut-down. There were triggered SSL gates everywhere, along with a few Drawmers, and it was a lot of fun; massive, tangled-up patchbays. It was ridiculously over-the-top, but then we were pushing the envelope all the time. And while it was complicated, it really wasn’t difficult.»

«Because it was automated, the mix wasn’t my performance. Sometimes, if someone else had a fancy idea, I’d say, ‘Well, since you have a special feeling for the part, you do it.’ Obviously, it was my responsibility, as the engineer, to run the board, and because it was pretty complicated no one would rush up and grab a fader without liaising with me, but certainly the mix was very democratic and open in the same way that the recording was. After all, the sequencers played the recording and the mix computer played the mix, so it didn’t really matter who did it as long as we got something that we all loved.»

On The Seventh Day.

In all, the recording and mix of ‘People Are People’ took about seven days. Depeche Mode’s breakthrough single in the States, and a big hit in Germany where it spent six weeks at number one, the track endowed industrial music with mass appeal.

Thanks to all of the MTV and US radio exposure, as well as its popularity on the American club scene, it also motivated Sire to rush release an eponymous album there that cobbled together various other singles and remixes, only for the hit song to then show up again a few months later when it was included on the subsequently recorded Some Great Reward LP.

«Radio play was really important to us, and we had a little box called an Ear Opener which was like a tiny domestic radio,» remarks Jones. «It was bandwidth limited and attempted to emulate some of the [BBC] Radio One-type compression, and since the record company was so concerned about getting the song on the radio we spent a lot of time listening and mixing on a two- or three-inch speaker.

«However, listening to ‘People Are People’ now, I’d say we probably spent too much time doing this, because while it sounded absolutely amazing on a small system, on bigger systems I can hear all the faults. You know, ‘Oh God, I could have got more bass on it,’ or ‘It would have been great if the high-end could have been a bit smoother.’ Obvious things.

«If I’d been a more experienced engineer, I would have paid all the due attention to the little Ear Opener monitoring system and also paid a bit more attention to the big monitors, because the boundaries of the sound are, well, crude. Still, having said that, the track did of course have incredible energy and vibe coming out of a radio or little television set. It was like the radio was going to explode, and that’s why it was a massive hit all over Europe, so overall I’m incredibly pleased and proud of that work.»

Depeche Mode ‘People Are People’ 1984

People Are People

Depeche Mode, Daniel Miller и Gareth Jones

Design of single:

Peter Ashworth and T & CP Associates

PRESS RELEASE

MUTE RECORDS NEWS

Depeche Mode New Single 7″ and 12″

Enclosed is a copy of the latest DEPECHE MODE single released on Mute Records on 12 March 1984. (Cat. number BOKG 5)

It is available in both 7″ and 12″.

«PEOPLE ARE PEOPLE»

«PEOPLE ARE PEOPLE» is the tenth single to be released by Depeche Mode. The single was recorded in Berlin at Hansa Studios and was produced by Depeche Mode and Daniel Meller. The 12 has extended versions of both tracks.

«PEOPLE ARE PEOPLE» was written by Martin Gore, and the B side «IN YOUR MEMORY» was written by Alan Wilder.

DEPECHE MODE have just returned from a European tour and will be starting work on a new album.

VINYL RELEASE

7″ single (7BONG5) UK

«People Are People» (Single Version) 03:43

«In Your Memory» (Single Version) 04:01

Runout 2: 7 BONG 5B GL IT’S JUST IT, IT’S JUST A QUES, A QUESTION OF COPYING

Vinyl record format: 45RPM STEREO

VINYL RELEASE

12″ single (12BONG5) UK

«People Are People» (Different Mix) 07:11

«In Your Memory» (Slik Mix) 08:12

Runout 2: 12 Bong 5B Hm PEOPLE [thumb up] PEOPLE [thumb up]

Vinyl record format: 45RPM STEREO

VINYL RELEASE

Limited 12″ single (L12BONG5) UK

«People Are People» (On-USound Mix) 07:30

1 «People Are People» (Single Version) 03:43

2 «In Your Memory» (Original 7″ Versions) 04:01

Other B: Made in Gt. Britain

Runout A: MPO L (12) BONG 5 A1 TOWNHOUSE CAREFUL KEV

Runout B: MPO L 12 BONG 5 B¹ timtom-cbs

Vinyl record format: 45RPM STEREO

Limited Edition, Numbered, Special Edition. Track «In Your Memory» (Original 7″ Versions) this is the track «In Your Memory» (Single Version).

MUSIC VIDEO RELEASE

People Are People (Single Version)

Release 12 March 1984

Written by Martin L. Gore

Produced by Depeche Mode, Gareth Jones, Daniel Miller

Video directed by Clive Richardson

Note: Version shown on TV. Video shot on Board the cruiser «Belfast».

People Are People (12′ Version)

Written by Martin L. Gore

Produced by Depeche Mode, Gareth Jones, Daniel Miller

Video directed by Clive Richardson

Note: This video is the 12″ Version. It was included on the home video release of «Some Great Videos».

AUDIO | RELEASES

PRODUCTION DETAILS TRACKS

«In Your Memory» (Single Version) 04:01 • Produced by Depeche Mode and Daniel Miller. Engineered by Trigger. Recorded and mixed at Aosis Studios, London.

«In Your Memory» (Slik Mix) 08:12 • Produced by Depeche Mode and Daniel Miller. Engineered by Trigger. Recorded and mixed at Aosis Studios, London. Edited at Blackwing Studios, London. Engineered by John Fryer.

«People Are People» (On-USound Mix) 07:30 • Remix by Adrian Sherwood.

Показать панель управления

Комментарии • 6 895

The world needs to listen to these lyrics again! I wish for peace in Ukraine right now hearing this song echoing the same sentiment about previous conflicts only reiterates the strength of Depeche Mode’s inspiration.

Anything that happens to one group of people, effects everyone, we are one.

Peace to Ukraine… As part of Russia)))

I agree Daniel. But for now the Ukrainian guys have got this 🇺🇦

RIP Andrew Fletcher. Thanks for the music. The soundtrack to my teenage years.

@The Yamo HOLY CRAP! NOT VANGELIS. 😭. (Edit: You have to count Florian. He not only was a founding member of Kraftwerk along with Ralf Hutter, just as Fletch was the founder of Depeche Mode with Vince Clark, Florian and Ralf basically have birth to ALL of Electronic Music.)

High School, College and Beyond. Still missing Fletch. You are so right. Thanks for the music. 💔🎼🎵🎵❤️

RIP Andrew Fletcher 🙏

got known with the news, while listening to his masterpiece. He is great second voice here. I love so much his question of love song.

This song was so ahead of its time. Present day lyrics love it xx

Its laughable comparing modern pop with this isnt it? Massive decline in standards imo.

Nailed it,so many of there songs have meaningful lyrics.

If peace was easy, everyone would do it.but it,s easy To destroy than to create.

History as it seems will repeat as long as ppl don’t learn lessons from the past. After all. People Are People.

Rip Andrew Fletcher💔 condolences the rest of Depeche Mode, to all his loved ones! Thank you for all the awesomeness that is Depeche!

I just found out. I’m devastated. And I’m actually wearing a dm t- shirt.

Everything counts in large amounts!From Germany with love 💕,R. I.P.Andy Fletcher

Three decades later, I still can’t understand what makes a man hate another man.

Yo hold up three decades

Awakening is here it’s time to rise up

Racism and segregation is a big factor in the world.

But if you DO hate another man, please be sure to heed the following advice: «Be polite. Even when issuing a declaration of war, always observe the rules of politeness.»

Otto von Bismarck

Q. E. P. D. Andy Fletcher, un pilar sin el cual Depeche Mode ya no podrá ser el mismo. Una gran pérdida para la música.

Das stimmt,ohne Andy Fletcher wird nicht mehr das gleiche wie damals.

Эта песня актуальна сейчас как никогда.

I completely agree. It is time to end war!

@Yevheniia Kovalova and i think you did absolutely good job! Lies and fakes need to be pointed out regardless of its bots who are posting them!

Justamente esta canción es esencial para lo que está pasando 🥺

también BYOB de SOAD pero está si se enfoca más en ese tema

Isso é verdade mesmo 🤔

@Aldo Flores Bonilla lo se :((

@Aldo Flores Bonilla siii muy joven aún..se nos fue

ha muerto Andy Fletcher

Its 2022 and this song 🎵 still transcends and makes sense in this day! Lyrics, rhythm, beats, chain clings, luv it!! Saw Depeche Mode 2x. Great in concert. 🥰

Some great music in the eighties, Depeche Mode had a very recognisable sound I still remember. Songs stick in your head and you only need a bit to bring it back.

Memory of old Times, Depeche mode are my favorit Band 👍 sad that Andy Fletcher are gone🙏

The Beatles said it best with «Imagine»

So true.. in the 80’s we just danced to the music. Today we listen and understand more.

Love this song. Peace for Ukraine. These lyrics is so true even now. Depeche Mode is a great band.

People are people
Ludzie są ludźmi
Leute sind Leute

Still an amazing song and so true to this day.

Andy Fletcher, Depeche Mode keyboardist and founding member, dead at 60
Just a few hours ago
🙁

I mean how great of a songwriter is Martin Gore? Pure genius.

@birthdaypotato12
All tracks on the album
Some Great Reward
are written by
Martin L. Gore,
except where noted.

It’s in the description.

U mean Alan Wilder

@birthdaypotato12 No, Martin wrote this. Vince wrote Just Can’t Get Enough and the majority of the other songs on the first album. He left the band at that point and made no further contribution to DM.

1. Очень актуально в наши дни!
2. R.I.P Andy Fletcher 🙁

Great Song by a Great Band!! I listen to Depeche Mode Music 🎶 when I was in my teens!! Much Love❤💯❤

Those industrial beats were intense.

@Dylan H there would be no new industrial bands without bands like Depeche Mode. Respect the old school fool!

Too bad this type of music never went mainstream.

Only reason I checked out DM is because of Nine Inch Nails.

Such a powerful song I can’t stop playing it I love this group gutted I’ve not be able to see them live then or now major thing for Martin gore mind he’s so beautiful and love his voice ❤ x

Andy Fletcher, Founder and Keyboardist passed away a few hours ago.
60 years young
My Condolences 🙏 RIP
THANK YOU FOR YOUR GREAT TALENT. WE’RE HURTING HERE

I was a kid when this came out. hanging out in a garage with the neighborhood kids just rocking out to this song. The 80’s were the best.

One of the key songs of the 80s

Так идеально свести вокал с музыкой, да ещё феноменально подобрать фрагменты с видео и наложить собственный клип, браво!

The lyrics to this song are still true today, always will be.

True, as long there is people

Sadly, basic human nature.

A sad song about racism which unfortunately is still around today.

@Herminia Cx I hope that its true, but as what the Terminator said, it is in our nature to destroy each other.

This song is also amazing and a great song love it

Reflects about the society of today how many hate the changes but people are people.

Timeless and the older I get the more I see how timeless it is. Nothing has changed. We are still at war and hate is everywhere! 🌡️

Right? 37 years later!

I’ve been listening to this song since. I was a kid. I’m really tired of having to «miss» musicians when they pass away. 😔

Literally this song is a theme for 2020

Kocham Depeche Mode ♥️

Brilliant track Brilliant band along with all of their great music that they have provided us over the years they are one of the great synth bands of the 80’s and have had such a great influence on me and my music that I write and record today for that I thank you

RIP Andy Fletcher. A good friend of mine back in HS during the mid to late 80’s introduced me to Depeche Mode. Loved them ever since!!

Powerful song for such young lads. Well written, arranged and produced.

Lies again? People’s Party

I saw Depeche Mode in concert was became a fan in 7th grade, and wish I was old enough to see this tour, but ended up catching their «Violator» tour in 1994, and it was amazing. They still played a lot of their older music. This song is just so powerful in so many aspects for so many causes and meanings in the world that it can apply to. From Ukraine, to civil unrest, to racism, bigotry, homophobia, hate crimes, the political divide in our nation due to a president that caused it with a disinformation brainwashing people campaign in tandem leading up to his term in office and while seated and once he was out causing millions of deaths and irreparable damage and still is on a platform he has created with followers creating more of a rising pandemonium. This song questions why must we live with such malcontent? Why can’t we just be free of worry and constant stress and fear? It’s brilliant!

This song is just as relevant now as when it was released more than 30 years ago. The more things change the more they stay the same

Depeche Mode People Are People 101

Depeche Mode People Are People 101.mp3

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Depeche Mode People Are People 101 Full Live Version 04 59.mp3

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Depeche Mode People Are People Live From 101 HD.mp3

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DEPECHE MODE 101 People Are People Live 18 6 1988.mp3

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Depeche Mode People Are People Official Video.mp3

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101 People Are People.mp3

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Depeche Mode People Are People Live 101 HD 720p.mp3

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Depeche Mode People Are People Live Pasadena Rose Bowl 1988 HD.mp3

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Depeche Mode 101 People Are People Live At The Pasadena Rose Bowl 88.mp3

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People Are People Live At Rose Bowl Pasadena CA June 18 1988.mp3

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Depeche Mode People Are People 101.mp3

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Depeche Mode People Are People Live 101 1988.mp3

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People Are People 101 Version Updated.mp3

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People Are People 101 Version.mp3

Playing Depeche Mode People Are People Live 101 Cover.mp3

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Depeche Mode People Are People 101 Version Remake.mp3

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Depeche Mode People Are People 12 Version Official Video.mp3

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Depeche Mode People Are People 101 Instrumental Cover.mp3

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Depeche Mode People Are People June 18th 1988.mp3

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14 Depeche Mode People Are People Conversations 101 Live At The Pasadena Rose Bowl Dts.mp3

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Depeche Mode Everything Counts Official Video.mp3

03:59 5.24 MB 54.7M

Depeche Mode Walking In My Shoes Live On Letterman.mp3

06:31 8.58 MB 21.2M

Depeche Mode Blasphemous Rumours Official Video.mp3

05:11 6.82 MB 11.5M

Klone People Are People Depeche Mode Cover Unplugged Lyric Video.mp3

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D M 101 People Are People.mp3

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Depeche Mode People Are People Reverse Backtrack.mp3

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Depeche Mode People Are People Live In Hamburg 1984.mp3

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Depeche Mode People Are People Nightflyer Remix.mp3

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DePeche Mode People Are People DJLEO Platinum RemiX 120bpm.mp3

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Depeche Mode Something To Do 101 Live With Lyrics.mp3

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Depeche Mode 101 A.mp3

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People Are People Bass Only Depeche Mode.mp3

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Depeche Mode 101 Trailer Beat Film Festival 2018.mp3

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101 Thomas Champagne Performing People Are People By Depeche Mode.mp3

Depeche Mode World In My Eyes Official Video.mp3

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Depeche Mode 101 Archives 18 June 1988.mp3

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Forced To Mode People Are People Depeche Mode Cover.mp3

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Depeche Mode 101 Album Mix Disc 2.mp3

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Depeche Mode People Are People Live In Hamburg.mp3

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Depeche Mode 101 Behind The Wheel BEST LIVE VERSION HQ.mp3

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Depeche Mode People Are People Remix Vladimir Islander By Alexandr Batiunin.mp3

04:40 6.14 MB 6.4K

People Are People.mp3

03:45 4.94 MB 245K

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People Are People – Depeche Mode

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People are people

Люди есть люди

People are people

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People are people

Люди есть люди

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People Are People

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People are people — Depeche Mode

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People Are People

Contents

Notes

Lyrics

Music video

People Are People (песня)

Содержание

О песне

Музыкальное видео

Сборник

Списки композиций

CLASSIC TRACKS: Depeche Mode ‘People Are People’

Beginnings

Embracing Samplers

Mode-us Operandi: The Production Team

Synchronicity

A United Front

Vocal Recording, Processing & Compiling

Drums In Every Room

Synths & Guitar Amps

On The Seventh Day.

Depeche Mode ‘People Are People’ 1984

Комментарии • 6 895

Depeche Mode People Are People 101

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