Depeche Mode Speak & Spell (DTS 5 1 DVDRip) [RePoPo]

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Name:Depeche Mode Speak & Spell (DTS 5 1 DVDRip) [RePoPo]

Total Size: 665.81 MB

Magnet: Magnet Link

Seeds: 3

Leechers: 6

Stream: Watch Full Movie @ Movie4u

Last Updated: 2010-11-13 22:31:45 (Update Now)

Torrent added: 2009-08-28 04:29:50

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Torrent Files List

16.- Just Can't Get Enough (Schizo Mix) - DTS - 6ch - 48kHz - DRC - English - DELAY -341ms.DTS (Size: 665.81 MB) (Files: 18)

 16.- Just Can't Get Enough (Schizo Mix) - DTS - 6ch - 48kHz - DRC - English - DELAY -341ms.DTS

72.62 MB

 07.- Photographic - DTS - 6ch - 48kHz - DRC - English.DTS

55.76 MB

 09.- Big Muff - DTS - 6ch - 48kHz - DRC - English.DTS

47.77 MB

 05.- Nodisco - DTS - 6ch - 48kHz - DRC - English.DTS

46.13 MB

 08.- Tora Tora Tora - DTS - 6ch - 48kHz - DRC - English.DTS

45.35 MB

 13.- Ice Machine - DTS - 6ch - 48kHz - DRC - English - DELAY -80ms.DTS

44.27 MB

 03.- Puppets - DTS - 6ch - 48kHz - DRC - English.DTS

42.85 MB

 14.- Shout! - DTS - 6ch - 48kHz - DRC - English - DELAY -346ms.DTS

40.99 MB

 01.- New Life - DTS - 6ch - 48kHz - DRC - English.DTS

40.64 MB

 11.- Just Can't Get Enough - DTS - 6ch - 48kHz - DRC - English.DTS

40.56 MB

 12.- Dreaming of Me - DTS - 6ch - 48kHz - DRC - English - DELAY -341ms.DTS

39.69 MB

 15.- Any Second Now! - DTS - 6ch - 48kHz - DRC - English - DELAY -341ms.DTS

34.21 MB

 04.- Boys Say Go! - DTS - 6ch - 48kHz - DRC - English.DTS

32.79 MB

 06.- What's Your Name - DTS - 6ch - 48kHz - DRC - English.DTS

29.63 MB

 10.- Any Second Now (Voices) - DTS - 6ch - 48kHz - DRC - English.DTS

27.64 MB

 02.- I Sometimes Wish I Was Dead - DTS - 6ch - 48kHz - DRC - English.DTS

24.88 MB

 Depeche Mode - Speak & Spell (DTS 5.1) [DVDRip] [RePoPo].txt

18.33 KB

 Torrent downloaded from Demonoid.com.txt

0.05 KB

Announce URL: http://denis.stalker.h3q.com:6969/announce

Torrent description

I published this version for merely 10 minutes and withdrawn it when I found a better way to transfer the DTS files. I left this to be downloaded for the dozen who caught it, but now I 've found it in some other sites, so I'll publish also here. Note: I won't use this method for sharing the remaining DTS Depeche Mode albums, I'll keep using the stripped DVD method

Depeche Mode - Speak & Spell (DTS 96/24 5.1)

This upload is the third of a three-part Speak & Spell release.

01.- Depeche Mode - Speak & Spell (Remastered) [EAC-FLAC] [RePoPo]
02.- Depeche Mode - Speak & Spell (Bonus Tracks) [DVDRip] [EAC-FLAC] [RePoPo]
03.- Depeche Mode - Speak & Spell (DTS 96/24 5.1) [DVDRip] [RePoPo]

I've decided to divide this in three parts in order to add as much material as
possible on the second, so I could put some original and remastered versions
of the same tracks.

On Speak & Spell the second part will be really small, but on most recent DM
albums it will get a really big size, so that's when the 3-part division will
make more sense.


This torrent contains the 5.1 DTS track from the DVD included in the Remastered
version of Speak & Spell. It's been ripped using DVDDecrypter, demuxing the DTS
track, and splitting it per chapters. Besides renaming the resulting files, I
haven't touched any other aspect. After checking with MediaInfo, the resulting
.dts files all are 96/24.

I've enclosed both the original album, and the Remastered Bonus Tracks.

Speak & Spell [2006 Remastered]

1. "New Life" – 3:46
2. "I Sometimes Wish I Was Dead" – 2:18
3. "Puppets" – 3:58
4. "Boys Say Go!" – 3:07
5. "Nodisco" – 4:15
6. "What's Your Name?" – 2:45
7. "Photographic" – 4:44
8. "Tora! Tora! Tora!" – 4:37
9. "Big Muff" – 4:24
10. "Any Second Now (Voices)" – 2:35
11. "Just Can't Get Enough" – 3:44
12. "Dreaming of Me" – 4:03

Bonus Tracks

13. "Ice Machine"
14. "Shout!"
15. "Any Second Now"
16. "Just Can't Get Enough (Schizo Mix)"

The remaining info comes from the .txt file I created for the first part (the
remastered album) of this release.


This is an extract, you can read it in full here: <a href="
http://www.earvolution.com/2006/06/depeche-mode-remastered.asp" rel="nofollow">

Though probably nobody fully appreciated it at the time -- perhaps least of all
the band! -- Depeche Mode's debut is at once both a conservative, functional pop
record and a groundbreaking release. While various synth pioneers had come
before -- Gary Numan, early Human League, late-'70s Euro-disco, and above all
Kraftwerk all had clear influence on Speak & Spell -- Depeche became the
undisputed founder of straight-up synth pop with the album's 11 songs, light,
hooky, and danceable numbers about love, life, and clubs. For all the claims
about "dated" '80s sounds from rock purists, it should be noted that the basic
guitar/bass/drums lineup of rock is almost 25 years older than the catchy
keyboard lines and electronic drums making the music here. That such a sound
would eventually become ubiquitous during the Reagan years, spawning lots of
crud along the way, means the band should no more be held to blame for that than
Motown and the Beatles for inspiring lots of bad stuff in the '60s. Credit for
the album's success has to go to main songwriter Vince Clarke, who would extend
and arguably perfect the synth pop formula with Yazoo and Erasure; the classic
early singles "New Life," "Dreaming of Me," and "Just Can't Get Enough," along
with numbers ranging from the slyly homoerotic "Pretty Boy" to the moody thumper
"Photographic," keep everything moving throughout. David Gahan undersings about
half the album, and Martin Gore's two numbers lack the distinctiveness of his
later work, but Speak & Spell remains an undiluted joy.


The remaster includes remixed stereo versions of the original recordings,
additional songs, 5.1 surround sound and DTS versions on DVD, and a "Behind the
Music" style "mini-film." However, because it was the record that kicked things
off for the band, I'll focus on Speak and Spell.

Depeche Mode were unique when Speak and Spell was originally released and not
simply because they disposed of the guitar, bass, and drum and replaced them
with synthesizers. Thier uniqueness stemmed from matching all these sounds with
their finely crafted pop songs. Vince Clarke, Andy Fletcher and Martin Gore
manned the synths behind David Gahan's innocent vocals. "Just Can't Get Enough",
a Depeche Mode classic and arguably their most recognizable tune on Speak and
Spell, still has that heart thumping beat. That first record also included
Depeche Mode classic's "New Life" and "Dreaming of Me."

Clarke's songs range from fluffy dance party song's to extremely dark and
menacing. On the remaster they include the not so subtle, but upbeat, tale of
heartbreak "I Sometimes Wish I Was Dead". The homoerotic "Boys Say Go" and
"What's Your Name?" are almost laughable after 25 years of debate on the
"sexuality" of Depeche Mode. The songs hold up as instrumental's, but I can't
imagine Gahan or Gore even entertaining such light fare. "Puppets" and
"Photographic" are much more indicative of the template that Gore would adopt in
future Depeche Mode songs. These are the hidden gems of Speak and Spell.

Gore's infancy as a song writer is on full display for their first album. The
forgettable "Big Muff" follows the somber "TORA! TORA! TORA!" - which is solid
enough for repeat listens and hints ever so slightly at the musician that Gore
would become. Gahan's vocals which seemed muffled on the original release gain a
little more strength on the stereo remaster and are completely liberated in the
5.1 and DTS versions. More than on any other Depeche Mode release Gahan comes
across more as a figurehead rather than a front man, especially on the
aforementioned "Boys Say Go" and "What's Your Name?."

For pure and casual Depeche Mode fans, the retrospective mini-film Do We Really
Have to Give Up Our Day Jobs?, makes this remaster worth it's weight. Clarke,
Fletcher, Gore, and Gahan are positively giddy when they remember the genesis of
Depeche Mode. Clarke, of course, left after Speak and Spell and went on to form
Yazoo (Yaz in America) and later the hugely successful Erasure. Twenty five
years has dispelled any acrimony that occurred at the time. Clarke's leaving the
band is only mentioned in a textual epilogue at the close of the mini-film.

One of the other highlight's of the mini-film is the interview with Brian
Griffin who conceptualized the cover photo for Speak and Spell. He owns up to
the fact that the cellophane covered swan is a bit over the top and finally
admits he has no idea what he prompted him to submit such a horrible cover to
the band, though the band seem to give him a pass.


This was the only Depeche Mode album with Vince Clarke as a member of the band.
Clarke wrote most of the songs for the band, before departing to form the
synthpop duo Yazoo with Alison Moyet and later, the duo Erasure with Andy Bell.

The album is significantly lighter in tone and melody than their later work, a
direction which can largely be attributed to Clarke's writing. After he left,
Martin Gore would take over songwriting duties, writing almost all of the band's
material. Later albums written by him would explore darker subjects and

The album title alludes to the then-popular "Speak & Spell" electronic toy.

When interviewed by Simon Amstell for Channel 4's Popworld programme in 2005,
Martin Gore and Andrew Fletcher both stated that the track "What's Your Name?"
was their least favourite Depeche Mode song of all time.


The album was re-released on 3 April 2006 (along with Music for the Masses and
Violator) as part of Mute's extensive Depeche Mode reissue schedule. This
special edition release was a double disc set that included a Hybrid SACD/CD and
a DVD. This format included the album in 5 formats - multi-channel SACD, stereo
SACD, PCM stereo CD, DTS 5.1 and Dolby Digital 5.1.

In the United States, the album was not re-released until June 2, 2006. The US
version was only a CD rather than a SACD/CD Hybrid, though it still included the
DVD which was identical to the European one (barring some different copyrights
and logos).

The re-release somewhat preserves the album as it was originally intended. As
such, while it is mostly the same as the British version, North America got a
completely new version with some songs that have never been released there. For
example, "New Life" was the original version, not a remix, and "I Sometimes Wish
I Was Dead" finally debuted in North America. However, "Dreaming of Me", the
band's very first single which was not on the original album, was put at the
end. The four bonus tracks on the original CD release in the UK, were left off
of the re-issued CD, but were on the DVD.

Also included was a 28 minute documentary about the making of the album entitled
Depeche Mode: 1980–1981 (Do We Really Have To Give Up Our Day Jobs?) featuring
interviews with the group (including Vince Clarke) and other relevant presonnel
such as Daniel Miller. There is various footage of the group's appearances on
Top of the Pops including their very first appearance from 1981 performing "New
Life". There is also vintage BBC footage of the Speak & Spell Tour from the same

The remastered album was released on "deluxe" vinyl in March 2007.


NEW LIFE by Stewart Mason

The opening track from Depeche Mode's debut album, "New Life" does a fine job of
introducing the band's early sound, a mixture of Euro- disco beats, Kraftwerk-
inspired synth textures, and the sort of shameless pop hooks that would largely
disappear from the band when primary songwriter Vince Clarke left shortly after
this album's release. The song's instantly memorable chorus (not to mention the
clever evocation of the Beatles' version of "Twist and Shout" at the end) is an
early indicator of Clarke's unapologetic love of catchy tunes and ear-grabbing
gimmicks, which he would go on to refine in Yazoo and Erasure, but the ultra-
modern electronic arrangement, created by the band in association with Mute
Records head and experimental composer Daniel Miller, balances Clarke's devotion
to ABBA with an of-the-moment sonic palette.


DREAMING OF ME by Stewart Mason

Depeche Mode's first single wasn't a chart success -- in fact, it was such a
flop that it wasn't included on the U.K. edition of their debut album, Speak &
Spell, and only made it onto the U.S. version because someone at Sire Records
apparently felt a bit queasy about the song called "I Sometimes Wish I Was
Dead," which "Dreaming of Me" replaced -- but it's a charming slice of synth pop
that neatly sets the agenda of the Vince Clarke-led edition of the band. Despite
the chilly modernism of the all- electronic production, which producer/solo
artist/ Mute Records owner Daniel Miller made sure was entirely au courant,
"Dreaming of Me" is a distinctly catchy pop song, with a twinkling musical hook
and a winsome chorus that Dave Gahan and Martin Gore sing in an absolutely
angelic harmony. Remember that in 1980, when this single was released, the
closest that the new wave of British electronic music had come to a truly catchy
pop single was perhaps Orchestral Manoeuvres in the Dark's "Enola Gay," and
songs like Miller's own "Warm Leatherette" were much closer to the norm.
"Dreaming of Me," though it wasn't a success at the time, was an early harbinger
to a new rapprochement between what had previously been a defiantly anti-
commercial backwater of the post-punk underground and the Top of the Pops.



Light, breezy, throwaway, and all the better for it, "Just Can't Get Enough" was
Vince Clarke's triumphant moment with Depeche Mode, both putting the band on a
firm enough footing to strike out even higher and confirming Clarke's own
songwriting genius. If the desire is for synth pop, this is almost certainly it.
While the early '80s saw England gripped with the synth wave, Depeche, with this
song, overtly married happy, romantic pop sentiments with clean, crisp
technology like nobody beforehand -- and the amount of those following who used
this as a model can't be counted. The true mark of the song's success is that 20
years and a technological revolution on, nothing about the track sounds
specifically dated, it's just a great pop song, sung excellently by David Gahan,
backed with fine harmonies. The beat is big and sharp without being pummeling,
its dancefloor appeal immediate and obvious, the sweet synth melodies spiralling
throughout the track with the greatest of ease. If Depeche had been a straight-
up rock band, this would be a " power pop classic," but the truth is, as
recorded, it was the power poppiest of them all, so intrinsically identified
with band and era that the group plays it to this day, long after Clarke's


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