Depeche Mode Ultra (Remaster 2007) [EAC FLAC] [RePoPo]

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Depeche Mode Ultra (Remaster 2007) [EAC FLAC] [RePoPo]

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Name:Depeche Mode Ultra (Remaster 2007) [EAC FLAC] [RePoPo]

Total Size: 956.54 MB

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Last Updated: 2017-04-09 09:38:16 (Update Now)

Torrent added: 2009-08-28 04:30:24

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   95-98 Oh well, that's the end of the band.VOB

24.67 MB

   95-98 Oh well, that's the end of the band.IFO

44.00 KB


   95-98 Oh well, that's the end of the band.English.srt

49.34 KB

   95-98 Oh well, that's the end of the band.Spanish.srt

48.42 KB

  95-98 Oh well, that's the end of the band.avi

560.92 MB

 04.- Depeche Mode - It's No Good.flac

42.95 MB

 09.- Depeche Mode - Freestate.flac

42.48 MB

 02.- Depeche Mode - The Love Thieves.flac

40.49 MB

 01.- Depeche Mode - Barrel Of A Gun.flac

39.40 MB

 06.- Depeche Mode - Useless.flac

39.18 MB

 03.- Depeche Mode - Home.flac

38.63 MB

 07.- Depeche Mode - Sister Of Night.flac

37.53 MB

 11.- Depeche Mode - Insight.flac

32.74 MB

 10.- Depeche Mode - The Bottom Line.flac

25.21 MB

 08.- Depeche Mode - Jazz Thieves.flac

11.80 MB

 05.- Depeche Mode - Uselink.flac

10.39 MB

 12.- Depeche Mode - Painkiller {Junior}.flac

7.59 MB

 Depeche Mode - Ultra (Remaster 2007) [EAC-FLAC] [RePoPo].txt

32.38 KB

 Depeche Mode - Ultra (Remaster 2007).log

5.13 KB

 Ultra (Remaster 2007).accurip

2.65 KB

 Ultra (Remaster 2007).cue

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 Depeche Mode - Ultra (Remaster 2007).m3u

0.93 KB

 Ultra (Remaster 2007).txt

0.44 KB

 Torrent downloaded from Demonoid.com.txt

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Torrent description

Depeche Mode - Ultra (Remaster 2007)

This torrent contains both the Audio CD in its remastered stereo form, as
released in 2007, plus a short video, which tells the story of DM during the

The video is presented in XviD with .mp3 sound. There are spanish and english
subtitles already ripped and a subpack which also includes subs in Deutsch,
Français and Italiano. You have to rip it yourself (I currently use SubRip on
Windows), in order to use them.

Note: There's no 5.1 audio here. I repeat: there's no 5.1 audio here. Only the
2.0 stereo album remastered. And sounds great!

CD: Depeche Mode - Ultra (Remaster 2007)

01. Barrel Of A Gun [0:05:36.22]
02. The Love Thieves [0:06:34.15]
03. Home [0:05:42.67]
04. It's No Good [0:05:58.39]
05. Uselink [0:02:21.02]
06. Useless [0:05:12.17]
07. Sister Of Night [0:06:04.49]
08. Jazz Thieves [0:02:54.51]
09. Freestate [0:06:44.07]
10. The Bottom Line [0:04:26.70]
11. Insight [0:06:26.19]
12. Painkiller {Junior} [0:02:09.72] **

* A ninety second pause separates "Junior Painkiller" from "Insight", which is
actually only around five minutes in length.
* Martin takes lead vocals on "Home" and "The Bottom Line", while Dave Gahan
sings the rest. "Uselink", "Jazz Thieves", and "Junior Painkiller" are
instrumental interludes.
* The B-side of "Barrel of a Gun" is a 7+ minute instrumental called
"Painkiller", which is very hard-rockish. A condensed (2+ minute) version shows
up as a hidden track on the Ultra album as "Junior Painkiller".


95-98 Oh well, that's the end of the band... [00:47:30.00]


by Ned Raggett

When news surfaced in 1995 that Alan Wilder had departed Depeche Mode to
concentrate on his solo project Recoil, the immediate concern among fans was
whether the band would be able to hit past heights again. Though Wilder's
profile was always much lesser than that of Martin Gore and David Gahan — and
almost even that of Alan Fletcher, whose nonperformance live has always been a
running joke in the fan community and who freely admits to generally being
around merely to maintain a vibe with his childhood friend Gore — his capability
at arranging the songs over the years gave the band its increasingly distinct,
unique edge. Combined with Gahan's near suicide and lengthy recovery from drugs,
things looked bleak. Happily, Ultra turned out a winner; hooking up with Tim
Simenon, longtime U.K. dance maven and producer of arty fare such as Gavin
Friday's Adam 'n' Eve, Depeche delivered a strong album as a rejuvenated band.
The most immediate change was Gahan's singing; for the first time ever, he took
singing lessons beforehand, and his new control and projection simply shines,
especially on the marvelous "It's No Good," a pulsing, tense, yet beautiful song
with another deeply romantic Gore lyric. Opener "Barrel of a Gun" continues in
the vein of arena-level stompers like "Never Let Me Down Again" and "I Feel
You," with huge drum slams and scratching to boot, but Ultra mostly covers
subtler territory, such as the slightly creepy "Sister of Night" and the gentle
"The Love Thieves." Gore sings two winners: the orchestral, slow dance groove
"Home" and "The Bottom Line," featuring steel guitar and Can's Jaki Liebezeit on
drums, distinctly different territory for Depeche. Closing with "Insight," a
quite lovely, building ballad, Ultra showed Depeche wasn't ready to quit by any


Ultra is Depeche Mode's ninth full-length album, which was released by Mute
Records on April 14, 1997 (1997-04-14). The album is the first after the
departure of Alan Wilder from the band, who left to focus on his solo project

Ultra keeps the rock sound of their previous album and has a considerably darker
and more industrial sound than Depeche Mode's previous releases.

The long time that separates this album from the previous was due to David
Gahan's near death and recovery from addiction to drugs. These two events caused
many to speculate the end of Depeche Mode, but this turned out to not be the

Instead, Ultra was eventually released, reaching #1 in the UK Albums Chart, #5
in the Billboard 200 and producing several hit singles. As of April 2006, Ultra
has sold 584,000 units in the U.S. The album was also notable for being the
longest the band has ever released until Sounds of the Universe was released in
2009, clocking in at one hour, despite the project initially focused on being an

On October 2, 2007 (October 3 in North America) Ultra was re-released in a two-
disc set, along with Exciter, completing the Depeche Mode Collectors Edition
catalogue. The first disc is a remastered version of the original album, on a
SACD/CD hybrid (except for in the U.S., where it's a CD only). The second disc
is a DVD which features the album in DTS 5.1, Dolby Digital 5.1 and PCM Stereo.
The b-sides from the album's singles can be listened to as well, including the
stand-alone single "Only When I Lose Myself" and its b-sides.

Finally, like the other albums, there is a documentary on the making of Ultra
titled "Depeche Mode 95-98 (Oh well, that's the end of the band...)", the
subtitle of which comes from Martin Gore's thoughts about Alan Wilder's
departure. The documentary begins with discussion from all parties of Wilder's
departure before moving on to early album sessions despite Dave Gahan's drug
issues present. Eventually, it moves on to Gahan's "death" and rehab. The
documentary then covers the recording of Ultra and ends with a discussion on The
Singles 86>98 and its corresponding singles tour. The documentary is around 45
minutes to an hour long. The whole band is interviewed, along with Alan Wilder,
Daniel Miller, producer Tim Simenon, Mute executives, Peter Gordeno, Christian
Eigner, Anton Corbijn and others.


BARREL OF A GUN by Tim DiGravina

The stomping, pungent excellence of "Barrel of a Gun" seems an unlikely fit on
the otherwise subtle Ultra, but when Depeche Mode achieves a violent darkness as
tangible as the one here, it's hard to complain. With Alan Wilder on a permanent
leave of absence, it's up to producer Tim Simenon to fill the holes. And that he
does with aplomb, helping the band to forge an eclectic, shaking racket as vital
and edgy as that of his own Bomb the Bass project. The heart of the song is
distortion. A scuzzy guitar punctuates the entire song, Dave Gahan's vocals are
tweaked, fuzzy, and perfectly demented, and unsettling electronic percolations
zip back and forth over a slow monotonous beat. Martin Gore's lyrics display a
stream-of-conscious, almost schizophrenic sense of unease, setting a tone that
must have gone over quite easily with a then-veering-out-of-control Gahan.
Director Anton Corbijn's creepy music video featured Gahan scrambling around
easily with false eyes painted on his eyelids, creating a thoroughly appropriate
visual metaphor for the song. When "Barrel of a Gun" was released as a single,
there was a general uproar from some longtime fans. They worried out loud,
however ridiculously, that Depeche Mode was jumping on the electronica
bandwagon. Seeing as how Depeche Mode was from its humble beginning a keyboard
band, such claims were and are meaningless. The song follows in the same genius,
grimy dance-rock tradition the band had almost single-handedly created with such
classics as "Behind the Wheel," "Never Let Me Down Again," and "Personal Jesus."
Despite the fact that it seems jarring on the beautiful, restrained Ultra,
"Barrel of a Gun" is vintage Depeche Mode.


With its references to Jonah, Adam, Eve, and "the wretched disciples," "The Love
Thieves" is another in a long line of Depeche Mode songs that ties in religious
imagery with ruminations on love and relationships. Whether or not Christ is the
protagonist of the song, it's a warm, tender if uneasy ballad that features some
of David Gahan's most accomplished vocals. Evelyn Halus was employed during the
recording of Ultra to help keep Gahan's drug-damaged voice in check, and with
the calming sweet tones Gahan emits here, it seems like money well spent.
Gahan's gentle enunciation and hushed cooing fit nicely over the smooth jazzy
beat created by Martin Gore and producer Tim Simenon. It's safe to say that "The
Love Thieves" features some of Gore's more cumbersome lyrics, but despite this,
Gahan's strong vocals patch up the holes left by Gore's rather awkward
metaphors. While Simenon deserves credit for crafting the warm blanket of sound
around Gahan, "The Love Thieves" isn't Depeche Mode at its best, as one could
imagine any of a number of bands achieving a similar musical stew. Simenon's
lush production makes up somewhat for the simple musical arrangement, but the
loss of Alan Wilder takes its toll. Usually Gahan's voice is on equal footing
with Gore's songwriting, but on "The Love Thieves," Gahan is both the song's
star and savior. Even if one praises Gore for allowing Gahan to shine over the
minimal musical backdrop, it's rare when a Depeche Mode song can be mistaken for
Spandau Ballet or similar light fare.

HOME by Tim DiGravina

Just as vital to any Depeche Mode album as keyboards, emotionally bracing
subject matter, and David Gahan's soul-revealing voice are Martin Gore's self-
sung ballads. With the fragile, sweet "Home," Gore provides one of Ultra's true
highlights. Except for the touching chorus, Gore offers all of his vocals in a
choppy, endearing staccato style, punctuating every rhyming word with great
emphasis. A slow trip-hop beat and subdued background distortion are the musical
foundation over which crystalline keyboard melodies and string arrangements
paint impressionistic drama. Ultimately, "Home" is about Gore finally feeling as
if he's found his place in life. He professes endearing thanks for the help his
friend or lover gave in helping him to feel that he "belongs." His swooning
declaration of "I should have known from my first breath" seems perhaps his
least inhibited vocal delivery, at least up to the release of Ultra. "Home" is
every bit as powerful as Gore's more heart-wrenching ballads. That he's able to
emote so optimistically makes the track a real treat. "Home" is a beautiful,
positive force that reveals new charms with every listen.

IT'S NO GOOD by Tim DiGravina

One could easily question the sequencing of Ultra, because the album reveals
three of its strongest tracks in the first four songs. "It's No Good," along
with "Barrel of a Gun" and "Home," easily takes its place among Depeche Mode's
many classics. Even more than "Barrel of a Gun," "It's No Good" feels like it
could have been a perfect fit on Violator. The song flows with a dark swagger,
as trademark keyboard/synth sounds that are unmistakably Depeche Mode percolate
and simmer. Producer Tim Simenon gives the song a glossy shine while still
allowing for scuzzy percussion from Victor Endrizzio and an undercurrent of
punchy industrial effects. David Gahan's vocals are bothered but confident, as
if vocal coach Evelyn Halus has told him to simply relax and let the music flow
over his voice. Martin Gore's lyrics are rather humorous and deftly to the
point: "Don't say you love me, it's understood/Don't say you're happy, out there
without me/I know you can't be, 'cause it's no good." Gore and Gahan paint the
picture of a nonchalant lover with loads of patience. It's a kind of emotional
security that's rare in Depeche Mode's music, as there's not an iota of angst on
display. It has to be said that Gahan sounds a bit out-of-it during key passages
in the song. Whether he's channeling his bouts with drug addiction and death is
debatable, but his voice is somehow full of irony and irony-free all at once.
"It's No Good" is a look to the past, through a prism of subtlety and maturity,
as well as a marvelous injection of attitude on Ultra. Director Anton Corbijn's
witty, colorful video for the song, in promotion of Ultra, expertly captured the
song's spirit and Gahan's new self-confidence.

USELINK by Tim DiGravina

Anyone doubting Depeche Mode's confidence and artistry need only look to the
short instrumental "Uselink." After horrific world tours, grand interpersonal
troubles, and terrifying health and mental scares for everyone in the band, the
melodicism and subtlety of Ultra are pure expressions of rejuvenation. And
"Uselink" is further a purging of accessibility and any sense of artifice. After
nearly a minute of sci-fi sound effects and moody tones, a slow beat kicks in. A
minute and a half in, a series of piercing percussive sampler effects paint a
kind of kabuki abstraction, and then the song ends abruptly. "Uselink" is more
than a simple stab at minimalism. It's a cleansing rainfall that declares that,
whether it's true or not, Martin Gore and company are just as solid of a unit
without the recently departed Alan Wilder. Producer Tim Simenon probably
deserves a great deal of credit for the song's at once rich and basic industrial
texture. Gareth Jones steps in as a co-mixer here, and longtime
collaborator/guru Daniel Miller treats the loops with a Roland System 700 synth.
Artsy, icy, and unrelenting, "Uselink" is a fragile piece of dark musical

USELESS by Tim DiGravina

The fourth and final U.K. single from Ultra, "Useless" blends the moody swagger
and techno atmosphere of "It's No Good" with an edgy, ominous rock vibe just
slightly less potent than "Barrel of a Gun." That the song only reached number
28 on the U.K. singles chart isn't indicative of its quality, as "Useless" is
perhaps wound in too many layers of tension for widespread accessibility.
Perhaps the masses didn't understand the song's mixture of trip-hop vibes and
squalid rock guitar sounds. Maybe the song confused longtime fans with its live
band feel; multiple drummers, a bass player, and a dedicated percussionist make
it one of the most traditional-sounding rock songs Depeche Mode has ever
recorded. One thing that's certain is that David Gahan comes off as entirely
disaffected, presenting Martin Gore's acerbic lyrics as thorns on a rose. "All
your stupid ideals/you've got your head in the clouds/you should see how it
feels/with your feet on the ground," sings Gahan in the second half of the
song's chorus. Gore's songs rarely depict such animosity between lovers or
friends, as it's usually a sick world that infringes upon a relationship and not
the other way around. Fans of the band might wonder if "Useless" is directed at
least partially at Alan Wilder, as interviews after his departure from both
parties suggested a relationship as bruised as the one depicted in the song.
Because of its textural similarity to "It's No Good," "Useless" was going to be
a hard sell as a single, but it's a song vital to Ultra's musical and thematic

SISTER OF NIGHT by Tim DiGravina

The darkly atmospheric "Sister of Night" is like a subtle continuation of
"Little 15." But where "Little 15" sought musical drama, "Sister of Night" seeks
emotional drama. Other than the brief piston-like industrial sound effects at
the song's beginning and middle section, David Gahan's gentle voice is the focal
point. Gahan offers one of his most nuanced performances to date, singing
delicately over Martin Gore's more emotionally revealing background vocals.
Other than Gahan's voice, Tim Simenon's slow beat is perhaps most dominant in
the mix. Moaning electronics make for abstraction at the song's conclusion, but
for the most part, the frazzled keyboards and synth notes take a backseat to
Gahan. Gore's lyrics are bleak and unsettling, echoing the codependent theme
that is his trademark, as longing "returns, giving voice to the flame/calling
you through flesh that burns/breaking down your will/to move in for the kill."
But as always, there's a way of dealing with the pain, and Gahan gives the
instructions for this healing: "come for me/embrace me/assure me." "Sister of
Night" might not be Ultra's high point, but its lush tones and poetic refrains
are endlessly fascinating.

JAZZ THIEVES by Tim DiGravina

Housed behind an extremely appropriate title, "Jazz Thieves" is a crystalline,
electronic soundtrack for tension. The short instrumental is crafted of deep
bass rumbling, digitally altered and warped strings, vibrant xylophone notes,
and computerized sound washes. While electronic-tinged jazz music had been
coming out of the U.K. and the rest of the world for years, a band with the huge
profile of Depeche Mode hadn't shown its hand in the genre prior to the release
of Ultra. Longtime fans might get the creeping suspicion that "Jazz Thieves" is
an answer to the departed Alan Wilder, especially because it takes on the
abstract vibes and ambient nature of Wilder's Recoil project. It's almost as if
Martin Gore is saying, "I've tried my hand at your brand of music, and I'm your
equal." Of course, this is just speculation. "Jazz Thieves" is quite charming
and musically interesting, even if it is a kind of intermission or interlude.

FREESTATE by Tim DiGravina

With its organic percussion, acoustic country guitar base, and lack of
keyboards, "Freestate" sees Depeche Mode expanding its musical horizons, and
Martin Gore's songwriting is, as always, strong enough to take on a new genre.
Here he seems to channel some of the blues vibes from Songs of Faith and
Devotion. Producer Tim Simenon steps in with a crunching, living beat, Gore
etches Cure-like expressionistic guitar notes into the air, and David Gahan
offers up another dose of focused vocals, singing here, as elsewhere on Ultra,
with a more refined sense of melody than on many of the band's earlier albums.
Credit vocal coach Evelyn Halus and engineer Gareth Jones for coaxing such fine
tones from Gahan's somewhat damaged vocal chords. It's up to individual Depeche
Mode fans to decide if they prefer this new side of Gahan to his wilder past.
While Gahan's voice seems somewhat detached musically and emotionally from the
crackle and grind of Simenon's beat, "Freestate" manages to paint a unique
atmosphere beyond the country, trip-hop, rock, and blues genres at its heart.
That it's so moody, yet never overbearing, is what makes it a true success, but
it can't match similar genre-benders like "Condemnation" and "One Caress" when
it comes to artistry or cohesion. One gets the sense that there's a slight spark
missing here, and it's easy to imagine that Alan Wilder would have been able to
work some magic or at least create a more potent arrangement.

THE BOTTOM LINE by Tim DiGravina

Ravishingly beautiful, "The Bottom Line" is perhaps the perfect Martin Gore
ballad. It might very well be Gore's equivalent of Tim Buckley's "Song to the
Siren." The music's futuristic electronic sheen and lush, dignified beat and BJ
Cole's marvelous alien pedal steel guitar could not better match Gore's sweet,
strong voice. Gore uses a series of similes, from wet cats to burned moths, to
express the obsessive nature of his love, before unleashing the same powerful
conclusion to each of the song's three primary passages: "I follow you." The
song is at once Gore's ultimate expression of love and his most glaring
depiction of codependence. "The sun will shine, the bottom line, I follow you,"
he sings with an inhibited, matter-of-fact earnestness. The effect is similar to
Buckley's lyrics: "Swim to me, swim to me, let me enfold you" and "Here I
am/Here I am, waiting to hold you." Indeed, "The Bottom Line" could quite easily
be seen as a blend of "Song to the Siren" and Songs of Faith and Devotion's
stunning "Judas." Fans of Gore's ballads see "The Bottom Line" as absolute
bliss. Though it might seem minimal and overly coy to some listeners, "The
Bottom Line" is a tour de force in both structure and execution, and one of
Gore's greatest musical achievements.

INSIGHT by Tim DiGravina

Though Dave Gahan's voice might be louder in Tim Simenon and Q's mix, "Insight"
is for all intents and purposes a duet between Gahan and Martin Gore. Both
singers offer up some of the most gorgeous vocals they've ever delivered over a
sweeping electronic musical backdrop. The song glistens like an abstract,
industrial work of art. Twinkling pianos, flanged otherworldly sound effects,
mystical moaning, a throbbing ominous beat, and crystalline keyboard passages
make for a lush musical montage. Lyrically, Gore is rarely as optimistic as he
is here. "The spirit of love is rising within me, talking to you now, telling
you clearly, the fire still burns," Gore and Gahan harmonize. Gore could very
easily be presenting the song from his or Gahan's point of view, as both Depeche
Mode mainstays tackled life-threatening addictions (alcohol and heroin
respectively) prior to the recording of Ultra. The song's close, where Gahan and
Gore repeat "you've got to give love" ad infinitum, is particularly powerful.
Disregarding the unlisted closing instrumental "Junior Painkiller," "Insight" is
a wonderful ending for an album that rejuvenated the career and souls of the
remaining members of Depeche Mode.



"Barrel of a Gun" is Depeche Mode's thirty-first UK single, released on February
3, 1997 (January 28 in the USA), and the first single from the band's ninth
studio album Ultra.

"Barrel of a Gun" came after some difficult times for the band and its members.
Musician Alan Wilder left the band in 1995 and lead singer David Gahan nearly
died while in the throes of heroin addiction. Martin Gore had a string of
seizures, and Andrew Fletcher had some emotional problems of his own. In mid-
1996 Martin tried to get Dave and Fletch back together by writing a few songs
and see if anybody was interested in continuing after that. It worked, and the
band were back together, except now a trio again for the first time since 1982's
A Broken Frame.

"Barrel of a Gun" brings back in the industrial music sound, and is possibly the
darkest DM song yet. Martin wasn't sure if this was going to be a big hit on the
radio, so he was reluctant to recommend this song as the first single, but when
he eventually did, it turned out the rest of band, Daniel Miller, and producer
Tim Simenon agreed. It reached #4 in the UK chart in 1997, which at the time was
their joint highest chart position with People Are People released in 1984.
Since then, Precious has also reached #4 in the UK, in 2005.

The B-side is a 7+ minute instrumental called "Painkiller", which is very hard-
rockish. A condensed (2+ minute) version shows up as a hidden track on the Ultra
album as "Junior Painkiller".

The music video for "Barrel of a Gun" is directed by Anton Corbijn, DM's long-
time visual collaborator. It features Dave singing with his eyes closed, with
eyeballs drawn on his eyelids to make it seem like they are open. Dave has
rather amusing commentary on the video on The Videos 86-98. The video was shot
in Morocco.


"Home" is Depeche Mode's thirty-third UK single, released on June 16, 1997, and
the third single for the album Ultra. It is also the third (and most recent) UK
single with Martin Gore on lead vocals, and the second stand-alone single with
him on lead vocals (the others are "A Question of Lust" and "Somebody", which
was a double A-side with "Blasphemous Rumours").

Though it was planned to be released in the US, it ended up being scrapped due
to some radio stations playing the song "Useless" instead, leading people in the
US to believe that was the third single, when it was the fourth single. Reprise
scrapped the US release of "Home", despite there already being confirmed
tracklists, and released "Home"/"Useless" as a double A-side single.

"Home" is a ballad with haunting strings and other arrangements, and as a Martin
Gore vocal track it's a fan favourite. The single version of "Home" has an
ambient intro, then the drum beat featured in the album version, yet is the same
length as the album version. There are no actual B-sides for "Home", just live
versions of "Barrel of a Gun" and "It's No Good" recorded during the Ultra Party
concert in London.

The music video for "Home" is the only Ultra video not directed by Anton
Corbijn, but instead by Steve Green. It features an alien exploring an apartment
complex, and uses a highly-shortened down version of "Home".

During the "Touring the Angel" world tour, "Home" was included in the setlist,
and the "Air Around the Golf" arrangement was used for the first half part of
the song.


"It's No Good" is Depeche Mode's thirty-second UK single, released on March 31,
1997 (April 15 in the USA), and the second single for the then upcoming album
Ultra. It reached #5 in the UK Singles Chart.

"It's No Good" is a moodily rhythmic, perhaps even "sexy" song with a distinct
lyrical hook in the chorus:

Don't say you want me
Don't say you need me
Don't say you love me
It's understood

It played well on American radio and MTV, and is a favorite live . The "Speedy J
Mix" made it onto Remixes 81 - 04 in 2004, as did the "Club 69 Future Mix"
(Remix Peter Rauhofer) which was previously promo only.

The B-side is another instrumental, called "Slowblow". It was the last actual B
-side from the Ultra era, making the album the only one by Depeche Mode to not
have a non-remix/non-live vocal B-side track (Although if you exclude non-
exclusive songs, Black Celebration can count as well). The instrumental itself
is slow and moody.

The music video for "It's No Good" was directed by Anton Corbijn, depicting the
band as a low-rent lounge act at a number of sleazy gigs. An alternate video was
recorded for "It's No Good" in 2001 as a screen projection for the Exciter Tour.

On May 15, 1997, the band went on The Tonight Show with Jay Leno, and performed
the song, a recording made available at The official Depeche Mode website. It
was the first time they performed a song on an American TV show since 1988, when
they performed "Strangelove". The 'Hardfloor Mix' of the song was featured
briefly in the Friends episode, The One with Joey's Dirty Day. "It's No Good"
was also used in an episode of Nash Bridges.


"Useless" is Depeche Mode's thirty-fourth UK single, released on October 20,
1997, and the fourth and final single for the album Ultra. It was released with
"Home" as a double A-side in the US due to "Useless" getting airplay on US radio
stations before "Home" was announced.

"Useless" is a hard-rock track in the vein of "Barrel of a Gun", with more of a
pop twist. The single remix, by Alan Moulder, changes the intro and has an
updated beat (similar to the changes done to the 7" versions of "Walking In My
Shoes" and "Condemnation") and adds some extra synth during the chorus. The "The
Kruder + Dorfmeister Session" is a very prominent remix by the DJ duo of the
same name. On the US single, the single remix is replaced by the CJ Bolland
Ultrasonar Edit.

There are no actual B-sides for "Useless", except for remixes and live versions
of the song. Some versions of the CD single feature the videos for "Barrel of a
Gun" and "It's No Good", accessible when the disc is inserted into a PC.

The 1997 music video for "Useless" would be the last Depeche Mode video to be
directed by Anton Corbijn in over eight years. Though he still did some work for
Depeche Mode on album/single covers and tour projections/designs, the band
decided to experiment with new directors for music videos. Corbijn's next
project with Depeche Mode was the video for "Suffer Well".


Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 5. August 2009, 10:37

Depeche Mode / Ultra (Remaster 2007)

Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : F:Archivos de programaExact Audio CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


[Verification date: 05/08/2009 11:47:09]
[Disc ID: 001c4acd-0104be11-a70e1b0c]
Track [ CRC ] Status
Offsetted by 92:
01 [f9a63f65] (41/54) Accurately ripped as in pressing(s) #1
02 [f9f70406] (41/54) Accurately ripped as in pressing(s) #1
03 [dfba51c2] (41/54) Accurately ripped as in pressing(s) #1
04 [cb6ce6d4] (41/54) Accurately ripped as in pressing(s) #1
05 [6438fa1f] (41/54) Accurately ripped as in pressing(s) #1
06 [0b5b0738] (41/54) Accurately ripped as in pressing(s) #1
07 [a2d273b3] (41/54) Accurately ripped as in pressing(s) #1
08 [82f44d10] (41/54) Accurately ripped as in pressing(s) #1
09 [f51cc096] (39/52) Accurately ripped as in pressing(s) #1
10 [4d61f65f] (41/54) Accurately ripped as in pressing(s) #1
11 [f92f5a91] (41/54) Accurately ripped as in pressing(s) #1
12 [b9212dfe] (38/53) Accurately ripped as in pressing(s) #1


It's usual to post comments only to complain about a torrent which doesn't work
in your configuration. It's normal, after a few hours/days downloading and
expecting a release, to feel deceived if it doesn't work properly, and
expressing this is legitimate.

I've often found one comment (negative) on a movie/CD downloaded by 2000+
people, and since that single negative feedback, people simply stop downloading
and therefore, sharing. But a few times it was due not to the torrent itself,
but to some issues on the downloader side (not updated codecs, misused
tools...), and that's unfair for the person who took the time to share it for

A LINE AFTER YOU'VE CHECKED IT. This way, You'll help in keeping the torrent
alive, almost as much as keeping it in your HDD until a 1:1 ratio is



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