#DEPECHE MODE SONGS WRITTEN BY DAVE GAHAN FULL#
With Sinatra it seemed effortless - he’d show up in the studio for a week with a bottle of Jack Daniels and a full orchestra there waiting for him, and he would just sing. For some people it’s maybe a lot easier than others. And that’s always the magical place that you try to get to. “Frank Sinatra, for example, and Elvis Presley always sang other people’s songs, but I never questioned that, because I’m living in that place with the singer. Is that really me? Is that what I am? Is that what I do? Or is this some sort of disguise? But a song? I can live in a song. Performing has always been a huge part of my life, but there are often times when I’m questioning it. It’s a feeling that’s fleeting in the day-to-day, but when I’m truly in a song, there’s an intimacy that I reveal to myself somehow that, more times than not, I can’t access. So as a singer and a performer, I’m always trying to get to the point where I no longer care what you think, I’m just singing a song. “And when I’ve seen back, it shows to me, I see through all the stuff. “I’ve been performing on stages for many, many years in front of people, and there have been many times when it’s not entirely comfortable, and when I do feel like an imposter,” he says. “Imposter” might seem like a cheeky title for an album of covers, but it has a more personal connotation for Gahan, who says the process of reinterpreting sometimes canonical material until it felt like his own proved cathartic in light of his own bouts with imposter syndrome. When Martin sends me a song, I have to get to the point with it where I’m singing it in my own way, in my own phrasing, my own timing, and in my own key.” “Much in the same way, to be honest, that I approached singing Martin’s songs in the band for years.
“Once I’d been singing for a couple of months, there was some point in there where I stopped thinking about the originals, and realized I was just singing, the song was just in me,” Gahan says. But his experiences as a pure singer from the band’s early days proved invaluable as he workshopped songs for “Imposter” back at his home in New York. Gahan would, of course, eventually begin writing his own songs for Depeche Mode in the mid-‘90s. It was very important to Rich and I that we were going to track a song a day.” And we took over for just shy of four weeks. We had amp lines running everywhere, little amplifiers and guitars and Wurlitzers and Rhodes everywhere. “Shangri-La was available for most of November, so we used the whole place. So Rick’s place came up for obvious reasons,” Gahan says. Spiritual, because the gold standard for the type of album Gahan wanted to make was Rubin’s “American Recordings” sessions with Johnny Cash, during which the Man in Black notably covered Depeche Mode’s “Personal Jesus.” And practical, because “we needed a studio that was large enough to record a live band, and was very versed in recording live music. The decision to record there made sense for reasons both practical and spiritual. Read Charlize Theron's Awesome Rock and Roll Hall of Fame Induction Speech for Depeche ModeĪfter several months of back-and-forth song discussions between Gahan and Machin, the two put together a 10-piece band, largely consisting of musicians they’d played with on previous Soulsavers tours, and decamped to Rick Rubin’s Shangri-La studio in Malibu.
#DEPECHE MODE SONGS WRITTEN BY DAVE GAHAN SERIES#
'Rock & Roll Hall of Fame 2020 Inductions' Review: A Series of Pretty Good Mini-Documentaries in Search of Some Actual Music Like his previous records with the Soulsavers, the dominant musical coloring is provided by guitar, piano and gospel-style backing vocals, with Gahan’s voice given ample room to stretch.ĭepeche Mode's Martin Gore Monkeys Around on New Solo EP, 'The Third Chimpanzee' Howard - and manages to place Gahan’s voice in strikingly different contexts than his Depeche Mode heyday. The collection of songs is impressively eclectic - stretching all the way from old standards like “Smile” and “Lilac Wine,” to recognizable Neil Young and Bob Dylan tunes, to deeper cuts from the likes of PJ Harvey, Cat Power and the late Birthday Party guitarist Rowland S. It’s also, somewhat ironically, the first project that the outfit recorded live together in studio, with 2012’s “The Light the Dead See” and 2015’s “Angels & Ghosts” both produced remotely. “Imposter,” set for release tomorrow, is Gahan’s third full-length collaboration with the Soulsavers, led by multi-instrumentalist Rich Machin.
0 kommentar(er)
