DEPECHE MODE - THE SINGLES 1981 TO 2021 PART 10: PEOPLE ARE PEOPLE

 

When mixing Construction Time Again there, Berlin made such an impression on Depeche Mode that they decided to record its follow up Some Great Reward in Hansa Studios. The band, Daniel Miller and Gareth Jones headed to Berlin and used Hansa's space to create a booming album that improved upon and crystalised the Industrial meets Pop sound of its predecessor.

The first song the world heard from the album was People Are People, a song that would not only give Depeche Mode their highest UK chart placing but one that woud also conquer Germany and hit a suprisingly high number in the US Billboard chart.

Let's get our heads, and fists, round People Are People.

COMMMON DECENCY - PEOPLE ARE PEOPLE

The Single

People Are People (BONG 5) is arguably one of Depeche Mode's biggest ever singles, yet it's a song the band have ignored since the Rosebowl gig in June 1988. They seem to be embarrassed about it, no doubt due to its fairly simple lyrics, but who can't say that when People Are People starts on 101 they don't get a shiver down the spine in anticipation of the song blasting into life? We don't go to a Depeche Mode gig to analyse the lyrics (blogs are for that...), we go to jump around, sing and have fun. People Are People would have been a welcome addition to recent set lists.

The single was released on 12th March 1984 and it was the perfect taster for what lay ahead with Some Great Reward. Almost everything on the single was sampled and played via a Synclavier, including a sample of Martin doing the "ugh-ugh-ugh" noise that you are currently all singing - admit it, you are aren't you? This was the point where Depeche Mode started to leave the pop world behind although as the album demonstrated, they still knew their way around a poppy chorus. They had played with the notion of sampling on Construction Time Again and then Black Celebration saw them develop their glorious. dark, unique sound but Some Great Reward was where they distilled the best parts of both those albums. It was the point phase 1 of Depeche Mode handed over to phase 2.

Initial reviews of People Are People were, as we've all now come to expect, mixed.  Roy Hay from hilarious novelty band Culture Club, a band whose entire career contains not a single second of anything of any merit whatsoever, said in Record Mirror "I really laughed the first time it came on." Only seven months after People Are People, Culture Club released The War Song. Mr Hay clearly has no grasp of irony. Smash Hits were much more positive saying the song was "Easily their best yet and this harder direction is bound to spawn bags of imitators."  

The single entered the UK charts at number 29 on 24th March and the above performance on 22nd March marked that event. There are a few things to note from the performance. Unusually, Martin has a top on but it's only a vest and the addition of leather trousers and braces both at least two sizes to big for him help regain some valuable Martin points. He is also alternatively banging bits of metal and an odd drum with a hammer. Alan has started to develop the tall hairdo beloved of peak era Wilderphiles and he is hitting a bit of corrugated iron that, for some reason, says PUS on it. He at least has a synthesizer though. Dave and Andy clearly couldn't be trusted with bits of metal or iron though - they just have a drumstick and cymbal each.

The UK pop pickers clearly loved this performance and the following week, People Are People zoomed into the Top 10, landing at 9. It went up again the following week to number 5 - the band's highest ever UK chart position. But wait! The next week, it went up again, this time to number 4. Depeche Mode had once again taken to the Top Ten but sadly number 4 was as good as it got. Industrial action at the BBC meant that the band could not play the song on Top Of The Pops again and so sadly, the song's momentum stalled. Instead of climbing higher, possibly even to Number 1, the next week it went down to 6. The following week, it fell 9 before one more week in the Top 20 at number 20, finally leaving the charts punching and kicking and shouting via numbers 36, 50 and 74. 

This hugely impressive performance was bettered in Germany where the song was Number 1 for three weeks and, for the first time, America fell for Depeche Mode's charms with the song reaching a remarkable number 13. They had a genuine worldwide hit on their hands.

As I mentioned earlier, the song has been ignored by the band in live sets for 30 years now. It has featured 226 times however and it would be great to hear it again.

As with Love In Itself, the B-Side to People Are People was another Alan Wilder composition In Your Memory. Originally announced by the Depeche Mode Information Service in its March 1983 newsletter as Place It In Your Memory, the song is, like Fools, another great Alan penned track. It's a catchy, clanging track full of the bleeps and bashes of this era's Depeche Mode but it's one that's never seen the light of day live

The Video

The video is not bad while never quite managing to be that good. The live action scenes of the band hitting things, sliding down other things, turning handles, pulling levers and pushing stuff are mixed with actual singing scenes, all of which were filmed on HMS Belfast which is a ship that you can visit if anyone is ever allowed to travel to London again, 

Luckily, the boat isn't in active service anymore. If it was, then Dave dancing rather than steering the thing 57 seconds in could have led to something awful happening. Amidst the Depeche Mode Attempt To Steal A Royal Navy Boat And Do It Badly scenes, there is lots of stock footage of soldiers, weapons, war and so on because, let's be honest, can any of us really understand what makes a man hate another man? It's deep stuff. Dave's Everything Counts trick of dancing while being interposed over the video makes a return for the second verse and Martin likes it so much that he joins in for his solo lines.

And that's how it carries on really. More boat, more bewildering stock footage and more shots of Martin and Dave singing. Not much happens really.

The Formats

7BONG5 features the A-Side and B-Side we've covered above. A fun fact however is that the cover (above) features a famous hand. One of the two hands above belongs to English actor Hugh Grant in what is surely one of his most convincing performances. As far as I know, and if I am wrong I have no doubt you'll tell me, this is the only Hollywood star to feature on the front of a Depeche Mode records.

The rear of the single contains information but no A-list celebrities. In needless interest in things news, I again love the font and the labels. Very, very nice.

The 12" single, 12BONG5, is a wonderful thing for many reasons but one key one - the track on the A-A-side, People Are People (Different Mix). The literal title aside, this is a stunning remix. The first minute or so sounds like the noise you would get if you turned on a switch that activated a factory and from there it thuds majestically, all 7 plus minutes a joyous reinterpretation of the song. It is fantastic. God, I really wish Depeche Mode still did their own remixes.

The B-Side features the Slik Mix of In Your Memory, so called because Alan's nickname at the time was Slik in honour of his increasingly tall and slicked back hairdo. I don't know whether this really cool remix is also called that because the band left Alan to it in the studio. Depeche Mode leaving Alan alone in a studio to do all the work? Well, if it happened then, it would certainly never happen again....

The March 1984 Depeche Mode Information Service newsletter said "There will NOT be a limited edition 12" " of People Are People but quickly contradicted itself the following month, announcing that there would be a limited edition 12" featuring "A Special Club Mix by Adrian Sherwood," adding, somewhat mysteriously, that it was "recorded purely for clubs." If you try to listen to it in your home, your speakers explode and the police arrest you. L12BONG5 is a numbered release in a glossy sleeve and it's a lovely thing from its cover all the way to its labels. The A-Side, the ON-Usound Remix is great and clangs along pleasingly in the same way the Different Mix does.

The B-Side features the single versions of People Are People and In Your Memory.

Once again, the song appeared on CD in the UK in 1991 with the tracks from the 7" and 12" present.

Once again, Intercord broke out the coloured vinyl box and once again the 7" was released with its erstauflage in rotem vinyl which I am assured means "first edition in red vinyl."

The single features the same two tracks as the UK 7".

The coloured vinyl 12" is a STUNNER. Look at that - magical, marbled vinyl. 

The B-side above is equally gorgeous. The record features the same tracks as boring black vinyl 12BONG5.

Hang on. The German L12 equivalent is MORE STUNNING! Look at that beauty! Quite superb and limited edition too. You can't quite see in that picture, but in the bottom right it sais "Limited Edition No." and a number. Mine? It's number 46,975. Highly limited stuff.

I discovered that I had one of the three variations of the German black vinyl L12 when I was digging out records for these photographs. There it is above.

The German blue stripe CD single is a three track affair, featuring the two standard 12" tracks and the single version of People Are People.

The French CD single features the same tracks. France and Spain also released versions of the L12, the French one saying "Limited Edition" on the front and the Spanish one "Edicion Limitada" which is pleasing if you like that sort of thing. I seem ot have created a rule for these posts where I only post pictures of things I have, so to see that sleeve, head to depmod.com

Away from Europe, there was a Japanese 7" which is nice thing. It uses the picture that would form the cover of the North American album People Are People. For those who don't know, and to be honest why would normal people know this, the sleeve is a shiny piece of paper and the record is housed in the blue inner sleeve above. The shiny paper sits on top of that.

People Are People's lyrics feature on the reverse of the shiny paper thing.

Finally, the US 12" features three tracks, namely the Different Mix, the On-Usound Remix and a track called In Your Memory (Slik Mix Edit) on the sleeve. It is in fact the single mix of In Your Memory, but I guess that is actually an edit of the Slik Mix so fair's fair.

People Are People was Depeche Mode's first big global breakthrough single and it really is a fine track. It started off a new level of fame for the band, one that would grow and grow over the next few years. Suddenly, Depeche Mode weren't just a synth band from the UK. They were a band with a German number 1 and a Billboard Top 20 smash hit.

They seemed unstoppable. All they had to do now was avoid controversy and not release a song about bondage sex or one criticising God and a UK number one would surely be theirs. 

They wouldn't do that would they?

BOXSETS ARE BOXSETS - DEPECHE MODE'S CONSTRUCTION TIME AGAIN AND SOME GREAT REWARD 12" SINGLES BOXSETS

The release of Depeche Mode's first two 12" single boxsets (review here) was greeted with a mixture of delight and complaints as with every Depeche release these days it seems. Many people felt that they were too expensive especially when they would be paying for things they already had, which is a perfectly understandable view to take. There's no getting away from the fact that they are expensive and as the series continues the prices will only go up. When we get to the Violator boxset for example, we're looking at at least nine 12" singles. If you've been a collector since the early days then, you'll have all these records already. However, if you're new to Depeche Mode collecting, these boxes are a great way of starting things off.

Again using Violator as an example, a look at Discogs this morning shows me that the cost of buying the full set of 12" singles released in 1990 in mint condition (as the 12" singles in the boxset are) is £273 plus postage. I presume, indeed I desperately hope, that the Violator boxset will cost less than that - I'm sure you'll remind me if it doesn't.

Anyway, my point is that, while costly, these boxsets are a great way to get a hold of mint condition Depeche Mode 12" singles for less than you'd pay on Discogs etc. They're a good thing as far as I'm concerned. There are of course people like me who already have the 12" singles AND buy the boxsets but we're beyond help. 

Right - enough rambling. What about the boxsets themselves?

Construction Time Again The 12" Singles Boxset

Look at those beauties. The Construction Time Again era contains some of the band's most iconic cover art with the album and Love In Itself covers superbly photographed by Brian Griffin. The attention to detail throughout that era's releases is superb. From the worker icons on both Get The Balance Right singles (which may have slightly influenced this blog's logo) which fit the theme of the at that point unreleased album perfectly, to the matching designs of the three limited edition 12" singles, everything the band released in 1983 had a marvellous symmetry to it, each released tied to the themes of the album itself. 

The 12" singles in the boxset are of course faithful reproductions of the originals. For people who get excited about that sort of thing, and I of course am one of those, the covers of the limited edition 12" singles have the same texture as the original releases. The labels on the records are also identical to those on the original releases and again, that is a very good thing. That sort of attention to detail is what makes these boxsets worthwhile. As ever, thanks to Daniel Barassi for all his work here.

The contents of each 12" are well known to everyone by now so I won't go through them all. If for some reason you have never heard Get The Balance Right (Combination Mix) or Everything Counts (In Larger Amounts) then you really need to remedy that. They are two of the band's great self produced remixes. The limited edition 12" singles are all worth hearing too as each one contains four live tracks from the band's show at London's Hammersmith Odeon on 25 October 1982. The A Broken Frame era was an interesting one for the band given that they had to deal with Vince's departure. These live tracks show that they were trying to strike a balance or even trying to get the balance right (sorry) between pop (A Photograph Of You, The Meaning Of Love) and the more experimental side of things that the album had already hinted at (see My Secret Garden and its Oberkorn intro). These three records are the only officially released A Broken Frame era live recordings and that makes them worth having.  

The peerless DM Live Wiki has more tracks from that show available for streaming by the way. To further prove my point about the band's more experimental side coming to the fore, check out The Sun And The Rainfall from that show with its pre Construction Time Again metal bashing noises. You can listen to it here. 

This release also contains Alan Wilder's first Depeche Mode songwriting credits. He and Martin co-wrote the frankly awful The Great Outdoors and the "ok lads we get it - it's all about work and metal and all that" decent b-side Work Hard and Alan penned the rather good Fools all by himself. The Great Outdoors  is probably the band's most terrifying track, sounding like the music you would hear as you are murdered by an enraged gnome with the hammer shown on the album's cover.

Finally, the boxset comes with a reproduction Love In Itself promo poster and the box itself shows the oil derrick from the Love In Itself limited edition 12", recreated for this release. There's a download card to allow you to enjoy all these digitally too. One thing that Sony want to change for future releases is the tagging of these songs on all boxsets when downloaded and put into ITunes. When downloaded, the individual track names are all garbled and therefore almost entirely  useless e.g. "ConstructionTimeAgain12"boxset_EverythingCountsA1InLargerAmounts" etc. It's not the biggest problem in the world, but entering the names individually is a pain in the arse. 

By the way, if you bought all these 12" singles in mint condition on Discogs today, you'd pay £117 plus postage. That's more expensive than the boxset,

 As with the previous boxsets, there was an unboxing video and here it is:

Some Great Reward The 12" Singles Boxset

The Some Great Reward boxset unsurprisingly contains all the 12" singles from the era plus a new 12" in the shape of L12BONG7 which is the 12" version of the original 7" ep featuring Somebody (Remix), Everything Counts (Live), Blasphemous Rumours (Single Version) and Told You So (Live). I'm really pleased with that as it means the release is a complete record of the era. It'll be interesting to see what happens with GBONG17 when the Violator boxset comes around.

The artwork for this era isn't as impressive as Construction Time Again, the album cover art aside. It's a lot starker and, while the Master And Servant 12" cover is marvellous, the rest are a little bland. I'm not sure how well known this is or not, but on the People Are People cover, the arm on the right hand side belongs to Hugh Grant the entirely one dimensional English actor. There's a fact to entertain your loved ones with.

One of the best things about this boxset for me is the digital download element, track name nonsense notwithstanding. Unless I'm very much mistaken (awaits "OMG YOU KNOW NOTHING ABOUT DEPECHE MODE MAN" attack from the Black Swarm), this release sees the first official digital versions of People Are People (On U-Sound Remix by Adrian Sherwood), Are People People? and Master And Servant (An On-U Sound Science Fiction Dance Hall Classic Re-Remixed by Adrian Sherwood) and that is very much a good thing. I love these remixes and the fact I can now sing along to Are People People's Zing Zing Zings and Boom Bop Bops on the train is great for me and terrifying for my fellow passengers. 

For completeness' sake, I should point out that Alan (no he's not coming back) has another song here, the superb In Your Memory, the b-side to People Are People. It's far better than Martin's (Set Me Free) Remotivate Me which lets the Master And Servant  release down rather dramatically. The 12" versions of People Are People and Master And Servant - Different Mix and Slavery Whip Mix - are both towering gorgeous beasts of remixes and should be on everyone's playlists. The live tracks on the Blasphemous Rumours releases are from the band's show at the Empire Theatre in Liverpool on 29 September 1984. 

As an aside, the huge pulsating Depeche Mode brain that is Michael Rose pointed out on depmod's Facebook page a thing that will annoy people like him (and me) for the rest of time. It takes a certain type of person to get annoyed by this sort of thing, but as I mentioned earlier, we are beyond help. Look at the alignment of the spines in the boxset:

Photo courtesy of Michael Rose

WHAT IS L12BONG5 DOING THERE? GET BACK IN LINE.

Sorry.

Finally, there was another unboxing video and this time it features, among others,  the silky sounds of Sean Salo. Here it is:

And what would this cost you if you bought the records all in mint condition on Discogs? £148 plus postage is the answer which seems high to me but there you go. If anyone is remotely interested by this point, I included the 7" ep in that.

And Then...

So there we have it - two more excellently curated releases and two great additions to my collection. If you want them, go and get them. If you don't want them, don't go and get them. Let's not argue about their worth or otherwise. Let's not get along so awfully. Boxsets Are Boxsets.

ARBITRARY DEPECHE MODE THINGS NO. 1 - THE TOP TEN 1980'S REMIXES

In an obvious attempt to pander to my core audience, welcome to the first in a series of no-one's yet quite sure how many pieces of what I'm calling Arbitrary Depeche Mode Things. Not the snappiest title I admit, but we're between albums, I've said all I can say about their discography (I still don't apologise for the Exciter post) and I need to write about what I actually know. So here we go: welcome to Arbitrary Depeche Mode Things No. 1 - The Top Ten 1980's Remixes

(all remixes chosen by me only. You may not agree. Knowing DM fans, you won't agree, I'll be horribly wrong and you'll run screaming to play The Things You Said on repeat to get over the shock but do bear in mind that this is all for fun. Sort of like Set Me Free (Remotivate Me) but good. Anyway, onwards...)

10. OBERKORN (IT'S A SMALL TOWN) - DEVELOPMENT MIX (1982)

Oberkorn is quite literally a small town, situated in South-West Luxembourg and with a population of only around 5,000 people. Depeche Mode's tourbus drove through there in the very early days and Martin was, presumably, so taken with it that he wrote a song all about it. It's the b-side to the horrific 1982 single The Meaning Of Love and is, unlike it's quite implausibly bad parent tune, an instrumental filled to the brim with dark synth sounds and haunting gothic melodies. The Construction Time Again foreshadowing Development Mix is a 7 minute 37 second imperious beast of experimental electronics that showed that Depeche Mode were far more than the pop tarts The Meaning Of Love showed them to be. Haunting, brooding and just bloody fantastic, Oberkorn (It's A Small Town) (Development Mix) is a hidden treasure in the early DM catalogue

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9. ROUTE 66 - BEATMASTERS MIX (1988)

The first time I properly noticed Depeche Mode was when I repeatedly watched the 101 video at a mate's house. Yes the main tunes were all magic and utterly transfixing, but the cover of Route 66, used as repeat motif throughout the film (hmmm...really?) stood out. An English electronic band covering a song about a big road in America sung by the wee guy that wears make up? Yes, yes indeed. As the imperious World Violation tour was copied by U2's Zoo TV tour, Depeche beat the Dubliners to the whole Rattle & Hum  thing by providing their own take on American music but, because they are Depeche Mode, they did it in a cool way, not a crap way. Route 66 was of course the b-side to the similarly car themed Behind The Wheel and 80's remix crowd The Beatmasters provide a sample filled but, frankly marvellous remix which deservedly makes this seemingly random top 10.




8. MASTER & SERVANT - SLAVERY WHIP MIX (1984)

Perhaps calling this remix the Slavery Whip Mix extended the whole chains, whips and general pervy but not actually that pervy thing too far, but that's easily forgiveable when you have a remix as good as this. As with most of the mixes here, the band did this and they take the 4 minute pop song and effortlessly turn it into a nine and half minute beast of a track. Drums smash, basslines go mental, whips crack and Depeche Mode go from pop to industrial in one fell swoop. It's a thumping belter of a track and what it lacks in subtlety is more than made up in its utterly unquestionable genius. PLUS - there's the odd acapella/double bass bit at the end which is just weird. It's a lot like life indeed.



7. JUST CAN'T GET ENOUGH - SCHIZO MIX (1981)

Ah Just Can't Get Enough. The track everyone knows, the track many people think is the only thing Depeche ever did and the track you can no longer play in Glasgow without angering 50% of the people in the vicinity. The single is a landmark piece of prime, pristine, perfect synthpop, but the 12" mix, the Schizo Mix, is the real gem. Transformed from the simple single, this mix breathes new life (I didn't mean that) into the song, turning it into a brooding Kraftwerkian masterpiece that mixes experimentalism with early synthpop in a way that remains magical.



6. EVERYTHING COUNTS - IN LARGER AMOUNTS (1983)

Firstly, let's acknowledge the simple genius of the remix title. You all know the chorus ("Everything counts in large amounts") so it makes more sense than anything else has ever made to call this 12" version In Larger Amounts. It's genius. The mix itself is ridiculously good: the original song's noises get room to breathe, exposing every clunk, thump, metal scrape and odd flute thing (I still forget the name) for the marvels they are. Add to that extra electronics, sampled vocals that found their way into the live version ("The graph...The graph...The graph...The handshake) and you have something very special indeed. If Depeche Mode had stopped remixing their own tracks after this, they'd have been justified in doing so - it's perfect.




5. GET THE BALANCE RIGHT - COMBINATION MIX (1983)

Beyond acknowledging that Taylor Swift's 1989 is an unimpeachable pop classic, I have little interest in what clutters up the charts these days. I do know, however that someone sang relatively recently about something being all about "that bass." Whilst her musical adventures are misguided, she was right in that sense and this remix (don't worry, this is getting to the point) IS all about the bass. Bassline anyway. The band take a relatively ordinary and Martin Gore despised song and transform it into a club masterpiece that bewitched the likes of Derrick May and Juan Atkins and directly influenced their own highly influential music, remarkably enough. This remix gives the original song a power it simply doesn't ordinarily have. Superb.

(NB - Check out the lyrics. You may find the inspiration for this blog's name)



4. SHAKE THE DISEASE - REMIXED EXTENDED VERSION (1985)

It's a universally accepted truth that Shake The Disease is one of the greatest songs ever penned by anyone. This, surprisingly enough, remixed and extended version of the track takes you on an 8 minute 46 second journey that breaks your heart, rebuilds it, smacks some metal off a fence and then breaks your heart again. Titanic, metallic majesty.




3. PEOPLE ARE PEOPLE - DIFFERENT MIX (1984)

Frankly, all that you need to know about this remix is that it sounds like a factory waking up with a hangover before it spends a day crushing metal

And that is a very, very good thing.



2. STRIPPED - HIGHLAND MIX (1986)

Stripped is a Depeche song that most people would agree is a classic, and it marks the band's transformation from pop mixed with experimental elements to the full on gloomy synth powered beast that would conquer the world. The whole Black Celebration period is exquisite and, as I've rather pretentiously said before, that album is effectively the manifesto for Depeche Mode fans. Stripped was the album's lead single and it's a perfect introduction to that album. This remix takes the track in a slightly different direction, stretching it and allowing its various parts to shine whilst adding a bagpipe like synth sound (hence the title) to kick it all off. Moodier and perhaps less immediate than the 7" version, the Highland Mix is however an absolute triumph filled with power and gothic angst. It's just what a 12" mix should be and still sounds brilliant.



1. NEVER LET ME DOWN AGAIN - SPLIT MIX (1987)

There can only be one winner here and the Split Mix of Never Let Me Down Again is it. A song that was already, and still is, among the best and most powerful in Depeche's catalogue is turned into an even more powerful beast. 9 minutes 31 seconds long, it starts with that orchestral sample part which instantly makes every hair on your and anyone else's body within a 10 mile radius stand on end. From then on, you are in heaven as the song you know smashes you around the head before being taken onto several greater levels as it builds to a shuddering climax. It's absolutely mindblowing and if you ever find yourself stuck on a desert island with the choice of only one Depeche Mode remix make it this. The second you start playing it the desert island will be scared into sailing itself towards land again. Powerful, mesmerising and irrefutably majestic, THIS is the best Depeche Mode remix of the 1980's




Thanks for bearing with me. If you disagree, why not tell me how wrong I am on the blog's Facebook page ( https://www.facebook.com/almostpredictablealmost ) or on Twitter (@almostprdalost)

DEPECHE MODE - PEOPLE ARE PLAYMOBIL

I was doing my usual work avoiding internet checking for Depeche Mode things the other day, and I came across a rather marvellous site run by Berlin based artist Dorit Bialer called I Want Everything which has a section where you can buy ready made custom toys in a box. So what you say? Well, Dorit is a huge Depeche Mode fan and she has made 5 Depeche Mode video tribute boxsets, all of which look incredible. I got in touch with Dorit to ask her a few questions.

Shake The Disease

APA: What first inspired you to start the Box series?

DB: The box series started in 2011 when I started portraying local Berliner types in boxes. After hearing Enjoy The Silence on day, I thought "why not create an Enjoy The Silence box?" After choosing that and putting it online, I got an invitation to participate in the Depeche Mode retrospective fan exhibition so for that, I made three more boxes 

APA: And why choose Depeche Mode for a series?

DB: They're my all time favourite band. I fell in love with them the first time I heard them as a thirteen year old punk in the Tel Aviv alternative scene and they are still a big part of my identity. I chose Enjoy The Silence as the first box because it's the band's most iconic song plus it's the first song of theirs I ever heard. My favourite DM song is Shake The Disease so that was the next box I created. I create boxes mainly based on the band's earlier years although I made one for Heaven recently as a fan requested that.

APA: Are there any more Depeche boxes planned?

DB: Yes there are. In January I will be releasing boxes for Never Let Me Down Again, Behind The Wheel and I Feel You

Master And Servant

The boxes cost 75 Euros plus shipping or can be collected directly from Dorit if you happen to be in Berlin. As well as the two boxes I've pictured, you can also currently buy boxes for the Heaven, World In My Eyes, Enjoy The Silence and It's No Good videos, the latter of which looks superb.

For more info on Dorit and all her projects check out her page above and then go and like her Facebook page too https://www.facebook.com/youinabox

Thansk very much to Dorit for the Q&A session and for letting me use the pictures