Depeche Mode - Blasphemous Rumours/Somebody (Mute)

Depeche Mode are becoming a Very Important band indeed. Pretentious though it may sound, Depeche's powerhouse Martin Gore is one of the few songwriters genuinely concerned with the politics of life in the '80s - unhampered by side-issues of style and blatant commerciality. "Somebody" gently unfurls the map of a modern relationship and explores every fold. The double A-side, "Blasphemous Rumours" weighs religion and reality with precision and feeling. Thought provoking stuff. (Martin Townsend, No1, November 3, 1984)

A double-A-sided single of two tracks from their Some Great Reward LP. "Somebody" gets my vote because it's so different from all their other singles. Martin Gore sings a slow, sad plea for love over a REAL PIANO and when the synthesized "Aaahs" come in it sounds just like Art Garfunkel. This'll have them reaching for their handkerchieves. "Blasphemous Rumours", on the other hand, is a routine slab of gloom in which God is given a severe ticking off. (Neil Tennant, Smash Hits, November 8, 1984)

PH: I really like it, I like it a lot; it's got a great chorus line. It's a bit fractured, but then that's their style. It's a bit too fractured at times, you keep wanting to hear the chorus. AM: The strong thing is their melodies and that chorus as Paul said is a belter. I've got this feeling that Depeche Mode are going to do something really amazing and they're getting pretty close. PH: They're the only band this week that sound like they know what they're doing, the only band that've got two ideas to rub together. AM: Well, two pieces of metal to rub together, anyway! (Andy & Paul from OMD, Record Mirror, November 3, 1984)

Depeche Mode - It's Called A Heart (Mute)

Depeche Mode have reached an interesting stage in their life. In the long term, the (relative) lack of success of "Shake The Disease" will probably be a good thing - helping the band to get away from the teeny/girly/ chart image they've been saddled with. Anyone who's heard their album will know them as a band with more depth than that, but there are some still need convincing. If anything, "It's Called A Heart" is a step back - bringing them once more into the realms of the three minute pop song they'd broken out of with the last three singles. It features godawful electronic sounds, mixed into a beautifully simple tuneful concoction. That takes skill and commitment and Depeche Mode are increasingly well furnished with both. (Eleanor Levy, Record Mirror, September 21, 1985)

Depeche Mode - A Question Of Time (Mute)

The follow up to 'A Question Of Lust' - they don't half ask a lot of questions these boys! Anyway I have it on good authority that the lads were a bit upset that the last single didn't do too well. This is a much livelier outing which should get them the much coveted airplay they didn't get with the last one. It's not as good as 'Lust' but then you can dance to it and that's the most important thing - isn't it? 3/5 (Pat Thomas, No 1, August 16, 1986)

Spruced up, meatier mix of old track. Not quite as alluring as 'A Question Of Lust' but the rabid, sequenced throb is better programmed for radio land. Good sorts that they are, Depeche Mode will run and run while Martin Gore grows weirder and weirder by the milli-second. (Lesley O'Toole, Record Mirror, August 16, 1986)

Depeche Mode - People Are People (Mute)

This time they've gone all radical with a distinctly metallic sound. But instead of jarring the nerves it tends to induce movement in bodies that normally wouldn't be seen dead on a dance floor. The lyrics are good, too - about "getting along awfully" and not understanding hate. Makes a change from all this unrequited love business. Easily their best yet and this harder direction is bound to spawn bags of imitators. (Peter Martin, Smash Hits, March 15, 1984)

Another one from the pessimists of pop! The lyrical content's always a bit outrageous - 'we got along so awfully' - I really laughed the first time that came on. They always seem to have one of these lines that make me laugh and I can't take the record seriously from then on. The production's pretty groovy, there's plenty of things flying around. But ever since Vince left, they've been doing these serious lyrics and they always use very obvious words to say intelligent things, and this is a good example. I think I saw their first ever gig, 'cos I used to go down to Croc's in Rayleigh, where we did our first gig, and I've followed them ever since. They made it before we did and I was in the area and well aware of their success, and there was one stage when I'd just joined Culture Club and Vince left Depeche and I was tempted to join! But I had faith in Culture Club! (Roy Hay [Culture Club], Record Mirror, March 17, 1984)

Depeche Mode singles are often their own worst enemies. On first hearing, their simple synthesised tunes and Dave Gahan's stiff-necked vocals can seem plain and familiar. It's only after a few plays that the subtle melodies and rhythms begin to come through. "People Are People" is not as cynical as "Everthing Counts", but it's just as worldly-wise - the killer being the sub-chorus: "I can't understand. . ." A good one for the next time we take to the terraces in Paris. (Paul Simper, No 1, March 17, 1984)

Depeche Mode - Stripped (Mute)

Depeche Mode must rate as one of the most consistent if not one of the best pop bands of the '80s. They have a distinctive sound, but not so much so that each release sounds like the last one. Their lyrics actually mean something without being pretentious and over the top. Yet they never seem to get the adulation that their competitors get. Strange that. Let's hope that the haunting stillness of "Stripped" puts them up where they belong, before Frankie and Spandau reappear. (Mark Booker, No 1, February 22, 1986)

Depeche Mode were becoming very predictable but this is the best thing they've done in ages. 'Let me see you stripped,' sings Dave Gahan and bang goes their appearance on Saturday Superstore. Actually, I think it's all about going back to nature and 'discovering yourself'. Slow and atmospheric, even when you can't work out what he's going on about. (Simon Braithwaite, Smash Hits, February 12, 1986)

Laudable B-Side: The flip is "But Not Tonight", surely one of the Mode's most elegant compositions.