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Sometimes we use old favourites - like one sample which we first used on 'People Are People'. If somebody has a good idea, we just stop recording and do some sampling.

Usually we spend two or three days before recording just sampling sounds. Martin Gore told Electronics and Music magazine in 1986: That's how we did People Are People: I suppose you could call it Controlled Dirt. So we constantly cross-reference what we hear in the Control Room with what comes out of this little modified transistor radio: previously we were finding that our mixes weren't spunding all that great on medium-wave one thing we've learned is that you have to go way over the top with ambiance and reverb to get the same effect on radio as you would hear on a hi-Fi system - that's why Hansa is so good, 'cos you can pass your most computer-like sounds through amps and even huge PA stacks in their large, halls, mike them up, gate them to hell and come up with the most incredible and powerful sounds. Danny bought a little gadget which we're evaluating called the Ear Opener - it's supposed to reproduce exactly the compression and re-equalization you have on radio. When we do a single like this we mix for radio rather than for hi-fi. Wilder stated in the April 1984 issue of Electronic Soundmaker & Computer Music magazine: It's our biggest hit that we don't play." The whole building was shaking."Īlan Wilder: "It gives quite a big sounding record, the biggest sort of in that sense, the biggest we've ever made, and it seemed that it had something going for it."ĭaniel Miller: "We just basically pressed 'play' and just ran it, and everybody sang along, and it just seemed like it all sounded great, even before we recorded it properly.Īndy Fletcher: We thought it was a good song. Gareth Jones: "The acoustics of People Are People and the sound of the beats and the big fills things, is all the sound of the rooms, with the beats getting thrown around Hansa Studio: three floors down for the bass drum, snare drum one floor over, toms in another room over there that, kind of thing. Quotes from the documentary on the DVD of the Some Great Reward remaster from 2006: It's about all sorts of differences between people." Martin Gore in the issue of Record Mirror: "Although it's a song about racism, that's just one example of people not getting on. According to Alan Wilder, it was pre-programmed at a rehearsal room in Dollis Hill, North London, elaborating: "We would have finished it sooner except that some of the work had to be redone after the infamous incident when a particular member of the band turned up, only to trip over the main power cable and pull the plug." Written by Martin Gore recorded and mixed at Hansa Tonstudios in seven days.