Okay, hear me out on this one. The similarities between the respective evolutions of Pink Floyd and The Mode are downright SCARY. Both sagas begin with brilliant, innovative, utterly original songwriters (Vince Clark/Syd Barrett) whose material (minimalist pop/psychadelic pop) instantly makes their bands top 10 juggernauts. But, after just one album (Speak & Spell/Piper at the Gates of Dawn), these respective geniuses have had enough, and leave for other projects (or just go clinically insane in Syd's case). After the abrupt exit of their respective original frontment, NO ONE gave either DM or Floyd any chance of success. After all, what were they to do without their only songwriter and catalyst??

But no one suspected that two of the most utterly brilliant songwriters and arrangers of their generation were waiting in the wings: Martin L. Gore for DM and Roger Waters for Floyd. At first, however, Gore and Waters had attempted to simply copy the style of their predecessors, thereby coming up with mediocre songs like "See You" and "The Meaning of Love" (not nearly matching the incredible pop appeal of the Clark-penned "Dreaming of Me," "New Life" or "Just Can't Get Enough"). Eventually, however, both songwriters were able to break away from the shadows of those who came before, and each carved their own nitche in music history.

Martin Gore's first great song on his own was the eminently catchy "Everything Counts," a social commentary on business in Britain, similar in subject matter to Pink Floyd's "Animals." Both Gore and Waters have unique writing styles, but fairly similar to each other in their dark content and lush musical backdrop of later albums like Black Celebration and Music for the Masses (and of course Dark Side of the Moon in Waters' case).

Another similarity: Martin Gore and Roger Waters are both incredible songwriters and could conceivably sing their own songs and do so on occasion ("Somebody"), but mostly leave the singing to their sex-appeal drenched lead singers, a pair of Dave G's: Gahan and Gilmour. Do the similarities ever stop???

Also, it should be said that both the Mode and the Floyd did not hit the peak of their commercial success until long after the original frontmen (Clark/Barrett) departed. Also, for some odd reason, stupid critics never really gave either band a chace.

Now, if Vince Clark were to go clinically insane from too many acid trips, and if DM put out an album called "Wish Vince was Here"...now that would REALLY be scary. God, I really hope some of you '80's synth heads have heard of Pink Floyd, or else this review made absolutely no sense to you.

Beth Bessmer's Amazon review is the first one I've ever read that did not feel like it was written by a real scholar of rock music. This one sounds like it was written by someone who can't like a song if it doesn't have a guitar solo. All her premises are just wrong. Catching Up was an American release, Singles 81-85 British. Catching Up was just what it says--an opportunity for Americans to catch up with them. And the Men from Mode's sense of HUMOR is completely lost on Bessmer. They included negative reviews of their songs because they were _funny,_ not to fend off the specter of "where are they now." Bessmer talks about this compilation like it came out last year--it came out in '85! How could they be lamenting their obscurity at the height of their popularity? Depeche Mode only sounds "dated" to someone who thinks Mtv "alternative" grunge music is timeless. Depeche Mode wasn't "a" synth band, they were THE synth band, and their music from '81 to '85 is still better than about anything made in the last 10 years. 4 stars because this isn't the place to start with DM. Their albums are always better than their singles. Start with Some Great Reward.

This is probably Depeche Mode's most consistent album, which should come as no surprise since the band's early albums contained a lot of filler. While this album is similar in content to Catching Up with Depeche Mode, it adds a few essential singles that were omitted from that US only compilation (the fantastic "Get the Balance Right," "Everything Counts," "Leave in Silence," and "People Are People") and deletes a couple of relatively poor tracks ("Flexible" and "Fly on the Windscreen," which sounded more at home on Black Celebration). Also, it contains an early mix of Speak & Spell's finest track, "Photographic," that is significantly more spirited but just as enjoyable as the album version. I normally don't recommend greatest hits packages, but The Singles contains nearly every essential song from Depeche Mode's early cannon. As a bonus, the CD's liner notes include some (occasionally) hilarious old review snippets for each song. Get this and add Black Celebration, the uneven but historically noteworthy Music for the Masses, and Violator for a fairly comprehensive collection of the most important synthesizer pop band of the 80s.

Depeche Mode is one of my favorite bands; I don't think I've even gone a full week without listening to VIOLATOR or SONGS OF FAITH AND DEVOTION since acquiring them. They're interesting, creative, philosophical and experimental -- everything I look for in worthwhile music.

Yes, of course, the technology of 81>85 was primitive and today sounds rather cheesy, but other bands (Duran Duran comes to mind) managed to combine synth sounds with excellent songwriting that enhanced the range of New Wave, instead of displaying their synthesizers' limitations.

However, as far as I'm concerned, the DM that began to emerge with SOME GREAT REWARD bears little or no resemblance to the DM of "Just Can't Get Enough", or (God forbid!) "Dreaming of Me". Vince Clarke definitely could write a catchy pop song, but nothing is more annoying than a "catchy pop song". Clarke's departure after SPEAK & SPELL cleared the way for Martin Gore to emerge as one of the premier composers of our times -- it took him a few years to develop, and even SGR is evidence of a work-in-progress. By the time MUSIC FOR THE MASSES came out, the band's transformation was complete.

On the other hand, this album takes you through a whirlwind tour of tremendous growth of talent and message by Martin, Dave, Andy and Alan.

The album's beginning, the annoying teenybop/pop of "Dreaming of Me", "New Life", "Just Can't Get Enough" and "See You" (it's hard to believe it's Dave Gahan's voice on these tracks!) only makes the album's closing tracks that much better.

"Shake the Disease" and "It's Called a Heart" (neither of which were released on albums) are truly fine songs that I hadn't had the privilege to experience until I bought this CD. In particular, I'd recommend purchase of this CD just for "Shake the Disease" alone if it weren't also available as a CD-single.

I rate this album only three stars because it pales in comparison to their later work; but for those interested in history of their favorite bands, it represents a special treat.

Also: I strongly recommend Dave Thompson's book DEPECHE MODE: SOME GREAT REWARD (which I bought here at Amazon.com). Truly enhances the musical experience.

The above editorial review states:
"All the songs are digitally remastered, but how much does digital enhancement really do to improve the sound of early-'80s synth-pop, which is so dated? Not much."

I completely disagree! It's not a matter of the music sounding dated. It's a matter of the actual sound of the music, which has been improved hugely! I've been doing an A/B comparison between the 2006 'The Best Of - Vol 1' Depeche Mode release and this 1998 'Singles 81>85', and the differences are clear. One would think that the 2006 version would sound better since it was released nearly 8 years after the 1998 version. This, however, is not the case at all. The 1998 disc sounds much better than the 2006 disc. That's not to say that the 2006 disc sounds bad. It just isn't up to the 1998 standards.

The differences are simply the result of the mastering engineers. Simon Heyworth mastered the 2006 best of, whereas Mike Marsh and Roland Brown got it right the first time in 1998 on this compilation. Heyworth's mastering seems to be restrained, sticking closely to the original mastering from the 80s without giving the tracks the extra punch and depth as heard in recent masters. The Marsh/Brown collaboration, on the other hand, gives the tracks bass and fullness, making them sound heavy.

With an excellent digital remastering and a solid tracklisting, 'Singles 81>85' is an essential part of any DM fan collection.