*******************************************************************************
                     Depeche Mode - Ultra (Remaster 2007)
*******************************************************************************

This torrent contains both the Audio CD in its remastered stereo form, as 
released in 2007, plus a short video, which tells the story of DM during the 
era.  

The video is presented in XviD with .mp3 sound.  There are spanish and english 
subtitles already ripped and a subpack which also includes subs in Deutsch, 
Français and Italiano.  You have to rip it yourself (I currently use SubRip on 
Windows), in order to use them.

Note: There's no 5.1 audio here.  I repeat: there's no 5.1 audio here.  Only the 
2.0 stereo album remastered.  And sounds great!



CD: Depeche Mode - Ultra (Remaster 2007)

01. Barrel Of A Gun    [0:05:36.22]
02. The Love Thieves    [0:06:34.15]
03. Home    [0:05:42.67]
04. It's No Good    [0:05:58.39]
05. Uselink    [0:02:21.02]
06. Useless    [0:05:12.17]
07. Sister Of Night    [0:06:04.49]
08. Jazz Thieves    [0:02:54.51]
09. Freestate    [0:06:44.07]
10. The Bottom Line    [0:04:26.70]
11. Insight    [0:06:26.19]
12. Painkiller {Junior}    [0:02:09.72]     **


* A ninety second pause separates "Junior Painkiller" from "Insight", which is 
actually only around five minutes in length.
* Martin takes lead vocals on "Home" and "The Bottom Line", while Dave Gahan 
sings the rest. "Uselink", "Jazz Thieves", and "Junior Painkiller" are 
instrumental interludes.
* The B-side of "Barrel of a Gun" is a 7+ minute instrumental called 
"Painkiller", which is very hard-rockish. A condensed (2+ minute) version shows 
up as a hidden track on the Ultra album as "Junior Painkiller".


DOCUMENTARY

95-98 Oh well, that's the end of the band...     [00:47:30.00]


-------------------------------------------------------------------------------
                              THE ALLMUSIC REVIEW
-------------------------------------------------------------------------------

by Ned Raggett

When news surfaced in 1995 that Alan Wilder had departed Depeche Mode to 
concentrate on his solo project Recoil, the immediate concern among fans was 
whether the band would be able to hit past heights again. Though Wilder's 
profile was always much lesser than that of Martin Gore and David Gahan — and 
almost even that of Alan Fletcher, whose nonperformance live has always been a 
running joke in the fan community and who freely admits to generally being 
around merely to maintain a vibe with his childhood friend Gore — his capability 
at arranging the songs over the years gave the band its increasingly distinct, 
unique edge. Combined with Gahan's near suicide and lengthy recovery from drugs, 
things looked bleak. Happily, Ultra turned out a winner; hooking up with Tim 
Simenon, longtime U.K. dance maven and producer of arty fare such as Gavin 
Friday's Adam 'n' Eve, Depeche delivered a strong album as a rejuvenated band. 
The most immediate change was Gahan's singing; for the first time ever, he took 
singing lessons beforehand, and his new control and projection simply shines, 
especially on the marvelous "It's No Good," a pulsing, tense, yet beautiful song 
with another deeply romantic Gore lyric. Opener "Barrel of a Gun" continues in 
the vein of arena-level stompers like "Never Let Me Down Again" and "I Feel 
You," with huge drum slams and scratching to boot, but Ultra mostly covers 
subtler territory, such as the slightly creepy "Sister of Night" and the gentle 
"The Love Thieves." Gore sings two winners: the orchestral, slow dance groove 
"Home" and "The Bottom Line," featuring steel guitar and Can's Jaki Liebezeit on 
drums, distinctly different territory for Depeche. Closing with "Insight," a 
quite lovely, building ballad, Ultra showed Depeche wasn't ready to quit by any 
means. 

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                          SOME WIKIPEDIA INFORMATION
-------------------------------------------------------------------------------

Ultra is Depeche Mode's ninth full-length album, which was released by Mute 
Records on April 14, 1997 (1997-04-14). The album is the first after the 
departure of Alan Wilder from the band, who left to focus on his solo project 
Recoil.

Ultra keeps the rock sound of their previous album and has a considerably darker 
and more industrial sound than Depeche Mode's previous releases.

The long time that separates this album from the previous was due to David 
Gahan's near death and recovery from addiction to drugs. These two events caused 
many to speculate the end of Depeche Mode, but this turned out to not be the 
case.

Instead, Ultra was eventually released, reaching #1 in the UK Albums Chart, #5 
in the Billboard 200 and producing several hit singles. As of April 2006, Ultra 
has sold 584,000 units in the U.S. The album was also notable for being the 
longest the band has ever released until Sounds of the Universe was released in 
2009, clocking in at one hour, despite the project initially focused on being an 
EP.

On October 2, 2007 (October 3 in North America) Ultra was re-released in a two-
disc set, along with Exciter, completing the Depeche Mode Collectors Edition 
catalogue. The first disc is a remastered version of the original album, on a 
SACD/CD hybrid (except for in the U.S., where it's a CD only). The second disc 
is a DVD which features the album in DTS 5.1, Dolby Digital 5.1 and PCM Stereo. 
The b-sides from the album's singles can be listened to as well, including the 
stand-alone single "Only When I Lose Myself" and its b-sides.

Finally, like the other albums, there is a documentary on the making of Ultra 
titled "Depeche Mode 95-98 (Oh well, that's the end of the band...)", the 
subtitle of which comes from Martin Gore's thoughts about Alan Wilder's 
departure. The documentary begins with discussion from all parties of Wilder's 
departure before moving on to early album sessions despite Dave Gahan's drug 
issues present. Eventually, it moves on to Gahan's "death" and rehab. The 
documentary then covers the recording of Ultra and ends with a discussion on The 
Singles 86>98 and its corresponding singles tour. The documentary is around 45 
minutes to an hour long. The whole band is interviewed, along with Alan Wilder, 
Daniel Miller, producer Tim Simenon, Mute executives, Peter Gordeno, Christian 
Eigner, Anton Corbijn and others.

-------------------------------------------------------------------------------
                       SOME TRACKS REVIEWED AT ALLMUSIC
-------------------------------------------------------------------------------

BARREL OF A GUN     by Tim DiGravina

The stomping, pungent excellence of "Barrel of a Gun" seems an unlikely fit on 
the otherwise subtle Ultra, but when Depeche Mode achieves a violent darkness as 
tangible as the one here, it's hard to complain. With Alan Wilder on a permanent 
leave of absence, it's up to producer Tim Simenon to fill the holes. And that he 
does with aplomb, helping the band to forge an eclectic, shaking racket as vital 
and edgy as that of his own Bomb the Bass project. The heart of the song is 
distortion. A scuzzy guitar punctuates the entire song, Dave Gahan's vocals are 
tweaked, fuzzy, and perfectly demented, and unsettling electronic percolations 
zip back and forth over a slow monotonous beat. Martin Gore's lyrics display a 
stream-of-conscious, almost schizophrenic sense of unease, setting a tone that 
must have gone over quite easily with a then-veering-out-of-control Gahan. 
Director Anton Corbijn's creepy music video featured Gahan scrambling around 
easily with false eyes painted on his eyelids, creating a thoroughly appropriate 
visual metaphor for the song. When "Barrel of a Gun" was released as a single, 
there was a general uproar from some longtime fans. They worried out loud, 
however ridiculously, that Depeche Mode was jumping on the electronica 
bandwagon. Seeing as how Depeche Mode was from its humble beginning a keyboard 
band, such claims were and are meaningless. The song follows in the same genius, 
grimy dance-rock tradition the band had almost single-handedly created with such 
classics as "Behind the Wheel," "Never Let Me Down Again," and "Personal Jesus." 
Despite the fact that it seems jarring on the beautiful, restrained Ultra, 
"Barrel of a Gun" is vintage Depeche Mode. 



THE LOVE THIEVES     by Tim DiGravina

With its references to Jonah, Adam, Eve, and "the wretched disciples," "The Love 
Thieves" is another in a long line of Depeche Mode songs that ties in religious 
imagery with ruminations on love and relationships. Whether or not Christ is the 
protagonist of the song, it's a warm, tender if uneasy ballad that features some 
of David Gahan's most accomplished vocals. Evelyn Halus was employed during the 
recording of Ultra to help keep Gahan's drug-damaged voice in check, and with 
the calming sweet tones Gahan emits here, it seems like money well spent. 
Gahan's gentle enunciation and hushed cooing fit nicely over the smooth jazzy 
beat created by Martin Gore and producer Tim Simenon. It's safe to say that "The 
Love Thieves" features some of Gore's more cumbersome lyrics, but despite this, 
Gahan's strong vocals patch up the holes left by Gore's rather awkward 
metaphors. While Simenon deserves credit for crafting the warm blanket of sound 
around Gahan, "The Love Thieves" isn't Depeche Mode at its best, as one could 
imagine any of a number of bands achieving a similar musical stew. Simenon's 
lush production makes up somewhat for the simple musical arrangement, but the 
loss of Alan Wilder takes its toll. Usually Gahan's voice is on equal footing 
with Gore's songwriting, but on "The Love Thieves," Gahan is both the song's 
star and savior. Even if one praises Gore for allowing Gahan to shine over the 
minimal musical backdrop, it's rare when a Depeche Mode song can be mistaken for 
Spandau Ballet or similar light fare. 



HOME     by Tim DiGravina

Just as vital to any Depeche Mode album as keyboards, emotionally bracing 
subject matter, and David Gahan's soul-revealing voice are Martin Gore's self-
sung ballads. With the fragile, sweet "Home," Gore provides one of Ultra's true 
highlights. Except for the touching chorus, Gore offers all of his vocals in a 
choppy, endearing staccato style, punctuating every rhyming word with great 
emphasis. A slow trip-hop beat and subdued background distortion are the musical 
foundation over which crystalline keyboard melodies and string arrangements 
paint impressionistic drama. Ultimately, "Home" is about Gore finally feeling as 
if he's found his place in life. He professes endearing thanks for the help his 
friend or lover gave in helping him to feel that he "belongs." His swooning 
declaration of "I should have known from my first breath" seems perhaps his 
least inhibited vocal delivery, at least up to the release of Ultra. "Home" is 
every bit as powerful as Gore's more heart-wrenching ballads. That he's able to 
emote so optimistically makes the track a real treat. "Home" is a beautiful, 
positive force that reveals new charms with every listen. 



IT'S NO GOOD     	by Tim DiGravina

One could easily question the sequencing of Ultra, because the album reveals 
three of its strongest tracks in the first four songs. "It's No Good," along 
with "Barrel of a Gun" and "Home," easily takes its place among Depeche Mode's 
many classics. Even more than "Barrel of a Gun," "It's No Good" feels like it 
could have been a perfect fit on Violator. The song flows with a dark swagger, 
as trademark keyboard/synth sounds that are unmistakably Depeche Mode percolate 
and simmer. Producer Tim Simenon gives the song a glossy shine while still 
allowing for scuzzy percussion from Victor Endrizzio and an undercurrent of 
punchy industrial effects. David Gahan's vocals are bothered but confident, as 
if vocal coach Evelyn Halus has told him to simply relax and let the music flow 
over his voice. Martin Gore's lyrics are rather humorous and deftly to the 
point: "Don't say you love me, it's understood/Don't say you're happy, out there 
without me/I know you can't be, 'cause it's no good." Gore and Gahan paint the 
picture of a nonchalant lover with loads of patience. It's a kind of emotional 
security that's rare in Depeche Mode's music, as there's not an iota of angst on 
display. It has to be said that Gahan sounds a bit out-of-it during key passages 
in the song. Whether he's channeling his bouts with drug addiction and death is 
debatable, but his voice is somehow full of irony and irony-free all at once. 
"It's No Good" is a look to the past, through a prism of subtlety and maturity, 
as well as a marvelous injection of attitude on Ultra. Director Anton Corbijn's 
witty, colorful video for the song, in promotion of Ultra, expertly captured the 
song's spirit and Gahan's new self-confidence. 



USELINK     by Tim DiGravina

Anyone doubting Depeche Mode's confidence and artistry need only look to the 
short instrumental "Uselink." After horrific world tours, grand interpersonal 
troubles, and terrifying health and mental scares for everyone in the band, the 
melodicism and subtlety of Ultra are pure expressions of rejuvenation. And 
"Uselink" is further a purging of accessibility and any sense of artifice. After 
nearly a minute of sci-fi sound effects and moody tones, a slow beat kicks in. A 
minute and a half in, a series of piercing percussive sampler effects paint a 
kind of kabuki abstraction, and then the song ends abruptly. "Uselink" is more 
than a simple stab at minimalism. It's a cleansing rainfall that declares that, 
whether it's true or not, Martin Gore and company are just as solid of a unit 
without the recently departed Alan Wilder. Producer Tim Simenon probably 
deserves a great deal of credit for the song's at once rich and basic industrial 
texture. Gareth Jones steps in as a co-mixer here, and longtime 
collaborator/guru Daniel Miller treats the loops with a Roland System 700 synth. 
Artsy, icy, and unrelenting, "Uselink" is a fragile piece of dark musical 
poetry. 



USELESS    by Tim DiGravina

The fourth and final U.K. single from Ultra, "Useless" blends the moody swagger 
and techno atmosphere of "It's No Good" with an edgy, ominous rock vibe just 
slightly less potent than "Barrel of a Gun." That the song only reached number 
28 on the U.K. singles chart isn't indicative of its quality, as "Useless" is 
perhaps wound in too many layers of tension for widespread accessibility. 
Perhaps the masses didn't understand the song's mixture of trip-hop vibes and 
squalid rock guitar sounds. Maybe the song confused longtime fans with its live 
band feel; multiple drummers, a bass player, and a dedicated percussionist make 
it one of the most traditional-sounding rock songs Depeche Mode has ever 
recorded. One thing that's certain is that David Gahan comes off as entirely 
disaffected, presenting Martin Gore's acerbic lyrics as thorns on a rose. "All 
your stupid ideals/you've got your head in the clouds/you should see how it 
feels/with your feet on the ground," sings Gahan in the second half of the 
song's chorus. Gore's songs rarely depict such animosity between lovers or 
friends, as it's usually a sick world that infringes upon a relationship and not 
the other way around. Fans of the band might wonder if "Useless" is directed at 
least partially at Alan Wilder, as interviews after his departure from both 
parties suggested a relationship as bruised as the one depicted in the song. 
Because of its textural similarity to "It's No Good," "Useless" was going to be 
a hard sell as a single, but it's a song vital to Ultra's musical and thematic 
cohesion. 



SISTER OF NIGHT     by Tim DiGravina

The darkly atmospheric "Sister of Night" is like a subtle continuation of 
"Little 15." But where "Little 15" sought musical drama, "Sister of Night" seeks 
emotional drama. Other than the brief piston-like industrial sound effects at 
the song's beginning and middle section, David Gahan's gentle voice is the focal 
point. Gahan offers one of his most nuanced performances to date, singing 
delicately over Martin Gore's more emotionally revealing background vocals. 
Other than Gahan's voice, Tim Simenon's slow beat is perhaps most dominant in 
the mix. Moaning electronics make for abstraction at the song's conclusion, but 
for the most part, the frazzled keyboards and synth notes take a backseat to 
Gahan. Gore's lyrics are bleak and unsettling, echoing the codependent theme 
that is his trademark, as longing "returns, giving voice to the flame/calling 
you through flesh that burns/breaking down your will/to move in for the kill." 
But as always, there's a way of dealing with the pain, and Gahan gives the 
instructions for this healing: "come for me/embrace me/assure me." "Sister of 
Night" might not be Ultra's high point, but its lush tones and poetic refrains 
are endlessly fascinating. 



JAZZ THIEVES     by Tim DiGravina

Housed behind an extremely appropriate title, "Jazz Thieves" is a crystalline, 
electronic soundtrack for tension. The short instrumental is crafted of deep 
bass rumbling, digitally altered and warped strings, vibrant xylophone notes, 
and computerized sound washes. While electronic-tinged jazz music had been 
coming out of the U.K. and the rest of the world for years, a band with the huge 
profile of Depeche Mode hadn't shown its hand in the genre prior to the release 
of Ultra. Longtime fans might get the creeping suspicion that "Jazz Thieves" is 
an answer to the departed Alan Wilder, especially because it takes on the 
abstract vibes and ambient nature of Wilder's Recoil project. It's almost as if 
Martin Gore is saying, "I've tried my hand at your brand of music, and I'm your 
equal." Of course, this is just speculation. "Jazz Thieves" is quite charming 
and musically interesting, even if it is a kind of intermission or interlude. 



FREESTATE     by Tim DiGravina

With its organic percussion, acoustic country guitar base, and lack of 
keyboards, "Freestate" sees Depeche Mode expanding its musical horizons, and 
Martin Gore's songwriting is, as always, strong enough to take on a new genre. 
Here he seems to channel some of the blues vibes from Songs of Faith and 
Devotion. Producer Tim Simenon steps in with a crunching, living beat, Gore 
etches Cure-like expressionistic guitar notes into the air, and David Gahan 
offers up another dose of focused vocals, singing here, as elsewhere on Ultra, 
with a more refined sense of melody than on many of the band's earlier albums. 
Credit vocal coach Evelyn Halus and engineer Gareth Jones for coaxing such fine 
tones from Gahan's somewhat damaged vocal chords. It's up to individual Depeche 
Mode fans to decide if they prefer this new side of Gahan to his wilder past. 
While Gahan's voice seems somewhat detached musically and emotionally from the 
crackle and grind of Simenon's beat, "Freestate" manages to paint a unique 
atmosphere beyond the country, trip-hop, rock, and blues genres at its heart. 
That it's so moody, yet never overbearing, is what makes it a true success, but 
it can't match similar genre-benders like "Condemnation" and "One Caress" when 
it comes to artistry or cohesion. One gets the sense that there's a slight spark 
missing here, and it's easy to imagine that Alan Wilder would have been able to 
work some magic or at least create a more potent arrangement. 



THE BOTTOM LINE     by Tim DiGravina

Ravishingly beautiful, "The Bottom Line" is perhaps the perfect Martin Gore 
ballad. It might very well be Gore's equivalent of Tim Buckley's "Song to the 
Siren." The music's futuristic electronic sheen and lush, dignified beat and BJ 
Cole's marvelous alien pedal steel guitar could not better match Gore's sweet, 
strong voice. Gore uses a series of similes, from wet cats to burned moths, to 
express the obsessive nature of his love, before unleashing the same powerful 
conclusion to each of the song's three primary passages: "I follow you." The 
song is at once Gore's ultimate expression of love and his most glaring 
depiction of codependence. "The sun will shine, the bottom line, I follow you," 
he sings with an inhibited, matter-of-fact earnestness. The effect is similar to 
Buckley's lyrics: "Swim to me, swim to me, let me enfold you" and "Here I 
am/Here I am, waiting to hold you." Indeed, "The Bottom Line" could quite easily 
be seen as a blend of "Song to the Siren" and Songs of Faith and Devotion's 
stunning "Judas." Fans of Gore's ballads see "The Bottom Line" as absolute 
bliss. Though it might seem minimal and overly coy to some listeners, "The 
Bottom Line" is a tour de force in both structure and execution, and one of 
Gore's greatest musical achievements. 



INSIGHT     by Tim DiGravina

Though Dave Gahan's voice might be louder in Tim Simenon and Q's mix, "Insight" 
is for all intents and purposes a duet between Gahan and Martin Gore. Both 
singers offer up some of the most gorgeous vocals they've ever delivered over a 
sweeping electronic musical backdrop. The song glistens like an abstract, 
industrial work of art. Twinkling pianos, flanged otherworldly sound effects, 
mystical moaning, a throbbing ominous beat, and crystalline keyboard passages 
make for a lush musical montage. Lyrically, Gore is rarely as optimistic as he 
is here. "The spirit of love is rising within me, talking to you now, telling 
you clearly, the fire still burns," Gore and Gahan harmonize. Gore could very 
easily be presenting the song from his or Gahan's point of view, as both Depeche 
Mode mainstays tackled life-threatening addictions (alcohol and heroin 
respectively) prior to the recording of Ultra. The song's close, where Gahan and 
Gore repeat "you've got to give love" ad infinitum, is particularly powerful. 
Disregarding the unlisted closing instrumental "Junior Painkiller," "Insight" is 
a wonderful ending for an album that rejuvenated the career and souls of the 
remaining members of Depeche Mode. 


-------------------------------------------------------------------------------
                       SOME TRACKS REVIEWED AT WIKIPEDIA
-------------------------------------------------------------------------------

BARREL OF A GUN

"Barrel of a Gun" is Depeche Mode's thirty-first UK single, released on February 
3, 1997 (January 28 in the USA), and the first single from the band's ninth 
studio album Ultra.

"Barrel of a Gun" came after some difficult times for the band and its members. 
Musician Alan Wilder left the band in 1995 and lead singer David Gahan nearly 
died while in the throes of heroin addiction. Martin Gore had a string of 
seizures, and Andrew Fletcher had some emotional problems of his own. In mid-
1996 Martin tried to get Dave and Fletch back together by writing a few songs 
and see if anybody was interested in continuing after that. It worked, and the 
band were back together, except now a trio again for the first time since 1982's 
A Broken Frame.

"Barrel of a Gun" brings back in the industrial music sound, and is possibly the 
darkest DM song yet. Martin wasn't sure if this was going to be a big hit on the 
radio, so he was reluctant to recommend this song as the first single, but when 
he eventually did, it turned out the rest of band, Daniel Miller, and producer 
Tim Simenon agreed. It reached #4 in the UK chart in 1997, which at the time was 
their joint highest chart position with People Are People released in 1984. 
Since then, Precious has also reached #4 in the UK, in 2005.

The B-side is a 7+ minute instrumental called "Painkiller", which is very hard-
rockish. A condensed (2+ minute) version shows up as a hidden track on the Ultra 
album as "Junior Painkiller".

The music video for "Barrel of a Gun" is directed by Anton Corbijn, DM's long-
time visual collaborator. It features Dave singing with his eyes closed, with 
eyeballs drawn on his eyelids to make it seem like they are open. Dave has 
rather amusing commentary on the video on The Videos 86-98. The video was shot 
in Morocco.



HOME

"Home" is Depeche Mode's thirty-third UK single, released on June 16, 1997, and 
the third single for the album Ultra. It is also the third (and most recent) UK 
single with Martin Gore on lead vocals, and the second stand-alone single with 
him on lead vocals (the others are "A Question of Lust" and "Somebody", which 
was a double A-side with "Blasphemous Rumours").

Though it was planned to be released in the US, it ended up being scrapped due 
to some radio stations playing the song "Useless" instead, leading people in the 
US to believe that was the third single, when it was the fourth single. Reprise 
scrapped the US release of "Home", despite there already being confirmed 
tracklists, and released "Home"/"Useless" as a double A-side single.

"Home" is a ballad with haunting strings and other arrangements, and as a Martin 
Gore vocal track it's a fan favourite. The single version of "Home" has an 
ambient intro, then the drum beat featured in the album version, yet is the same 
length as the album version. There are no actual B-sides for "Home", just live 
versions of "Barrel of a Gun" and "It's No Good" recorded during the Ultra Party 
concert in London.

The music video for "Home" is the only Ultra video not directed by Anton 
Corbijn, but instead by Steve Green. It features an alien exploring an apartment 
complex, and uses a highly-shortened down version of "Home".

During the "Touring the Angel" world tour, "Home" was included in the setlist, 
and the "Air Around the Golf" arrangement was used for the first half part of 
the song.



IT'S NO GOOD

"It's No Good" is Depeche Mode's thirty-second UK single, released on March 31, 
1997 (April 15 in the USA), and the second single for the then upcoming album 
Ultra. It reached #5 in the UK Singles Chart.

"It's No Good" is a moodily rhythmic, perhaps even "sexy" song with a distinct 
lyrical hook in the chorus:

Don't say you want me
Don't say you need me
Don't say you love me
It's understood

It played well on American radio and MTV, and is a favorite live . The "Speedy J 
Mix" made it onto Remixes 81 - 04 in 2004, as did the "Club 69 Future Mix" 
(Remix Peter Rauhofer) which was previously promo only.

The B-side is another instrumental, called "Slowblow". It was the last actual B
-side from the Ultra era, making the album the only one by Depeche Mode to not 
have a non-remix/non-live vocal B-side track (Although if you exclude non-
exclusive songs, Black Celebration can count as well). The instrumental itself 
is slow and moody.

The music video for "It's No Good" was directed by Anton Corbijn, depicting the 
band as a low-rent lounge act at a number of sleazy gigs. An alternate video was 
recorded for "It's No Good" in 2001 as a screen projection for the Exciter Tour.

On May 15, 1997, the band went on The Tonight Show with Jay Leno, and performed 
the song, a recording made available at The official Depeche Mode website. It 
was the first time they performed a song on an American TV show since 1988, when 
they performed "Strangelove". The 'Hardfloor Mix' of the song was featured 
briefly in the Friends episode, The One with Joey's Dirty Day. "It's No Good" 
was also used in an episode of Nash Bridges.



USELESS

"Useless" is Depeche Mode's thirty-fourth UK single, released on October 20, 
1997, and the fourth and final single for the album Ultra. It was released with 
"Home" as a double A-side in the US due to "Useless" getting airplay on US radio 
stations before "Home" was announced.

"Useless" is a hard-rock track in the vein of "Barrel of a Gun", with more of a 
pop twist. The single remix, by Alan Moulder, changes the intro and has an 
updated beat (similar to the changes done to the 7" versions of "Walking In My 
Shoes" and "Condemnation") and adds some extra synth during the chorus. The "The 
Kruder + Dorfmeister Session" is a very prominent remix by the DJ duo of the 
same name. On the US single, the single remix is replaced by the CJ Bolland 
Ultrasonar Edit.

There are no actual B-sides for "Useless", except for remixes and live versions 
of the song. Some versions of the CD single feature the videos for "Barrel of a 
Gun" and "It's No Good", accessible when the disc is inserted into a PC.

The 1997 music video for "Useless" would be the last Depeche Mode video to be 
directed by Anton Corbijn in over eight years. Though he still did some work for 
Depeche Mode on album/single covers and tour projections/designs, the band 
decided to experiment with new directors for music videos. Corbijn's next 
project with Depeche Mode was the video for "Suffer Well".



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                               EAC LOG EXTRACT
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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 5. August 2009, 10:37

Depeche Mode / Ultra (Remaster 2007)

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                                ACCURIP REPORT
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[Verification date: 05/08/2009 11:47:09]
[Disc ID: 001c4acd-0104be11-a70e1b0c]
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 06	[0b5b0738] (41/54) Accurately ripped as in pressing(s) #1
 07	[a2d273b3] (41/54) Accurately ripped as in pressing(s) #1
 08	[82f44d10] (41/54) Accurately ripped as in pressing(s) #1
 09	[f51cc096] (39/52) Accurately ripped as in pressing(s) #1
 10	[4d61f65f] (41/54) Accurately ripped as in pressing(s) #1
 11	[f92f5a91] (41/54) Accurately ripped as in pressing(s) #1
 12	[b9212dfe] (38/53) Accurately ripped as in pressing(s) #1


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                      IMPORTANT: PLEASE READ (A REQUEST)
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It's usual to post comments only to complain about a torrent which doesn't work 
in your configuration.  It's normal, after a few hours/days downloading and 
expecting a release, to feel deceived if it doesn't work properly, and 
expressing this is legitimate.

I've often found one comment (negative) on a movie/CD downloaded by 2000+ 
people, and since that single negative feedback, people simply stop downloading 
and therefore, sharing.  But a few times it was due not to the torrent itself, 
but to some issues on the downloader side (not updated codecs, misused 
tools...), and that's unfair for the person who took the time to share it for
free.

IF YOU FIND THIS RELEASE DESERVES TO BE RECOMMENDED TO OTHERS, HELP BY DROPPING 
A LINE AFTER YOU'VE CHECKED IT.  This way, You'll help in keeping the torrent 
alive, almost as much as keeping it in your HDD until a 1:1 ratio is
reached.

Thanks

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