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The relationship outlined in the song is intimate at the very least, and it’s hard to mistake the words "flying high" in a decade where narcotics flowed freely, but "Never Let Me Down Again" at its bottom line describes power, the bliss of giving into it and the helplessness of losing yourself on its hook. "Two separate people came up to me after a show one night and said, 'I really like that song.' One of them thought it was a gay anthem and other one thought it was a drug anthem," Martin Gore told Rolling Stone in 1993. With its two-note lead melody and its winding harmonies, "Never Let Me Down Again" counts among Depeche Mode’s more enigmatic cuts. "Never Let Me Down Again" reached #2 in West Germany, three years before the wall splitting Germany in two would come down. The song inched to #22 on the UK charts in 1987, but saw greater success outside the band’s home country. The snarkily-named Music for the Masses wasn’t packed with gold singles like its follow-up, Violator, but it saw a minor hit in its slinky track one, "Never Let Me Down Again". See also: ESG: "My Love For You" / ESG: "UFO"īy their sixth album, Depeche Mode had hit upon something like a groove. All in all, it’s a pretty incredible-and wholly earned-legacy for a family band raised on Motown and James Brown whose mother encouraged them to enter a talent show in South Bronx, where they lived and were discovered. -Jes Skolnik Artists from TLC to Wu-Tang have sampled other ESG songs, and Kathleen Hanna and Jennifer Herrema of Royal Trux cite the group among their influences. and Farley "Jackmaster" Funk by Belgian dance-pop duo Technotronic on their crossover radio hit, "Get Up (Before the Night Is Over)" by Tricky in the late '90s and by indie rockers Radio 4 in the early '00s, among others. Popular on club floors at the time, "Moody” was sampled by house artists like Chicago’s Chip E. "Moody", produced by Factory Records’ Martin Hannett, also responsible for Joy Division’s groundbreaking sound, was their first single.
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ESG (Emerald, Sapphire, and Gold) was formed by sisters Renee, Valerie, Deborah, and Marie Scroggins in the early '80s, and they possessed a rare ability to not only touch all of those underground scenes, but have an indelible impact on their development. The overlapping territory covered by post-punk and hip-hop-percussive, polyrhythmic, looped, sparse-is rarely occupied by one band that touches on all three in equal measure.