He chooses Talk Talk’s Spirit Of Eden, for example, citing the fact that he felt a parallel with Mark Hollis turning his back on pop stardom, and his departure from Depeche Mode at the height of their powers. His selection for Baker’s Dozen, then, reflects this – and along the way gives some intriguing insight into his relationship with Depeche Mode. And for it to be on his last album before he passed was something very special.Alan Wilder's Recoil has, for 25 years, seen the former Depeche Mode man explore his love of experimental electronic music, and the potential of the collaboration. “It’s just got that Johnny Cash spiritual quality to it, that magic. Reflecting on the many different cover versions of Violator songs that have come out over the past quarter century, Gore settles on Johnny Cash’s stark, acoustic take on “Personal Jesus” as his favorite. Even though I think it’s a great album, up there with all of our favorites, it was just a different vibe.” “By the time we got to Songs of Faith and Devotion, things had gotten derailed and people had changed. “When the four members of the band were still together, Violator was the pinnacle of us having fun, I think,” he says, referring to Alan Wilder’s departure from the band in 1995. Overall, he recalls Violator with great affection, if only for the place it holds in the band’s personal history. “The nearest town was, like, a 20-minute ride away and it was a really tiny town. “When we were in Denmark, it was kind of in the middle of nowhere,” Gore says. When the band wasn’t in Milan, they recorded in New York, London and Gjerlev, Denmark, with co-producer Flood. How we got anything done, I don’t know because we were out partying most nights.” “We recorded the majority of Violator in Milan, which was really good fun. “During that time in our career, we were quite experimental in our choices of recording locations, and we loved the idea of going off and making each album an adventure,” he tells Rolling Stone, looking back at the record after discussing his upcoming MG solo LP for an upcoming article. The band’s Martin Gore, who wrote every song on the album and played its minimalistic and snaky guitar lines, fondly remembers the fun surrounding the making of the record. Why does singer Dave Gahan sound so fragile yet hopeful on “Waiting for the Night”? How can “Blue Dress” come off so beautiful yet creepy? What is the underlying message to their Pink Floyd riffing on “Clean”? The record’s enduring mysteries echo today in the number of times artists ranging from Marilyn Manson to Susan Boyle have covered Violator’s songs. But aside from its commercial success, the LP signaled a new era for the band: In less than a decade, they’d gone from swiveling their butts to their new-wave gem “Just Can’t Get Enough” to creating the brooding, cinematic and mysterious post-goth masterpieces of Violator. Thanks to a string of hypnotizing, sexually charged singles – the cheekily gothic “Personal Jesus,” sensually serene “Enjoy the Silence,” otherworldly and bluesy “Policy of Truth” – the record quickly became the band’s best-selling LP, reaching Number Seven on Billboard and going triple platinum. 'Silence of the Lambs': The Complete Buffalo Bill Story
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