nyuuzyou/wikis huggingface dataset:
List of Depeche Mode sample sources by album/Speak & Spell

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. As pioneers of the , Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Among the many original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of the group.
= Information =
This page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1981 album Speak & Spell.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by origin: Self-made samples, which describe any material initially recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples not initially recorded by either group. In addition to confirmed samples, this article also covers samples commonly misreported as having been used but directly refuted by a member or associate of Depeche Mode or Recoil.
If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Speak & Spell (1981) =
== 1. ==
== 2. ==
"I Sometimes Wish I Was Dead" is not yet known to contain samples from any identifiable sources.
== 3. ==
"Puppets" is not yet known to contain samples from any identifiable sources.
== 4. ==
== 5. ==
"Nodisco" is not yet known to contain samples from any identifiable sources.
== 6. ==
== 7. ==
"Photographic" is not yet known to contain samples from any identifiable sources.
== 8. ==
"Tora! Tora! Tora!" is not yet known to contain samples from any identifiable sources.
== 9. ==
"Big Muff" is not yet known to contain samples from any identifiable sources.
== 10. ==
"Any Second Now" is not yet known to contain samples from any identifiable sources.
== 11. ==
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1981 studio album Speak & Spell.</metadesc>
List of Depeche Mode sample sources by album/The Singles 81→85

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. As pioneers of the , Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Among the many original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of the group.
= Information =
This page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1985 greatest hits album The Singles 81→85.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by origin: Self-made samples, which describe any material initially recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples not initially recorded by either group. In addition to confirmed samples, this article also covers samples commonly misreported as having been used but directly refuted by a member or associate of Depeche Mode or Recoil.
If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= The Singles 81→85 (1985) =
== 1. ==
"Dreaming Of Me" is not yet known to contain samples from any identifiable sources.
== 2. ==
== 3. ==
== 4. ==
== 5. ==
== 6. ==
== 7. ==
== 8. ==
== 9. ==
== 10. ==
== 11. ==
== 12. ==
== 13. ==
= B-sides, bonus tracks and remixes =
== "Flexible" ==
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1985 greatest hits album The Singles 81→85.</metadesc>
List of Depeche Mode sample sources by album/Ultra

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. As pioneers of the , Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Among the many original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of the group.
= Information =
This page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1997 album Ultra.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by origin: Self-made samples, which describe any material initially recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples not initially recorded by either group. In addition to confirmed samples, this article also covers samples commonly misreported as having been used but directly refuted by a member or associate of Depeche Mode or Recoil.
If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Ultra (1997) =
== 1. ==
== 2. ==
== 3. ==
== 4. ==
== 5. ==
"Uselink" is not yet known to contain samples from any identifiable sources.
== 6. ==
== 7. ==
== 8. ==
== 9. ==
== 10. ==
== 11. ==
== 12. ==
== B-sides, bonus tracks and remixes ==
==== ====
==== "Slowblow (Darren Price Mix)" ====
==== ====
==== "Painkiller (Plastikman Mix)" ====
==== "Painkiller (Kill The Pain - DJ Shadow vs Depeche Mode)" ====
==== "Useless (Remix)" ====
==== "Useless (The Kruder & Dorfmeister Session)" ====
==== "Useless (Cosmic Blues Mix)" ====
==== "Barrel Of A Gun (United Mix)" ====
==== "Barrel Of A Gun (Underworld Hard Mix)" ====
==== "It's No Good (Dom T's Bass Bounce Mix)" ====
==== "It's No Good (Hardfloor Mix)" ====
==== "It's No Good (Club 69 Future Mix)" ====
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1997 studio album Ultra.</metadesc>
List of Recoil sample sources by album/1 + 2

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.
= Information =
This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 1986 Recoil album 1 + 2.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= 1 + 2 (1986) =
=== 1. ===
=== 2. ===
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources utilised by Alan Wilder in the production of the 1986 Recoil album 1 + 2.</metadesc>
List of Recoil sample sources by album/A Strange Hour In Budapest

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.
= Information =
This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 2012 Recoil concert film A Strange Hour In Budapest.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Notes =
= References =
<metadesc>This page documents all verifiable sound sources utilised by Alan Wilder in the production of the 2012 Recoil concert film A Strange Hour In Budapest.</metadesc>
List of Recoil sample sources by album/Bloodline

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.
= Information =
This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 1992 Recoil album Bloodline.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Bloodline (1992) =
== 1. ==
== 2. ==
== 3. ==
== 4. ==
== 5. ==
== 6. "Bloodline" ==
== 7. ==
== B-sides, bonus tracks and remixes ==
=== "Faith Healer (Trance Mix)" ===
=== "Faith Healer (Conspiracy Theory)" ===
=== "	Faith Healer (Conspiracy (Double Bullet) Theory)" ===
=== "Faith Healer (Deformity)" ===
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources utilised by Alan Wilder in the production of the 1992 Recoil album Bloodline.</metadesc>
List of Recoil sample sources by album/Hydrology

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.
= Information =
This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 1988 Recoil album Hydrology.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Hydrology (1988) =
=== 1. ===
=== 2. ===
=== 3. ===
= References =
= Notes =
<metadesc>This page documents all verifiable sound sources utilised by Alan Wilder in the production of the 1988 Recoil album Hydrology.</metadesc>
List of Recoil sample sources by album/Liquid

In audio production, sampling refers to the use of a portion (or sample) from a sound within another recording. During Alan Wilder's tenure with the group, Depeche Mode were among the most prolific acts to make use of technology within a traditional format. Following his departure from Depeche Mode in 1995, Wilder would continue to employ sampling as a means to enhance the atmosphere of his music through the Recoil project, including passages of contemporary music, film soundtracks, sample library audio, and samples from his past work with Depeche Mode. The analysis of these sample sources and how they are manipulated is a popular topic of discussion amongst fans of both groups.
= Information =
This page aims to document all verifiable sound sources utilised by Alan Wilder in the production of the 2000 Recoil album Liquid.
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans across the world. This article serves to provide an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.
This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Alan Wilder for the Recoil music project, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.
As ever, if you notice an error, wish to contribute or request the removal of information contained within this article, please feel free to contact us.
= Liquid (2000) =
== "Black Box (Pt. 1)" ==
== ==
== "Jezebel" ==
== ==
== ==
== ==
== ==
== ==
== ==
== "Black Box (Pt. 2)" ==
= B-sides, bonus tracks and remixes =
== "Black Box (Complete)" ==
== ==
== ==
== "Electro Blues for Bukka White (2000 Mix)" ==
== "Jezebel (Filthy Dog Mix)" ==
== "Strange Hours (Edit)" ==
= Notes =
= References =
<metadesc>This page documents all verifiable sound sources utilised by Alan Wilder in the production of the 2000 Recoil album Liquid.</metadesc>