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DAVE GAHAN Paper Monsters (2003 US 10-track Reprise promo-only CD-R acetate, custom printed disc and title/tracklisting inlay) . Track listing 1. Dirty Sticky Floors2. Hold On3. Little Piece, A4. Bottle Living5. Black & Blue Again6. Stay7. I Need You8. Bitter Apple9. Hidden Houses10. Goodbye Details Producer: Ken Thomas Distributor: WEA (distr) Recording type: Studio Recording mode: Stereo SPAR Code: n/a   Record Label: Reprise Catalogue No: CDR ACETATE Country of Origin: USA   Language: Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description. Additional info: PromoDeleted Format: CD-R(ECORDABLE) !--USA-CDR-PROMO#NAME->DESC#CD-R’s (Compact Disc-Recordable - also known as CD-Writable) are now often produced by record companies prior to, or instead of, distribution of a ‘finished’ promotional CD. Also known as a CD-R ‘acetate’, they got this name when they first appeared as they were the digital technology equivalent of the metal and lacquer ‘acetate’ discs of the 60’s & 70’s. These were first cut in the studio, direct from the master tape and they enabled the artist, producer or record company executive to hear a track away from the studio environment almost straightaway; all they needed was a turntable to play the acetate. Nowadays the same theory applies, although on CD-R they can simply play it on their car stereo or personal Walkman!Early U.S. CD-R’s were gold in colour, and usually had simple handwritten artist and title information on the disc and sleeve insert, much like the acetates of previous decades. As technology progressed these discs were customised by the studios using them. They subsequently progressed to the silver and blue discs still in use today. These almost always have computer printed titles on the ‘label’ side and since duplication techniques have improved they are often a cheaper, and quicker, alternative for record companies to use instead of manufacturing proper compact discs.In extreme cases some CD-R’s may be produced weeks or months before a promotional disc is planned; even before titles, catalogue numbers and release dates have been scheduled. As a result some tracks may be left un-mastered, meaning they have not gone through the final editing process, they could have alternate ‘work-in-progress’ titles or be somehow different to the final mastered version. Generally, however, they are more likely to be used as a simple promotional format in much the same way that the more traditional promotional CDs are. CD-R’s are usually housed in a plain white titled sleeve which gives just basic information such as artist, title, tracks, running time and record or production company logos; but they can sometimes be issued in a picture sleeve if the final artwork is available. They rarely display a catalogue number. Depending on their intended purpose they can be just 1-track (usually the next single), multiple track album samplers or ‘teasers’, full albums, or even multiple discs to promote boxed sets or a back catalogue reissue campaign.They have become ever more collectable in recent years and genuine, early examples have been known to fetch significant sums.--> CD-R’s are now often produced by record companies prior to, or instead of, distribution of a ‘finished’ promotional CD. Also known as a CD-R ‘acetate’, they got this name when they first appeared as they were the digital technology equivalent of the metal and lacquer ‘acetate’ discs of the 60’s & 70’s. These were first cut in the studio, direct from the master tape and they enabled the artist, producer or record company executive to hear a track away from the studio environment almost straightaway. CD-R’s may be produced weeks or months before a promotional disc is planned; even before titles, catalogue numbers and release dates have been scheduled. As a result some tracks may be left un-mastered, meaning they have not gone through the final editing process, they could have alternate ‘work-in-progress’ titles or be somehow different to the final mastered version.  As technology progressed these discs were customised by the studios using them. They subsequently progressed to the silver and blue discs still in use today. These almost always have computer printed titles on the ‘label’ side and since duplication techniques have improved they are often a cheaper, and quicker, alternative for record companies to use instead of manufacturing proper compact discs. CD-R’s are usually housed in a plain white titled sleeve which gives just basic information such as artist, title, tracks, running time and record or production company logos. They rarely display a catalogue number. Depending on their intended purpose they can be just 1-track (usually the next single), multiple track album samplers or ‘teasers’, full albums, or even multiple discs to promote boxed sets or a back catalogue reissue campaign. They have become ever more collectable in recent years and genuine, early examples have been known to fetch significant sums. Album notes Personnel: Dave Gahan (vocals, harmonica, keyboards, Fender Rhodes piano, glockenspiel); Knox Chandler (guitar, dulcimer, cello, keyboards, vibraphone bass, samples, programming); Antoine Silverman, Maxim Moston, Joan Wasser (violin); David Goul (viola); Jane Scarpantoni (cello); Douglas Petty (piano); Paul Garisto, Victor Indrizzo (drums); Joylon Thomas (tambourine); Dee Lewis (background vocals).Recorded at Electric Lady, New York, New York..More than two decades after Depeche Mode's debut, mouthpiece Dave Gahan finally got around to releasing his solo debut in the shape of 2003's PAPER MONSTERS. Having wrestled with more than his share of personal demons during his ascent to stardom, it's no surprise that this Gahan fills the album with echoes of his inner struggle. Working with New York City-based multi-instrumentalist Knox Chandler, the dour vocalist injects enough swirling synths, droning guitars, and oddly arranged strings to approximate a murder-ballad ambiance that brings to mind Nick Cave. This is particularly true on songs like the harrowing "Black and Blue Again " and the subtler, more ambient "Stay. " Gahan also manages to flex some of his more rock & roll-inspired muscles, pumping swooning harmonies and glammy guitar into the swaggering opening cut "Dirty Sticky Floors " and blowing some sleazy-sounding harmonica over the gritty stomp of "Bottle Living. " With PAPER MONSTERS following quickly on the heels of Martin Gore's equally stellar solo outing COUNTERFEIT 2, Depeche Mode fans were given more than enough to feast on until the pair got back to their day jobs. Editorial reviews 3 stars out of 5 - ...The prevailing mood is one of release, emotional rescue and calm after the storm...Uncut  (06/01/2003)Ranked #61 in Uncut's Albums Of The Year 2003Uncut  (01/01/2004)Ranked #33 in Q's The 50 Best Albums of 2003 - [Gahan's] own account of addiction and redemption.Q  (01/01/2004)