351:, who paid for Johnson to re-record the song with producer Mike Thorne in New York. The clever thing that Stevo had managed to do was get Decca to pay for the recordings while still keeping ownership of the recordings. This was a good example of how Stevo dealt with the large major recording companies at the time. After Johnson had completed the recordings Stevo began dealing with both Decca and CBS for a record deal. The deal famously went to CBS with a bizarre contract signing in
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van, along with Stevo, Keith Laws, Tom
Johnston, Peter Ashworth (who comprised the band at that time) and Naked Lunch, who were the main support band. The whole concert turned out to be a good experience for Johnson who, afterwards, continued to work with Stevo. Johnson and Laws recorded an untitled
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Depeche Mode were cautious when first approached by Stevo, they were indecisive about being included on a "Futurist" compilation album. They first decided to take their demo tape to various other record companies, only to be rejected by everyone. After a bad first meeting with
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Stevo went on to sign some of the most important underground, alternative bands of the 1980s, becoming notorious in the way he signed bands, especially with major record labels who knew how important the deal was to them. Eccentric record contract signings included
290:. In 1980, Depeche Mode went into an east London recording studio and recorded the track "Photographic". Daniel Miller wanted to put a good track on the compilation album, but not their best track. Miller acted as informal producer on the recording of the
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He was born in
Haverhill, Suffolk. He left school at sixteen with no qualifications and entered a work training placement with sub contracted distribution company distributing Phonogram Records. His mother purchased a mobile disco unit on
282:. During an evening at the Bridgehouse, in Canning Town, Stevo chatted with Depeche Mode about his new label and compilation album; the band had been supporting Fad Gadget. It was decided that Depeche Mode would record a track for the
347:, in particular, Stevo began to have immense clout with the major record companies. Johnson and Laws had released the single "Cold Spell Ahead" on the independent side of Some Bizzare but later Stevo dealt with
235:, which would include bands that "broke down barriers". He preferred to include undiscovered bands that he could then license to major record companies through his Some Bizzare label. Stevo wanted to include
115:. Around this time he was banned from playing certain clubs due to his eccentricities. He was chased out of one club for just repeating "Yes hello, hello yes, it's highly psychological", and after mixing
327:. At first he declined due to there being no payment; Stevo insisted it would be good for Johnson's career. In the end Johnson agreed and travelled up to Sheffield in Tony Mayo's (Naked Lunch) old
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version of the "Photographic" track. The band set up their equipment in the studio and ran through some of their tracks live in the studio. "Photographic" was recorded and mixed in one day.
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in the music scene and felt it important for musical barriers to be broken down. After these nights attracted interest Stevo was asked to compile an electronic music chart in the
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was impressed with Stevo, who, he is quoted as saying, "had the gift of the gab" and was "immensely likeable". Stevo said that he was putting together the
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at half speed. Other things that the public were not used to included playing six different records at the same time, causing a very intense sound.
255:, who would also appear on the Some Bizzare album. They decided that working with Stevo is what they wanted. Stevo was only seventeen at the time.
221:, Yorkshire, was where Soft Cell first had a meeting with Stevo, who had hitch-hiked to Leeds from London, picked up at Staples Corner by the band
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Stevo Pearce has been involved with many artists and bands as their manager or through his label Some
Bizzare Records.
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THE SAME ...ONLY DIFFERENT. MATT JOHNSON & JOHNNY MARR IN CONVERSATION . . .
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Depeche Mode on his
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chart was filled with demos that were sent to him by new unknown bands.
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of Mute
Records (Miller was in a bad mood due to a problem with some
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Starmakers and
Svengalis: The History of British Pop Management
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Tape Delay: Confessions from the
Eighties Underground
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410:Marc Almond, Tainted Life, Sidgwick & Jackson
146:played. At this time Stevo regarded himself as a
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580:. www.thethe.com. Retrieved on 31 December 2009
568:. www.thethe.com. Retrieved on 30 December 2009
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613:Neal, Charles, ed. (1987).
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596:Depeche Mode – A Biography
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253:Tony Mayo (of Naked Lunch)
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340:to a major record label.
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647:. Trans-Atlantic Pubns.
251:and sought advice from
643:Rogan, Johnny (1988).
621:. SAF Publishing Ltd.
594:Malins, Steve (1999).
489:Sidgwick & Jackson
598:. Andre Deutsch Ltd.
343:After the success of
733:People from Dagenham
674:another myspace page
92:Some Bizzare Records
86:, commonly known as
73:Some Bizzare Records
388:Guinness Publishing
84:Stephen John Pearce
22:Stephen John Pearce
491:. pp. 97–98.
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334:Some Bizzare Album
284:Some Bizzare Album
280:Some Bizzare Album
241:Some Bizzare Album
232:Some Bizzare Album
199:Associated artists
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227:Marc Almond
140:Naked Lunch
128:Hammersmith
113:King's Road
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359:References
325:Nottingham
276:Fad Gadget
193:Robin Hood
136:Fad Gadget
34:1962-12-26
427:Neal 1987
345:Soft Cell
249:Dave Ball
237:Soft Cell
213:Soft Cell
207:Soft Cell
189:Soft Cell
144:Boyd Rice
98:Biography
50:, England
693:AllMusic
483:(1999).
44:Dagenham
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514:, p. 14
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338:The The
321:Retford
313:The The
304:The The
298:The The
239:on the
69:Website
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512:Malins
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164:Sounds
159:Sounds
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245:Leeds
219:Leeds
119:into
88:Stevo
48:Essex
649:ISBN
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28:Born
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