DMode I began playing on KROQ because the producer was Daniel Miller, of The Normal (TVOD, Warm Leatherette, 1978). Mike Zampelli from Zed Records/LBC brought the single New Life to Pasadena with a dozen or so other records he wanted me to play on the Jed The Fish import show. Not a huge response but the band showed promise. Once Speak and Spell arrived, everyone on KROQ was playing it.

The great Depeche Mode “riot,” 1990, when so many fans showed up at Wherehouse Records the band could not accommodate them all. God forbid they cut off the line and stay an extra hour. It did get dicey with enraged Dmode fans who pounded on the window in view of the band. Warner Bros. then called it a riot to regenerate buzz. As I recall it changed permitting policy in West Hollywood. We would do things like this several times a year with our bands. If KROQ supports you, you’re a KROQ band.

By 1986, Depeche Mode were about to be huge. Here we display a listener license plate in the KROQ control room in Pasadena. Despite claims to the contrary, I played Just Can’t Get Enough the week after it was released in London. I played it because I had heard of the producer, Daniel Miller, who also produced the double a-side single TVOD/Warm Leatherette. Mike Zampelli of Zed Records in Long Beach gave it to me.

Girl harvesters Depeche Mode with three winners at varying stages of innocence. I'm sure at least one wound up at the Sunset Marquis that evening. A truly legendary KROQ group -- and a favorite of Richard Blade's -- they did perhaps the most concerts for us. If guys thought they were gay, it was just fine with them.

I can only describe my ridiculous hair as a follicle fountain. Depeche Mode has been in the station more times than I can count. Andy Fletcher is probably the member least like a tempermental artist.

We had whiteboards in the Burbank control room. Notes for the jocks and Kevin and Bean. Evidently on this day, I was overdressed. Andy Fletcher in the Burbank control room.