"But Not Tonight (Extended Mix)" [*] – 6:18 "Breathing in Fumes" – 6:07 "Stripped (Highland Mix)" – 6:42 "Black Day" – 2:37 [*] The 7" and 12" versions on the US "But Not Tonight" single are different versions than used on the UK singles – they were remixed by Robert Margouleff. The 12" mix later appeared on the rare fourth disc of Depeche Mode's remix compilation, Remixes 81–04, as the "Margouleff Dance Mix." CD: Intercord / INT 826.835 (Germany) "Stripped (Highland Mix)" – 6:42 "But Not Tonight (Extended Remix)" – 5:12 [*] "Breathing in Fumes" – 6:07 "Fly on the Windscreen (Quiet Mix)" – 4:24 "Black Day" – 2:37 [*] This is the UK Extended 12" version. The German CD was released in 1986 All songs written by Martin Gore except "Black Day" which is written by Gore, Alan Wilder, and Daniel Miller Charts Weekly charts Year-end charts In Australia, "Stripped" missed the Kent Music Report top 100 singles chart, but was listed as one of the singles receiving significant sales reports beyond the top 100 for six non-consecutive weeks in May and June 1986, with its highest ranking being fourth on this list. Rammstein cover Neue Deutsche Härte band Rammstein recorded a cover of "Stripped" for the 1998 Depeche Mode tribute album For the Masses. This version cut the line "Let me see you stripped down to the bone" to "Let me see you stripped" because of singer Till Lindemann's difficulty singing "down to the bone" in a manner that fit with the rest of the song (the entire line is restored in the "Heavy Mental Mix" by Charlie Clouser). Released as a single on 28 July 1998, it reached number 14 on the German single charts. The song also appears as the twelfth track on some special editions of the band's sophomore release, Sehnsucht (1997). It was also the band's first song done entirely in English. The video for the song incorporated footage from Olympia, a documentary film on the 1936 Summer Olympics directed by Leni Riefenstahl. Following the Second World War Riefenstahl was classified as a Nazi sympathizer by postwar authorities; the choice to use footage from a film by her led to threats against the band. Members of the band praised Riefenstahl's filmmaking abilities and aesthetic choices in a 2011 documentary of the making of the video, particularly the imagery of the athletes, while simultaneously disassociating