Some Great Reward is the fourth studio album by English electronic music band Depeche Mode, released on 24 September 1984 by Mute Records. The album peaked at number five in the United Kingdom and number 51 in the United States, and was supported by the Some Great Reward Tour. This also saw the band using samplers, much like they did in their previous album Construction Time Again, which they would continue to use in their following albums Black Celebration and Music For The Masses. Additionally it also saw the band addressing more personal themes such as sexual politics ("Master and Servant"), adulterous relationships ("Lie to Me"), and arbitrary divine justice ("Blasphemous Rumours"). "Blasphemous Rumours" was released as a double A-side with "Somebody". This was the first album where they achieved chart success in the US with the single 'People Are People' which reached No. 13 on the charts in mid-1985 on the Billboard Hot 100, and was a Top 20 hit in Canada. It was also the first album that peaked at a higher position on a chart that wasn't from the home country as it peaked at No. 1 in Germany. Tour The tour was the band's longest to date. A concert held at Alsterdorfer Sporthalle in Hamburg, West Germany, was recorded and issued as a video release titled The World We Live In and Live in Hamburg in 1985. The European release featured 16 songs, while the North American version featured 11 songs. The video has not yet seen a DVD release. Book of Love was the opening band for all 15 tour dates of the North American leg of the tour. Critical reception Melody Makers Barry McIlheney hailed Some Great Reward and noted a "truly remarkable development" in Dave Gahan's voice, concluding that while "[i]t used to be okay to slag this bunch off because of their lack of soul, their supposed synthetic appeal, their reluctance to really pack a punch", the album "just trashes such bad old talk into the ground and demands that you now sit up and take notice of what is happening here, right under your nose". New Musical Express critic David Quantick was critical of the sound of the record, and felt that it "suffers from too many missed grips on good ideas". He continues: "It ought to be an intelligent chart contender, a mix of commercial class and magpie manipulation of