The format was the same as "Playing the Angel"s, the first disc had a special digitally remastered version of the album, while the DVD had the album on three formats (PCM Stereo, 5.1 surround sound and DTS 5.1) plus bonus tracks, and a documentary on the album. The re-release preserves the album as it was originally intended. Thus, the four bonus tracks do not appear on the SACD, but appear on the DVD. The DVD also features all B-sides from the "Music for the Masses" era, but unlike the album and the bonus tracks, the B-sides are only available in PCM Stereo. The documentary, a 37-minute short film titled "Depeche Mode: 1987–88 (Sometimes You Do Need Some New Jokes)", is an extensive look at the album, featuring commentary from a wide variety of people, including the current Depeche Mode, former member Wilder, producer David Bascombe, Daniel Miller, Daryl Bamonte, Martyn Atkins (who came up with the loudspeakers idea for the cover), Anton Corbijn, and others. The documentary features new facts on the album, and also an extensive look at the film "101". The re-release was released on 3 April 2006 in Europe. The US version was delayed to 2 June 2006 and is only available on a CD + DVD format, with no SACD. The DVD on all the versions are region independent however, so one can simply import the SACD version without worrying about the DVD being incompatible. The remastered album was released on vinyl on 2 March 2007 in Germany and 5 March 2007 internationally. The album mostly received favourable reviews upon release. Robert Christgau complimented the abnormal road symbolism of the lyrics, particularly on "Little 15", and believed that apart from the sadomasochistic metaphors, Depeche Mode succeeded in turning "adolescent "Weltschmerz" into something catchy, sexy and seemingly significant". "NME"'s Jane Solanas felt Gore was "at his obsessive best" on "Music for the Masses", particularly on "Never Let Me Down Again", which she called "an intriguing masterpiece, combining homo-eroticism with drug euphoria." In a less enthusiastic review, Paul Mathur from "Melody Maker" was ambivalent towards the group's more mature, minimalist aesthetic and said although they had departed from their simpler pop sound, the record was "seamless, fluid, and, once the lights are out, particularly dull."