Adamson left school and shifted into graphic design attending Stockport Art College[3] but quit shortly after, favouring to venture into the exploding punk rock scene of the late 1970s. He joined ex-Buzzcocks singer Howard Devoto's band Magazine, playing bass guitar, scoring one chart single, "Shot by Both Sides"; in late 1977, he also joined Buzzcocks, as a short-time replacement of Garth Smith. He played on all of Magazine's albums, and contributed to Devoto's solo album and his next band, Luxuria. He also contributed to the studio-based band Visage, playing on the ensemble's first two albums, Visage and The Anvil.
After Magazine broke up, Adamson worked with another ex-Buzzcock, Pete Shelley, before joining Nick Cave and the Bad Seeds. He appeared on five of that band's albums: From Her to Eternity; The Firstborn Is Dead; Kicking Against the Pricks; Your Funeral, My Trial; and Tender Prey. After his stint in the band, he went solo, releasing an EP, The Man with the Golden Arm in 1988, and his first solo album, Moss Side Story, the following year, the soundtrack to a non-existent film noir.[4] The album incorporated newscasts and sampled sound effects and featured guest musicians Marcia Schofield (of The Fall), Diamanda Galas, Roland S. Howard, and former colleagues from the Bad Seeds.[4] Adamson's second solo album was the soundtrack to a real film this time - Carl Colpaert's Delusion, and he would go on to provide sountracks for several other films.[4]
Adamson's third album, Soul Murder, was shortlisted for the Mercury Music Prize in 1992.[4][5]
His solo work is influenced by John Barry, Elmer Bernstein and Ennio Morricone. Later works have included jazz, electronica, soul, funk, and dub styles.
In 2002, Adamson left his long-term label, Mute Records, and started his own 'production home', Central Control International. In 2006, he released Stranger on the Sofa, first for his Central Control International imprint, to critical acclaim. Back To The Cat, his second album for the label, was released in March 2008.[1]
In 2007 it was announced that Magazine would reform for concerts in 2008. Adamson will be part of this and the same line up that recorded Secondhand Daylight will reform, with the exception of the late John McGeoch. McGeoch will be replaced by Luxuria/Apollo 440 member Noko.
Black Amour
Barry Adamson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Right here, beside me. "Beautiful!"
I have this incredible need
And the need is for you to experience
Black amour. Black amour.
You want a piece of that action?
Well then you call me,
If I ain't horny,
It's because I'm in traction.
'Cause the deeper you go
The funkier it gets.
Black amour. Black amour.
I want you, I need you, I love you.
Black amour.
I need you, I love you, I want you.
Black... hold my freaking hand.
I want you, I love you, I need you.
Black amour.
I need you, I love you, I want you.
Black amour.
Love you, need you, want you.
Black amour.
Barry Adamson's song "Black Amour" is a sensual and seductive ballad about a man's craving for his lover's company. The opening lyrics consist of the singer inviting the listener to move closer to him and experience the "black amour" that he possesses. The man expresses his incredible need for his lover to encounter this love, which seems to have a mysterious and alluring nature. The phrase "black amour" can be interpreted as a metaphor for a kind of raw and uninhibited love that is intense and dark- something that is not easily put into words.
Line by Line Meaning
Come closer. Do you like that?
Invitation to get personal with the singer and an inquiry if the person requires more of whatever action they are engaged in.
Right here, beside me. Beautiful!
Singer invites the listener to pay attention and compliments them on their presence.
I have this incredible need And the need is for you to experience Black amour. Black amour.
The singer has an intense desire for the listener to have a specific experience, which is labeled as 'Black Amour', repeated twice for emphasis.
You want a piece of that action? Well then you call me, Satisfaction Jackson. If I ain't horny, It's because I'm in traction.
The singer puts forth an offer of experiencing 'that action', advertises himself and assigns himself the title of 'Satisfaction Jackson'. He also gives a humorous excuse for not being eager for sex at the moment.
'Cause the deeper you go The funkier it gets.
The more someone engages with the singer, the more intense the experience becomes.
Black amour. Black amour. I want you, I need you, I love you. Black amour. I need you, I love you, I want you. Black... hold my freaking hand. I want you, I love you, I need you. Black amour. I need you, I love you, I want you. Black amour. Love you, need you, want you. Black amour.
Repeating the same phrase multiple times with different statements highlights the singer's desire & attraction for the person called 'you'.
Contributed by Camden L. Suggest a correction in the comments below.
suitandtieguy
One of the greatest artists of all time.
GamanDrew
I will never be as cool as Barry or even dress that sharp. But I can still listen to him! Excellent stuff, sir.
Geovana Lacerda
Me inscrevi por causa dessa musica 🖤
Yolanda Campbell
This is how you do sexy, sophisticated music.
cBlondesReport
.. how does this only have 5000+ views ??? Good Stuff Barry !!! .. Johnny Bristol says "HI" :-)
Boris Tabare Ag
High class artist. Was this video produced in La Habana? I want to go there as soon as posible!
Boris Tabare Ag
@Eden Wong CONGRATULATIONS!!! You made a great job indeed!!!Love from Mexico City to Barry Adamson and Cuba!!! (Hope Mr. Barry will visit us some day!!!)
Eden Wong
Yes, it was. I was the producer.
Yolanda Campbell
I need you, I love you, I want you.
sclogse1
All I want for Christmas is to hear The Snowball Effect without the phone message just once...And maybe the music to that Lipitor commercial where the blonde leaves the car and trips....