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.
When Darkness Calls
Barry Adamson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And in the county-side I go berserk
We've seen you hanging round
Looking like a question mark
You better run now baby it's a getting dark
We suck on your backbone sliding right up to your mind
And get you making motions, baby of the evil kind
I never eat or sleep, just reassure you that you're outta sight
It's not worth the money and it's not worth your honey
We got all the time in the world to baby, wait for you
You could live in a sea of broken promises and love me do's
It's as easy as ABC, you just come over to mine
Abandon hope, all ye who would enter when you cross that line
It's not worth the money and it's not worth your honey
We're in the city now where I go to work
And in the countywide I go berserk
We've seen you hanging round
Looking like a question mark
You better run now baby it's a getting dark
It's not worth the money and it's not worth your honey
DOWN
When Darkness Calls by Barry Adamson contains a sinister and foreboding message as the lyrics describe an ominous figure who preys on the vulnerable. The opening lines of the song reveal the predatory nature of the singer who has moved to the city in search of prey. In the countryside, he goes berserk, indicating that the victim's location does not matter as long as they can be found. The line, "you better run now baby it's a getting dark" is a warning to the victim that they must flee before it's too late because the singer is about to make his move.
The chorus, "It's not worth the money and it's not worth your honey" suggests that the singer is not interested in money or love. Instead, he seeks to exert power and control over his victims. The lyrics "we suck on your backbone sliding right up to your mind" describe the way in which the singer manipulates and controls his victims' thoughts and actions. The singer enjoys the power he has over his victims, and "get you making motions, baby of the evil kind" hints at the debauchery and wickedness that will ensue.
The lyrics, "Abandon hope, all ye who would enter when you cross that line" is a reference to Dante's Divine Comedy and the inscription on the gates of Hell. It adds a further layer of menace to the song and highlights the consequences of the singer's evil ways. The song's final lines repeat the warning of the opening lines, implying that no one is safe from this dangerous man.
Line by Line Meaning
We're in the city now where I go to work
The song's narrator is in the city where they work.
And in the county-side I go berserk
The singer loses control in rural areas.
We've seen you hanging round
The singer is aware of the listener's presence.
Looking like a question mark
The listener appears uncertain or suspicious.
You better run now baby it's a getting dark
It is dangerous for the listener to stay as night falls.
We suck on your backbone sliding right up to your mind
The singer manipulates the listener's thoughts and desires.
And get you making motions, baby of the evil kind
The singer encourages the listener to do bad things.
Now you're burning to swing, we hold you as you squirm with delight
The listener is eager to engage in immoral behavior and the artist supports them.
I never eat or sleep, just reassure you that you're outta sight
The artist obsessively maintains control over the listener's actions and emotions.
It's not worth the money and it's not worth your honey
The artist urges the listener not to engage in their corrupt lifestyle in exchange for payment or affection.
We got all the time in the world to baby, wait for you
The singer is patient and willing to wait for the listener.
You could live in a sea of broken promises and love me do's
The listener may be surrounded by deceitful people who do not truly care about them.
It's as easy as ABC, you just come over to mine
The singer assures the listener that engaging with them is a simple and straightforward process.
Abandon hope, all ye who would enter when you cross that line
The singer warns that those who engage with them will be forever changed for the worse.
Contributed by Cameron C. Suggest a correction in the comments below.