Both Numan's music and his transgressive public image are known for his sense of alien coldness and embrace of avant-garde influences. Becoming of the founding fathers of electronic-based pop music, Numan's reach extends far beyond his lone American hit, “Cars,” which still stands as one of the defining new wave singles. That seminal track helped usher in the synthpop era on both sides of the Atlantic, especially his native England, where he was a genuine pop star and consistent hit-maker during the early 80s. Even after new wave had mostly petered out, Numan’s influence continued to make itself felt. His dark, paranoid vision, theatrically icy persona, and clinical, robotic sound were echoed strongly in the work of many goth rock and (especially) industrial artists during the past several decades. For his part, Numan just kept on recording, and, by the late 90s, he’d become a hip name to drop. Prominent alternative rock bands have covered his hits, with Numan himself playing live with Nine Inch Nails briefly to much acclaim, and a goth-flavored brand of industrial-type music christened darkwave looks to him as its mentor.
Numan was born Gary Anthony James Webb on March 8, 1958, in Hammersmith, West London, U.K. A shy child, music brought him out of his shell; he began playing guitar in his early teens and played in several short-lived bands. Inspired by the amateurism of the punk movement, he joined a punk rock group called "The Lasers" in 1976. The following year, he and bassist Paul Gardiner split off to form a new group, dubbed "Tubeway Army", with drummer Bob Simmonds. They recorded a couple of singles under futuristic pseudonyms (Valerium [or Valerian], Scarlett, and Rael, respectively) that attempted to match their new interest in synthesizers. Scrapping that idea, Webb rechristened himself Gary Numan and replaced Simmonds with his uncle Jess Lidyard. Thus constituted, "Tubeway Army" cut a set of "punk-meets-Kraftwerk" demos for Beggars Banquet in early 1978. That work ended up being released several years later as 'The Plan'.
That summer, Numan sang a TV commercial jingle for jeans, and toward the end of the year the group’s debut album, 'Tubeway Army', appeared. Chiefly influenced by Kraftwerk and David Bowie’s Berlin-era collaborations with Brian Eno, the album also displayed Numan’s fascination with the electronic, experimental side of glam rock (such as in some works by Roxy Music and Ultravox) and Krautrock (such as in some works by Can). He also drew much influence from transgressive science fiction writers such as Philip K. Dick, people who challenged conventional thinking through exploring the affects of new technology.
The group’s second album, 'Replicas', was released in early 1979. Its accompanying single, “Are ‘Friends’ Electric?", was a left-field smash, topping the UK charts and sending 'Replicas' to number one on the album listings as well. The record also included “Down in the Park", an oft-covered song that stands as one of Numan’s most 'gothic' outings.
Numan had become a star overnight, despite critical distaste for any music so heavily reliant on synthesizers, and he formed a larger backing band that replaced "Tubeway Army", keeping Gardiner on bass. "The Pleasure Principle" was released in the fall of 1979 and spawned Numan’s international hit “Cars”, which reached the American Top Ten and hit number one in the UK; the album also became Numan’s second straight British number one. He put together a hugely elaborate, futuristic stage show and went on a money-losing tour, and also began to indulge his hobby as an amateur pilot with his newfound wealth.
Numan returned in the fall of 1980 with "Telekon", his third straight chart-topping album in Britain, and scored two Top Ten hits with “We Are Glass” and “I Die: You Die”; “This Wreckage” later reached the Top 20.
In 1981, Numan announced his retirement from live performance, playing several farewell concerts just prior to the release of "Dance". While "Dance" and its lead single, “She’s Got Claws”, were both climbing into the British Top Ten, Numan attempted to fly around the world, but in a bizarre twist was arrested in India on suspicion of spying and smuggling. The charges were dropped, although authorities confiscated his plane. His retirement proved short-lived, but when he returned in 1982 with "I, Assassin", some of his popularity had dissipated - perhaps because of the retirement announcement, perhaps because the charts were overflowing with synthpop, much of which was already expanding on Numan’s early innovations (which were starting to sound repetitive). "I, Assassin" was another Top Ten album, and “We Take Mystery (To Bed)” another major hit, but in general Numan’s singles were starting to slip on the charts; the title track of 1983’s "Warriors" became his last British Top Twenty hit (excluding reissues and collaborations).
Numan and Beggars Banquet subsequently parted ways, and Numan formed his own Numa label, kicking things off with "Berserker" in late 1984. Sadly, longtime collaborator "Paul Gardiner" died earlier that year from a drug overdose. 1985’s "The Fury" became the final Numan album to reach the British Top 30. Over the next few years, Numan collaborated occasionally with "Shakatak’s" Bill Sharpe, releasing four singles and one album from 1985-1989.
Following 1986’s "Strange Charm", Numan signed with IRS, but the relationship was fraught with discord from the start. IRS forced Numan to change the title of 1988’s "Metal Rhythm" to "New Anger" for his first North American release since 1981 (and also remixed several tracks), refused to release his soundtrack for the film "The Unborn", and would not fund any supporting tours for "New Anger" or 1991’s "Outland". When his contract expired, Numan returned to Numa for 1992’s "Machine + Soul".
1994 brought the release of the industrial-tinged "Sacrifice", the first glimmering of Numan’s return to critical favor and underground hipness. Over the next few years, bands like "Hole", "The Foo Fighters", and "Smashing Pumpkins" covered Numan songs in concert, and Marilyn Manson recorded “Down in the Park” for the B-side of the “Lunchbox” single; moreover, "Nine Inch Nails" cited Numan as an important influence. With his fan base refreshed and expectations raised, Numan delved deeper into gothic, metal-tinged industrial dance on 1997’s "Exile". However, he didn’t truly hit his stride in this newly adopted style until 2000’s "Pure", which was acclaimed as his best work in years and expanded his cult following into new territory.
In 2003, Numan enjoyed fleeting chart success once again with the "Gary Numan vs Rico" single “Crazier”, reaching No.13 in the U.K. chart. Rico, who is an up and coming artist from Glasgow, also worked on the remix album "Hybrid" which featured reworkings of older songs in a more contemporary industrial style. In 2004 Numan took control of his own business affairs again, launching the label Mortal Records and releasing a series of live DVDs as a precursor to his highly anticipated new studio album, "Jagged" which was released on 13 March 2006. An album launch gig took place at "The Forum, London" on 18 March 2006. Numan announced a UK tour commencing in April 2006 and plans to tour other countries, including the USA, during the year in support of the release. Numan also to launched a "Jagged" website to showcase the new album.
Numan contributed vocals to four tracks on the April 2007 release of Ade Fenton’s debut solo album "Artificial Perfect" on his new industrial/electronic label Submission, including songs “The Leather Sea”, “Slide Away”, “Recall” and the first single to be taken from the album, “Healing”. The second single to be released in the UK was “The Leather Sea” on July 30, 2007.
In 2008, he released a double CD remix album "Jagged Edge", based around 2006’s critically acclaimed "Jagged", co-produced with Ade Fenton. The pair are currently in the studio working on Numan’s 18th studio album "Splinter", due for release in 2009.
While Numan is known for his electronic music innovations, he prefers real instruments. He explained in an interview with Songfacts: "I didn't go the technology route wholeheartedly, the way Kraftwerk had done. I considered it to be a layer. I added to what we already had, and I wanted to merge that. There's plenty of things about guitar players, and bass players, and songs I really love that I didn't particularly want to get rid of. The only time I did get rid of guitars was on Pleasure Principle, and that was in fact a reaction to the press. I got a huge amount of hostility from the British press, particularly, when I first became successful. And Pleasure Principle was the first album I made after that success happened. I became successful in the early part of '79 and Pleasure Principle came out in the end of '79, in the UK, anyway. And there was a lot of talk about electronic music being cold and weak and all that sort of stuff. So I made Pleasure Principle to try to prove a point, that you could make a contemporary album that didn't have guitar in it, but still had enough power and would stand up well. That's the only reason that album didn't have guitar in it. But apart from that one album they've all had guitars - that was the blueprint."
The official website can be found here: www.garynuman.co.uk
'u' Got The Look
Gary Numan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I woke up
I've never seen a pretty girl look so tough baby
You got that look
Color you peach and black
Color me taken aback
Crucial
I think I wantcha
You've got the look
You've got the hook
you sho'nuf do be cookin' in my book
Your face is jammin'
Your body's heck a slammin'
If love is good
Let's get to rammin'
You got the look
You got the look
You got the look
You must a took
A whole hour just to make up your face baby
Closin' time, ugly lights,
Everybody's inspected
But you are a natural beauty unaffected
Did I say an hour?
My face is red
I stand corrected
You walked in
I woke up
I've never seen a pretty girl look so tough baby
You got that look
Yes you do
Color you peach and black
Color me taken aback
Baby
Crucial
I think I wantcha
The lyrics of Gary Numan's song "U Got the Look" speaks about the attraction and desire that the singer feels towards a pretty girl. The first verse describes how the singer wakes up to the sight of a tough yet pretty girl, which surprises him. He describes her look as being colored peach and black, which is quite rare but also mesmerizing. The singer becomes smitten with her and realizes that he wants her.
The chorus emphasizes the singer's attraction towards the girl. He feels that she has the perfect look, which hooks him, and he believes that she is cooking up something extraordinary. He praises her face and body, stating that they are both amazing and capable of driving him crazy with desire. He suggests that they should get together and ramble physically, emphasizing his sexual interest.
The second verse of the song comments on the natural beauty of the girl. The singer admires that she did not need to put so much work to look good because she had it already. When the "ugly lights" turn on, the time for the bar to close, everyone else's appearance is exposed, but she remains naturally beautiful. The singer then corrects himself, realizing that it did not take the girl a whole hour to get ready as he initially suggested.
Line by Line Meaning
You walked in
The subject arrived in the room
I woke up
The subject became alert and energetic
I've never seen a pretty girl look so tough baby
The subject is amazed at the girl’s appearance
You got that look
The subject is referring to the girl's unique appearance
Color you peach and black
The subject uses colors to describe the girl's appearance
Color me taken aback
The subject is surprised and impressed by the girl’s appearance
Crucial
The subject emphasizes the importance of the girl's appearance
I think I wantcha
The subject expresses interest in the girl
You've got the look
The subject repeats his previous statement
You've got the hook
The subject recognizes the girl's attractiveness
you sho'nuf do be cookin' in my book
The subject finds the girl extremely attractive
Your face is jammin'
The subject is impressed by the girl’s facial features
Your body's heck a slammin'
The subject is impressed by the girl’s body
If love is good
The subject makes a philosophical statement
Let's get to rammin'
The subject expresses his desire to be intimate with the girl
You got the look
The subject repeats his previous statement
You got the look
The subject repeats his previous statement
You must a took
The subject assumes that the girl spent a long time getting ready
A whole hour just to make up your face baby
The subject exaggerates the amount of time it took the girl to get ready
Closin' time, ugly lights,
The subject describes the end of the night at a club
Everybody's inspected
The subject describes the end-of-night routine at a club
But you are a natural beauty unaffected
The subject is complimenting the girl’s natural beauty
Did I say an hour?
The subject corrects his previous exaggeration
My face is red
The subject is embarrassed
I stand corrected
The subject admits his mistake
You walked in
The subject repeats his first statement
I woke up
The subject repeats his second statement
I've never seen a pretty girl look so tough baby
The subject repeats his fifth statement
You got that look
The subject repeats his fourth statement
Yes you do
The subject is confirming his previous statement
Color you peach and black
The subject repeats his sixth statement
Color me taken aback
The subject repeats his seventh statement
Baby
The subject uses a term of affection to address the girl
Crucial
The subject repeats his eighth statement
I think I wantcha
The subject repeats his ninth statement
Lyrics © Universal Music Publishing Group
Written by: Prince Rogers Nelson
Lyrics Licensed & Provided by LyricFind