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
Dead Sun Rising
Gary Numan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No songs; no words; just whispers that wait for you to sleep
And when you dream, we'll come for you and breathe in your pain
We've seen such things (and) hide them from you and so keep you pure
I've seen gods bleeding
I've seen worlds burn
I've seen stars falling
We live, for you
We keep you safe
We keep you unknown
We die, for you
Like rain we fall until you are born
We are the lost
Without you we are all that was wrong
We are the last
Without you we are the sigh in the wind
I've watched gods bleeding
I've watched worlds burn
I've watched stars falling
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
And I've watched the dead sun rising
The lyrics to Gary Numan's song Dead Sun Rising give off a dark and mysterious tone, with references to gods bleeding, worlds burning and stars falling. The opening lines suggest that there are beings, or perhaps even spirits, that exist beyond the realm of the living, waiting for people to sleep so that they may visit in dreams. They claim to have the ability to take away pain and shield people from horrors they have seen, keeping them pure. There is a sense that these beings are protectors of humanity, living and dying for them and bringing them into existence.
The chorus seems to reinforce the idea that these beings exist for the people, living to keep them safe and unknown. The line "we die, for you" suggests that their existence is tied to the people they protect. The last stanza brings a tonal shift, with the beings referring to themselves as "the lost" and "the last". It almost sounds as though they are pleading with the listener to acknowledge their existence, claiming that without them, everything is wrong and incomplete. The repeated line "I've watched the dead sun rising" brings the song full circle, drawing the listener back to the mysterious and haunting imagery of the first verse.
Line by Line Meaning
We come; we go; we can remember "The Dark"
We exist, but our time is fleeting. We recall times of darkness that have occurred before.
No songs; no words; just whispers that wait for you to sleep
We communicate only in hushed tones that remain unheard until you are in a state of slumber.
And when you dream, we'll come for you and breathe in your pain
In your dreams, we will arrive and take in your discomfort and suffering.
We've seen such things (and) hide them from you and so keep you pure
We have witnessed things too terrible to share with you, so we keep you unaware and untainted.
I've seen gods bleeding
I have witnessed beings of worship bleeding and in pain.
I've seen worlds burn
I have also witnessed entire worlds being destroyed by fire.
I've seen stars falling
I have observed celestial bodies plummeting from the sky.
And I've seen a dead sun rising
Furthermore, I have witnessed the emergence of a sun that provides no light or warmth.
We live, for you
We exist to serve and protect you.
We keep you safe
Our duty is to ensure your safety from harm.
We keep you unknown
We make sure that you remain unknown to any potential danger.
We die, for you
If necessary, we are willing to sacrifice our existence for you.
Like rain we fall until you are born
Our presence lingers until you come into being, just like the rain nourishes the earth which enables growth.
We are the lost
We are wandering souls without a sense of purpose or direction.
Without you we are all that was wrong
If not for our responsibility to serve you, our existence would be viewed as negative or incorrect.
We are the last
We are the final remnants of something greater that has passed.
Without you we are the sigh in the wind
Without our duty to you, our presence would be nothing more than a meaningless gust of air.
And I've watched the dead sun rising
I have witnessed the birth of a lifeless and useless source of light.
And I've watched the dead sun rising
I have seen the emergence of an unproductive star.
And I've watched the dead sun rising
I have observed the birth of a solar entity that provides no benefit.
And I've watched the dead sun rising
I have seen a useless star come into existence.
And I've watched the dead sun rising
I have witnessed the emergence of a sun that fails to fulfill its purpose.
And I've watched the dead sun rising
I have observed the birth of a star that ultimately serves no function.
Lyrics © BMG Rights Management, Kobalt Music Publishing Ltd.
Written by: Adrian Fenton, Andy Gray, Gary Anthony James Webb
Lyrics Licensed & Provided by LyricFind