Gary Numan (born Gary Anthony James Webb on 8 March 1958) is an influential… Read Full Bio ↴Gary Numan (born Gary Anthony James Webb on 8 March 1958) is an influential English singer, composer, and musician. Most widely known for his chart-topping 1979 hits "Are 'Friends' Electric?" (when in Tubeway Army) and "Cars", Numan achieved his peak of mainstream popularity in the late 70s and early 80s but maintains a loyal cult following. Numan, whose signature sound consists of heavy synthesizer hooks fed through guitar effects pedals, is considered a pioneer of commercial electronic music.
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, āCars,ā 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, Numanās 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, heād 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 groupās debut album, 'Tubeway Army', appeared. Chiefly influenced by Kraftwerk and David Bowieās Berlin-era collaborations with Brian Eno, the album also displayed Numanās 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 groupās second album, 'Replicas', was released in early 1979. Its accompanying single, āAre āFriendsā 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 āDown in the Park", an oft-covered song that stands as one of Numanās 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 Numanās international hit āCarsā, which reached the American Top Ten and hit number one in the UK; the album also became Numanās 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 āWe Are Glassā and āI Die: You Dieā; āThis Wreckageā 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, āSheās Got Clawsā, 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 Numanās early innovations (which were starting to sound repetitive). "I, Assassin" was another Top Ten album, and āWe Take Mystery (To Bed)ā another major hit, but in general Numanās singles were starting to slip on the charts; the title track of 1983ās "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. 1985ās "The Fury" became the final Numan album to reach the British Top 30. Over the next few years, Numan collaborated occasionally with "Shakatakās" Bill Sharpe, releasing four singles and one album from 1985-1989.
Following 1986ās "Strange Charm", Numan signed with IRS, but the relationship was fraught with discord from the start. IRS forced Numan to change the title of 1988ās "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 1991ās "Outland". When his contract expired, Numan returned to Numa for 1992ās "Machine + Soul".
1994 brought the release of the industrial-tinged "Sacrifice", the first glimmering of Numanās 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 āDown in the Parkā for the B-side of the āLunchboxā 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 1997ās "Exile". However, he didnāt truly hit his stride in this newly adopted style until 2000ās "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 āCrazierā, 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 Fentonās debut solo album "Artificial Perfect" on his new industrial/electronic label Submission, including songs āThe Leather Seaā, āSlide Awayā, āRecallā and the first single to be taken from the album, āHealingā. The second single to be released in the UK was āThe Leather Seaā on July 30, 2007.
In 2008, he released a double CD remix album "Jagged Edge", based around 2006ās critically acclaimed "Jagged", co-produced with Ade Fenton. The pair are currently in the studio working on Numanās 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
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, āCars,ā 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, Numanās 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, heād 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 groupās debut album, 'Tubeway Army', appeared. Chiefly influenced by Kraftwerk and David Bowieās Berlin-era collaborations with Brian Eno, the album also displayed Numanās 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 groupās second album, 'Replicas', was released in early 1979. Its accompanying single, āAre āFriendsā 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 āDown in the Park", an oft-covered song that stands as one of Numanās 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 Numanās international hit āCarsā, which reached the American Top Ten and hit number one in the UK; the album also became Numanās 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 āWe Are Glassā and āI Die: You Dieā; āThis Wreckageā 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, āSheās Got Clawsā, 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 Numanās early innovations (which were starting to sound repetitive). "I, Assassin" was another Top Ten album, and āWe Take Mystery (To Bed)ā another major hit, but in general Numanās singles were starting to slip on the charts; the title track of 1983ās "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. 1985ās "The Fury" became the final Numan album to reach the British Top 30. Over the next few years, Numan collaborated occasionally with "Shakatakās" Bill Sharpe, releasing four singles and one album from 1985-1989.
Following 1986ās "Strange Charm", Numan signed with IRS, but the relationship was fraught with discord from the start. IRS forced Numan to change the title of 1988ās "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 1991ās "Outland". When his contract expired, Numan returned to Numa for 1992ās "Machine + Soul".
1994 brought the release of the industrial-tinged "Sacrifice", the first glimmering of Numanās 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 āDown in the Parkā for the B-side of the āLunchboxā 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 1997ās "Exile". However, he didnāt truly hit his stride in this newly adopted style until 2000ās "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 āCrazierā, 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 Fentonās debut solo album "Artificial Perfect" on his new industrial/electronic label Submission, including songs āThe Leather Seaā, āSlide Awayā, āRecallā and the first single to be taken from the album, āHealingā. The second single to be released in the UK was āThe Leather Seaā on July 30, 2007.
In 2008, he released a double CD remix album "Jagged Edge", based around 2006ās critically acclaimed "Jagged", co-produced with Ade Fenton. The pair are currently in the studio working on Numanās 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
I Can
Gary Numan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I've been there and seen it
I've been up and down
And I've been fighting for so long.
I can't stop for all your stories
I can't stop for all you young hearts.
Been up on the power
Been down and ashamed
I'm sure I'm guilty of something now.
I'm back and I'm proven
I'm back and I'm strong
And I've been waiting for so long.
I've been up and down
And I've been fighting for so long.
I can't stop for all your stories
I can't stop for all you young hearts.
Been up on the power
Been down and ashamed
I'm sure I'm guilty of something now.
I'm back and I'm proven
I'm back and I'm strong
And I've been waiting for so long.
In Gary Numan's song "I Can't Stop," the lyrics center around a sense of determination and resilience in the face of life's ups and downs. The singer reflects on their experiences of having been "up and down" and "fighting for so long," suggesting that they have struggled through challenges and overcome obstacles throughout their life. Despite this, the singer is unwavering in their commitment to keep going, unable to stop for the stories and concerns of others, perhaps indicating a singular focus on their own goals.
The lyrics also reference moments of feeling both empowered and ashamed, highlighting the complexity of one's journey through life. The assertion that they are "sure [they're] guilty of something now" raises questions about self-reflection and accountability, suggesting an ongoing process of learning and growth. Ultimately, the singer declares they are "proven" and "strong" and have been waiting for this moment for a long time, perhaps indicating a sense of accomplishment and self-realization.
Overall, "I Can't Stop" is a song about resilience and perseverance in the face of life's challenges. The lyrics suggest a sense of determination and confident self-assurance that comes from overcoming obstacles and learning from the past.
Line by Line Meaning
I've been there and seen it
I have experienced various situations in life and gained knowledge from them.
I've been up and down
I have gone through highs and lows in my life.
And I've been fighting for so long.
I have been struggling to overcome obstacles for a significant amount of time.
I can't stop for all your stories
I cannot delay my own journey by getting bogged down in other people's life experiences.
I can't stop for all you young hearts.
I cannot halt my progress for the sake of young and inexperienced individuals.
Been up on the power
I have held a position of authority and influence.
Been down and ashamed
I have experienced moments of disgrace and humiliation.
I'm sure I'm guilty of something now.
I acknowledge that I may have committed errors or made mistakes in my past.
I'm back and I'm proven
I have returned and proven myself to be competent and successful.
I'm back and I'm strong
I have returned with a renewed sense of strength and determination.
And I've been waiting for so long.
I have been waiting patiently for this opportunity to come back strong.
Lyrics Ā© BMG Rights Management, CONCORD MUSIC PUBLISHING LLC, Kobalt Music Publishing Ltd.
Written by: Gary Anthony Webb, Gary Anthony James Webb
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@Pride317
Lyrics
[Verse 1]
Here in my car
I feel safest of all
I can lock all my doors
It's the only way to live
In cars
Here in my car
I can only receive
I can listen to you
It keeps me stable for days
In cars
(Synthesizer)
[Verse 2]
Here in my car
Where the image breaks down
Will you visit me please
If I open my door
In cars?
Here in my car
I know I've started to think
About leaving tonight
Although nothing seems right
In cars
[Instrumental]
@Aerialgrrl
I think it's hilarious that Gary Numan is two weeks older than Gary Oldman.
@WhenToastersAttack
This is a very underrated fact.
@xunder3
If not for Freddie Mercury, you'd be my queen.
@Zizzyyzz
Took me a little while, but I see what you did there.
@johnjones5754
With the amount of likes and comments this main comment has got. Were all still here 2020
@jamesalexander5623
Brilliant!
@futurecenterofficial
People in 1980: This makes me want to be in the 2020ās
People in 2020: This makes me want to go back to the 80ās
@SethAshcraft
lol
@theodoreritola7641
It was number 1 in the UK IN 1979 ,,,
@futurecenterofficial
@@theodoreritola7641 that's great