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
Outland
Gary Numan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sex tension
She whispers things I need
Look in her heart
Slow motion
'I've been expecting you.'
I'll do anything.
I'm in Outland
Storm my heart
Tear me up if you like.
Come closer
Say nothing
I've got something for you.
I shape sound
I shape time
I'll shape your world for you.
I'm in Outland
I'll do anything.
I'm in Outland
Emotion
Dark whispers in my head.
Got the sex scream
On new film
I've got the friend I need.
Don't play safe
Don't play clean
Don't play if you can't lose.
I'm in Outland
I'll do anything.
The lyrics of Gary Numan's song "Outland" describe a tense and erotic encounter between the singer and an unnamed woman. The singer is apparently in a place called "Outland", where he can indulge in his most primal desires. The woman whispers things to him that he needs, and he is willing to do anything for her. The singer implores the woman to tear him up if she likes, indicating a willingness to submit to her completely.
The singer exhibits a sense of power as well, expressing his ability to shape sound, time, and even the world for the woman. He is fully immersed in the moment, asking the woman to come closer and saying that he has something for her. The lyrics also suggest a kind of darkness in the singer's mind, with references to dark whispers and sex screams. Despite this darkness, the singer is willing to take risks and not play it safe in pursuit of his desires.
Overall, the lyrics of "Outland" depict a sexually charged and slightly eerie encounter between two individuals, with the singer willing to fully submit to the woman's desires.
Line by Line Meaning
I'm in Outland
I am currently in a place that is beyond the normal boundaries of society and in a state of mind that is disconnected from reality.
Sex tension
There is a strong, electrifying sexual energy between two people.
She whispers things I need
A woman is saying things to me that I deeply want and desire to hear.
Look in her heart
To understand this woman, I must examine her innermost thoughts and emotions.
Slow motion
Everything is happening in slow motion, which emphasizes the intensity of the moment.
'I've been expecting you.'
She has been waiting for me and knows that we are meant to be together.
I'll do anything.
I am willing to go to great lengths or take extreme actions to get what I want.
Storm my heart
My emotions are turbulent and I am ready to be swept away by passion and desire.
Tear me up if you like.
I am willing to be emotionally vulnerable and let her have complete control over me.
Come closer
I want her to move closer to me physically as well as emotionally.
Say nothing
Sometimes silence can be more powerful than words, and this moment calls for just that.
I've got something for you.
I have something special and significant that I want to share with this woman.
I shape sound
I have the ability to create music and use it to influence people's emotions and perceptions of the world.
I shape time
Not only can I shape sound, but I can also manipulate time itself, which gives me even more power in the world.
I'll shape your world for you.
I am capable of having a significant impact on her life and making her world a better place.
Emotion
My feelings are intense and raw in this moment.
Dark whispers in my head.
There are negative thoughts and ideas swirling in my mind that are influencing my emotions and deepening my feelings of passion.
Got the sex scream
I am experiencing a heightened, frenzied state of sexual desire.
On new film
This moment feels like it is being captured on a new, exciting medium that adds to the intensity of the experience.
I've got the friend I need.
I have found the person who can fulfill all of my needs and desires, both emotionally and sexually.
Don't play safe
To truly experience passion and intensity in life, taking risks and pushing beyond one's comfort zone is necessary.
Don't play clean
Life is messy, and sometimes the most meaningful moments are the ones that are tainted or imperfect.
Don't play if you can't lose.
An element of taking risks is the chance of failure, and if you're not willing to endure that possibility, then you're not truly living.
I'll do anything.
Once again, I am reiterating my willingness to do anything to experience the intense passion and connection that I am craving.
Lyrics © BMG Rights Management
Written by: Gary Anthony Webb, Gary Anthony James Webb
Lyrics Licensed & Provided by LyricFind