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
Törn
Gary Numan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
He was warm - he came around like
He was dignified
He showed me what it was to cry
Well you couldn't be that man I adored
You don't seem to know - don't seem to care
What your heart is for
No I don't know him anymore
There's nothin' where we used to lie
Conversation has run dry
That's what's going on
Nothing's fine
I'm torn
I'm all out of faith
This is how I feel
I'm cold and I am chained
Lying naked on the floor
Illusion never changed
Into something real
I'm cold and I am shamed and bound
And broken on the floor
And I can see the perfect sky is torn
You're a little late
I'm already torn
So I guess the fortune teller's right
I should have seen just what was there
And not some holy light
But you crawled beneath my veins
And now I don't care
I have no luck
I don't miss it all that much
There's just so many things
That I can't touch
There's nothing where he used to lie
My conversation has run dry
That's what is goin' on
Nothin's right
I'm torn
I'm all out of faith
This is how I feel
I'm cold and I am shamed
Lying naked on the floor
Illusion never changed
Into something real
I'm wide awake
And I can see the perfect sky is torn
You're a little late
I'm already torn
The song "Torn" by Gary Numan speaks about the pain and disillusionment that comes with a broken relationship. The opening lines suggest that the singer saw a man who seemed perfect and was brought to life. He was dignified and showed the singer what it means to cry. However, the singer realizes that this man is not the same person they adored. He doesn't seem to care anymore and has lost touch with his emotions. The singer is torn because they still love this man, but he is no longer the same person they fell in love with.
The chorus of the song is a repeated sentiment of the singer feeling torn and all out of faith. They feel cold and chained, lying on the floor naked, feeling broken and ashamed. They see the perfect sky torn, and it's too late for the person who caused that tear to come back because they are already torn. The singer realizes that they should have seen the signs that their relationship was not going well, but they were blinded by love. Now the conversation has run dry, and there is nothing where they used to lie.
Overall, "Torn" is a song that expresses the emotion of a brokenhearted person who feels torn between love and disillusionment. It speaks to the listener's soul by conveying the feeling of being vulnerable and unloved, and the reality of facing the end of a love story.
Line by Line Meaning
I thought I saw a man brought to life
The singer thinks they witnessed a man's revival
He was warm - he came around like
The man was friendly and approachable
He was dignified
He carried himself with grace and respectability
He showed me what it was to cry
The man displayed vulnerability and emotionality
Well you couldn't be that man I adored
The person being addressed falls short of the artist's idealized version of the man they saw
You don't seem to know - don't seem to care
The person being addressed is unaware or indifferent towards the purpose of their heart
What your heart is for
The singer questions the motives and desires of the person being addressed
No I don't know him anymore
The artist no longer recognizes the person they had idealized
There's nothin' where we used to lie
The relationship or connection between the artist and the person being addressed has deteriorated
Conversation has run dry
Communication has ceased or become unfulfilling
That's what's going on
This is the current situation
Nothing's fine
Everything is not okay
I'm torn
The singer is conflicted and distressed
I'm all out of faith
The singer has lost their trust or belief
This is how I feel
The singer is expressing their emotions
I'm cold and I am chained
The artist feels emotionally detached and constricted
Lying naked on the floor
The artist feels exposed and vulnerable
Illusion never changed
The singer's perception of the person being addressed was never realistic
Into something real
The singer desires authentic and genuine experiences
I'm cold and I am shamed and bound
The artist feels guilty and trapped
And broken on the floor
The artist feels emotionally shattered
And I can see the perfect sky is torn
The artist notices the beauty around them even in their state of distress
You're a little late
The person being addressed has missed their opportunity to fix things
So I guess the fortune teller's right
The artist admits the accuracy of a prophecy
I should have seen just what was there
The singer acknowledges their naivety in hindsight
And not some holy light
The singer realizes their idealized vision was unrealistic
But you crawled beneath my veins
The person being addressed had a significant effect on the singer
And now I don't care
The artist has become emotionally detached
I have no luck
The artist is experiencing misfortune
I don't miss it all that much
The singer does not feel a significant absence of luck
There's just so many things
The singer is overwhelmed with the aspects of life they cannot control
That I can't touch
The artist is unable to influence or change certain elements of their existence
I'm wide awake
The artist is alert and aware
And I can see the perfect sky is torn
The artist notices the beauty around them even in their state of distress
You're a little late
The person being addressed has missed their opportunity to fix things
I'm already torn
The artist has already experienced distress and emotional turmoil
Lyrics © Kobalt Music Publishing Ltd.
Written by: Gary Anthony Webb, Gary Anthony James Webb
Lyrics Licensed & Provided by LyricFind