The band was formed in 1973 in London, United Kingdom on the initiative of vocalist, songwriter and keyboardist John Foxx (born Dennis Leigh). Originally known as Tiger Lily, the first lineup included Foxx plus Chris Cross (bass guitar), Billy Currie (keyboards/violins), Stevie Shears (guitar) and Warren Cann (percussion). The group released one single in 1974, a cover of "Ain't Misbehaving," before changing their name to Ultravox!, the exclamation point being a reference to the krautrock band Neu! that was produced by Conny Plank (who later produced some Ultravox albums). On the strength of their live act, they signed to Island Records in 1976, releasing their eponymous debut album in February 1977.
In common with many other bands which would go on to form Britain's punk and New Wave movements, Ultravox drew inspiration from the art-school side of glam rock, from bands such as Roxy Music and the New York Dolls, as well as from David Bowie and Brian Eno's early pop-fueled albums. Their eponymous debut album was self-produced by the band, yet Brian Eno (whose next job after these sessions was working with Bowie on 'Low') co-produced two songs and Steve Lillywhite also contributed. Sales were disappointing, and neither 'Ultravox!' nor the associated single "Dangerous Rhythm" managed to enter the U.K. charts.
Ultravox returned later in 1977 with the punkier 'Ha!-Ha!-Ha!'. Although sales of both the album and its lead single "ROckwrok" (which, despite a chorus featuring the lines "Come on, let's tangle in the dark/Fuck like a dog, bite like a shark", was played on BBC Radio 1) were still unimpressive, they had a growing fan-base. Steve Shears was sacked, later deciding to form the new band Faith Global. Although most of 'Ha!-Ha!-Ha!' was dominated by guitars and electric violin, the final track, "Hiroshima Mon Amour," was a prototypical synth pop song which gave a hint to the band's new direction. It remains a critical and fan favourite of the group's early incarnation, and it was even performed by the group on the 'Old Grey Whistle Test'. In 1978, the group quietly dropped the exclamation mark, becoming simply "Ultravox".
Their third album, 1978's Systems of Romance, was recorded under the ear of Conny Plank at his studio in rural Germany and featured new guitarist Robin Simon. It also failed commercially and Island dropped the band. After a US tour in 1979, John Foxx left to pursue a solo career whilst Robin Simon left to join the band Magazine. Musically, the album was a distinct development from the band's previous work and provided a blueprint for Ultravox's subsequent work, bringing synthesisers to the forefront of the group's sound. Island released a compilation of highlights from the group's first three albums in 1979, Three Into One, which was until the mid-1990s the most widespread of Ultravox's early releases.
Midge Ure, an already accomplished musician, was asked to join the band. He had achieved minor success with semi-glam outfit Slik and Glen Matlock's more punk-inspired The Rich Kids, although in 1979 he was temporarily playing with hard rock band Thin Lizzy. Midge Ure and Billy Currie had met in the Visage project, a studio project fronted by Steve Strange. Midge therefore replaced John Foxx for their next album, which would become their most successful to date, taking the already influential Ultravox sound and giving it a commercial appeal it had previously lacked.
Recorded in London and mixed by Conny Plank and the band once more in Germany,
Vienna was released on the new label Chrysalis Records in 1980, achieving a substantial hit with the title track (inspired by Carol Reed's The Third Man), which was accompanied with a distinctive video. It topped out at number two (Joe Dolce's "Shaddap You Face" infamously kept it from the top spot) on the UK Top 40 in 1981. The album reached number five, and was soon followed by Rage in Eden (1981), the band returning to Conny Plank's studio for what turned out to be a difficult recording session.
Ultravox teamed up with legendary producer George Martin for 1982's Quartet, which became their most successful album in the USA.
After touring with their 1984 Lament, and appearing at Live Aid, Warren Cann was fired and pursued a career in acting in the USA. The remaining members, along with Big Country's Mark Brzezicki, resurfaced with U-Vox in 1986 before going their separate ways the following year. Billy Currie and singer/guitarist Tony Fenelle reformed the band in 1992 to record Revelation, and Sam Blue lent his voice to their final release, Ingenuity (1996).
The band's international legion of followers yearned for some sort of reconcilliation. Both Billy Currie and Midge Ure pursued solo careers after the band were put officially on ice by Currie in 1996, Ure continuing to peform solo versions of Ultravox hits live.
Fans were therefore delighted when an announcement came in November 2008 that the 'classic' Cann/Cross/Currie/Ure line-up were to reform and play a fourteen-date UK tour entitled Return To Eden in April 2009. With Vienna and Rage In Eden being remastered and re-released and plans for a greatest hits compilation to accompany the tour, Ultravox are now set for a return to prominence.
After their successful 'Return to Eden Tour', Ultravox signed a deal with Universal Records and talk of new studio albums heated up. On February 21st 2011, a new EP, Moments from Eden, came out.
The band's latest album is 2012's 'Brilliant', featuring the 80s line-up of Midge Ure, Billy Currie, Chris Cross, and Warren Cann. Picking up a strong fan response, their recent touring has brought them to big crowds alongside rockers Simple Minds.
Website: http://www.ultravox.org.uk
I Never Wanted to Begin
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We wound our watch to stretch the time
In case that no-one got the joke
I never wanted to begin
Name that sin
Name that sin
Dim and distant kisses chill before I catch my death
And note the ones who never rest
We never knew who'd be within
Name that sin
Name that sin
Shattered captains climbing gates to hold new lamps of fame
For mad kings rowing over lakes
Connecting rooms in black sedans
They never wanted to begin
Name that sin
Name that sin
Evidence is stripped and torn and hidden in the minds
The negatives have all been fogged and blurred
Reduced a thousand times
We never wanted to fall in
Name that sin
Name that sin
The opening line of "Shadows cut across as stolen promises were broke" in Ultravox's "I Never Wanted To Begin" sets up a somber tone that dominates the rest of the song. The lyrics suggest feelings of regret, inextricably tied to secrets and unfulfilled hopes. There is a pervading sense that nothing quite went as planned; "stolen promises" imply a sense of betrayal, while "we wound our watch to stretch the time, in case that no-one got the joke" acknowledges a deep unease that has been suppressed. The phrase "I never wanted to begin" recurs throughout the song, and acts as a refrain that reinforces a sense of detachment or disillusionment that has taken hold of the singer. The use of the phrase "name that sin" provides a hint of a confessional, as if the singer wants to take responsibility for something, but is reticent or unsure about how to start.
The imagery is evocative, with "dim and distant kisses" in the second verse deepening the sense of melancholy, while "shattered captains climbing gates" in the third verse conjures up a feeling of futility. There is an interesting juxtaposition between "mad kings rowing over lakes" and "connecting rooms in black sedans" which implies that there is a sense of powerlessness, that behind even the most flamboyant displays of status, there are still hidden, intimate connections that are never acknowledged.
Line by Line Meaning
Shadows cut across as stolen promises were broke
Our hopes were shattered when promises were broken.
We wound our watch to stretch the time
We tried to make the most of the time we had.
In case that no-one got the joke
We pretended to laugh along even if we didn't understand the situation.
I never wanted to begin
I regret starting this journey.
Name that sin
Identify the wrongdoing we've committed.
Dim and distant kisses chill before I catch my death
Fading memories of distant kisses make me feel cold and vulnerable.
Etch every name upon the door
We want to remember and acknowledge all those who have been a part of our lives.
And note the ones who never rest
We remember those who have passed on and found peace.
We never knew who'd be within
We never knew who we would become or who we would meet on this journey.
Shattered captains climbing gates to hold new lamps of fame
People who have succeeded in the past are still trying to achieve new feats of greatness.
For mad kings rowing over lakes
Powerful people take drastic actions to maintain their status.
Connecting rooms in black sedans
People with power and status travel in luxury and secrecy.
They never wanted to begin
They regret the path they've taken.
Evidence is stripped and torn and hidden in the minds
The truth has been distorted and covered up to protect those in power.
The negatives have all been fogged and blurred
The past has been altered and obscured.
We never wanted to fall in
We never wanted to get caught up in this mess.
Contributed by Peyton A. Suggest a correction in the comments below.
Philip Kassabian
on The Frozen Ones
A great Ultravox song.
Philip Kassabian
on Dancing With Tears in My Eyes
A great and emotional song.