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
King's Lead Hat
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh - it's automatic (narcotic) let's ride
Four turkeys in a big black car
The road is shiny (black shine) the wheels slide
It all goes for a dangerous ride
The lacquer crackles (black car) the engine roars
A ship is turning, they come back to the shore
The biology of purpose keeps my nose above the surface
King's lead hat was a mother to desire
It will come, it will come, it will surely come
King's lead hat put the innocence inside her
It will come, it will come, it will surely come
In New Delhi and Hong Kong
We all know that it won't be long
I count my fingers (here she comes) as night falls
And draw bananas on the bathroon walls
The killer cycles (hum drum) the killer hertz
The passage of my life is measured out in shirts
Time and motion (motion carried) time and tide
All I know and all I have is time and time and tide is on my side
King's lead hat was a poker in the fire
It will come, it will come, it will surely come
King's lead hat was a mother to desire
It will come, it will come, it will surely come
The weapon's ready, the gun's on
The satellite can toss and turn
The captain's here (sieg heil) but nobody hears
The king's hat fits over their ears
He dials zero (cold line) on every time
He tries to dial out 999999999
He dials reception, he's all alone
He's just a victim of the telephone
King's lead hat made the Amazon much wider
It will come, it will come, it will surely come
King's lead hat was a mother to desire
It will come, it will come, it will surely come
King's lead hat put the innocence inside her
It will come, it will come, it will surely come
King's lead hat was the poker in the fire
It will come, it will come, it will surely come
Oh yeah!
The lyrics to Ultravox's "King's Lead Hat" are a fascinating mix of surrealist imagery and social commentary, with the song moving through multiple settings and characters in quick succession. At its core, the song seems to be a commentary on the power struggles and corrupt forces that drive society, with references to political leaders, big business, and the media.
The opening lines ("Oh - it's automatic (narcotic) let's ride") immediately set a fast-paced, almost frenetic tone for the song, and the subsequent lines continue in this vein. The "four turkeys in a big black car" may represent politicians, while the mention of "a ship turning" and "coming back to the shore" suggests something larger and more sinister at work. The chorus contains several repeated phrases, including "King's lead hat," which seems to invoke some kind of dark power or force, perhaps representing those who hold power in society.
The second verse moves to different locations around the world, referencing "New Delhi and Hong Kong," and again touching on themes of power and control. The lines "I count my fingers (here she comes) as night falls / And draw bananas on the bathroom walls" suggest a kind of restless boredom or anxiety amidst the pressures of modern life. The song's various references to technology, media, and the military further underscore this sense of detachment and disconnection from the world.
Overall, "King's Lead Hat" is a deeply layered and enigmatic song, with multiple possible interpretations. Its surreal imagery and fragmented structure make it a challenging but ultimately rewarding listen.
Line by Line Meaning
Oh - it's automatic (narcotic) let's ride
We're on a ride that's like a drug, with no control over where it's taking us.
Four turkeys in a big black car
Four foolish people in a vehicle that's larger than necessary.
The road is shiny (black shine) the wheels slide
The surface we're driving on is slick, causing the wheels to slip and slide.
It all goes for a dangerous ride
This situation is quickly becoming dangerous and out of control.
The lacquer crackles (black car) the engine roars
The car is old and in bad shape, making loud noises as it struggles to keep going.
A ship is turning, they come back to the shore
We're changing course and heading back to where we started.
Splish splash I was raking in the cash
I was making money effortlessly, like taking a bath.
The biology of purpose keeps my nose above the surface
My innate drive to succeed keeps me afloat and moving forward.
King's lead hat was a mother to desire
A sense of power and control was desirable, and the lead hat symbolized that desire.
It will come, it will come, it will surely come
This desire will eventually come to fruition, one way or another.
King's lead hat put the innocence inside her
The power and control of the lead hat corrupted an innocent person.
In New Delhi and Hong Kong
These two distant and exotic cities are mentioned and seemingly connected.
We all know that it won't be long
Things are happening quickly and time is running out.
I count my fingers (here she comes) as night falls
As darkness approaches, I anxiously wait for the arrival of someone.
And draw bananas on the bathroon walls
With nothing better to do, I pass time by engaging in pointless and childish activities.
The killer cycles (hum drum) the killer hertz
The repetitive and relentless nature of life wears us down, like a cycle or sound wave.
The passage of my life is measured out in shirts
My life is so mundane that I can only measure it by the number of shirts I've worn.
Time and motion (motion carried) time and tide
The constant passage of time and motion is carried by the unstoppable force of tides and waves.
All I know and all I have is time and time and tide is on my side
Time is all I have, and I'm confident that it will work in my favor.
King's lead hat was a poker in the fire
The lead hat was a symbol of the power and control gained through determination and ambition.
The weapon's ready, the gun's on
Someone is prepared to use a weapon or gun in this situation.
The satellite can toss and turn
The situation is so unpredictable that even something as stable as a satellite can be affected.
The captain's here (sieg heil) but nobody hears
The one in charge is present, but ignored by others.
The king's hat fits over their ears
The quest for power and control is so strong that it blinds people to what's really happening.
He dials zero (cold line) on every time
The person is trying to escape or get help, but every attempt fails.
He tries to dial out 999999999
The person is so desperate that they're trying to call for help as many times as possible.
He dials reception, he's all alone
The person is trying to reach someone for help, but finds no one there to answer.
He's just a victim of the telephone
The person is helpless and unable to connect with anyone to get help.
King's lead hat made the Amazon much wider
The lead hat symbolized the control over natural resources and the environment.
King's lead hat was a mother to desire
The quest for power and control through ambition and determination was a strong desire.
King's lead hat put the innocence inside her
The naive and innocent person was corrupted by the lure of power and control.
King's lead hat was the poker in the fire
The lead hat was the symbol of the determination and ambition that fueled the quest for power and control.
Contributed by Jordan P. Suggest a correction in the comments below.
@MrIliner
The bass line on this is awesome
@davidmennomoyer
Not least because there are TWO basses - Midge is playing bass along with Chris for this one.
@SonicVolcanoify
Note: both Chris and Midge are playing bass here. No guitars in this song! Love this version.
@rachelar
Prove it
@davidmennomoyer
@Rachel Aroda I saw the "Vienna" tour at the Masonic Temple in Toronto - they played this as an encore, and yes, both Midge and Chris played bass. It was incredibly cool.
@jimmythecreep
vienna tour, detroit...i was there and this was the last song of the evening...a night of pure magic for a 16 y/o aspiring musician...this tour along with the london calling tour were bar none the best concerts i've ever seen...and i've seen all the greats...i also still have this single in pristine condition, bought it the day it came out.
@talbrott
stunning version. The energy
@alphabet661
Nah this version is fine for a live performance - and Eno songs are tough to do live because you have to figure how to capture Eno's studio manipulation. I think this is great and equal to Eno's.
@vixie72
Wish there was a studio version of this song
@djmusicjac
wow totally loving this new wave post punk awesome love it love the DRUMSTICKS