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
Maximum Acceleration
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Let the lights go on roaring
Someone's hand on my shoulder
Then whip past the turning point
There's time for the taking
[Chorus]
Maximum acceleration
Maximum acceleration
A face that goes slowly
A signal close by me
The landscapes are changing
And some of us flipped a coin
And shimmered away
[Chorus]
You really were aching
It's turning to twilight
Moving over and under
Then a couple of figures
Shook their heads of the high lines
[Chorus]
In the song 'Maximum Acceleration," Ultravox creates a vivid image of a high-speed, adrenaline-fueled car race. The lyrics indicate a sense of urgency and speed as the singer urges for the "maximum acceleration" and for the lights to be turned on roaring. The reference to a "turning point" suggests that there is a point of no return in this race, where the competitors have to put their all into winning. The singer seems to be aware of the risks involved, as someone's hand is on their shoulder, which could suggest a sense of caution or threat. The lyrics also suggest that there is a significant reward waiting for the winner, hinted at by the phrase "there's time for the taking."
The chorus of the song repeats the phrase "maximum acceleration" three times, emphasizing the importance of speed and intensity in achieving the desired result. The verse that follows suggests that the race is not just about speed and skill, but luck as well, with some participants having to choose between two options as an arbitrary means of departure. The line "And shimmered away" implies that some of the competitors didn't make it or perhaps took a different path altogether.
Line by Line Meaning
I thought you knew me by now
I had hoped that you would understand me better by now
Let the lights go on roaring
Allow the bright lights to illuminate the path ahead in a dramatic fashion
Someone's hand on my shoulder
I feel a reassuring presence behind me
Then whip past the turning point
We suddenly move beyond a pivotal moment
There's time for the taking
We have the opportunity to seize the moment and take control of our destiny
Maximum acceleration
Let's go as fast as we can
Maximum acceleration
We need to push ourselves to the limit
Maximum acceleration
Let's see how far we can go at top speed
A face that goes slowly
We see an image that gradually fades away
A signal close by me
I sense that there is something signaling me from nearby
The landscapes are changing
The scenery around us is in constant motion
And some of us flipped a coin
Some of us left our fate up to chance
And shimmered away
And disappeared into the night
You really were aching
You were truly yearning for something more
It's turning to twilight
The day is coming to an end, and the world is becoming darker
Moving over and under
We are navigating through various obstacles, both known and unknown
Then a couple of figures
Suddenly, two beings emerge from the shadows
Shook their heads of the high lines
They disapprove of our path and the risks we are taking
Maximum acceleration
We must keep pushing forward, no matter what
Maximum acceleration
We cannot let fear hold us back
Maximum acceleration
We are unstoppable at top speed
Lyrics © Universal Music Publishing Group
Written by: DENNIS LEIGH
Lyrics Licensed & Provided by LyricFind
@brandon2912t
Sorry for the very late comment guys.....only 7 years!!! This isn't a "sexy song" by any means but those drums, man........they just carry this whole track and it gives me goosebumps driving alone with this on high and I just go into another dimension, where I belong!! Those distorted guitars ain't bad either!
@jamesliehr619
One of my all-time favorite songs! I love J.Foxx's Ultravox!
@rodolfoorlando5467
Uno dei più grandi album di tutti i tempi! Ricordo ancora i brividi quando, ragazzo, lo ascoltavo nel buio della mia stanza
@dianamiino7391
Io ho ripreso ad ascoltarli, ad emozionarmi, a suonare. Sono nata nel 1962...
@rodolfoorlando5467
@Diana Miino io non ho mai smesso di ascoltarli 😊
@lawrencenienart6287
I remember buying the album shortly after it came out, based on a review in "Trouser Press" magazine (remember that?). A reviewer said something along the lines that "there were some people who are keen to dismiss Ultravox as an Ice Sculpture with Transistors". That line told me: I must buy this album! It still sounds like it is 10 , 20 years in the future.
@jamescolyn5960
Yep, I remember Trouser Press. In the late 1970s and early 1980s, it was one of the mags that I would devour for news about upcoming bands and their typically great new albums.
@lawrencenienart6287
@James Colyn I guess Trouser Press still exists online, posting reviews etc. There seems to be less great stuff to review, as opposed to the 70's-80's...but it is out there.
@brandon2912t
I have a strong feeling that John Foxx was aware of his multidimensionality! His input in the lyrics and sound were not from this dimension, he realised that he is a traveller as we all are the only thing is some of us are aware of it but most are not......although I believe that this is rapidly changing! This whole album remains one of my prized possessions in my life!
@tszirmay
Great song, a true classic. I once played this in a packed Montreal disco in 1980 , it was awesome, as it was very very very loud. The plastic boys and girls were stunned!