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
Quiet Man
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
As the traffic moved through all our hearts and our heads
But things were different then
For the quiet men
Shifting, things were shifting
Through the walls and hall, there were no walls at all
For the quiet friends
Oh, the quiet men
Oh, the quiet men
Springtime, there was sunshine
Through the window panes, down all the English lanes
Where they walked again
The quiet men
Talking, they were talking
Of the times to come, and all the time that's gone
And they smiled again
The quiet men
Oh, the quiet men
Oh, the quiet men
Listening, they were listening
As the season changed and all the reasons changed
And people came and went
By the quiet men
Walking, they were walking
Through the rainy days, looking at all the faces
But no-one ever noticed them
The quiet men
Oh
Oh, the quiet men
Oh, the quiet men
Oh, the quiet men
Oh, the quiet men
The lyrics to "Quiet Men" by Ultravox! paint a picture of a group of men who are quiet and unassuming, but perhaps misunderstood or overlooked. The first verse describes a scene of waiting as traffic passes through the hearts and heads of the group, suggesting perhaps a feeling of stagnation or being stuck in place. The second verse speaks of things shifting and changing, with walls and boundaries dissolving for these "quiet friends" of the quiet men. The chorus repeats the phrase "oh, the quiet men", drawing attention to this group and perhaps evoking a sense of wistfulness or nostalgia.
The third verse introduces a new setting - springtime with sunshine and English lanes. The quiet men are walking and talking, reminiscing about the past and looking towards the future. Their smiles suggest a level of contentment and happiness that perhaps contradicts their reputation as "quiet" or reserved. The final verse speaks to the theme of being unnoticed or overlooked, as the quiet men walk through rainy days and observe the faces of others without being noticed themselves.
Overall, the lyrics to "Quiet Men" seem to be about a group of people who are unassuming and perhaps overlooked, but who have a rich internal life and a capacity for happiness and contentment despite societal expectations.
Line by Line Meaning
Waiting, we were waiting
We were all expecting something and we had to wait for it
As the traffic moved through all our hearts and our heads
Our emotions and thoughts were affected by the movement of the traffic
But things were different then
The situation has changed from the way it used to be
For the quiet men
It was especially different for those men who are usually reserved and introverted
Shifting, things were shifting
Things were changing and evolving
Through the walls and hall, there were no walls at all
The barriers and obstacles that were once present no longer existed
For the quiet friends
Even the reserved friends of the quiet men were affected by the change
Of the quiet men
The quiet men were the center of the change
Springtime, there was sunshine
The season was bright and pleasant
Through the window panes, down all the English lanes
The sunlight entered through the windows and brightened up the streets
Where they walked again
The quiet men were once again seen walking around
The quiet men
The reserved men that this song portrays
Talking, they were talking
The quiet men were having discussions
Of the times to come, and all the time that's gone
They talked about both the future and the past
And they smiled again
This topic brought them comfort and joy
Listening, they were listening
The quiet men were patiently hearing out and taking in everything around them
As the season changed and all the reasons changed
They noticed the changes in the environment and in the reasons behind events
And people came and went
They observed the comings and goings of people
By the quiet men
This was all observed and processed by those unobtrusive men
Walking, they were walking
The quiet men were taking steps and moving forward as well
Through the rainy days, looking at all the faces
They were seen walking through unfavorable conditions, yet they still took time to look at everyone
But no-one ever noticed them
Despite their presence and movement, they went largely unnoticed
Oh
An interjection indicating strong emotion
Oh, the quiet men
A recognition of the unique characteristics of those silent and unassuming men
Oh, the quiet men
The repetition of this line cements their place in the narrative
Oh, the quiet men
And reinforces the idea that those men should not be forgotten
Contributed by Gabriella V. Suggest a correction in the comments below.
@ReelRecordTape
?? Its B3 on Ultravox – Three Into One <---Compilation of 3 Albums . released 1980
Notes
A compilation of tracks from the first 3 Ultravox albums plus Young Savage, a stand-alone single.
A2 is intentionally written as "ROckwrok" both here and on the original "Ha!-Ha!-Ha!" album.
B3 is the 12" single "Full Version"
So to you sounds funny to me the only reason to have this :
Credits
Co-producer – Connie Plank (tracks: B1 to B3)
@CONSIDERABLYMORE1
3:35 - one of the greatest moments in the history of music
@Charlietwice
I love ultravox. Both the edgy ground breaking 1978 version as well as the pop mainstream 1980+ version. This though is the best!
@matthorowitz1861
So was Metamatic
@Toshackeegan1nil
The Real Ultravox
@irishkabyle3406
TYPICAL SONG FROM THE COLD WAR ERA
SO GLAD I GREW UP IN THE MARVELOUS 80’S... OH OUI !
WHAT A GREAT ERA! I’M GLAD THAT I LIVED THROUGH IT. OH OUI !
@Tinseltownintherain-zd7ep
The original Ultravox. With John Foxx on vocals. Cool
@williamfitch1408
One of my all-time favourites. I bagged off with a bird on the dance floor with this one.
@saltymemesmith
Those moves she fell for! 🕺
@LetzChatYT
Reminds me of being at the Rum Runner Club... Great times!
@AsIfInteractive
Made me smile just to see that logo spinning on a turntable, man. :-)