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
Rage In Eden
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stark and petrified
The high suspense of an empty stage drawing in clutching to its breast
With murmured words we sigh and focus on the main facade
Beyond the hard reluctant windows
News from magazines
We wrote their names on books we'd borrowed as if to bring us closer still
Rage in Eden jigsaw sequence
But no-one could see the end
And they were the new gods
And they shone on high
Their heavy perfume on the night sucked them down in red tide
All is through the looking glass focus on the main facade
Rage in Eden jigsaw sequence
But no-one could see the end
Disciples of the new way
Portraits in the new sand
See when they run their longest mile holding caps in wet hands
Eyes upon them try to focus on the main facade
Rage in Eden jigsaw sequence
But no-one could see the end
The lyrics to Ultravox's song "Rage In Eden" paint a picture of a society influenced by idols and consumed by their façades. The first verse describes a group of people gathered to watch a performance, but there is no life or energy present. Instead, the atmosphere is tense and stagnant as they wait for the main act to begin. They are focused solely on the façade of the show, missing the essence of life behind it.
The second verse suggests that this group of people may be disconnected from reality, living vicariously through magazines and borrowed books. The use of the phrase "threw it all away" indicates that they are not fully invested in their own lives but are relying on borrowed experiences to feel alive. The mention of "Rage in Eden jigsaw sequence" is intriguing, perhaps implying that they are trying to put together fragments of a whole picture but are unable to see the full image.
The final verse describes these people as "disciples of the new way" and "portraits in the new sand." They are lost, trying to make sense of a world that seems to have lost its way. They are running and holding their caps in wet hands, a symbol of their precarious state. Their eyes are fixed on what they believe to be the main facade of society, but they are unable to see the reality that lies beyond it.
Line by Line Meaning
We sit and watch these lifeless forms
We observe motionless figures.
Stark and petrified
They are rigid and unyielding.
The high suspense of an empty stage drawing in clutching to its breast
The heightened anticipation of a bare platform draws us nearer.
With murmured words we sigh and focus on the main facade
We whisper and concentrate on the main outward appearance.
Beyond the hard reluctant windows
Past the obstinate windows.
News from magazines
Information from publications.
We wrote their names on books we'd borrowed as if to bring us closer still
We inscribed their names on borrowed books to enhance our connection.
And threw it all away to focus on the main facade
Then, we disregarded it all to fixate on the main external aspect.
Rage in Eden jigsaw sequence
Puzzle pieces of fury in paradise.
But no-one could see the end
Yet, no one could predict the conclusion.
And they were the new gods
And they were the modern deities.
And they shone on high
And they radiated from above.
Their heavy perfume on the night sucked them down in red tide
Their overpowering scent at nightfall drew them down into a bloody ocean current.
All is through the looking glass focus on the main facade
Everything is distorted, concentrate on the primary exterior.
Disciples of the new way
Devotees of the recent method.
Portraits in the new sand
Images on fresh grains of sand.
See when they run their longest mile holding caps in wet hands
Observe them as they make their longest run, clutching hats in wet hands.
Eyes upon them try to focus on the main facade
Onlookers endeavor to concentrate on the prominent exterior.
Rage in Eden jigsaw sequence
Puzzle pieces of fury in paradise.
But no-one could see the end
However, no one could envision the conclusion.
Lyrics © Universal Music Publishing Group
Written by: CHRISTOPHER THOMAS ALLEN, MIDGE URE, WARREN REGINALD CANN, WILLIAM CURRIE
Lyrics Licensed & Provided by LyricFind
Karen Plath
The sheer power of this track takes my breath away. It is absolutely timeless.
Joseph Carter
One of my fave albums when I was a teenager, probably wore out the tape cassette! Hauntingly magnificent, sent shivers down my spine.
Got to be 30 years since I last heard this, must listen to the whole album soon!
michael williams
people in the 80s knew how lucky they were
PositiveLastAction
This takes me back. My very favorite band through the 80's...the romance, fashion, spidery guitar, colored vinyl, ...Ultravox was king!
stevethegibbon
Dead right, Ultravox really were a cut above most u.k. groups at the time. They deserved much more success than they had. Greatest group of their time, playing music before its time
GeneVeeAnachronism
A phenomenal band ...many years ahead of its time...and timeless.....
Pani Smith
Very much that.
fstop77
This was my favorite Ultravox album when I was high school! Used to try to draw the album cover all the time! Great production by Conny Plank too! I like the John Foxx years but they really took off when Midge join the band. A classic.
Tony Langridge
Total class this album
Saw it live back in the day
Unsound Methods
Probably my favourite song of Ultravox