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
Sleepwalk
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Rolling and falling, I'm choking and calling,
Name after name after name.
Sleepwalk.
Naked and bleeding, the streetlights stray by me,
Sleepwalk.
Helplessly breaking, exchanging my faces,
Destined, we had to collide.
Sleepwalk!
Taut on the outside, I'm crumpling and crawling,
Watching the day drag away.
Spiralling deeper, I can't feel my fingers,
Rip round my throat as I dream.
Dream!
Sleepwalk.
The lyrics to Ultravox's song "Sleepwalk" describe a sense of helplessness and disorientation, as though the singer is lost in a dream or a nightmare. He feels as though he is "rolling and falling," and as he calls out for help, he hears "name after name after name," indicating that he is unable to find anyone who can rescue him from his situation. He feels vulnerable and exposed, "naked and bleeding," and the bright streetlights only add to his discomfort.
As the song continues, the singer reflects on the inevitability of his situation, as though he and another person were "destined" to collide. He feels as though he is breaking apart, and as he does so, he is "exchanging" different identities and faces, as though he is losing touch with his own sense of self. Finally, he drifts deeper into his dream state, aware of the passing of time but unable to make sense of his surroundings. He feels as though he is suffocating, with his fingers numb and his throat constricted.
Overall, the lyrics to "Sleepwalk" convey a sense of fear and desperation, as though the singer is struggling to maintain control over his own thoughts and actions. The dreamlike quality of the lyrics, combined with the dissonant chords and electronic instrumentation of the song, create a haunting and unsettling atmosphere that reinforces the sense of confusion and anxiety conveyed by the lyrics.
Line by Line Meaning
Sleepwalk. Rolling and falling, I'm choking and calling, Name after name after name.
The singer is in a restless state of sleep in which they cannot control their movements or their voice. They are repeating names as they struggle to breathe.
Sleepwalk. Naked and bleeding, the streetlights stray by me, Hurting my eyes with their glare.
The singer is in a vulnerable and exposed state while they walk through the city streets. The bright lights are causing them physical pain.
Sleepwalk. Helplessly breaking, exchanging my faces, Destined, we had to collide.
The singer is losing control over their identity and encountering various versions of themselves. They feel as though their meeting with someone or something was inevitable and predetermined.
Sleepwalk!
An exclamation that signifies the intensity and urgency of the artist's state of sleepwalking.
Taut on the outside, I'm crumpling and crawling, Watching the day drag away.
The artist feels both tense and fragile on the outside, while internally they feel trapped and unable to escape the passing of time.
Spiralling deeper, I can't feel my fingers, Rip round my throat as I dream.
The singer is spiraling into a deeper and more dangerous dream state in which they are losing sensation in their body and experiencing a suffocating sensation.
Dream!
A command to the listener to recognize the power and vividness of the singer's dream state.
Sleepwalk.
A repetition of the title serves as a closing reminder of the artist's experience of sleepwalking.
Lyrics © Universal Music Publishing Group
Written by: CHRISTOPHER THOMAS ALLEN, MIDGE URE, WARREN REGINALD CANN, WILLIAM CURRIE
Lyrics Licensed & Provided by LyricFind
@arseniolupin8851
one of the best things about 50 years old,is the fact that i lived my teenage years in the 80's that is priceless and i am grateful !!!
@Nico-qh8jx
me ,I love this band
@Alba33602
I couldnt agree more am 50 now born 1969 new nowt about the music then or much of the 70s but being 13 14 15 16 in the early 80s OMG just fanatsic great memories even now still have tears in my eyes of those great old day. No pun intended lol mind you i did dance in front of my bedroom mirror with ' tears in my eyes' no joke :) Tony from Edinburgh....
@derekporter7658
Born 71, and I still am a huge fan of Ultravox. It was this track and Vienna that got me into it, I was into various groups before especially Gary Numan and Roxy music. Once the 70s and 80s ended and all the bands disappeared, the fun and passion went out of music and I switched off the charts for good, buried myself in heavy metal and nostalgia until they reformed and I was a teenager once more!!
@libradragon
Believe me, it was just as much fun for me and I am now 68. I love the 1980's new Wave energy. Keep it Alive!
@soulminer
I'm 51 but listened to the same music as you new romantic early goth etc
@nickball2010
What a great synth sound Billy Currie achieved, he's one of my favourite musicians.
@joannagil7631
29.01.2024 Ten rodzaj muzyki lat osiemdziesiątych ma wyjątkową charyzmę. Dla mnie, podobnie jak dla wielu osób, których dzieciństwo miało miejsce w tych latach, budzi to miłe wspomnienia, których mamy nadzieję nigdy nie zapomnieć😊
@geoffreyjonathanwilson5826
A masterpiece from 1980 in my opinion.
@barrysmith8920
I was FIVE feet in front of Billy in Tempe Arizona on their Vienna Tour '1980!!!
He's a musical wonder. Very VERY few classical musicians can create their own musical sound and style in rock. Billy is one of the very few.🌟🌟🌟🌟🌟