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
The Man Who Dies Every Day
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A silhouette, a cigarette and a gesture of disdain
I felt a dark door open, saw a sudden ghost come through
A spark leap from my fingertip and I knew it must be you
Ain't you the man who dies every day?
You're the man who dies every day
You're the man
We never saw you walk in, we never saw you leave
You flick the ashes off a lap on everybody's sleeve
You always play that funny pack of cards without an ace
And every street you ever walked is mapped out on your face
'Cause you're the man who dies every day
You're the man who dies every day
You're the man
You always kept a sunset behind your lonely shoulder
You never showed on photographs and you never grew much older
You flicker like a shaky shadow, moving like a thief
You never drop your facade and you never seek relief
'Cause you're the man who dies every day
You're the man who dies every day
You're the man who dies every day
You're the man who dies every day
You're the man
The song "Man Who Dies Every Day" by Ultravox! is a contemplative ode to a mysterious figure, who is said to "die every day." The opening lines describe a chance encounter with this person, who appears as a silhouette in the rain, holding a cigarette and displaying a sense of disdain. The singer then experiences a sudden realization, as if a "dark door" has opened and a "ghost" has entered. This is the point at which the singer recognizes that this person is the one who dies every day.
The rest of the lyrics paint a picture of a figure who is elusive, enigmatic, and always on the move. He is described as playing a "funny pack of cards without an ace," meaning that he is a risk taker, but not in the traditional sense. He also keeps a sunset "behind his lonely shoulder," which suggests a sense of melancholy and nostalgia. The refrain, "You're the man who dies every day," is repeated over and over again, as if to emphasize the transience and fragility of life.
Overall, the song captures a sense of mystery and intrigue, while also exploring themes of mortality and the passing of time. It invites the listener to contemplate their own mortality and to consider what it means to truly live a meaningful and fulfilling life.
Line by Line Meaning
Someone stood beside me for a moments in the rain
In a momentary encounter during a rainy day, someone briefly came close to me.
A silhouette, a cigarette and a gesture of disdain
This individual had a dim outline, a lit cigarette and showed contempt with a certain movement.
I felt a dark door open, saw a sudden ghost come through
A metaphorical entrance opened, and I saw an apparition emerge as a result.
A spark leap from my fingertip and I knew it must be you
A sudden realization dawned on me that it was you, as though a spark ignited from my finger.
Ain't you the man who dies every day?
A rhetorical question that identifies the person as someone who experiences a daily death.
You're the man who dies every day
Repeated identification of the person for whom death has become routine.
We never saw you walk in, we never saw you leave
Evidence of the way this individual can enter and exit unnoticed.
You flick the ashes off a lap on everybody's sleeve
You nonchalantly drop ash from your lit cigarette onto other people's clothes.
You always play that funny pack of cards without an ace
A metaphor for the way this person lives their life without any advantageous situations.
And every street you ever walked is mapped out on your face
The trials this individual has faced are evident and imprinted on their visage.
'Cause you're the man who dies every day
Repeated identification of the person for whom death is a daily occurrence.
You always kept a sunset behind your lonely shoulder
The person is often alone and carries a figurative setting sun behind them as reminder of better times.
You never showed on photographs and you never grew much older
Despite the passage of time, this individual has not aged much and is not often captured in pictures.
You flicker like a shaky shadow, moving like a thief
This person moves erratically and without leaving a clear impression, like a flickering shadow or a stealthy thief.
You never drop your facade and you never seek relief
This person does not remove their façade and shows no interest in seeking help or comfort.
You're the man who dies every day
Final identification of the person for whom death is a daily occurrence.
Lyrics © Universal Music Publishing Group
Written by: CHRISTOPHER THOMAS ALLEN, DENNIS LEIGH, STEVEN SHEARS, WARREN REGINALD CANN, WILLIAM CURRIE
Lyrics Licensed & Provided by LyricFind
@soulminer
When Ultravox truly became original. Everything about this track is so sinister.
@Anthony-dv4ww
It brill
@christopheradderley45
One of the greatest albums ever recorded.
Way too good to have ever troubled the pop charts.
🧡 Ultravox!
@WasabeJoe
ha! ha! ha! Goddamn...One of the best albums of the late '70's. Truly. Ultravox! under John Foxx was soooooooooo underrated; if not totally forgotten. I have nothing but great memories of this compilation and sweet recollections of my days and nights listening to (and dancing to) this. Thank you. Pure acid memories. And my sweet Carol. Wherever she may be.
@sequentialable12
so sosphicated
@SLArp2600
In my opinion, this song marks the birth of new wave. Ultravox were the true pioneers.
@NickSBailey
One of those rare albums that inspired lots of other musicians to start bands, just full of energy and new directions.
@LizSotoHandbags
In my view, their best song by far. I saw them in '79 at the Whiskey with a date. The guitar sound is so harsh and contemporary. Yes, that was 44 years ago and I still have this album!
@soulminer
Along with Magazine they preceded the entire Post Punk synth scene.
@bernicehenry9738
Yessss.....