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 Song
Ultravox Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Welcome to..
Welcome to..
Welcome to the song.
Hear the words of the syncopated rhythms.
Welcome to the song.
And when it calls you, time to move on.
[Chorus]
Feel the strength of a hundred thousand heartbeats,
Cry welcome to the song.
And as it lifts you, time to move on.
We go!
[Chorus]
Drawn from the inside,
Time to move on.
We go!
We go!
"The Song" by Ultravox is an anthemic song about the power of music to lift people up and move them to action. The song begins with the chorus welcoming the listener to the "song," that is, to music itself. The syncopated rhythms and pulsing beats of the music inspire listeners to move, to lose themselves in the music and let its power wash over them. The chorus is short, simple, and catchy, reinforcing the idea that the song is accessible to everyone and that its message is universal.
The verses of the song focus on the physical sensations of being caught up in music. The lyrics describe the feeling of a hundred thousand heartbeats pulsing in unison, as if the music has the power to unify people and bring them together. The song calls on listeners to let go of their inhibitions and allow the music to take control, drawing them out from the inside and urging them to move on to whatever lies ahead.
Overall, "The Song" celebrates the power of music to transcend boundaries and connect people across cultures and experiences. It suggests that music is a force that can inspire people to act, to move beyond their limits and embrace their full potential. This message resonates with many listeners and has helped make "The Song" a beloved classic in the Ultravox catalog.
Line by Line Meaning
Welcome to..
A greeting to the listener, inviting them into the experience of the song.
Welcome to..
A repetition of the greeting, emphasizing the invitation and setting the tone for the rest of the lyrics.
Welcome to the song.
A declaration that the listener has now entered the world of the song, where they will hear its stories and feel its emotions.
Hear the words of the syncopated rhythms.
An instruction to pay attention to the intricate, varied beats of the music, which will guide the listener through the song.
Welcome to the song.
A repetition of the declaration from earlier, affirming the importance of the song's presence in the listener's life.
And when it calls you, time to move on.
A suggestion that the song has a transformative power, and that when it speaks to the listener on a deep level, it is time to take action and move forward with newfound inspiration.
We go!
An enthusiastic exclamation that it's time to follow the song's lead and embark on a new journey.
Feel the strength of a hundred thousand heartbeats,
An acknowledgement that the energy and passion of the song is immense, and can be likened to the heartbeats of a large group of people coming together.
Cry welcome to the song.
An emotional invitation to embrace the song's power and allow it to affect the listener deeply.
And as it lifts you, time to move on.
A suggestion that the song has the ability to elevate the listener's mood and change their perspective, signaling that it's time to take further action toward positive change.
We go!
A repetition of the earlier exclamation, reiterating the song's power to motivate action and the listener's commitment to follow its lead.
Drawn from the inside,
An acknowledgment that the inspiration for change often comes from within oneself and that this song may speak to the listener at a fundamental level.
Time to move on.
A succinct reminder that change is necessary and that it is the listener's responsibility to take action when the song's power moves them to do so.
We go!
A final declaration of the song's transformative power and the listener's willingness to follow its lead in the face of necessary change.
Lyrics © Universal Music Publishing Group
Written by: CHRISTOPHER THOMAS ALLEN, MIDGE URE, WARREN REGINALD CANN, WILLIAM CURRIE
Lyrics Licensed & Provided by LyricFind
Philip Kassabian
on The Frozen Ones
A great Ultravox song.
Philip Kassabian
on Dancing With Tears in My Eyes
A great and emotional song.