Wire's debut album, Pink Flag (1977), contains songs which are diverse in mood and style, but most use a minimalist punk approach, unorthodox structures, and several songs are under a minute in length; "Field Day For The Sundays" is only 28 seconds long.
Chairs Missing followed in 1978, and found Wire stepping back from the stark minimalism of Pink Flag, with longer, more atmospheric songs and synthesizer parts added by producer Mike Thorne. The experimentation was even more prominent on 154 (1979). Many of the songs had bassist Graham Lewis on lead vocals.
In 1979, creative differences pulled the band in different directions, leading to the Document and Eyewitness LP (1981), a recording of a performance that featured, almost exclusively, new material. The LP came packaged with an EP of a different performance of more new material. Some of these songs, along with others performed but not included on the album, were included on Colin Newman's post-Wire solo albums ("5/10", "We Meet Under Tables"), while others were released by Gilbert and Lewis' primary post-Wire outlet Dome ("And Then...", "Ritual View"). The band disbanded for the first time in 1980
Between 1981-85 Wire ceased recording and performing in favour of solo and non-Wire collaborative projects such as Dome, Cupol, Duet Emmo, and several Colin Newman solo efforts. In 1985, the group reformed as a "beat combo" (a joking reference to early 1960s beat music or even possibly beatniks), with greater use of electronic musical instruments. It released It's Beginning To And Back Again (IBTABA) in 1989, a "live" album of mostly re-worked versions of songs from The Ideal Copy and A Bell Is a Cup...Until It Is Struck, heavily re-arranged, edited, and remixed. A new song from the album, "Eardrum Buzz", became the band's biggest charting single.
Gotobed left the band in 1990, after the release of the album Manscape. After his departure, the band dropped one letter from its name, becoming "Wir" (still pronounced "wire"), and released The First Letter in 1991. Once again, the band disbanded in 1992 There followed a further period of solo recordings, during which Newman founded the Swim ~ label, and later Githead with his wife (ex-Minimal Compact bassist Malka Spigel), while Wire remained an occasional collaboration. It was not until 1999 that Wire again became a full-time entity.
With Gotobed back in the line-up (now using his birth name, Robert Grey), the group initially reworked much of their back catalogue for a performance at Royal Festival Hall on 26 February 2000. Wire's reception during a short tour of the US, and a number of UK gigs, convinced the band to continue. Two EPs and an album Send (2003) followed, as well as collaborations with stage designer Es Devlin and artists Jake and Dinos Chapman. In 2004 the band split once more.
In 2006, Wire's 1970s albums were re-released with original vinyl track listings. Rumours abounded of a renewal of activity to mark the 30th anniversary of the band's debut as a 4 piece and the re-release of Pink Flag in 2007. A third Read & Burn EP was released in November, 2007.
A full-length album of new material entitled Object 47 was released in July 2008. Bruce Gilbert was not involved in this recording, although according to Colin Newman, he did feature in a minimal capacity on the third Read and Burn EP. 2011 saw the release of the band's twelfth studio album Red Barked Tree.
A Touching Display
Wire Lyrics
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And more besides
Bitch, thrust, and parry
And a few asides
With considerable charm
You chose not to decide
I really like you
I really want you
Becomes my message
But how long can we sustain
Ourselves apart?
The pressure's increasing it
Squeezes my heart
I bought a ticket
You took a walk
So much to say
We're unable to talk
Suffering in silence
Our eyes give it away
So close as we part
A touching display
Colouring my thoughts
Predominately grey and
Fighting bravely
Will she save me?
From what or who
I do not know
The song "A Touching Display" by Wire touches upon the complexities of communication and relationships. The lyrics describe a scenario where two individuals, despite considerable chemistry and charm, struggle to communicate their feelings to each other. The first verse alludes to the facade and games that people play in relationships, highlighting the constant "bitching, thrusting, and parrying" that takes place. Despite this, the singer acknowledges the attraction they feel towards the other person but is confused about the lack of clarity of the situation.
The chorus then explores the theme of distance and the pressure that builds as a result of repressed emotions. The singer expresses their desire to connect with the other person and the frustration that the progress towards that goal is slow. The second verse illustrates the physical separation between the two individuals while they are still being held together by unspoken emotions. The line "suffering in silence" shows the discomfort and pain that comes from unexpressed feelings.
Towards the end of the song, the mood turns melancholic, and the singer wonders if their love-interest will be their salvation from an unknown threat. The song ends on an ambiguous note, leaving listeners to interpret what the characters' fate may be.
Line by Line Meaning
With all the front
Despite your front and outward appearance
And more besides
And other aspects of yourself
Bitch, thrust, and parry
Expressing strong emotions and engaging in verbal conflict
And a few asides
And some additional comments
With considerable charm
Using your charisma and charm
You chose not to decide
You are undecided and avoiding making a decision
I really like you
My affection for you is strong
Becomes my massage
But I am hiding behind empty words and superficial gestures
I really want you
My desire for you is intense
Becomes my message
But I am failing to communicate my true feelings
But how long can we sustain
But how much longer can we maintain
Ourselves apart?
Our distance from each other?
The pressure's increasing it
The tension is building
Squeezes my heart
And it's affecting me deeply
I bought a ticket
I made an effort to connect with you
You took a walk
But you ignored my attempts
So much to say
There is so much to talk about
We're unable to talk
But our communication is blocked
Suffering in silence
We are struggling while staying silent
Our eyes give it away
But our eyes reveal our true emotions
So close as we part
As we part, we recognize our emotional closeness
A touching display
It's a sad and poignant moment
Colouring my thoughts
It affects my mood and thinking
Predominately grey and
Making everything feel dull and lifeless
Fighting bravely
But struggling to be bold
Will she save me?
Can you help me find a way out
From what or who
From my unknown fears or struggles
I do not know
I am uncertain and helpless
Contributed by Vivian N. Suggest a correction in the comments below.
Pierre Clary
on Champs
i believe this song is about amphetamine abuse, endemic on the punk scene...Speed, "more speed than before ,less time than before (tolerance build up)........
Pierre Clary
on Champs
The song "Champs" by Wire is an intense and fast-paced track that addresses themes of competitiveness, the desire for success, and the sacrifices one must make in order to achieve their goals. The repeated phrases "The taste of champions, the pace, the pace, the speed, the need, the need to seed, the chance to die" suggest that the speaker is wholly dedicated to winning and will stop at nothing to achieve their goals. The subsequent line "Another dead don't cry" implies that the speaker has seen others perish in their pursuit of victory and is not phased by it. The stanza "You've still got speed, you'll maybe bleed, there's less time" highlights the idea that time is running out and that one must act quickly if they wish to be successful.
The next stanza begins with the phrase "More speed than before, you've done it before, there is no for, what are you doing it for?" which suggests that the speaker is no longer satisfied with their previous achievements and is compelled to push themselves even harder. The line "Want more, want more" is a clear indication that the speaker is never satisfied with what they have and will always strive for more. The repetition of "Another dead don't cry" throughout the song serves as a haunting reminder that the pursuit of success often has a cost, and that cost can be the lives of others.i think this so,
Pierre Clary
on Champs
YOU'RE RICH NOT POOR