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.
Being Sucked in Again
Wire Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Salted meat, a sullen relapse
Inference drawn from every word
Being sucked
Being sucked in again, being sucked
Being sucked in again, being sucked
Being sucked in again, being sucked
Feeling numbed from anaesthetised flesh
Avoid disgrace, ideas still fresh
The gaping mouth, a fish-wife's dream
Being sucked (being sucked)
Being sucked in again, being sucked (being sucked)
Being sucked in again, being sucked (being sucked)
Being sucked in again, being sucked (being sucked)
Bound and gagged your labour's saved
The cost minute, the rules are waived
No hand, no step, your labour's in vain
Being sucked (in again)
Being sucked in again, being sucked (being sucked)
Being sucked in again, being sucked (being sucked)
Being sucked in again, being sucked (being sucked)
Being sucked in again, being sucked (in again)
Being sucked in again, being sucked
The opening verse of the song "Being Sucked in Again" by Wire paints an ominous picture of a dorsal fin breaking the water, a symbol of danger that signals an impending relapse. The following lines suggest that the singer has fallen back into an old habit, possibly addiction, and is struggling to resist the pull. Each word and action seems to hold great weight and significance and the singer is drawing inferences from everything in an attempt to avoid being sucked in again. The repeated phrase "being sucked" reinforces the idea of the singer being dragged back into something they wish to avoid.
The second verse continues this theme of struggle and resistance, describing the singer as feeling numb and detached. They are trying to avoid disgrace and keep their ideas fresh as they continue to fight against being drawn back in. The image of the gaping mouth as a fish-wife's dream suggests a sense of danger and destruction, as if the singer is being consumed by something. The final lines of the verse describe the singer as bound and gagged, their labor wasted and in vain, again emphasizing the idea of being trapped and helpless.
Overall, "Being Sucked in Again" can be interpreted as a commentary on the struggle of addiction and the difficulty of breaking free from destructive habits. The repeated use of the phrase "being sucked" and the bleak imagery throughout the song create a sense of hopelessness and inevitability. Despite this, there is a sense of resistance and determination in the lyrics, suggesting that the singer is not giving up the fight just yet.
Line by Line Meaning
A dorsal fin breaks the water
The sudden appearance of a dorsal fin is observed in the water
Salted meat, a sullen relapse
The taste of salted meat is unpleasant and reminds of past failures
Inference drawn from every word
Every word spoken is interpreted and analyzed for hidden meaning
Being sucked
Feeling helpless and drawn into something out of your control
Feeling numbed from anaesthetised flesh
Feeling disconnected and emotionless due to a medical procedure
Avoid disgrace, ideas still fresh
Trying to maintain a good reputation while still having fresh, innovative ideas
The gaping mouth, a fish-wife's dream
A wide-open mouth is desirable for a fisherman's catch, but not appreciated in social settings
Bound and gagged your labour's saved
Losing your freedom but keeping your job
The cost minute, the rules are waived
The significance of time is trivial and the rules are overlooked
No hand, no step, your labour's in vain
No help and no progress, leading to a sense of wasted effort
Being sucked (in again)
Being drawn in again, despite previous misgivings and reservations
Being sucked in again, being sucked
Continuing the cycle of being pulled into something beyond your control, repeatedly
Lyrics © CARLIN AMERICA INC, Warner Chappell Music, Inc.
Written by: COLIN NEWMAN, GRAHAM LEWIS, BRUCE GILBERT, ROBERT GOTOBED
Lyrics Licensed & Provided by LyricFind
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