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.
Mannequin
Wire Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No natural grace
You're so bloody thin
You don't even begin
To interest me
Not even curiousity
It's not animosity
Well, you're an energy void
A black hole to avoid
No style, no heart
You don't even start
To interest me
Not even curiousity
It's not animosity
Just you don't interest me
Oh, come on!
You're a disgrace!
Tell me
Why don't you tell me?
Why don't you tell me?
Why don't you tell me?
La-la-la-la-la-la-la-la-la-la
Oh, oh, la-la-la-la-la-la-la-la-la-la
Oh, oh, oh, oh, tell me
Why don't you tell me?
Tell me
Why don't you tell me?
La-la-la-la-la-la-la-la-la-la (la-la, oh, oh)
La-la-la-la-la-la-la-la-la-la
Oh, oh, oh, la-la-la-la-la-la-la-la-la-la
Last time, now
Tell me
Why don't you tell me?
The lyrics to Wire's song Mannequin are a scathing critique of a person who lacks substance, style, and energy. The song's narrator finds the subject uninteresting and devoid of any natural grace or curiosity. The lyrics describe the subject as an "energy void" and a "black hole to avoid," indicating the emptiness and lack of depth that the singer sees in them. This lack of interest isn't fueled by animosity, but rather a complete absence of curiosity about the subject.
The song's use of repetition, both in the lyrics and in the music, underscores the singer's frustration and boredom with the subject. The chorus is essentially a demand for the subject to tell the singer why they are so lacking in substance and interest. The lyrics and the music build in intensity throughout the song, climaxing in the final repetition of the chorus.
Overall, Wire's "Mannequin" is a striking example of a song that uses minimalist lyrics and music to great effect. The song's repeated refrain and driving percussion create a sense of urgency and frustration that perfectly captures the singer's feelings toward the subject of the song.
Line by Line Meaning
Well, you're a waste of space
The person addressed is unproductive and useless.
No natural grace
The person has no inherent attractiveness or charm.
You're so bloody thin
The person is extremely skinny.
You don't even begin
To interest me
The person does not capture the artist's attention.
Not even curiousity
The artist lacks any inquisitiveness towards the person.
It's not animosity
There is no ill will or hatred towards the person, but rather indifference.
Just don't interest me
The person is not compelling or captivating to the singer.
Well, you're an energy void
The person has no vitality, enthusiasm or charisma.
A black hole to avoid
The person has a negative and draining impact on those around them.
No style, no heart
The person is lacking in both fashion sense and emotional depth.
You don't even start
To interest me
The person continues to fail in capturing the singer's attention.
Oh, come on!
An expression of impatience towards the person.
You're a disgrace!
The person is viewed as shameful and unworthy.
Tell me
Why don't you tell me?
The singer wants answers as to why the person is so uninteresting.
La-la-la-la-la-la-la-la-la-la
Oh, oh, la-la-la-la-la-la-la-la-la-la
Oh, oh, oh, oh, tell me
A musical interlude between verses that serves to enhance the overall disdain and condescension towards the person.
Last time, now
Tell me
Why don't you tell me?
The artist demands a final explanation as to why the person cannot hold their interest.
Lyrics © Warner Chappell Music, Inc.
Written by: BRUCE GILBERT, COLIN NEWMAN, GRAHAM LEWIS, 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