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.
Single K.O.
Wire Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No one else is looking for
I've found something
That there's no use for
And what's more
I'm keeping it to myself
I'm leaning over backwards
Shoulders pressed to the floor
Shoulders pressed to the door
Two falls or one submission
Or a single K.O.
Two falls or one submission
Or a single K.O.
But what's one submission
Amongst friends?
Wire's song Single K.O. is a cryptic and enigmatic piece of music, with lyrics that are open for interpretation. The song seems to be about finding something that no one else is looking for, but that has no use. The singer is keeping this discovery to themselves, which is illustrated in the lines "I'm leaning over backwards, shoulders pressed to the floor, I'm leaning over backwards, shoulders pressed to the door." There is a sense of secrecy and hiddenness in these lyrics, perhaps reflecting a feeling of loneliness or alienation.
The chorus of the song is also intriguing: "Two falls or one submission or a single K.O. / But what's one submission amongst friends?" These lines seem to refer to a wrestling match, with "two falls or one submission" being the accepted ways to win. However, the third option of a "single K.O." is more ambiguous. It could refer to a one-hit knockout in a boxing match or it could be symbolic, meaning that there is only one way to win in life, and that is to knock out one's opponents. The last line of the chorus is also puzzling. It seems to suggest that even if one submits to one's friends, it is not really a loss since friends are supposed to be supportive and non-judgmental.
Overall, Wire's Single K.O. is a fascinating song that raises more questions than answers. It is filled with intriguing lyrical images and enigmatic lines that invite multiple interpretations.
Line by Line Meaning
I've found something
I've come across something unique
No one else is looking for
No one is searching for it
That there's no use for
That is worthless
And what's more
Additionally
I'm keeping it to myself
I'm not sharing it
I'm leaning over backwards
I'm putting in a lot of effort
Shoulders pressed to the floor
My shoulders are touching the ground
I'm leaning over backwards
I'm putting in a lot of effort
Shoulders pressed to the door
My shoulders are pushed up against the door
Two falls or one submission
Two losses or one giving up
Or a single K.O.
Or being knocked out once
Two falls or one submission
Two losses or one giving up
Or a single K.O.
Or being knocked out once
But what's one submission
But one giving up isn't that important
Amongst friends?
When we're supposed to be friends?
Contributed by Sadie M. 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