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.
Smash
Wire Lyrics
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"We are all like spuds and bread!"
Crash at random, road-kill rage
Tarmac trauma auto slain!
I remember what he claimed:
"Shadowed blood and spit remains!"
Fur and guts and stone chip stain
I remember what he said:
"Count to ten when you see red!"
Plus plus ultra uber rage
Plus plus ultra uber rage
Behold the woods of yesterday
Just beyond the motorway
Saw a stag walking away
Thro' the frame of faraway
The lyrics of Wire's song "Smash" depict a scene of a car accident, where the singer remembers the words of another person involved. The first verse recalls the person saying "We are all like spuds and bread," which could suggest a sense of vulnerability and fragility. The second verse describes the person saying "Shadowed blood and spit remains" and lists the violent aftermath of the crash, including "fur and guts and stone chip stain" and "broken bones on the inner lane." The repetition of "Plus plus ultra uber rage" conveys the intense emotions of road rage and the impact it can have.
The final stanza shifts perspectives, describing "the woods of yesterday" beyond the motorway and glimpsing a stag walking away "thro' the frame of faraway." This could be interpreted as a moment of reflection and a sense of connection to nature, in contrast to the violence and destruction of the car crash. Overall, the lyrics of "Smash" convey the raw and often brutal reality of accidents and the human emotions that come with them.
Line by Line Meaning
I remember what he said: "We are all like spuds and bread!"
He compared human beings to spuds and bread, implying that our lives are essentially the same and not very interesting or fulfilling.
Crash at random, road-kill rage Tarmac trauma auto slain!
The lyrics describe a violent car crash, with the car killing an animal on the road and causing damage to the road itself.
I remember what he claimed: "Shadowed blood and spit remains!"
He explained that even after a violent incident, remnants and memories of the trauma remain.
Fur and guts and stone chip stain Broken bones on the inner lane
The lyrics paint a picture of the carnage left behind after a car accident, highlighting the gruesome details.
I remember what he said: "Count to ten when you see red!"
He advised taking a moment to calm down before reacting to stressful or infuriating situations.
Plus plus ultra uber rage Plus plus ultra uber rage
The refrain emphasizes the extreme anger and frustration described throughout the song, with the use of multiple synonyms.
Behold the woods of yesterday Just beyond the motorway Saw a stag walking away Thro' the frame of faraway
The song ends with a peaceful image of a stag walking away in the distance, providing a contrast to the violent and intense themes presented throughout the rest of the lyrics.
Writer(s): Graham Lewis, Robert Selwyn Grey, Colin John Newman Copyright: Embassy Music Corp. O/B/o Mute Song
Contributed by Xavier I. Suggest a correction in the comments below.
Barrel Shape
One aspect of Wire that doesn't get mentioned often and is displayed nicely on this track is Robert Grey's always sturdy drumming. His punked-up motorik style is one of the things that makes Wire's sound so distinct.
jelt110
Grey is juggernaut- consistant, clear, simple, solid. Love that he's still in Wire, 40 years.
ThePluto61
I mainly agree, but he seemed off the pace recently. "Short elevated period" from Silver Lead album, every time i hear it I wish they'd remix it. Just for me.
CarlLikes
'Smash' is smashing lol...Oh yeah what a sound these guys have and RETAINED. Almost scary good.
Daevid Harvey
One of so many latter day Wire that is just ... great !
I swear it’s the later listens that get you - at first what seems good and acceptable etc later becomes a smile of remembrance... so many great latter day Wire - this from the adulterated teenager digging The Stranglers The Damned Talking Heads Magazine Hawkwind Alex Harvey Ramones Bowie Roxy and all things great ... Wire Still Hits Home 40+ years on truly amazing and wonderful
Tera Petty
This may be my favorite song of all time. <3
John
I'm bowled over by how good this album is. I suppose I'll have to buy it.
jelt110
why does this so fit the image of the wine bottles? Restrained anger? bottled passion? Wire will always be my catalyst.
Nick Rowsell
Proper hard as nails and totally uncompromised .. .. ..chart bound sound eh !
jelt110
I remember what he said we are all spuds and bread... crash at random road kill rage. only wire could turn a road kill into high art. This is some seriously genius shit... it would do one well to study the ways of wire... gently abstruse, plus plus ultra uber sage.