MONUMENTAL A HISTORY OF ULTRAVOX

With a reunion tour and major reissue campaign putting the spotlight on one of the most misunderstood acts of the 70s and 80s, Rob Kirby tells the story of a group who were far from Quiet Men

Renowned for the atmospheric qualities of their music, it’s sometimes too easy to think of Ultravox purely in visual terms: four men walking down a cobbled street, a white horse entering the foreground; the soundtrack to a video stopping so the singer could catch his breath; or mirrored sunglasses reflecting a swaying throng...

But there’s much more to Ultravox than that. Lazily labelled as a New Romantic act, they were, in fact, pioneers of electronic rock, as far removed from many of their contemporaries as their critics were from them.

Comprising Lancastrian John Foxx (originally Dennis Leigh), Londoner Chris Cross (Chris Allen), Canadian escapee Warren Cann, the classically trained Billy Currie and guitarist Stevie Shears, they sped through a host of names – The Zips, Fire Of London and London Soundtrack – before alighting on Tiger Lily. A chance encounter between Warren and polymath John Marshall, whom he described as “a quintessential educated eccentric”, led to him securing a deal with the Gull label for a 1975 single release.

While they could record a new song for the flipside, Gull wanted an A-side recording of Ain’t Misbehavin’ to promote an up-coming period film. Recorded at Zomba Studios in Willesden, no one seems to be sure if their …

by Rob Kirby, Ian Shirley
<< Back to Issue 361

You must be a subscriber to view the full article, subscribe now for full access to all online content.

Already a Magazine Subscriber? Register now for online access.