While writing the latter’s second album, Midge and Rusty had expressed their desire to incorporate electronic elements into the group’s sound having bought synthesisers and been influenced by Kraftwerk and Can, but were vetoed by the other members, thus literally splitting up the Rich Kids. Prior to joining the synth-pop outfit, Ure had a No.1 hit with Slik, turned down an offer from Malcolm McLaren to front the Sex Pistols, co-written a track with Phil Lynott for Thin Lizzy and enjoyed moderate success with the Rich Kids. Though he enjoyed and was proud of the work he was doing with them, the group was a studio-based project with the sole purpose of creating dance music for London’s club kids to pose and preen to at the nightclubs Egan was running with Steve Strange. With his eclectic musical background, Ure was feeling limited by Visage. Egan knew that Midge had been a fan of Ultravox and that they were looking for a singer and a guitarist – Ure was both, therefore Rusty was convinced they’d be the perfect match. It was during the latter that he was introduced to Ure by Rusty Egan. Chris played with James Honeyman-Scott, Warren with Zaine Griff and The Buggles and Billy performed on Gary Numan’s The Pleasure Principle album and tour before working on Visage’s debut record. The lack of commercial success for the John Foxx-fronted five-piece had led to them being dropped by Island Records and a last-ditch attempt to save the group with a US tour instead led to its implosion.įoxx and guitarist Robin Simon departed the group, leaving remaining members Warren Cann, Chris Cross and Billy Currie with little more than debts, doubts and dilemmas.įacing an uncertain future and financial ruin, the remaining trio were forced to seek session work with other artists in order to generate some money. The stylish image overhaul reflected the musical shift on the encased record, with the glam-influenced art-rock of the band’s previous three albums replaced by sparse synth-pop and killer melodies resulting in a less pretentious entity that was capable of breaking them to a mainstream audience.Īs the 70s drew to a close, the disarray within Ultravox at the time made the break-up of the band a very real prospect. W ere it not for Ultravox: Vienna sleeve designer Glenn Travis’ bold typography reassuring fans that the stark monochromatic cover photo by Brian Griffin was indeed Ultravox, the band’s fourth album could well have escaped the attention of their fanbase, such was the radical change of direction of the group with new lead singer Midge Ure. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.John Foxx was out, Midge Ure was in for Ultravox: Vienna… By Mark Lindores Ultravox: Vienna cover Very Good: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. The cover shows signs of typical wear and tear, such as small stickers or light ring marks. VG+ (Very Good Plus): This record has clearly been played before, but has only a moderate reduction in sound quality, despite a possible slight loss of shine and some surface marks. The cover and packaging might have slight wear and/or creasing. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.ĮX (Excellent): The record shows some signs of having been played, but there is very little lessening of sound quality. M (Mint): The record itself is in brand new condition with no surface marks or deterioration in sound quality. For more on cleaning, grading and how we look after our records, please see our Grading Guide.
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