A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
The Pleasure Principle (Gary Numan album)
The Pleasure Principle is the debut solo studio album by English musician Gary Numan. Released about six months after Replicas, the second album with his band Tubeway Army, The Pleasure Principle peaked at number 1 in the United Kingdom; the Pleasure Principle has been described as featuring new wave throughout. Numan abandoned electric guitar on the album; this change, coupled with frequent use of synthetic percussion, produced the most purely electronic and robotic sound of his career. In addition to the Minimoog synthesizer employed on his previous album, Numan made liberal use of the Polymoog keyboard its distinctive "Vox Humana" preset. Other production tricks included copious amounts of flanging and reverb, plus the unusual move of including solo viola and violin parts in the arrangements. Numan was influenced by Kraftwerk. Notable tracks included "Airlane", the lead-off instrumental. S. hip hop scene. E.", told from the perspective of the last machine on Earth. "Cars" reached number 9 in the U.
S. and number 1 in Canada, helping make The Pleasure Principle Numan's strongest stateside showing, but lack of a strong commercial follow-up resulted in him being tagged as a one-hit wonder there. Numan toured throughout the world in support of the album with a huge stage set including banks of neon lights and twin pyramids which moved across the stage via radio control; the live show was captured on record on video as The Touring Principle. The support act on the UK leg of the tour was Orchestral Manoeuvres in the Dark. An expanded version of Living Ornaments'79 was issued on CD in 2005, the final show of The Touring Principle was captured on the CD Engineers in 2008. Numan performed a special gig dedicated to the album at Manchester Academy on 21 November 2009, similar to Numan's previous tours for Replicas and Telekon. Numan had been scheduled to play the 2010 Coachella Festival in Indio, California but was forced to cancel, due to the Icelandic volcano eruption that disrupted air travel.
To make up for this, Numan embarked upon a 16-date mini-tour of the U. S. that August, in which he performed The Pleasure Principle in its entirety. Of the bonus tracks included on CD reissues, "Random" and "Oceans" were instrumental outtakes from The Pleasure Principle sessions issued on vinyl with other unreleased tracks in 1985, while "Asylum" was the instrumental B-side of the "Cars" vinyl single; the live versions of "Me! I Disconnect From You" and "Bombers", which appeared as B-sides of "Complex", were recorded on tour and made available in their original context on the expanded Living Ornaments'79 CD, along with "Remember I Was Vapour" and "On Broadway"; the latter two tracks were first released as a promotional single shipped with early pressings of the album Telekon in 1980. AllMusic's Greg Prato rated The Pleasure Principle 4.5 of 5 stars. He explained that "there is not a single weak moment on the disc" and that "the quality of the songs gets stronger and stronger as the album progresses".
He concluded: "If you had to own just one Gary Numan album, The Pleasure Principle would be it." Robert Christgau rated the album a B, saying that it was where "metal machine music goes easy-listening." He stated, "This time he's singing about robots and isolation. In such a slight artist, these things make all the difference." All songs written except where noted. CD bonus tracks"Random" – 3:49 "Oceans" – 3:03 "Asylum" – 2:31 "Me! I Disconnect from You" – 3:06 "Bombers" – 5:46 "Remember I Was Vapour"* – 4:46 "On Broadway" – 4:48 To coincide with The Pleasure Principle 30th Anniversary Tour, a special edition of the album was released on 21 September 2009. Disc one"Airlane" "Metal" "Complex" "Films" "M. E." "Tracks" "Observer" "Conversation" "Cars" "Engineers"Disc two"Airlane" "Metal" "Complex" "Films" "M. E." "Tracks" "Observer" "Conversation" "Cars" "Engineers" "Random" "Oceans" "Asylum" "Photograph" "Gymnopedie No. 1" "Conversation" "M. E."Disc three "Down in the Park" "On Broadway" "Everyday I Die" "Remember I Was Vapour" "Bombers" "Me!
I Disconnect from You" "Conversation" "Metal" "Down in the Park" "Airlane" "Cars" "We Are So Fragile" "Films" "Something'
Savage (Songs from a Broken World)
Savage is the eighteenth solo studio album by English musician Gary Numan, released on 15 September 2017 by BMG and The End. The album was first announced to be a part of a fan-backed Pledge Music Campaign on 12 November 2015. On 9 November 2018, a followup EP titled; the EP features similar artwork to Savage, it was intended to complement the album. Savage is a concept album centred around the blending of Western and Eastern cultures in a post-apocalyptic world that has become desertified as a result of global warming. "The songs are about the things that people do in such a harsh and terrifying environment," Numan stated in an interview. "It's about a desperate need to survive and they do awful things in order to do so, some are haunted by what they've done. That desire to be forgiven, along with some discovered remnants of an old religious book encourages religion to resurface, it goes downhill from there." Per Numan's website. Standard CD Deluxe hardback book CD featuring the bonus track "If I Said" Double LP featuring two bonus tracks "If I Said" and "Cold" Exclusive vinyl picture disc, limited to only 500 copies and features two bonus tracks "If I Said" and "Cold" Cassette featuring the same tracks as the standard CD.
In order of appearance, working demo song titles included: "Song 1" "Dome" "Kontakt 7" "Nameless" "March" "I Heard a Voice" "Save Me" "Where Will You Be""When the world comes apart" is a line from the 1994 Sacrifice song "Magic", "Mercy" was an early demo title during the 2006 Jagged sessions, which would become "We Are the Lost" from Dead Son Rising. A'pre-Ade Fenton' mp3 of "Bed of Thorns" was made available to download on 3 September 2016; this demo version appears on the soundtrack to the 2017 film Ghost in the Shell. To quote Numan: "I have a new song'Bed of Thorns' on the released Ghost in the Shell album. To be exact it's my early demo version of the song; the version that will come out on my Savage album in a few months is different." "Bed of Thorns" debuted live on 2 October 2016. On 13 May 2016, Numan added a video and the following text to Facebook regarding the ballad "If I Said", wherein his daughters and Echo, sing the song in unison: Please forgive the proud Dad in me but this is a clip of Persia and Echo singing the "If I Said" piano demo.
I'd just finished the lyric and they had just that minute come home from school. They didn't know the tune at all so it's a little wayward in places, they are both dyslexic, so them reading it at all was enough to make me watery-eyed, but having your own children sing one of your new songs is about as special as it gets. Following the album's release, it was revealed that, in spite of it being predominantly recorded with electronic instruments, it had been excluded from Billboard's dance/electronic music chart, with an executive from Billboard advising BMG that “Sonically, the Numan album just does not fit in" with Billboard's perception of electronic dance music; the Billboard dance/electronic chart's number one position for September 15 was held by Calvin Harris, whose album, Funk Wav Bounces Vol. 1, sold 600 fewer copies than Savage. Savage garnered positive reviews; the album received an average score of 74/100 from 11 reviews on Metacritic, indicating "generally favourable reviews". AllMusic's James Christopher Monger said that Numan "can still juggle melodrama and musicality with such effortlessness is impressive, to say the least, but that he can make it so compelling is what sets him apart from his old guard new wave contemporaries."
David Simpson of The Guardian had a mixed impression, saying that despite Numan sounding tired and like a faded star, his music still has a beating heart. The Quietus' Josh Gray criticised Savage's cover art and presentation as culturally and aesthetically offensive and in "poor taste," but he praised the album's songs and themes. Chris Ingalls of PopMatters called the album "a compelling cautionary tale of what may happen if we’re too complacent to give a damn about future generations. It’s a stunningly sharp and diverse collection of songs from a living legend." All tracks written by Gary Numan, except "What God Intended" written by Gary Numan/Ade Fenton. Gary Numan – vocals, keyboards Ade Fenton – keyboards, mixing, production Steve Harris – guitars Tim Slade – bass Persia Numan – backing vocals Nathan Boddy – mixing Paul Carr – mixing assistant Matt Colton – mastering
The Fury (album)
The Fury is the seventh solo studio album by English musician Gary Numan released in September 1985, it was Numan's second release on his self-owned Numa Records label. It saw him continuing to explore the sample-heavy industrial sound that he had developed for his previous album Berserker in 1984. Although Numan's previous album Berserker had failed to make a notable commercial impact, Numan decided to continue with a similar sound for his next album. For the second time in his career he decided to team up with other people to produce his album, recruiting the Wave Team as his co-producers. Colin Thurston assisted on the production of one track; the Fury continued with the sampled, industrial sound heard on Berserker but added layers of electro-funk that he had experimented with on I, Assassin and Warriors. The style would become a crucial part of his music; as on Berserker, the rhythm section is dominated by aggressive electronic percussion and usage of samples, but the fretless bass, an important element on the previous album disappeared completely, with only three tracks on the new album featuring a bass.
The rhythm elements were balanced with the usage of a PPG Wave synthesiser, saxophonist Dick Morrissey again provided the more melodic elements, while guitars were non-existent. Tessa Niles and Tracy Ackerman contributed female backing vocals, similar to those heard on Berserker, which would be another continuing theme in Numan's work until the early 1990s. Of the album, Numan recalled: The usage of sampling on the album is prominent on the album's anthemic opening track, "Call Out the Dogs", which uses several recognisable samples taken from the 1982 neo-noir science fiction film Blade Runner; this marked the beginning of Numan's fascination with the film that would resurface on his next three studio albums, Strange Charm in 1986, Metal Rhythm in 1988, Outland in 1990. Numan supported The Fury with a 17-date live UK tour in September and October 1985. No live albums or videos have been released from the tour; the original album cover artwork was much at odds with the music, featuring an oddly Bryan Ferry-esque Numan dressed in a white suit with a red bow-tie, posing in a tilted photograph against a white-dominant background, with the album name written on a typeface reminding the viewer of 1950s futurism.
Numan admitted that the cover was "completely inappropriate," "probably did the album a great disservice" and made him look like "the man who lost it all at Monte Carlo". "Your Fascination", "Call Out the Dogs", "Miracles" were released as singles in rapid-fire succession in August and November 1985, charting at No. 46, No. 49, No. 49, respectively. This was quite a poor turn-around compared to Numan's previous success. Numan blamed the singles' poor chart positions on the total lack of radio airplay that they had received. In November 1986 a version of "I Still Remember" was released as a charity single, with all of the proceeds going to the RSPCA. Numan wrote and sung new lyrics for this version, changing the personal anguish theme of the original for a story of a dog mistreated by its owners and dying at the end of the song. Despite the lack of successful singles, The Fury peaked at No. 24 on the UK Albums Chart, higher than both Berserker and the White Noise live album released earlier the same year.
The Fury remains the highest-charting album released by Numa Records, was the last of Numan's albums to reach the UK Top 30 until 2013 with the release of Splinter reaching No. 20 on the UK Album Chart. The album was released in the UK on both LP, CD and cassette. A second cassette version was available containing extended mixes of all nine tracks. In 1998 the album was issued on CD for the first time in the United States by Cleopatra Records; this release added five bonus tracks, including three alternate versions of songs on the album, a cover photograph different from the UK release. The following year, the album was reissued on CD in the UK by Eagle Records; this issue featured five bonus tracks, but dropped the alternate versions in favour of three additional out-takes. This reissue used a cover artwork similar but not identical to the original UK cover, with Numan's red bow-tie re-coloured white, amongst other changes. All tracks written by Gary Numan, except "This Disease" and "Tricks", which were co-written by Numan with Andy Coughlan.
All timings are approximate and will vary with different equipment. "Call Out the Dogs" – 4:42 "This Disease" – 4:04 "Your Fascination" – 4:46 "Miracles" – 3:40 "The Pleasure Skin" – 4:10 "Creatures" – 5:10 "Tricks" – 5:43 "God Only Knows" – 5:26 "I Still Remember" – 4:04 "Call Out the Dogs" – 4:42 "This Disease" – 4:04 "Your Fascination" – 4:46 "Miracles" – 3:40 "The Pleasure Skin" – 4:10 "Creatures" – 5:10 "Tricks" – 5:43 "God Only Knows" – 5:26 "I Still Remember" – 4:04 "Call Out the Dogs" – 6:47 "This Disease" – 5:19 "Your Fascination" – 5:14 "Miracles" – 4:22 "The Pleasure Skin" – 5:03 "Creatures" – 6:40 "Tricks" – 6:21 "God Only Knows" – 6:38 "I Still Remember" – 5:24All of the tracks on this version of the album feature extended running times. "Call Out the Dogs" – 4:42 "This Disease" – 4:04 "Your Fascination" – 4:46 "Miracles" – 3:40 "The Pleasure Skin" – 4:10 "Creatures" – 5:10 "Tricks" – 5:43 "God Only Knows" – 5:26 "I Still Remember" – 4:04 "Call Out the Dogs" – 6:47 "I Still Remember – 5:22 "Anthem" – 3:29 "Tribal" – 5:5
Dance (Gary Numan album)
Dance is the third solo studio album by English musician Gary Numan, released in 1981. It was the first studio album Numan released after his "Farewell Concerts" staged at Wembley Arena. Dance features the UK Top 10 single "She's Got Claws"; the album itself reached #3 on the UK charts. With synth pop music in the mainstream by 1981, Numan made a conscious effort to craft a more sombre and musically experimental album, in a jazzier vein than its predecessors; the album's title is somewhat ironic, as Dance was the least danceable album Numan had made at that point. The album's sound constitutes a significant change in style from the heavy analogue synth arrangements of Numan's earlier hit releases. Side One of the album consists of four long, slow-tempo minimalist songs, with the rhythm tracks based around muted drum machine patterns; the style is not dissimilar to some of the more ambient work by Brian Eno his solo album Another Green World and collaborations with David Bowie on Low and "Heroes", tracks by the band Japan such as'"The Tenant" and "Despair".
Side Two of the album contains more conventional songs. One of these, "Moral", is a contrafactum, adapting the tune from Numan's 1979 song "Metal", changing its lyrics into an attack on the New Romantic movement. Numan's commercial success by this period enabled him to enlist several guest musicians to perform on the album, including guitarist Rob Dean and bassist/saxophonist Mick Karn of Japan, drummer Roger Taylor of Queen, keyboardist Roger Mason of Australian band Models, Canadian alternative musician Nash the Slash. Lyrically, the songs deal with tragic sexual relationships, examined in a manner similar to the bleak and alienating relationships between people and technology that informed earlier songs such as "Down in the Park" and "Are'Friends' Electric?". The opening track. "Night Talk" is about a man dealing with a lover, a drug addict. "Cry the Clock Said" is a nearly ten-minute ballad about a breakup. The salsa-flavoured "She's Got Claws" is about a predatory woman, written as an embittered response to an ex-girlfriend who sold the story of their relationship to the tabloids.
The melancholic "Stories" describes an accidental café reunion between a woman and her son by a failed relationship. Reaction to the album was mixed, some critics applauding what they saw as a less commercial career move and others viewing the change of pace with cynicism. A few years after Dance's release Numan conceded, "if I was supposed to be a pop star doing music for the masses, it wasn't the right thing to do", but he praised the standard of playing on it. "She's Got Claws" was the album's sole single release, making number 6 in the UK charts, whilst the album itself peaked at number 3. It was Numan's first album to miss the number 1 spot since Tubeway Army's debut album in 1978, dropping out of the charts after 8 weeks. Numan rarely performs any music from the album in concert; however live recordings and visual footage of "She's Got Claws", "Cry the Clock Said" and "Moral" appear on Numan's video/DVD Micromusic and album Living Ornaments'81, taken when they were previewed prior to the release of Dance at his Wembley'farewell' concerts in April 1981.
An early live recording of "Stories" came to light in 2005 when Beggars Banquet released the expanded Living Ornaments'80 album on CD. Numan performed "Crash" and "Boys Like Me" during club dates in the US in 1982 but they have not been released, while "Night Talk" was performed live in 2004 to mark the 20th anniversary of Paul Gardiner's death, Numan's longtime bassist and co-writer of the track. On his website on 30 March 2010, Numan mentioned that "Crash" was one of the songs rehearsed for his set at the Manchester and London "Back to the Phuture" shows. All tracks written by Gary Numan, except "Night Talk" and "Stormtrooper in Drag", co-written with Paul Gardiner. Previous CD releases of Dance included "Love Needs No Disguise", Numan's 1981 single with Dramatis, as a bonus track; the track was subsequently replaced by its B-side, "Face to Face", for the subsequent edition of Dance, although "Love Needs No Disguise" would be included on the 1996 Numan compilation, The Premier Hits. On 19 January 2018, Beggars Arkive released Dance as a vinyl double-album, with the following track listing: The only previously-unreleased track in the 2018 edition of Dance is the extended version of "Moral,", over a minute longer than the version in the original album.
The 2018 edition of Dance otherwise replicates the track listing of the standard CD edition. Gary Numan - Vocals, Polymoog, SCI Prophet-5, Roland Jupiter-4, Yamaha CP-30, ARP Odyssey, Roland CR-78, Linn LM-1, Guitar, Piano, Claves, Handclaps Paul Gardiner - Bass, Guitar, ARP Odyssey Cedric Sharpley - drums Chris Payne - Viola John Webb - Roland Jupiter-4, Linn LM1, Handclaps Jess Lidyard - Drums Mick Karn - Fretless bass, saxophone Nash the Slash - Violin Roger Taylor - Drums, tom-toms Rob Dean - Guitar Tim Steggles - Percussion Sean Lynch - Linn LM1 Connie Filapello - Vocals Roger Mason - SCI Prophet-5, Yamaha CP-30 Mick Prague - Bass Paul Goodwin. Electric Pioneer: An Armchair Guide To Gary Numan Allmusic
Warriors (Gary Numan album)
Warriors is the fifth solo studio album by English musician Gary Numan released in September 1983. It was his last studio album released on Beggars Banquet Records. Gary Numan returned to England in May 1983 to record the album, he had written most of the album's material in late 1982-early 1983, while he was living in Jersey, Channel Islands. While Numan was working on the early Warriors material, Beggars Banquet suggested that, for the first time during his career, he should use a co-producer instead of producing the album by himself. Numan was not keen at first, but WEA managing director Mike Heap promised him "a unlimited promotional budget" on the album if he signed up a producer. Numan decided to recruit guitarist Bill Nelson for the job, as he was an admirer of Nelson's band, Be-Bop Deluxe. Numan claimed that Nelson was his "favourite guitar player, bar none." For Numan, Mike Heap was fired and the record company was no longer willing to cover all the costs for Numan's album. It was stated sometime after the release of the album WEA had, in fact, told Numan that he was reaching sales of 60,000 units, and, satisfactory to them.
Numan remarked, "When the new people came in, I was as far from a priority act as it was possible to be. I felt as though they'd cut me down at the knees and it was the last time I got excited about a promise in the music business."Numan claimed that Warriors pointed the way for his artistic decline throughout the 80s: For the recording of the album, Numan retained drummer Cedric Sharpley, keyboardist Chris Payne, guitarist Russell Bell, all of whom had played on his albums and tours since 1979. Pino Palladino, the bassist on Numan's previous album I, was unable to return for Warriors. At Palladino's suggestion, Numan recruited Joe Hubbard as a replacement. Bill Nelson played guitars during the recording of Warriors, giving them more prominence than they had been allowed on I, Assassin. Numan asked Dick Morrissey to be the saxophone player on the album, as he admired his work on the Blade Runner film score. Numan described Morrissey as "brilliant, a musical genius. First take, not a single note wrong."
Morrissey would contribute to five Numan albums, from 1983 to 1991. Female backing vocals were introduced to the Numan sound on Warriors, provided by Tracey Ackerman. Numan and Bill Nelson quarrelled during the Warriors recording sessions. Numan recalled: The relationship between Numan and Nelson deteriorated to the point that Numan "would go out and play pool" while Nelson worked in the studio. Numan disliked Nelson's mix of Warriors, so he remixed the album and made changes to the track listing: both "My Car Slides" and "Poetry and Power" were relegated to B-side status, "Sister Surprise" and "The Tick Tock Man" were completely re-recorded. Nelson asked not to be credited on the final album. Numan conceded that Nelson "did a lot of inventive things on which, because of our differences, I failed to appreciate at the time. To be with him in a room when he was playing guitar was an honour. I would just sit back and listen and all my antagonism would float away."Numan floated prospective titles for the new album amongst his fanbase.
Fans were given the opportunity to vote for one of three potential album titles - This Prison Moon and Power, Glasshouse. Numan overruled the fans' preference of This Prison Moon and chose Warriors as the album's title. Numan's image for the Warriors album and live tour was influenced by the film Mad Max 2. Many parts of the actual costume came from a sex shop in London; the title track was released as the first single from the album in August 1983, reaching #20 in the UK charts. Numan claimed that the single's chart performance was "killed" because it was released as a picture disc, the week it was released, the chart compilers decided that picture discs were ineligible and didn't count their sales; the single peaked at #12 before the picture disc sales were stripped The album itself was released the following month, reaching number 12 on the UK charts, although four places lower than Numan's previous album, it did sell more than I, Assassin with over 60,000 units worldwide. So, it was Numan's first studio album not to be released in the US, was only available there as an import.
The album spent six weeks in the UK charts, despite its low chart placement, it gathered some of the best reviews Numan had had in the UK music press. In October, a shorter, re-recorded version of "Sister Surprise" was released as the second and final single off the album, it charted at #32, making it the lowest-charting Numan solo single up to that point. Due to Numan's dissatisfaction with Beggars Banquet who were now just the middle men between Numan and WEA and other major record companies in general, he decided to form his own record label, Numa Records, in late 1983. Numan released his next three studio albums through Numa Records. Warriors was supported by a 40-date UK tour from September to October 1983; these were Numan's first live dates in the UK since his Wembley farewell conc
Outland (Gary Numan album)
Outland is the tenth solo studio album by English musician Gary Numan, released in 1991. It was Numan's last studio album to be released by IRS Records, it reached Number 39 on the UK charts. The songs "Heart" and "My World Storm" were released as singles; the latter however reached Number 46 on the US dance chart. Musically, Outland maintained previous albums' synth-pop/dance-funk style, which would continue until the artist's 1994 industrial album Sacrifice; the electro-jazz stylings of Outland are reminiscent of Numan's 1989 collaboration album with Bill Sharpe, although its dystopian lyrics are more typical of Numan's solo work. Outland could be described as a concept album, as its songs share common themes and common musical and lyrical motifs. Indeed, Outland features more overt references to science-fiction than any other album Numan has released; the album features many vocal samples from notable sci-fi/action movies of the 1980s, including Blade Runner, The Terminator and Predator. The instrumental interludes on Outland add to the album's cinematic atmosphere.
Of the album, Numan recalled: All songs written by Gary Numan. All timings are approximate and will vary with different equipment. "" – 1:13 "Soul Protection" – 3:36 "Confession" – 4:17 "My World Storm" – 3:43 "Dream Killer" – 4:22 "Dark Sunday" – 4:02 "Outland" – 4:05 "Heart" – 4:06 "" – 0:19 "From Russia Infected" – 4:30 "" – 0:39 "Devotion" – 4:13 "Whisper" – 4:20 "" – 1:13 "Soul Protection" – 3:36 "Confession" – 4:17 "My World Storm" – 3:43 "Dream Killer" – 4:22 "Dark Sunday" – 4:02 "Outland" – 4:05 "Heart" – 4:06 "" – 0:19 "From Russia Infected" – 4:30 "" – 0:39 "Devotion" – 4:13 "Whisper" – 4:20 "Shame" - 4:48 "Icehouse" - 3:19 "Tread Careful" - 4:14 "My World Storm" - 5:45 "My World Storm" - 3:41 "My World Storm" features a snippet from "Cars". "Shame" was planned as the first single in early 1990, but with the length of time taken for the final release of the album, the single was demoted to the b-side of the eventual first single, "Heart". Gary Numan – vocals, bass, drum programming, percussion programming, acoustic guitar Keith Beauvais – guitar Mike Smith – drums, acoustic guitar, slide guitar, bass, bongos Dick Morrissey – saxophone Tim Whitehead - saxophone Russell Bell – guitar Nick Beggs – bass Paul Harvey – rhythm guitar, slide guitar Cathi Ogden – backing vocals Allmusic Discogs.com