A musician is a person who plays a musical instrument or is musically talented. Anyone who composes, conducts, or performs music is referred to as a musician. A musician who plays a musical instrument is known as an instrumentalist. Musicians can specialize in any musical style, some musicians play in a variety of different styles depending on cultures and background. Examples of a musician's possible skills include performing, singing, producing, composing and the orchestration of music. In the Middle Ages, instrumental musicians performed with soft ensembles inside and loud instruments outdoors. Many European musicians of this time catered to the Roman Catholic Church, they provided arrangements structured around Gregorian chant structure and Masses from church texts. Notable musicians Phillipe de Vitry Guillaume Dufay Guillaume de Machaut Hildegard of Bingen John Jenkins Beatritz de Dia Tyagaraja Purandara Dasa Bhimsen Joshi Bismillah Khan A. R. RAHMAN Renaissance musicians produced music that could be played during masses in churches and important chapels.
Vocal pieces were in Latin—the language of church texts of the time—and were Church-polyphonic or "made up of several simultaneous melodies." By the end of the 16th century, patronage split among many areas: the Catholic Church, Protestant churches, royal courts, wealthy amateurs, music printing—all provided income sources for composers. Notable musicians Giovanni Palestrina Giovanni Gabrieli Thomas Tallis Claudio Monteverdi Leonardo da Vinci The Baroque period introduced heavy use of counterpoint and basso continuo characteristics. Vocal and instrumental "color" became more important compared with the Renaissance style of music, emphasized much of the volume and pace of each piece. Notable musicians George Frideric Handel Johann Sebastian Bach Antonio Vivaldi Classical music was created by musicians who lived during a time of a rising middle class. Many middle-class inhabitants of France at the time lived under long-time absolute monarchies; because of this, much of the music was performed in environments that were more constrained compared with the flourishing times of the Renaissance and Baroque eras.
Notable musicians Wolfgang Amadeus Mozart Joseph Haydn Ludwig Van Beethoven The foundation of Romantic period music coincides with what is called the age of revolutions, an age of upheavals in political, economic and military traditions. This age included the initial transformations of the Industrial Revolution. A revolutionary energy was at the core of Romanticism, which quite consciously set out to transform not only the theory and practice of poetry and art, but the common perception of the world; some major Romantic Period precepts survive, still affect modern culture. Notable musicians Ludwig van Beethoven Frédéric Chopin Franz Schubert Niccolò Paganini Franz Liszt Charles-Valentin Alkan Richard Wagner Pyotr Ilyich Tchaikovsky Johannes Brahms Johann Strauss II The world transitioned from 19th-century Romanticism to 20th century Modernism, bringing major musical changes. In 20th-century music and musicians rejected the emotion-dominated Romantic period, strove to represent the world the way they perceived it.
Musicians wrote to be"... objective. While past eras concentrated on spirituality, this new period placed emphasis on physicality and things that were concrete."The advent of audio recording and mass media in the 20th century caused a boom of all kinds of music—pop, dance, folk and all forms of classical music. Musicians can experience a number of health problems related to the practice and performance of music; these can include tinnitus and noise-induced hearing loss, which occurs and over a long period of time, most musicians do not seek help until they start to experience secondary symptoms such as tinnitus, distortion of sounds and hyperacusis. In addition, musicians are at increased risk for both musculoskeletal and vocal health problems when producing high sound levels on musical instruments. Increased biomechanical demands, whether at the hands, embouchure, or vocal cords, elevates the risks for occupational health problems like tendonitis, carpal tunnel, rupture of facial muscles, vocal cord malfunction.
Singer Composer Tour manager Musicians' or'Hi-Fi' earplugs Media related to Musicians at Wikimedia Commons
Bombers (Gary Numan song)
"Bombers" is the second single by Tubeway Army, released in 1978. The song is in a somewhat more conventional rock style than their punk-oriented debut, "That's Too Bad", features sound effects simulating air raid sirens, dive bombers, machine gun fire. Like its predecessor, the single failed to chart, it is one of the few recordings in his career. Though their musical styles differ, the song's subject matter is seen as a thinly disguised rewrite of David Bowie's "Five Years", the opening track of The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Both songs feature detached observations of urban panic caused by impending catastrophe. "Bombers" is sung from the perspective of both a witness on the bomber pilot. In his review for Record Mirror in October 1978, Robin Smith stated that "..the market for this sort of heavyweight monotony has died." The B-sides were "Blue Eyes", which harked back to the fast-paced punk style of "That's Too Bad", "O. D. Receiver", a slower piece whose lyrics reflected a Burroughsian world of drug addiction.
All tracks on the original vinyl single were credited to'Valerian', the name that Numan had chosen for himself prior to Tubeway Army's début album. "Bombers" was later released as a gatefold with the single "That's Too Bad" "Bombers" – 3:52 "Blue Eyes" – 1:43 "O. D. Receiver" – 2:37 Producers: Kenny Denton Musicians: Gary Numan: Vocals, Guitar Paul Gardiner: Bass guitar Barry Benn: Drums Sean Burke: Guitar Five recordings of "Bombers" have been released: The original demo version, recorded 7–9 March 1978 at Spaceward Studios, near Cambridge; this recording was not released to the public until October 1984, on an album of unissued tracks from the same sessions called The Plan. These sessions featured Gary Numan, Paul Gardiner, Numan's uncle Jess Lidyard on drums; the single version released in July the same year. This session was produced by Kenny Denton, featured a short-lived band line-up of Numan, Barry Benn, Sean Burke, it has since appeared on CD reissues of The Plan. The single features a revised lyric: on the demo, the third verse starts with "All the junkies pulling needles from their arms."
Beggars Banquet feared that the word "junkies" would prevent the song receiving airplay and so, for the single, Numan changed the line to "All the nurses pulling needles from their arms." An ink tracing by Garry Robson of Numan's face on the single's sleeve would provide the design for the 1979 reissue cover of Tubeway Army's eponymously titled debut album. A live version recorded 28 September 1979 at the Hammersmith Odeon and released on the B-side of the single "Complex" that year; this arrangement differed from the earlier recordings, featuring a Roland CR-78 drum machine and synthesizer, along with guitar and conventional percussion. The track was included as a bonus track on various CD re-releases of The Pleasure Principle, as well as on an expanded version of Numan's live album Living Ornaments'79, where it appeared as the first of three songs utilising the same CR-78 preset drum pattern, the others being "Remember I Was Vapour" and "On Broadway"; the Hammersmith recording was released on the limited edition bonus disc issued with The Pleasure Principle 30th anniversary edition.
This edition shows that it was supposed to have been released as part of a Live E. P. in January 1980. Live version, recorded 31 May 1980 in Sydney and released on the live album Engineers; this album was available and for a limited time on Numan's official website in early 2008. Live version, recorded 6 November 1993, released on the album Dream Corrosion; this rendition resembles the original, rock-oriented version of the song rather than the slowed-down version from'The Touring Principle'. Live version, recorded on the Machine Music Tour at the Dome, Brighton on 3rd June 2012, released on Machine Music Live, June 2013. Lyrics of this song at MetroLyrics
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Are "Friends" Electric?
"Are'Friends' Electric?" is a 1979 song by the English band Tubeway Army. Taken from their album Replicas, it was released as a single in May 1979 and reached number one in the UK Singles Chart, staying there for four weeks, it was produced by Gary Numan, the band's frontman and lead vocalist. "Are'Friends' Electric?" Features three different sections: a recurring "verse" with a synth riff in C and B flat, a recurring section with spoken word over slow arpeggiated seventh chords, an instrumental break in F. The instrumentation is quite minimal: there is a conventional drum and bass guitar backing track, some additional flanged guitar, subdued vocals and, most prominently and Polymoog synthesizers; these synth parts include a slow-paced sawtooth bass riff, some soaring portamento background lines. Numan stumbled upon synthesizers by accident. While intending to record a punk album, he noticed a Minimoog synthesizer, left in the studio; the B-side of the single was a more rock-oriented number, "We Are So Fragile".
It was performed on Numan's 1979 "Touring Principle" series of concerts and appears on the album Living Ornaments'79. The song was covered by bis on the compilation album Random. Despite being over five minutes long and possessing, in the words of its composer, "no recognisable hook-line whatsoever", the single topped the UK charts. Whilst the track's distinctive sound stood out at the time, sales benefited from the record company's use of a picture disc and Numan's striking, "robotic" performance on the TV shows The Old Grey Whistle Test and Top of the Pops. "Are'Friends' Electric?" has been a mainstay of Numan's concerts since its release and appears on all ten of his official live recordings to date. A semi-acoustic version appeared on the 2006 Jagged tour set list. Writing for Smash Hits in 1979, Cliff White described the song as "a dark, threatening wall of synthesized sound" which "throbbed ominously behind a gloomy song of paranoia and loneliness". White went on to say it was "gripping stuff, but cheerful it isn't".
All tracks written by Gary Numan. Tubeway ArmyGary Numan – Minimoog and Polymoog synthesizers, vocals Paul Gardiner – bass guitar Jess Lidyard – drumsProductionGary Numan – production The song was sampled by Richard X in a song titled "We Don't Give a Damn About Our Friends" as a mashup with vocals from Adina Howard's "Freak like Me", which the Sugababes recorded under the latter title and achieved a number one UK hit in 2002, it was covered by Information Society on their 1997 album Don't Be Afraid, The Dead Weather for their B-side of "Hang You from the Heavens". The song was covered by American rock band Weezer and released alongside their 2008 single, "Pork and Beans". "Are'Friends' Electric?" was featured in the video game Need for Speed: Carbon, JJ Abram's Fringe, the AMC Television show Halt and Catch Fire. The song was sampled by Kryder and The Cube Guys in their 2016 single, "You & Me". In 2018, Kevin Max covered the song for his concept album Romeo Drive
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Tubeway Army (album)
Tubeway Army is the debut album by Tubeway Army, released in 1978. Its initial limited-edition run of 5,000 did not chart; when reissued in mid-1979, following the success of the follow-up Replicas, the more known cover art featuring a stylised portrait of Gary Numan was introduced. This release made No. 14 in the UK album charts. Despite being the band's debut, Tubeway Army was seen as a transitional record, linking the punk flavour of early singles "That's Too Bad" and "Bombers" with the electronic music and science fiction imagery of Replicas; the first track, "Listen to the Sirens", borrowed its opening line from the Philip K. Dick novel Flow My Tears, The Policeman Said, while "Steel and You" contained references to androids; these and a number of other tracks featured primitive synthesizer effects, the legacy of Numan chancing upon a Minimoog in the recording studio one day. Elsewhere, the album’s lyrics inhabited a seedy world, compared to William Burroughs, an author whose influence Numan acknowledged.
"Friends" concerned male prostitution. "Every Day I Die" was about teenage masturbation. "Jo the Waiter" referenced drug addiction. "The Life Machine" was told from the perspective of a comatose man on life support who can only "watch from somewhere as the loved ones come and go". Sonically, the album ranged from hard rock with punk overtones, such as "My Shadow in Vain", "Friends" and "Are You Real?", through the post-punk of "Listen to the Sirens" and "The Dream Police", to the predominantly acoustic "Every Day I Die" and "Jo the Waiter". Major influences cited for this album's overall sound included David Bowie, early Roxy Music and Brian Eno, Lou Reed and The Velvet Underground, early Ultravox. Numan has performed tracks from this album since his early solo career, including "My Shadow in Vain", "Something's in the House", "Every Day I Die" and "The Dream Police". Others that appeared in his live repertoire included "Listen to the Sirens", "Friends" and "Jo the Waiter"; the 1998 CD reissue of Tubeway Army included a live concert a bootleg called Live at the Roxy, retitled as Living Ornaments'78 - a retrospective reference to Numan's official live albums Living Ornaments'79,'80 and'81.
It included early versions of "My Shadow In Vain" and "Friends" as well as a cover of The Velvet Underground's "White Light/White Heat". Crust punk/death metal band Deviated Instinct covered "Listen to the Sirens" on their 1990 EP Nailed; the 1997 Numan tribute album Random featured covers of Tubeway Army songs by Pop Will Eat Itself, The Orb and Dubstar. Terre Thaemlitz recorded a piano version of "Friends", released in 1999 on the Numan tribute album Replicas Rubato. All songs written by Gary Numan except "White Light/White Heat" "Listen to the Sirens" – 3:06 "My Shadow in Vain" – 2:59 "The Life Machine" – 2:45 "Friends" – 2:30 "Something's in the House" – 4:14 "Everyday I Die" – 2:24 "Steel and You" – 4:44 "My Love Is a Liquid" – 3:33 "Are You Real?" – 3:25 "The Dream Police" – 3:38 "Jo the Waiter" – 2:41 "Zero Bars" – 3:12CD bonus tracks "Positive Thinking" – 2:56 "Boys" – 2:13 "Blue Eyes" – 2:03 "You Don't Know Me" – 2:28 "My Shadow in Vain" – 4:13 "Me My Head" – 4:10 "That's Too Bad" – 3:26 "Basic J" – 3:03 "Do Your Best" – 2:40 "Oh!
Didn't I Say" – 2:31 "I'm a Poseur" – 2:30 "White Light/White Heat" – 2:49 "Kill St. Joy" – 3:46 Gary Numan – guitars, lead vocals, keyboards Paul Gardiner – bass guitar, backing vocals Jess Lidyard – drums Gary Numan – producer Mike Kemp – engineer, mixer John Dent – digital remastering numanme.co.uk 1998 CD reissue liner notes