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
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 Plan (Tubeway Army album)
The Plan is an archival compilation album of early demo recordings by British new wave band Tubeway Army, released in 1984. While the demos on The Plan were recorded in 1977 and 1978, they remained unreleased until September 1984 when Numan's former label, Beggars Banquet Records, issued them a year after Numan left the label. In the intervening seven years since recording the demos, Numan's career had scaled great heights of commercial success and waned, his most successful material had been similar in basic form and structure to the demos on The Plan, but had showcased a new synthesizer-based instrumentation instead of his previous punk rock sound. In the album's liner notes, Numan states that these songs were deliberately written and recorded in the then-popular punk rock style with the express aim of securing a record deal; some of the songs on the album formed the basis for songs that would be released on Tubeway Army's debut album in 1978, subsequently rearranged and augmented with the synthesizer-based rock sound which would become the Tubeway Army/Numan trademark.
The Plan went on reaching # 29 on the UK album chart. Two months after The Plan's release, Numan issued Berserker, his first album through his own record label, Numa Records. Chart-wise, The Plan outperformed the latter reaching # 45 on the UK album chart. All CD releases of The Plan include a wealth of bonus tracks, such as Tubeway Army's debut single "That's Too Bad" and an early version of the Tubeway Army album track "The Life Machine." All tracks written by Gary Numan. In 1993, Beggars Banquet issued a digitally remastered version of the album on CD, featuring 10 bonus tracks and a different running order; this release was packaged with Tubeway Army's 1979 album Replicas and was part of a series of double CDs, each of which paired two of Numan's albums together, with bonus tracks and new liner notes. In 1999, Beggars Banquet reissued the CD as a stand-alone release, newly remastered, with the further addition of two bonus tracks. Allmusic Paul Goodwin. Electric Pioneer: An Armchair Guide To Gary Numan
Cambridge is a university city and the county town of Cambridgeshire, England, on the River Cam 50 miles north of London. At the United Kingdom Census 2011, its population was 123,867 including 24,506 students. Cambridge became an important trading centre during the Roman and Viking ages, there is archaeological evidence of settlement in the area as early as the Bronze Age; the first town charters were granted in the 12th century, although modern city status was not conferred until 1951. The world-renowned University of Cambridge was founded in 1209; the buildings of the university include King's College Chapel, Cavendish Laboratory, the Cambridge University Library, one of the largest legal deposit libraries in the world. The city's skyline is dominated by several college buildings, along with the spire of the Our Lady and the English Martyrs Church, the chimney of Addenbrooke's Hospital and St John's College Chapel tower. Anglia Ruskin University, which evolved from the Cambridge School of Art and the Cambridgeshire College of Arts and Technology has its main campus in the city.
Cambridge is at the heart of the high-technology Silicon Fen with industries such as software and bioscience and many start-up companies born out of the university. More than 40% of the workforce have a higher education qualification, more than twice the national average; the Cambridge Biomedical Campus, one of the largest biomedical research clusters in the world, is soon to house premises of AstraZeneca, a hotel and the relocated Papworth Hospital. The first game of association football took place at Parker's Piece; the Strawberry Fair music and arts festival and Midsummer Fair are held on Midsummer Common, the annual Cambridge Beer Festival takes place on Jesus Green. The city is adjacent to the A14 roads. Cambridge station is less than an hour from London King's Cross railway station. Settlements have existed around the Cambridge area since prehistoric times; the earliest clear evidence of occupation is the remains of a 3,500-year-old farmstead discovered at the site of Fitzwilliam College.
Archaeological evidence of occupation through the Iron Age is a settlement on Castle Hill from the 1st century BC relating to wider cultural changes occurring in southeastern Britain linked to the arrival of the Belgae. The principal Roman site is a small fort Duroliponte on Castle Hill, just northwest of the city centre around the location of the earlier British village; the fort was bounded on two sides by the lines formed by the present Mount Pleasant, continuing across Huntingdon Road into Clare Street. The eastern side followed Magrath Avenue, with the southern side running near to Chesterton Lane and Kettle's Yard before turning northwest at Honey Hill, it was converted to civilian use around 50 years later. Evidence of more widespread Roman settlement has been discovered including numerous farmsteads and a village in the Cambridge district of Newnham. Following the Roman withdrawal from Britain around 410, the location may have been abandoned by the Britons, although the site is identified as Cair Grauth listed among the 28 cities of Britain by the History of the Britons.
Evidence exists that the invading Anglo-Saxons had begun occupying the area by the end of the century. Their settlement – on and around Castle Hill – became known as Grantebrycge. Anglo-Saxon grave goods have been found in the area. During this period, Cambridge benefited from good trade links across the hard-to-travel fenlands. By the 7th century, the town was less significant and described by Bede as a "little ruined city" containing the burial site of Etheldreda. Cambridge was on the border between the East and Middle Anglian kingdoms and the settlement expanded on both sides of the river; the arrival of the Vikings was recorded in the Anglo-Saxon Chronicle in 875. Viking rule, the Danelaw, had been imposed by 878 Their vigorous trading habits caused the town to grow rapidly. During this period the centre of the town shifted from Castle Hill on the left bank of the river to the area now known as the Quayside on the right bank. After the Viking period, the Saxons enjoyed a return to power, building churches such as St Bene't's Church, merchant houses and a mint, which produced coins with the town's name abbreviated to "Grant".
In 1068, two years after his conquest of England, William of Normandy built a castle on Castle Hill. Like the rest of the newly conquered kingdom, Cambridge fell under the control of the King and his deputies; the first town charter was granted by Henry I between 1120 and 1131. It recognised the borough court; the distinctive Round Church dates from this period. In 1209, Cambridge University was founded by students escaping from hostile townspeople in Oxford; the oldest existing college, was founded in 1284. In 1349 Cambridge was affected by the Black Death. Few records survive; the town north of the river was affected being wiped out. Following further depopulation after a second national epidemic in 1361, a letter from the Bishop of Ely suggested that two parishes in Cambridge be merged as there were not enough people to fill one church. With more than a third of English clergy dying in the Black Death, four new colleges were established at the university over the following years to train new clergymen, namely Gonville Hall, Trinity Hall, Corpus Christi and Clare.
In 1382 a revised town charter effects a "diminution of the liberties that the community had enjoyed", due to Cambridge's pa
I, Assassin is the fourth solo studio album by English musician Gary Numan. Released in 1982, it reached no. 8 on the UK charts. Three songs. Numan's previous album, was an experimental effort that explored and incorporated different musical elements such as jazz. I, Assassin operates in a similar vein. Although the fretless bass and some of the jazz elements of Dance are still in place, Numan went further with I, exploring funk music and blending it together with heavier percussion and his own familiar electronic sound. Numan recalled that an important factor during the album's recording was the contribution made by fretless bassist Pino Palladino: At the time I, Assassin was released, Numan believed it was the best album he had made. Although it was unsurprisingly slated by the majority of the British music press, the album did garner some praise. Numan was given credit for changing his sound by shifting from synth-heavy music to a more bass-led, electro-dance approach. Numan argued that he wanted to shift away from a lot of electronic artists during this period because he felt they were stuck in an interchangeable and simplistic rut that they could never break.
Numan was interested in experimenting with other genres. For the album's cover sleeve, Numan retained the "Fedora" hat from Dance, with the trenchcoat and alley background representing I, Assassin's 1930s gangster motif; the album cover of I, Assassin was influenced by that of Frank Sinatra's 1954 album Songs for Young Lovers. Before the release of I, Numan left Britain to live as a tax exile in the United States, he supported the new album with an 18-date concert tour in America in October-November 1982. No official live videos have been released from Numan's 1982 tour. Numan recorded a second video for "We Take Mystery" during his stay in Los Angeles, before heading to live in Jersey where he began writing the material for his next album, Warriors. I, Assassin was released on vinyl album and cassette in 1982, it was released on CD in 1993, as a double CD packaged with Numan's 1980 album Telekon. I, Assassin was released on CD by itself in 2002. Both CD releases contain seven bonus tracks. All songs are written by Gary Numan.
"White Boys and Heroes" – 6:23 "War Songs" – 5:05 "A Dream of Siam" – 6:13 "Music for Chameleons" – 6:06 "This Is My House" – 4:52 "I, Assassin" – 5:26 "The 1930s Rust" – 3:55 "We Take Mystery" – 6:10 "War Games" – 3:55 "Glitter and Ash" – 4:42 "The Image Is" – 5:55 "This House Is Cold" – 5:27 "Noise Noise" – 3:49 "We Take Mystery" – 5:58 "Bridge? What Bridge?" – 4:22Note The track "Bridge? What Bridge?" was a B-side track for the 12" single of "Music For Chameleons", is an improvisational piece and includes Mick Khan and Michelle Adams as backing vocalists,she was the dancer in the Music for chameleons and White Boys and heroes. Therasa Bazzar backing vocals, Van Day handclaps, to the song "Noise Noise", the B-side of "Music For Chameleons". Gary Numan - vocals, guitar, producer Roger Mason - Synthesizers Pino Palladino - Fretless bass, guitar Chris Slade - drums, percussion John Webb - Percussion Mike - Saxophone, harmonica Michelle Adams Backing Vocalist on Bridge? What bridge Mick khan Backing Vocalist on Bridge?
What bridge Nick Smith - Engineer Numan, Gary. Praying to the Aliens. Andre Deutsch Ltd. ISBN 0-233-99205-7. Allmusic
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
Replicas is the second and final studio album by English new wave band Tubeway Army, released in April 1979 by Beggars Banquet Records. It followed their self-titled debut from the previous year. After this, Tubeway Army frontman Gary Numan would continue to release records under his own name, though the musicians in Tubeway Army would continue to work with him for some time. Replicas was the first album of what Numan termed the "machine" phase of his career, preceding The Pleasure Principle and Telekon, a collection linked by common themes of a dystopian science fiction future and transmutation of man/machine, coupled with an androgynous image and a synthetic rock sound. Fuelled by a surprise No. 1 hit single, "Are'Friends' Electric?", the album reached No. 1 in the UK charts in July 1979 and was certified Gold by the BPI for sales in excess of 100,000 copies. A loose concept album, Replicas was based on a dystopian book Numan hoped to complete someday, set in a not-too-distant future metropolis where Machmen and other machines keep the general public cowed on orders from the Grey Men.
While the album's setting and lyrics were directly inspired by the science fiction of Philip K. Dick his seminal work Do Androids Dream of Electric Sheep?, the title was not. Although Numan's Machmen were similar to Replicants, the term used for androids in Ridley Scott’s Blade Runner, Scott’s film came out three years after Tubeway Army’s album and Dick never used the word "Replicant" in his original 1968 novel; the album cover shows Numan as a Machman staring out from his room at a waning crescent moon hovering above "The Park" as a visible man stands outside while Numan's reflection stares back at himself. Musically, Numan’s main influence was the commercially unsuccessful John Foxx-led incarnation of Ultravox. Tracks like "Speed of Life" and "Breaking Glass" from David Bowie’s Low were cited, along with Kraftwerk’s The Man-Machine album, in particular the long and wistful track "Neon Lights"; the recording was a development of the sound of the first Tubeway Army album. While the tracks "The Machman", "You Are in My Vision" and "It Must Have Been Years" recalled the earlier album’s guitar-oriented rock, the rest were built solidly around an analog synthesizer, the Minimoog.
Along with "Are'Friends' Electric?", this included "Me! I Disconnect from You", the atmospheric "Down in the Park", the multi-layered title track and the closing instrumentals "When the Machines Rock" and "I Nearly Married a Human", the latter featuring Numan's first use of a primitive drum machine. Replicas' synthesizer sound and nihilistic lyrics had a major impact on the industrial acts that came to prominence in the mid-1990s such as Marilyn Manson and Nine Inch Nails, both of whom covered Numan's songs on record. Both Manson and Foo Fighters released versions of "Down in the Park". "Are'Friends' Electric?" was covered by a number of artists, was most notably the basis for Sugababes' No. 1 hit "Freak Like Me" in 2002. Numan has continued to play tracks from Replicas on his live tours, with "Me! I Disconnect from You", "Are'Friends' Electric?" and "Down in the Park" being mainstays, whilst "Praying to the Aliens" and "Replicas" have lately become part of his live repertoire. The 1999 and 2008 reissue editions included several bonus tracks, including three single B-sides: "We Are So Fragile", "Do You Need the Service?" and "I Nearly Married a Human".
"The Crazies", "Only a Downstat" and "We Have a Technical" were outtakes from the Replicas sessions. All songs written by Gary Numan; the lightbulb on the front sleeve artwork was removed for the 1995 reissue to allow for a larger print of the album title. "Me! I Disconnect from You" – 3:23 "Are'Friends' Electric?" – 5:25 "The Machman" – 3:08 "Praying to the Aliens" – 4:00 "Down in the Park" – 4:24 "You Are in My Vision" – 3:15 "Replicas" – 5:01 "It Must Have Been Years" – 4:02 "When the Machines Rock" – 3:15 "I Nearly Married a Human" – 6:31 "Do You Need the Service?" - 3:40 "The Crazies" - 2:54 "Only a Downstat" - 3:36 "We Have a Technical" - 8:04 "We Are So Fragile" - 2:56 "I Nearly Married a Human 2" - 6:38 To coincide with Numan's 15-date Replicas Classic Album Tour in 2008, Beggars Banquet issued an expanded 2CD and limited 3CD version of Replicas, titled Replicas Redux. Disc One "We Are So Fragile" - 2:55 "Do You Need the Service?" - 3:39 "I Nearly Married a Human 2" - 6:38Disc Two This disc contained a complete earlier version of the Replicas album, recorded in late 1978 and January 1979.
"Me! I Disconnect From You" - 3:24 "Are'Friends' Electric?" - 5:25 "The Machman" - 3:08 "Praying to the Aliens" - 4:08 "Down in the Park" - 4:24 "Do You Need the Service?" - 3:42 "Only a Downstat" - 3:35 "We Have a Technical" - 8:00 "You Are in My Vision" - 3:22 "Replicas" - 5:02 "It Must Have Been Years" - 4:04 "When the Machines Rock" - 3:15 "The Crazies" - 2:54 "I Nearly Married a Human 3" - 6:24The early version of "When the Machines Rock" featured vocals by Numan, unlike the instrumental standard album version. Disc Three - Replicas - Mixes + Versions This disc of bonus tracks was only available for a limited time when Replicas Redux was purchased via Numan's official website. "Are'Friends' Electric?" - 5:15 "Replicas" - 5:05 "Down in the Park" - 4:23 "Are'Friends' Electric?" - 5:28 "Replicas" - 5:00 "Are'Friends' Electric?" - 5:14 Gary Numan – keybo