BBC Radio 1
BBC Radio 1 is a British radio station operated by the British Broadcasting Corporation which broadcasts internationally, specialising in modern popular music and current chart hits throughout the day. Radio 1 provides alternative genres after 7 pm, including electronica, hip hop and indie; the choice of music and presenting style is that of programme hosts, however those who present in the daytime have to rotate a number of songs a specific number of times per week. It was launched in 1967 to meet the demand for music generated by pirate radio stations, when the average age of the UK population was 27; the BBC claim that they target the 15–29 age group, the average age of its UK audience since 2009 is 30. BBC Radio 1 started 24-hour broadcasting on 1 May 1991. Radio 1 was established in 1967 as a successor to the BBC Light Programme, which had broadcast popular music and other entertainment since 1945. Radio 1 was conceived as a direct response to the popularity of offshore pirate radio stations such as Radio Caroline and Radio London, outlawed by Act of Parliament.
Radio 1 was launched at 6:55 am on Saturday 30 September 1967. Broadcasts were on 247 metres high wave, using a network of transmitters which had carried the Light Programme. Most were of comparatively low power, at less than 50 kilowatts, leading to patchy coverage of the country; the first disc jockey to broadcast on the new station was Tony Blackburn, whose cheery style, first heard on Radio Caroline and Radio London, won him the prime slot on what became known as the "Radio 1 Breakfast Show". The first words on Radio 1 – after a countdown by the Controller of Radios 1 and 2, Robin Scott, a jingle, recorded at PAMS in Dallas, beginning "The voice of Radio 1" – were: And, good morning everyone. Welcome to the exciting new sound of Radio 1; this was the first use of US-style jingles on BBC radio, but the style was familiar to listeners who were acquainted with Blackburn and other DJs from their days on pirate radio. The reason jingles from PAMS were used was that the Musicians' Union would not agree to a single fee for the singers and musicians if the jingles were made "in-house" by the BBC.
The first music to be heard on the station was "Theme One", specially composed for the launch by George Martin. It was followed by an extract from "Beefeaters" by Johnny Dankworth; the first complete record played on Radio 1 was "Flowers in the Rain" by The Move, the number 2 record in that week's Top 20. The second single was "Massachusetts" by The Bee Gees; the breakfast show remains the most prized slot in the Radio 1 schedule, with every change of breakfast show presenter exciting considerable media interest. The initial rota of staff included John Peel and a gaggle of others, some transferred from pirate stations, such as Keith Skues, Ed Stewart, Mike Raven, David Ryder, Jim Fisher, Jimmy Young, Dave Cash, Kenny Everett, Simon Dee, Terry Wogan, Duncan Johnson, Doug Crawford, Tommy Vance, Chris Denning, Emperor Rosko, Pete Murray, Bob Holness. Many of the most popular pirate radio voices, such as Simon Dee, had only a one-hour slot per week Initially, the station was unpopular with some of its target audience who, it is claimed, disliked the fact that much of its airtime was shared with Radio 2 and that it was less unequivocally aimed at a young audience than the offshore stations, with some DJs such as Jimmy Young being in their 40s.
The fact that it was part of an "establishment" institution such as the BBC was a turn-off for some, needle time restrictions prevented it from playing as many records as offshore stations had. It had limited finances and as in January 1975, suffered disproportionately when the BBC had to make financial cutbacks, strengthening an impression that it was regarded as a lower priority by senior BBC executives. Despite this, it gained massive audiences, becoming the most listened-to station in the world with audiences of over 10 million claimed for some of its shows. In the early-mid-1970s Radio 1 presenters were out of the British tabloids, thanks to the Publicity Department's high-profile work; the touring summer live broadcasts called the Radio 1 Roadshow – as part of the BBC'Radio Weeks' promotions that took Radio 1, 2 and 4 shows on the road – drew some of the largest crowds of the decade. The station undoubtedly played a role in maintaining the high sales of 45 rpm single records although it benefited from a lack of competition, apart from Radio Luxembourg and Manx Radio in the Isle of Man..
Alan Freeman's'Saturday Rock Show' was voted'Best Radio Show' five years running by readers of a national music publication, was axed by controller Derek Chinnery. Annie Nightingale, who joined in 1970, was Britain's first female DJ and is now the longest serving presenter, having evolved her musical tastes with the times. On Thursday 23 November 1978 the station moved to two new medium wave frequencies which allowed a major increase in transmitter powers and improved coverage of the UK. 247 metres was passed to Radio 3. The station was on medium wave only until the early 80s, when it took over the Radio 2 FM frequency for a number of hours on weekend afternoons and late weekday evenings; the BBC set up an FM channel specifically
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Berserker (Gary Numan album)
Berserker is the sixth solo studio album by English musician Gary Numan, released in 1984. It was his first album to be released under Numa Records. Numan's contract with his previous record label Beggars Banquet had ended with the release of Warriors, disillusioned with record companies, Numan decided to create his own record label, Numa Records, in order to give himself full control over his recordings, production work and marketing. Freed from demands of an outside record company, Numan could take the music on his new album into a new and harder direction; the album was named after a series of science-fiction novels by Fred Saberhagen, which Numan had read at school. For the album itself, Numan was concerned with creating a distinct atmosphere: Berserker was far removed from the electro-funk stylings of Warriors, instead presenting a more hard rock-like sound, combined with an abundant use of sampling. Heavy-metal-like riffs and guitar sounds were a lot more aggressive than on the preceding albums, the electric bass contrasted with the heavy guitar sound.
Numan decided to use sound as a percussion, in lieu of conventional percussive instruments. The distinctive sound of the PPG Wave synthesiser was introduced on this album, developing memorable heavy synth riffs. Saxophones were infrequently used on the album, along with the viola that had last been featured on Telekon. Lyrically, the album has a haunting, oppressive theme with several references to God throughout; the poignant track "A Child with the Ghost" was Numan's tribute to his friend and former bassist Paul Gardiner, who died in February 1984 from a deliberate heroin overdose. The track was covered by the duo Tik and Tok on their Intolerance album the same year; the Industrial undertones of the Berserker album would be more explored on Numan's next album, The Fury. For the visual look of the new album, Numan wanted something different from the black jumpsuits, grey coats, black leather that had formed his visual look up until that point. Instead he appeared on the cover of the new album as a white-skinned, white-clad "Iceman" with blue makeup and hair.
The title track was released as a single in October 1984, a month ahead of the album, but it only made it to #32 on the UK charts, making it his worst-charting single yet alongside "Sister Surprise" from the preceding album Warriors. The album itself was released in November 1984, but only managed a lowly #45 in the UK charts, making it both Numan's lowest-charting album by that point and his first album to miss the UK top 30. In chart terms, Berserker was outperformed by The Plan, an album of early Numan material released by his former record label Beggars Banquet in September 1984 that reached #29. "My Dying Machine" was released as the second and final single off Berserker in December of the same year and peaked at #66. The album was released in two different-length versions in the UK; the CD and cassette releases featured longer versions of all tracks, while the LP features shorter mixes. The album was not released in the United States until 1998 when Cleopatra Records issued all Numa Records-era Numan albums with altered artworks and additional bonus tracks.
The Berserker reissue featured four bonus tracks, including extended mixes of the title track and "My Dying Machine". The artwork used a different typeface from the original and the colours were more purple-tinted than on the original; the rear artwork uses a unique composite from the original Numa CD. The booklet contains the lyrics together with live photos taken in the Edinburgh Playhouse in 1984. In 1999 the album was reissued in the UK by Eagle Records; this version maintained the original artwork but added five B-sides and outtakes as bonus tracks, unlike the U. S. reissue, it included liner notes. Numan's 19-date UK Berserker Tour of November–December 1984 featured a stylized "high-tech Roman temple" stage set to complement Numan's white leather jacket/white make-up/blue-hair look; the tour spawned a double-album, White Noise, recorded live at the Hammersmith Odeon in December 1984. The same concert was captured on the video The Berserker Tour. In early 2008, the video of the entire concert was released for the first time, on the DVD Cold Warning.
The DVD contains, as an extra feature, a 2007 interview in which Numan discusses his recollections of the Berserker album and tour. Numan mentions that Berserker was influenced by Trevor Horn's production work with Frankie Goes to Hollywood, claims that distribution problems and a lack of media airplay contributed to its disappointing sales. All songs written by Gary Numan. All timings are approximate and will vary with different equipment. "Berserker" - 5:52 "This Is New Love" - 6:19 "The Secret" – 5:55 "My Dying Machine" - 5:37 "Cold Warning" - 6:01 "Pump It Up" - 4:45 "The God Film" - 4:42 "A Child with the Ghost" - 3:04 "The Hunter" - 4:32 "Berserker" - 6:46 "This Is New Love" - 8.48 "The Secret" - 6:45 "My Dying Machine" - 9:23 "Cold Warning" - 7:03 "Pump It Up" - 4:51 "The God Film" - 4:44 "A Child With The Ghost" - 4:04 "The Hunter" - 6:48 Original copies have no barcode and the CD printing is in blue. The second NUMA reissue is barcoded, has a different rear picture sleeve and the CD printing is in black.
The catalogue numbers are identical. "Berserker" - 5:52 "This Is New Love" - 6:19 "The Secret" - 5:55 "My Dying Machine" - 5:37 "Cold Warning" - 6:01 "Pump It Up" - 4:45 "The God Film" - 4:42 "A Child With The Ghost" - 4:04 "Th
Tubeway Army were a London-based new wave and electronic band led by lead singer Gary Numan. They were the first band of the electronic era to have a synthesiser-based number-one hit, with their single "Are'Friends' Electric?" and its parent album Replicas both topping the UK charts in mid-1979. After its release, Numan opted to drop the Tubeway Army name and release music under his own name as he was the sole songwriter and public face of the band, but he retained the musicians from Tubeway Army as his backing band. Aged 18 years, Gary Webb had fronted London band Mean Street in 1976. After leaving this band, he auditioned as lead guitarist for another band called The Lasers, where he met bass-player Paul Gardiner; the pair left The Lasers soon after and formed Tubeway Army with Webb's uncle Jess Lidyard on drums. Webb rechristened himself "Valerian", Gardiner "Scarlett" and Lidyard "Rael". Webb was a prolific songwriter; the band began playing gigs on the punk scene in London and managed to secure a record deal with the independent Beggars Banquet label.
They released two guitar-heavy, punk-style singles in the first half of 1978. These failed to chart. Soon afterwards, the Tubeway Army album was released on blue vinyl, at which point Webb adopted the name "Gary Numan". Numan took his new pseudonym from a local Yellow Pages where a plumber called "Arthur Neumann" was listed, the singer abandoning the German spelling, to become Numan. Whilst still guitar/bass/drums-based, the album saw his first tentative use of the Minimoog synthesizer, which he had come across by accident in the recording studio during the album sessions. Lyrically the record touched on dystopian and sci-fi themes similar to those employed by authors J. G. Ballard and Philip K. Dick, of whom Numan was a fan. Whilst the album's modest initial pressing sold out, it did not enter the album charts at that time, no singles were lifted from it. By this time Tubeway Army had decided to abandon live shows – Numan was unhappy with pub-venue gigs on the violent London punk scene. Following swiftly on in early 1979, Numan took Tubeway Army back into the studio to record demos for John Peel and for their follow-up album, Replicas.
The result was more science fiction oriented than the last album. The first single from the album, the bleak, slow-paced keyboard-driven song "Down in the Park", failed to chart, although it would prove an enduring cult track in the years to come, covered by Marilyn Manson, Foo Fighters and Flight; the next single, "Are'Friends' Electric?" was more successful, reaching the No. 1 spot. The underlying context of this song was a reference to another Philip K. Dick novel, Do Androids Dream of Electric Sheep? A special picture-disc helped boost sales but what grabbed the British public's imagination was Tubeway Army's appearance on the BBC show The Old Grey Whistle Test, followed soon after by a slot on Top of the Pops on 24 May 1979; the band appeared all dressed in black and near-motionless, Numan in particular giving a performance referred to as being "like an android". The single remained at number one in the UK charts for four weeks, with Replicas following suit in the album charts. With Tubeway Army still avoiding live shows, Numan recruited some additional musicians to make these television appearances.
Gary Numan – guitar, lead vocals, keyboards Paul Gardiner – bass, backing vocals Jess Lidyard – drums Bob Simmonds – drums Barry Benn – drums Sean Burke – guitar Billy Currie – keyboards Trevor Grant – guitar Chris Payne – keyboards Cedric Sharpley – drums † The album Tubeway Army did not chart upon its first release in 1978, but following the success of Replicas, it charted in August 1979 and reached No. 14. 1 The demos were recorded in 1978 but not released until 1984. Beggars Banquet have re-mastered these recordings numerous times. Current CD editions supplement the original album tracks with all single A- and B-sides, 12" bonus tracks, studio out-takes, recovered bootleg live material. * Charted in 1983. Goodwin, Paul Electric Pioneer: An Armchair Guide To Gary Numan
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
Jagged is the fifteenth solo studio album by English musician Gary Numan, his first original album in over five years, following Pure in 2000. Stylistically Jagged was a development of its predecessor's chorus-driven, anthemic industrial sound, utilising heavier electronics and more prominent live drumming. Although reaction to the new record was predominantly positive, critical opinion was more divided than had been the case with the universal praise enjoyed by Pure. Reaching number 59 in the UK album charts, Jagged charted no higher than the earlier release, some commentators and fans regarding the long time between albums as a missed opportunity for consolidation in the wake of Pure's reception and the number 13 UK chart position attained by Numan's 2003 single with Rico, "Crazier". Jagged was the first album issued on Numan's own Mortal Records label, licensed to Cooking Vinyl; the US release, on Metropolis Records, included an alternate mix of "Fold" as a bonus track. In April Numan embarked on a tour of Europe and North America to promote the album.
Planned for a 2003 release, Jagged was issued in March 2006 after various delays that had resulted in adverse comments from a number of fans, to which Numan responded in kind on his website, NuWorld. He cited the birth of his two children after years of unsuccessful IVF attempts, issues with his former record company Artful, trepidation at the prospect of producing a successful follow-up to the critically praised Pure as reasons for the delay. Given the album's long gestation period, by the time it was released a number of the tracks had been published in one form or another. "Haunted" began life as an instrumental on the 2002 compilation Exposure. "Halo" had been premiered in concert in 2003 as "Does God Bleed?", before being given a live DVD release in 2005, as had the title track. Numan used more musicians on Jagged than on any of his releases for the past decade; the Sulpher team of Rob Holiday and Monti contributed to a number of tracks but, in the end, Numan took the finishing production touches out of their hands and completed the album with techno musician and DJ Ade Fenton.
Guest performers included former Nine Inch Nails drummer Jerome Dillon, as well as Martin McCarrick from Therapy?, Siouxsie and the Banshees and other bands, his wife Kimberlee. Long-time Numan collaborators Steve Harris, Richard Beasley and Andy Gray played on the album; the album sold far less than his last two albums released through Eagle Records. However Numan claimed this was down to the increasing number of illegal downloads, stated Jagged on one site had 20,000 downloads of the album alone; the preceding US tour saw lower numbers due to bad promotion of the album in the states. The opening song, "Pressure", featured Middle Eastern sounds coupled with lyrics that obliquely alluded to the impatience of fans for new product. Numan's vocal delivery on "Halo" recalled the dance-orientated style of his late-1980s work. "Haunted" utilised a guitar riff reminiscent of Led Zeppelin's "Kashmir". "In a Dark Place", released as a single and video in July 2006, was one of a number of tracks which continued the questioning of God common to Numan's three previous albums, Sacrifice and Pure.
Another track debunking religious beliefs was "Melt", with the lines "I know that Heaven is a burnt out shell / I know forgiveness is the door to Hell / I know confession is a black empty lie". A number of reviewers noted ephemeral links between Jagged and Numan's classic work from the late 1970s and early 1980s, though the composer himself claimed not to see such connections; the final/title track, as well as featuring harshly whispered vocals in the style of Numan's 2002 hit "Rip", included in its coda an echo of the distinctive siren-like'vox humana' Polymoog sound that characterised "Cars" and other songs on The Pleasure Principle, appeared on the Andy Gray remix Pure's "A Prayer for the Unborn". All songs written by Gary Numan. "Pressure" – 5:19 "Fold" – 5:47 "Halo" – 4:17 "Slave" – 6:02 "In a Dark Place" – 6:06 "Haunted" – 5:31 "Blind" – 7:01 "Before You Hate It" – 5:14 "Melt" – 5:18 "Scanner" – 6:02 "Jagged" – 5:27 Richard Beasley – drums Jerome Dillon – drums Ade Fenton – keyboards and sound programming Andy Gray – keyboards, programming Steve Harris – guitars Rob Holiday – guitar, bass Kimberlee McCarrick – violin Martin McCarrick – cello Monti – drums, programming Gary Numan – Vocals, keyboards Gordon Young – keyboards, instrumentation Steve Gullick – photography Gary Numan – producer, mixing engineer Ade Fenton - producer James O'Connell – engineer Nick Watson – mastering Album microsite NuWorld
"Cars" is a song by English musician Gary Numan. His debut single, it was released as the lead single from his debut studio album, The Pleasure Principle, on 21 August 1979, it reached the top of the charts in several countries, today is considered a new wave staple. The song was the first release credited to Gary Numan after he dropped the band name Tubeway Army, under which name he had released four singles and two LPs, including the number one UK hit "Are'Friends' Electric?", its parent album, Replicas. Musically, the new song was somewhat lighter and more pop-oriented than its predecessors, Numan conceding that he had chart success in mind: "This was the first time I had written a song with the intention of'maybe it could be a hit single', he has since described "Cars" as "a pretty average song". In the UK charts, it reached number 1 in 1979, in 1980 hit number 1 in Canada two weeks running on the RPM national singles chart and rose to number 9 on the US Billboard Hot 100. Though Numan had a string of hits in the UK, "Cars" was his only song in the US Hot 100.
It debuted on the American Top 40 on 29 March 1980 and spent a total of 17 weeks in the AT40, peaking at #9. "Cars" is based on two musical sections: a bridge. The recording features a conventional rock rhythm section of bass guitar and drums, although the rest of the instruments used are analogue synthesisers, principally the Minimoog and the Polymoog keyboard, providing austere synthetic string lines over the bass riff; the bridge section includes a tambourine part. Numan's vocal part is sung in an expressionless, robotic style. There is no "chorus" as such; the song is instrumental from the 1:30 point until its end. According to Numan, the song's lyrics were inspired by an incident of road rage: The music video featured Numan's then-current backing band, including Billy Currie from the band Ultravox, though he had not played on the recording of "Cars". Toward the end of the video, a multitude of Gary Numans are depicted "driving" along a Polymoog keyboard; the original UK single was released in August 1979, backed with a non-album instrumental track called "Asylum".
The US B-side was "Metal", from The Pleasure Principle album. The track has been a UK Top 20 hit for Numan in 3 successive decades: on its original release in 1979. Numan has performed the song on stage since its original release and it appears on all but one of his official live albums to date. "Cars" – 3:44 "Asylum" – 2:30 "Cars" – 3:57 "Metal" – 3:31 Gary Numan — vocals, keyboards, synthetic percussion Paul Gardiner — bass guitar Chris Payne — keyboards Cedric Sharpley — drums, tambourine A selected list of Numan's official live recordings and remixes. Living Ornaments'79 – live recording White Noise – live recording released on "The Live EP" "Cars" – remix released as 7"/12" single and on compilation album Exhibition Ghost – live recording The Peel Sessions Volume 2 – 1979 live-in-studio recording for John Peel's BBC Radio 1 show released as EP The Skin Mechanic – live recording "Cars" – remix released as EP and on compilation album The Best of Gary Numan 1978–1983 Dream Corrosion – live recording "Cars" – reissued/rebadged 1987 remix released as single and on compilation album The Premier Hits Living Ornaments'81 – live recording The Mix – three remixes Scarred – live recording Hybrid – remix Live at Shepherd's Bush Empire – live recording Living Ornaments'80 – reissued/expanded live recording released minus "Cars" in 1981 "Hiding All The Stars – Chicane Numan performed "Cars" using a set of two dozen automobiles and their horns in an innovative 2010 commercial for DieHard.
All of the cars were powered from one single battery. James Frost of Zoo Films directed the video, Synn Labs, which had worked with the band OK Go, engineered the cars. Fear Factory, an American heavy metal band, recorded a version of "Cars" and released it as the second single from their third studio album, Obsolete; the song was only included as a bonus track on the limited edition digipak re-release of Obsolete and would be instrumental in breaking Fear Factory into the mainstream. In their rendition, Gary Numan performs a duet with frontman Burton C. Bell. According to Bell, around 1996, the band started performing "Cars" as an encore at European concerts. Word spread that Fear Factory was performing the song and as a result Gary Numan's manager contacted them. Upon request, Numan's management flew him out to the Vancouver studio for a three-day span to record vocals on "Cars." The band asked Numan to record a spoken word piece for the introduction of Obsolete. Numan had a long-standing dislike for being associated with what he perceived as dated music, this made him apprehensive of working with Fear Factory until realizing "there was a chance that it could introduce me to a new generation of people who didn't know my history.
And that can be useful, because my music's got a lot heavier and darker anyway." The result would be satisfactory for both parties, Numan praised the band as "brilliant easy to work