Post by Soutpeel on Jul 18, 2017 22:52:55 GMT 7
How we made Ultravox's Vienna
We were extremely arrogant and a bit too prog rock. We wanted to sound like Elgar and Grieg’
Midge Ure, singer
First and foremost, we weren’t trying to create a hit song, just an interesting piece of music. Ultravox had been dropped by their label, our management had disappeared and we had to scrape around for money just to get into a rehearsal studio. It was cold and miserable, as all these studios are, with sticky carpets and a smell. And that’s where we wrote Vienna.
The song had the feel of a haunting mid-European classic, thanks to our keyboard player Billy Currie’s classical training. The cinematic aspect was high on our agenda: every track was for a movie that didn’t exist. I remember going into the studio with just a line in my head: “The feeling is gone, this means nothing to me – oh Vienna!” That was all I had.
www.theguardian.com/music/2017/jul/18/how-we-made-ultravox-vienna-midge-ure-billy-currie
We were extremely arrogant and a bit too prog rock. We wanted to sound like Elgar and Grieg’
Midge Ure, singer
First and foremost, we weren’t trying to create a hit song, just an interesting piece of music. Ultravox had been dropped by their label, our management had disappeared and we had to scrape around for money just to get into a rehearsal studio. It was cold and miserable, as all these studios are, with sticky carpets and a smell. And that’s where we wrote Vienna.
The song had the feel of a haunting mid-European classic, thanks to our keyboard player Billy Currie’s classical training. The cinematic aspect was high on our agenda: every track was for a movie that didn’t exist. I remember going into the studio with just a line in my head: “The feeling is gone, this means nothing to me – oh Vienna!” That was all I had.
www.theguardian.com/music/2017/jul/18/how-we-made-ultravox-vienna-midge-ure-billy-currie
, Mick has the 12 inch coloured vinyl on pride of place above the mantlepiece.
