Ultravox: Self Titled Debut Album Record Shop Poster-1977


Offered is an Original 51x51cm Record Shop March 1977 Poster For Ultravox Self Titled Debut Album on Island Records Produced by Steve Lilywhite & Brian Eno.

Recording their first album with Steve Lillywhite (his first proper gig) and Brian Eno – then yet to work with a rock band since Roxy Music – in 1976, Ultravox!’s debut had a stronger link to the past than was entirely fashionable as punk emerged. With their long song structures and Foxx’s Burroughs-cribbing cut-up lyrical technique, they referenced both arty glam (Bowie, Roxy) and – it seemed to punks – prog, while their use of synthesizer (mainly Eno’s loaned Mini-Moog) was also suspect. “Electronic stuff was considered to be something you wouldn’t touch,” says Foxx. It was too close to Pink Floyd, forbidden by Johnny Lydon, declared ungood. In fact, Ultravox! were post-punk before punk had played itself out. This confused people. Their use of electronics, extended song structures, keyboards and un-punk instruments like violin previewed what Magazine and Wire, as well as Gary Numan and The Human League, would be doing in two years’ time. Equally, a year prior to Kraftwerk’s The Man Machine, Foxx was exploring the same idea in I Want To Be A Machine, while his alienated Euro-romanticism also pre-empted Bowie’s Berlin trilogy (Foxx recalls Bowie phoning Eno to suggest the collaboration during recording), Foxx hymning the city in The Wild, The Beautiful And The Damned. Most importantly, neither Kraftwerk nor Bowie had yet created anything quite like My Sex’s mix of the electronic and the classical, or as detached as Foxx’s robotic yet romantic chant. “I was very interested in the pull and push of romanticism and alienation,” says Foxx. “It’s the opposite of punk’s anger. There’s something very romantic about withholding certain feelings. My Sex was the first electro-ballad. When we finished that, I knew it was a direction that no one else was anywhere near at that point.”





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