![]() ![]() The single was released on Chrysalis Records on 15 January 1981, and is notable for spending 4 consecutive weeks at 2 in the UK singles chart without ever getting to 1. It was the third single and the title track from the band's fourth album. The song's timeless quality is due in part to its unique combination of electronic and classical elements, as well as its poetic lyrics. video File:Placeholder ' Vienna ' is a song by the British New Wave band Ultravox. The music and lyrics work together to create a powerful emotional experience that has resonated with listeners for decades. "Vienna" is a powerful song that explores themes of loneliness, isolation, and the power of memory. She repeats that this means nothing to her, but the power of the music and the haunting lyrics suggest otherwise. The image of the man in the picture frame has faded away, leaving only the narrator and her emotions behind. The warmth of a hand is all she has as she looks up at a cold grey sky. The rhythm of the song is almost hypnotic, calling the narrator in as she finds herself alone in the night. The music that accompanies the lyrics is haunting, and the notes weave together to create a melancholy feeling. The narrator tells us that this feeling will stay with us until it's gone, only you and I. The man is soulful and mystic, and his voice pierces through the night. He's lying and waiting, and we see him in the dark, framed like a picture. We see a man walking through the cold air, his breath freezing on a windowpane. ![]() Hard to believe this was Midge just a few years earlier.The lyrics to Ultravox's song "Vienna" paint a vivid image of a cold and lonely night. John Foxx era Ultravox had more edge but didn't have the hits. I wonder what album it was, maybe GUP after Steve Lilywhite blew them out? It's too bad he didn't get to produce an album with Rush. Kind of like early Rush fans that don't care for the post Signals years. I've read in a couple of places that early Ultravox fans didn't care for the Midge Ure years. Considering that this was well before the birth of MTV, seeing a music video was certainly something new. Back in the early 80s, when HBO had a few minutes to kill between movies, they would show music videos. They were brilliant players, and we’d have made a great record together…” My first exposure to Ultravox was seeing the video to the song 'Vienna' from this very album on HBO. “Suffice to say I was on the plane home the next day! It was fine, though I had to be honest. And I said, ‘I would simplify it.’” He laughs heartily. They asked what my take on it would be, if I were producing. Then we got round to talking about their album. So I flew over to Toronto, and we had a lovely dinner. “I was once asked to go and meet Rush, with a view to producing them. When it comes to a really good prog-related story, Midge Ure's got a corker. But yes, that style of music certainly influenced us on Signals. Alex is in a whole other world his record collection ranges from Pat Metheny to Martha and the Muffins - pretty broad scope there. LEE: Yes, we have been, although not just Ultravox. ![]() It sounds as if you've been listening to techno-rock groups such as Ultravox. Why the modification of sound? Lee credits some of the music the band has listened to during the past year, like one of Peart's favorite records, Ultravox's moody, layered *Vienna*.ĬIRCUS: On Signals, you use synthesizers more than ever before they fill up spaces that normally would be filled by Alex's guitar. Synthesizers replace what normally would be solo space for guitarist Alex Lifeson, who enriches songs like "Losing It" and "Chemistry" with atmospheric sunbursts of color. On this record, even more so than on last year's Moving Pictures and 1980's Permanent Waves, the music's jagged edges have been softened and the rhythms are less frenzied. Signals (Mercury), their 10th album overall, should be their biggest yet. Rush's last three LP's have gone Top 10, quite a feat for a band whose music is so atypical of most commercial successes. From Circus Magazine - November 30th, 1982 ![]()
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