Story of the Song: 'Vienna', Ultravox (1981)

Robert Webb
Thursday 21 August 2008 19:00 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Fans thought Ultravox had pulled the plug on any chance of success in 1979, when their frontman John Foxx quit and they were dropped by Island.

The arrival of Midge Ure heralded an unlikely revival of fortunes for the proto electro-poppers; Ure had charted with the Scottish teeny-bop outfit Slik, before teaming up with Rusty Egan and the former Sex Pistol Glen Matlock in The Rich Kids.

His association with Egan brought him to the attention of a mutual friend, Billy Currie, Ultravox's keyboard player. Currie was impressed with Ure's guitar playing and his ability to sing rather than "shout with attitude". With Ure, in 1980 Ultravox began rehearsals for a new album.

Several sessions in, the drummer, Warren Cann, rolled out a pattern in search of a song. "I said something like, 'What about this, then?' and began the 'Vienna' rhythm," Cann recalled. A couple of verses were prepared by Ure and, working in an existing chorus idea ("It means nothing to me, Vienna"), the song was ready. The band settled into RAK, Mickie Most's London base, with the German producer Conny Plank, who had steered Kraftwerk to stardom.

Currie tinkled on the piano and played a violin solo, but synth pads and a Roland drum-machine defined the austere sound. For some, the song evokes the Vienna Secessionists or Carol Reed's film The Third Man. But not Ure: "I lied to the papers about [it] at the time," he told Rolling Stone. "I wrote a song about a holiday romance, but in this very dark, ominous surrounding."

"Vienna" was the title track to the band's fourth album, released in summer 1980 (and remastered and reissued in 2008). Ure thought it might make a single, dismissing concern at Chrysalis, the band's label, who viewed it as too long and slow. It made it to seven-inch in January 1981. With a memorable black-and-white video shot in Covent Garden and the Austrian city, "Vienna" was kept from No 1 by Joe Dolce's novelty hit "Shaddap You Face". It charted again in 1993 and has been performed solo by Ure.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in