U-Vox
U-Vox is the eighth studio album by the British new wave and synthpop band Ultravox, released on 13 October 1986 through Chrysalis Records.[1] Following a two-year hiatus after their previous release Lament, the album was recorded amid internal changes, including the departure of longtime drummer Warren Cann, who was replaced by Mark Brzezicki of Big Country.[2][3] Co-produced by the band and Conny Plank, U-Vox features nine tracks that marked a stylistic shift toward a more guitar-driven and rock-oriented sound, diverging from Ultravox's signature electronic style.[2][1] The album peaked at number nine on the UK Albums Chart, where it spent six weeks in the top 100, making it the band's last top 10 entry.[4][2] Three singles were issued from U-Vox: "Same Old Story" (September 1986), "All Fall Down" (November 1986), and "All in One Day" (June 1987), though none reached the UK top 20.[1] Notable production elements include guest appearances by vocalist Carol Kenyon and the group Beggar & Co on the lead single, as well as orchestration by George Martin on the closing track "All in One Day".[2] Often nicknamed "The Dreaded Pink Thing" due to its neon-pink cover artwork, U-Vox received mixed reviews for its perceived garish production and lack of direction, serving as the final album from Ultravox's most commercially successful era before the band's initial disbandment in 1988.[2]Background and production
Band context and lineup changes
Ultravox originated in the mid-1970s London punk and new wave scene as Tiger Lily, evolving into a pioneering electronic act with their self-titled debut album in 1977 under the leadership of vocalist John Foxx. The band's early sound blended glam rock influences with experimental electronics, but following Foxx's departure in 1979, Scottish musician Midge Ure joined as lead vocalist, guitarist, and co-songwriter, alongside core members Billy Currie on keyboards and violin, Chris Cross on bass, and Warren Cann on drums. Ure's arrival marked a pivotal shift toward polished synthpop, revitalizing the group after three modestly received albums and propelling them into international prominence during the 1980s new romantic and electronic music wave.[5] This transformation culminated in Ultravox's commercial peak with a string of successful releases from 1980 to 1984. Their fourth album, Vienna (1980), achieved top-ten status in the UK and introduced their signature atmospheric synth-driven style, while Quartet (1982) and Lament (1984) both reached number four on the UK Albums Chart, producing hits like "The Thin Wall" and "Dancing with Tears in My Eyes." The 1984 compilation The Collection, featuring 14 singles from this era, became their best-selling release, exceeding two million copies worldwide and earning triple platinum certification in the UK, solidifying Ultravox as synthpop staples alongside contemporaries like Japan and Spandau Ballet.[6] However, internal tensions escalated by early 1986, leading to drummer Warren Cann's departure just before sessions for what became U-Vox. The departure stemmed from creative differences and mounting band pressures after nearly seven years in the classic Ure-era lineup. This marked the end of the stable quartet that had defined their success, forcing Ure, Currie, and Cross to rely on session musicians, including Big Country's Mark Brzezicki on drums, rather than seeking a permanent replacement. The change disrupted band dynamics, contributing to a fragmented creative process and foreshadowing Ultravox's eventual 1988 disbandment.[7][8] These lineup shifts occurred amid broader pressures in the 1980s synthpop landscape, where Ultravox faced intensifying competition from globally dominant acts like Duran Duran and Depeche Mode, whose MTV-friendly visuals and U.S. breakthroughs overshadowed more experimental groups. The era's rapid evolution toward dance-oriented electronica and the rise of solo ventures, including Ure's own hits, amplified strains on band cohesion and commercial viability, influencing Ultravox's push for reinvention on U-Vox.[9][10]Songwriting and recording
The songwriting for U-Vox was handled primarily by Midge Ure, Billy Currie, and Chris Cross, who composed all nine tracks collaboratively, marking a continuation of the core trio's creative partnership from previous albums. This process emphasized a shift toward more rock-oriented structures, incorporating elements like brass sections and guitar-driven arrangements to move beyond the band's earlier synth-dominated sound.[11][12][3] Recording took place primarily at Conny Plank's studio in Cologne, Germany, during 1986, with additional sessions at Hot Food Studios, Music Fest Studio, and West Side Studios in London. The choice of Plank's facility was influenced by his successful prior collaborations with Ultravox on albums such as Vienna and Rage in Eden, providing a familiar environment for the band's electronic experimentation. To address the absence of departing drummer Warren Cann, the sessions utilized session drummer Mark Brzezicki of Big Country on select tracks, including "Same Old Story," while electronic programming, including LinnDrum machines, handled the majority of percussion duties.[13][3][14] Production was led by Conny Plank in his first full role with the band since Rage in Eden (1981), following self-production on Lament (1984) and external involvement from George Martin on Quartet (1982); Plank's approach blended the band's signature synthesizers with live instrumentation, such as Brzezicki's acoustic drums and contributions from the horn section of Beggar & Co.[1][15][3] The sessions were marked by significant challenges, including internal tensions from Cann's mid-1986 departure to the United States, which disrupted group dynamics and contributed to a sense of disorientation. Band members experimented extensively with unconventional elements like horns on tracks such as "Same Old Story" and Celtic influences via guest appearances from The Chieftains on "All Fall Down," alongside increased guitar work from Ure, resulting in an eclectic mix that diverged from the synth-heavy precision of prior releases and ultimately affected the album's cohesion.[3][16][1]Musical content
Style and themes
U-Vox represents a notable departure from Ultravox's earlier pure synthpop sound, as heard on albums like Vienna, evolving into a hybrid blending new wave, pop rock, and electronic elements.[17][18] This shift is evident in the incorporation of live drumming by Mark Brzezicki of Big Country, replacing the band's prior reliance on electronic percussion, alongside Celtic folk instrumentation by The Chieftains on "All Fall Down" and orchestral arrangements by George Martin on "All in One Day" for a fuller, more organic texture.[18][19] The album's lyrical themes explore dystopia, romance, and existential reflection, with tracks addressing urban alienation and futuristic longing amid broader experimental interpretations of the band's identity.[18] Influenced by mid-1980s production trends, the record features layered synthesizers from Billy Currie and prominent guitar work by Midge Ure, prioritizing melodic structures over the atmospheric density of prior releases.[19][17] U-Vox's eclectic nature mixes upbeat pop tracks with darker ballads and Celtic folk infusions, signaling Ultravox's effort to progress beyond the new romantic success of the Vienna era through production by the band and Conny Plank.[18] In comparison to contemporaries like Simple Minds, U-Vox exhibits a rockier edge, aligning with the rising modern rock movement as new romanticism waned in the late 1980s.[16][20]Track listing
U-Vox was originally released in 1986 with nine tracks, all written by Chris Cross, Billy Currie, and Midge Ure. The album's standard track listing for the vinyl and CD editions is as follows:| No. | Title | Duration |
|---|---|---|
| 1 | "Same Old Story" | 4:31 |
| 2 | "Sweet Surrender" | 4:28 |
| 3 | "Dream On" | 4:39 |
| 4 | "The Prize" | 5:31 |
| 5 | "All Fall Down" | 5:12 |
| 6 | "Time to Kill" | 4:19 |
| 7 | "Moon Madness" | 4:34 |
| 8 | "Follow Your Heart" | 4:53 |
| 9 | "All in One Day" | 5:09 |