This gem also combine's Midge's blase disregard by his simple-yet-articulate proclamations ("this means nothing to me"). Lance from Ingelheim, GermanyBest listened to during the cold, harsh winter months this song crystalizes the essence of a dead, still winter night.Darren from Bedford, United Kingdomthe video was shot in Covent Garden Market in London and not, Vienna."Western Promises" my favorite, few lyrics and voice, the keybords just. Pedro from PortugalWhat an excelent song.Years gone by, but that feeling is still there everytime I listen to it. Heard it for the first time in a dark Dorset night and I was suddenly caught in the crepuscule of Vienna of the emperors and their ephemeral glory, masterfully depicted in an aura of haunting melancholy: in a word, decadence. Stefano Lazzarini from RomaMost probably my favourite song.Other than that, they liked it." (courtesy: Ultravox Discography) We were determined that it would be our third single and fought with Chrysalis over it naturally, they thought it was far too long at six minutes, too weird for a Top 30 chart hit, and too depressing and too slow. It was the song that best represented what we were trying to do. We knew it was the musical high point of the album and made it the title track. Except for finessing the middle 'solo' section of the song once we were in the studio, that was basically it. It all clicked in a few hours and we ironed out the rough spots the next day. We started playing something to it and then had the thought of using a chorus idea that we had laying around which we'd previously worked on but had no verse for. to paraphrase myself, I said something like, "What about this, then?" and began the 'Vienna' rhythm. I had a drum machine/synth pad (CR-78 & 'Synare' pads) pattern in mind that I'd wanted to do something with and played that. A few albums later, it would all seem like a fluke, but on Vienna, all the pieces come together.Warren Cann, the band's drummer: "The song came together very quickly. Add Anton Corbijn's photography and Peter Saville's smart cover design and all the ingredients for an early-'80s classic are there. Returning producer Conny Plank's style adapted well to the new group, pitting the stark and the lush against one another. There are plenty of pretentious and pompous moments at which Foxx-era purists cringe, but taken as a snooty rebellion against the guitar-heavy climate of the late '70s, they're ignorable. Drummer Warren Cann's monotone narration on "Mr X" and the frantic ride that is "Western Promise" give the album just enough diversity and showcase the rest of the group on an Ure-heavy album. and making an impression in a new wave-apprehensive America. The simple and instantly recognizable drumbeat of "Vienna" proved infectious, taking the single to the top of the charts in the U.K. It was a bold move that took awhile to pay off (the first two singles, "Sleepwalk" and "Passing Strangers," went unnoticed), but when the monolithic title track was released, the Ure lineup became the band's most identifiable one almost overnight. Trading Foxx's glam rock stance for Ure's aristocratic delivery, Vienna recasts the band as a melodramatic synth pop chamber ensemble with most of the group doubling on traditional string quartet instruments and the synthesizers often serving to emulate an orchestra. With the departure of vocalist John Foxx and guitarist Robin Simon behind them, Vienna kicked off Ultravox's second phase with former Rich Kids vocalist Midge Ure at the helm.
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