{"id":182915,"date":"2014-08-02T10:56:04","date_gmt":"2014-08-02T10:56:04","guid":{"rendered":"https:\/\/siteproxy.ruqli.workers.dev:443\/http\/recordcollectormag.com\/articles\/days-ure"},"modified":"2020-05-21T10:28:02","modified_gmt":"2020-05-21T10:28:02","slug":"days-ure","status":"publish","type":"post","link":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/days-ure","title":{"rendered":"DAYS OF URE"},"content":{"rendered":"

F<\/span>or almost the entire decade bracketed by his No 1 as singing guitarist with teenybop latecomers Slik and another in 1985’s solo If I Was, Midge Ure was both a figurehead and eminence grise of British pop. In those years, he was fundamental to many other (sometimes simultaneous) endeavours, notably Rich Kids, Thin Lizzy, Visage, Ultravox and Band Aid. Since then, a return to at least a qualified contemporary prominence has never been out of the question. <\/b><\/p>\n

Furthermore, the boy from Cambuslang, a village long lost to the encroaching industrial conurbation of Glasgow, became as much part of Scotland’s cultural furniture as the disparate likes of Jimmy Shand, Moira Anderson, Alex Harvey, Marmalade, Billy Connolly, The Bay City Rollers and Andy Stewart. As such, he was seen on BBC Scotland’s annual Hogmanay Live <\/i>in 1995, delivering to stirring effect an affectionate overhaul of the late Stewart’s A Scottish Soldier. It was entirely fitting too that Ure would wear a proud kilt when presenting himself at Buckingham Palace in 2005 for his investiture with an OBE for services to music and involvement in the Band Aid Trust, Live 8 and Save The Children. He’s a 50-something loaded with all manner of other accolades – including honorary degrees and doctorates, the manufacture of a Midge Ure signature guitar… and an invitation to take part in BBC 1’s Celebrity Masterchef<\/i>. <\/p>\n

There had been little to suggest a high-altitude walk with destiny for James Ure, a 15-year-old school-leaver who, in 1968, began work as a trainee at a mechanical engineering laboratory in the neighbouring suburb, East Kilbride. This was a typical vocational option for one fresh from the local technical college, but by night, Ure was singer and rhythm guitarist with Stumble, a blues unit named after an instrumental on 1967’s A Hard Road <\/i>by John Mayall’s Bluesbreakers. While their paying engagements weren’t frequent enough to stay the chill of day-job reality, they wrought in Jim Ure the idée fixe <\/i>that if he kept at it, he might make a living as a musician, even if his colleagues weren’t too dismayed when the group fell apart in 1971. <\/p>\n

After taking stock, Ure pledged himself to Salvation, a covers band that had landed a residency at Clouds, a city centre venue above the celebrated Apollo, which big-time acts added to their touring itineraries, among them The Sweet, for whom Salvation warmed up the mob in November 1973. It was at Clouds that they impressed Bill Martin, a music industry jack-of-all-trades who, having worked with Irish entertainers The Bachelors and The Dubliners, had established a songwriting liaison with tunesmith Phil Coulter, who’d just graduated from Belfast’s Queen’s University. Together they’d notched up huge chart triumphs, most conspicuously made-to-measure Eurovision Song Contest <\/i>entries for Sandie Shaw (Puppet On A String), Cliff Richard (Congratulations) and Dana (All Kinds Of Everything). Their Remember (Sha La La) was poised to catapult Edinburgh’s Bay City Rollers, focus of the short-lived Rollermania rampant among schoolgirls in the mid-70s, into the Top 10. At that point, Martin, through the recommendation of Billy Connolly, who shared an agent with Salvation, investigated Ure’s band. “Bill was outside Clouds when we struck up This Town Ain’t Big Enough For Both Of Us,” recalled Ure. “And he thought it was the record by Sparks.” <\/p>\n

By now, the band had renamed itself Slik, and Ure had been persuaded to adopt the forename ‘Midge’ – phonetically, ‘Jim’ backwards – to avoid confusion with the band’s bassist Jim McGinlay. He’d also taken over lead vocals from McGinlay’s decamped brother Kevin, and, like everyone else, was delighted when Martin and Coulter’s combined business and creative acumen secured Slik a Polydor recording contract. This spawned a flop maiden single in 1975’s The Boogiest Band In Town, despite (or because of) Slik performing it in Never Too Young To Rock<\/i>, a celluloid conveyor-belt of lip-synched glam connected by a vacuous storyline. <\/p>\n

A relocation to Bell – which already had The Bay City Rollers on its books – the donning of backdated baseball attire in place of their motley suits, and a booking schedule of small sweatbaths they could fill twice over (thus ensuring overcrowded and newsworthy chaos) brought about the desired result, namely Forever And Ever, their first smash. Yet Rollers-sized renown was not to be Slik’s after the follow-up, the aptly funereal Requiem, stalled at No 24. It may have risen higher had not Midge been laid low by injuries sustained in a car accident, necessitating the cancellation of television slots and a round-Britain tour. <\/p>\n

Further releases missed the Top 50 altogether. Aware of the coming onslaught of new wave, the band released a Martin-Coulter song, The Kid’s A Punk, in 1976, and the following year saw an in extremis <\/i>single, Put You In The Picture, which went the whole hog. Written by Ure and keyboard player Billy McIsaac, and self-taped in an otherwise empty bar in downtown Glasgow, the three-track 7” presented a complete overhaul of the group, now calling itself PVC2, and was issued on the independent Zoom imprint. It was not enough to prevent Midge from leaving Slik\/PVC2 to fend for itself, and he teamed up with bass guitarist Glen Matlock, drummer Rusty Egan and guitarist Steve New. <\/p>\n

The future looked rosy for the merger that would be Rich Kids, a moniker inspired by Jean Cocteau’s Les Enfants Terribles <\/i>(“because we were all airy-fairy,” smiled Matlock years later). The principal selling point was that Glen had been a founding member (and arguably the creative pivot) of the brand-leading Sex Pistols. Moreover, Steve New had been on the periphery during the Pistols’ exploratory stumblings in 1975 – and so had Ure, who’d been approached to front the group by Malcolm McLaren when he was in Scotland, purportedly fencing stolen musical equipment. Ure had been content with his earnings and felt that McLaren “had his priorities completely wrong; he didn’t even ask if I was an actual musician”. Ure and was more taken with one of the amplifiers on offer than the proposal of uprooting from Glasgow to fill a position assumed a few weeks later by Johnny Rotten. <\/p>\n

Nonetheless, in the wake of Slik’s decline, Ure decided to take his chances in London, more convenient anyway for rehearsing and recording with Rich Kids – a band that a tidy-minded media was to categorise as leading exponents of power pop, a hyped fad that chased punk. Aided by an extravagant publicity blitz, Rich Kids’ eponymous 45 attained the same position as Requiem. The attendant Ghosts Of Princes In Towers <\/i>album shifted sufficient copies to hold on hoping – but not hopefully enough for Ure and Egan, who, sighed Matlock, “wanted us to incorporate synthesizers and be New Romantics. I felt let down, but in a later conversation with Malcolm, he reckoned that the difficulty with Rich Kids had been that, while London had absorbed punk and what we were trying to do next, the rest of the country hadn’t caught up. Maybe we were ahead of our time.”<\/p>\n

During exploratory get-togethers in December 1978 for an intended second album, Rich Kids fell apart – though they were to reunite on a January night in 2010 to pay musical respects to Steve New, terminally ill with cancer. During his benefit concert at London’s Islington Academy, Midge delivered an acoustic turn that included items by Visage, which he and Rusty Egan instigated when Rich Kids was on its last legs. With no physical form beyond the studio and promotional videos, it had smouldered into existence as a collective in which individuals could pursue ventures at at tangent to the main structure’s keynote themes. It was helmed by Steve Strange, once of the short-lived Moors Murderers (with Chrissie Hynde), whose very name had provoked tabloid outrage. <\/p>\n

With Rusty and Midge’s new synthesiser to the fore, Visage featured Ultravox’s multi-instrumentalist Billy Currie and three of Magazine too. Following a false dawn with Tar on the Radar label, a crack at Zager and Evans’ In The Year 2525 – with every note hand-tooled by Ure – was the bartering tool that procured a Polydor deal. As it had been with Slik, their second single, Fade To Grey, became their most durable product. Some 13 years after it reached UK No 8 (and climbed to pole position in Germany and Switzerland), a remix entered the Top 40 to bolster Fade To Grey: The Best of Visage<\/i>, a CD retrospective that embraced Mind Of A Toy, Damned Don’t Cry, Night Train and further lesser hits. The intrigues that make pop groups what they are finished Visage. “The trouble was that there were too many chiefs,” Ure would reflect. “Six characters all wanting an equal say without putting in an equal amount of work. I was doing most of the writing and producing and we all knew Steve was the frontman, but when it became successful, jealousy and the nasty side of the business crept in. That was never the way it was intended.”<\/p>\n

Hedging their bets, Ure and Egan moonlighted with Tom Robinson Bandsmen and vocalist Kelvin Blacklock (of Rat Scabies’ White Cats) as The Misfits. Less a permanent group than a casual get-together, this fizzled out when the mercurial Midge found himself in the ranks of Thin Lizzy of whom “I became a fan after seeing them as a three-piece long before they had hits”. <\/p>\n

Light years from Visage’s kraut rock-tinged electropop, their brand of hard rock had welled up to a commercial zenith in the late-70s. Then came the manifestation of the ad-hoc Greedies – Thin Lizzy plus various Sex Pistols and Boomtown Rats – and mainstays Gary Moore and Phil Lynott’s concentration on solo outings that, in Lynott’s case, had started in 1980 with respectable sales for his Solo In Soho <\/i>album and three associated singles. These included Top Of The Pops<\/i>’ theme Yellow Pearl, a collaboration with Ure, who’d already assisted with Get Out Of Here on Thin Lizzy’s Black Rose <\/i>and, in 1979, was guitarist on two remakes of old tracks on the outfit’s The Continuing Saga Of The Ageing Orphans <\/i>compilation. He was, therefore, an obvious choice to step in when Gary Moore tendered an abrupt resignation during a trek around North America. Ure stayed on for a venture round Japan in the teeth of Lynott asking him to transfer to keyboards. <\/p>\n

“I was never a keyboard player by any stretch of the imagination,” he shrugged, but went the distance all the same, prior to focusing wholly on Ultravox, resurrected by himself and Billy Currie after the Visage episode. Billy and Midge were to be heard on Visage’s 1982 The Anvil<\/i>, though any permanent continuation was curtailed owing to artistic ructions with Steve Strange. <\/p>\n

The reconstituted Ultravox, with Ure at the microphone, then embarked on a three-year golden age of dizzying chart placings for both singles and albums, supported by ground-breaking videos akin to miniature movies. Lumped in with the New Romantics – basically, a reincarnation of glam-rock – Ultravox had more to do with Tubeway Army and Japan than Duran Duran and Spandau Ballet. Accordingly, they captured consumer imagination via a truce between impassive digital technology (and soundchecks that took five hours), chiefly minor-key human emotion – and cut-up lyrics about persons unknown. For example, the identity of the famous figure in I Remember (Death In The Afternoon) from Rage In Eden<\/i>, the second album by the new line-up, is anyone’s guess. The only clue – and it’s a remote one – is the line, “we tuned the dial; we heard the news”. Nevertheless, no matter how obscure such narratives were or how blinded-by-science their musical support structure, Ultravox songs stood tall when reduced to the acid test of just voice and six-string, demonstrated admirably, along with Visage material, by Midge at the Islington Academy bash.<\/p>\n

The twin peaks of his tenure with Ultravox came near the beginning, with 1981’s Vienna, the album of the same name, and (their last with krautrock boffin Conny Plank at the desk) Rage In Eden<\/i>, and in 1984 with Dancing With Tears In My Eyes (from Lament<\/i>) and The Collection <\/i>(of hits). Almost as much of a red-letter year was 1982 through Quartet<\/i>, (overseen by George Martin) surpassing the small but tangible breakthrough in the US of Rage In Eden<\/i>’s hovering in the Billboard <\/i>list’s lower reaches, and its retinue of four 45s which all lingered in the UK Top 30. <\/p>\n

Vienna was a hit again when reissued in 1993. Regarded by Joe Public as Ultravox’s magnum opus, it had left its mark too in most unlikely points on pop’s spectrum – as revealed in remarks by Dave Hill about the vehicle of Slade’s Top 20 comeback in 1983: “The Linn drum computer pattern on Vienna influenced that used on My Oh My. Don Powell played it live over an electronic kick-bass.” Texan hard rockers ZZ Top were also aficionados. “Their Eliminator <\/i>album of 1983 had drum machine and synth bass beneath Billy Gibbons’ guitar,” observed Midge. “All of a sudden, they’d embraced modern electronics while preserving the flavour of ZZ Top. House music in Chicago was inspired not only by krautrock, but also Visage and Vienna, which is all incredibly powerful when heard from the big sound systems they have in those clubs.” <\/p>\n

In turn, Ultravox, and Ure especially, had listened hard to Scott Walker, an artist largely forgotten by the man in the street until the dropping of his name by the likes of Alex Harvey, Brian Eno, A Teardrop Explodes and David Bowie. However, remote cult heroes can be forgiven anything, except for the mainstream acceptance exemplified when Scott stuck his head above the parapet for a sudden regrouping of The Walker Brothers in 1975 leading to one more Top 10 penetration with a cover of country-rock exponent Tom Rush’s No Regrets and two MOR-ish albums. However, links with their immediate past were severed when the trio sank morbidly surreal teeth into 1978’s Nite Flights, a reliable pointer to Scott’s resumption of a snail-paced solo career. <\/p>\n

So it was that No Regrets, with a scoring that fused aspects of Nite Flights and Ultravox, reared up in 1982 as a Midge Ure solo single, the first of many, initially to parallel those with Ultravox, as Rod Stewart had done with The Faces and Bryan Ferry with Roxy Music. Ure’s judgement proved correct as No Regrets slipped into that summer’s Top 10. This achievement was, however, dampened when After A Fashion, an alliance with Mick Karn of a fragmenting Japan, struggled to No 39, even after the two succumbed to plugging it on TV-AM’s Summer Run, a weekend children’s magazine hosted by the clownish Timmy Mallett. <\/p>\n

Midge was to be omnipresent on the small screen as Bob Geldof of The Boomtown Rats’ junior partner in the realisation of 1985’s satellite-linked Live Aid, viewed by nigh-on two billion people. As well as earning Bob a knighthood and Midge his belated OBE, the related Do They Know It’s Christmas chartbuster, a Ure-Geldof creation (“a song with a weird structure and no chorus”, the former admits) issued in time for 1984’s Yuletide sell-in, raised millions to alleviate the appalling Ethiopian famine and oiled the wheels of governments’ participation in the relief effort. <\/p>\n

The event was traceable to Geldof contacting Ure by telephone when Ultravox were preparing for an appearance on Channel 4’s pop showcase The Tube, asking him in the first instance “to rant on about the BBC news report on the Ethiopian famine” when interviewed on camera. Plunging headfirst into what eventually became Live Aid, Midge’s duties ranged from a Roger Cook-type confrontation on breakfast TV in the depot of a rogue merchandiser of bogus Live Aid-related goods, to darting hither and thither on whipcord legs as supervisor of the session for the single in which Paul Young, Boy George, George Michael, Simon Le Bon and U2’s ubiquitous Bono emoted couplets of verses that punctuated the “feed the world” choruses. <\/p>\n

Another milestone along rock’s road to respectability was the heir to the throne’s Prince’s Trust Birthday Gala before 12,000 over two evenings at Wembley Arena in June 1987. While the sharp-eyed spied Midge on bass as the exception among pop elder statesmen (Elton John, Eric Clapton and Jeff Lynne) chosen to back a short set by ex-Beatles George Harrison and Ringo Starr, he was granted a one-song spot of his own, delivering If I Was, which had toppled Dancing In The Street (Mick Jagger and David Bowie’s Live Aid-related duet) from No 1 two autumns ago. <\/p>\n

It opened The Gift, made during a six-month Ultravox sabbatical that also saw Ure branch out as a producer for Steve Harley, The Skids, Strasse and Rodeo. Thanks partly to airplay amassed by If I Was, it came within an ace of topping the album list. Lifted from The Gift too, That Certain Smile and Wastelands were less remunerative A-sides, but the general impact of this latest solo foray had Ure thinking aloud about quitting Ultravox. He was to place action over debate after the issue of 1986’s U-Vox and that, as far as the record-buying populous was concerned, seemed to be that for this most eminent edition of Ultravox, though they muddled on for another two years. <\/p>\n

Yet healthy chart performances for such as 1993’s If I Was: The Very Best Of Midge Ure contrasted with Ure solo singles maintaining a downward spiral, interrupted only by Call Of The Wild and Cold Cold Heart irritating the UK Top 30, and 1996’s Breathe, which underpinned a television commercial, causing a more perceptible ripple sur le continent. It made sense, therefore, for Midge to eventually anchor himself to the notion that Ultravox was to re-form, ostensibly for the 30th anniversary of the Vienna album for dates that embraced that July’s Isle Of Wight Festival. Amused by the prospect, he’d confided to a BBC interviewer that, “We are not trying to get our youth back, nor the hair that’s fallen off already!” <\/p>\n

Since then, there have been further bouts of touring and even another album, 2012’s Brilliant. But while he enjoyed the camaraderie of being in a group context again, it was perhaps less intriguing to Midge Ure than other pursuits in the interim. These include delving into electro-trance in 2004 with Jam And Spoon, a German duo. <\/p>\n

More recently, there’s been his role in International Blue, an album project under the aegis of Dutch avant-gardener Stephen Emmer and veteran console mastermind Tony Visconti. The basic concept was to place hand-picked vocalists from the past 30 years in an updating of the style of older balladeers and associated songwriters such as Burt Bacharach, John Barry and Jim Webb. Almost as a matter of course, Ure’s Taking Back My Time was selected as its single. <\/p>\n

“Growing up I heard the original crooners,” explains Midge, “but I also lived through the second wave – the Scott Walkers, the Glen Campbells. The sum of your influences makes you who you are musically.” <\/p>\n

This is discernible in Fragile, the new Ure album, in which, while his voice floats effortlessly over layers of treated (but often poignantly atmospheric) sound, Midge sings with a whole lotta soul in an attractively understated fashion. <\/p>\n

Fragile’s two instrumentals, Wood And Wire and Bridges, are just as affecting, with their serene classical music effect, which also informs the extended fade of a title song that surfaces as one of many highlights that, if not springing out immediately, impinge themselves most rewardingly. <\/p>\n

“It’s all about songs with melody and atmosphere. I think that you can hear elements of what has shaped me over the years: kind of wearing my musical heart on my sleeve,” he states. <\/p>\n

“I never felt the need to write and release a record just for the sake of it,” he adds, which sums up the present happy situation of an artist who, by concentrating on the possible, has been elevated to a plateau of pop where tilting at the Top 40 once more would be a mere sideshow. <\/p>\n","protected":false},"excerpt":{"rendered":"

For almost the entire decade bracketed by his No 1 as singing guitarist with teenybop latecomers Slik and another in 1985’s solo If I Was, Midge Ure was both a figurehead and eminence grise of British pop. In those years, he was fundamental to many other (sometimes simultaneous) endeavours, notably Rich Kids, Thin Lizzy, Visage, Ultravox and 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