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(stardust savant)
04/03/04 03:08 PM
Gary Numan new  

I looked to Ultravox, in those days, as being the standard to aim for. Kraftwerk, of course, and Neu! had been around for some time before that. I think the Bowie albums brought Eno's idea of electronic music to a wider audience. I've always been led to believe that Eno was the creative force behind the electronic element of those two Bowie albums. Good albums, though.

Uncut April 2001, p. 65

(stardust savant)
04/05/04 11:01 PM
Re: Gary Numan new [re: Emil]  

I only have opinions on them because I've been asked about them; I never had any before. I've already been asked once about Numan over the last month.

Numan? I really don't know. I think what he did - that element of 'Saviour Machine' - type things - I think he encapsulated that whole feeling excellently. He really did a good job on that kind of stereotype, but I think therein lies his own particular confinement. I don't know where he intends going or what he intends doing, but I think he has confined himself terrifically. But that's his problem, isn't it?

David Bowie, NME, September 1980

(crash course raver)
04/06/04 03:43 PM
Re: Gary Numan new [re: Emil]  

How much of an influence was Bowie's 'Berlin period' on your work?

That was about the last time I liked Bowie, actually, that particular period. I thought he did some great stuff. And it was after that, he kind of lost it .... to me anyway. I wouldn't dare to criticise him. But musically he did not influence me, not really. When I got into electronics, the only electronic thing he had done really was the B-side of Low. It was almost classical, very long doomy pieces. At the time I was trying to write three-minute pop songs, so I looked more towards Ultravox, a little bit of Kraftwerk and Daniel Miller.

Record Collector, March 2001, No. 259 (p. 23)

(crash course raver)
07/05/04 11:37 AM
Re: Gary Numan new [re: Emil]  

"For about a year I tried to look like Bowie, but it never happened for me, unfortunately. For a very short period I had the Thin White Duke look. I used to wear the waistcoat and I had the blond bit at the front of my hair."

BowieStyle by Mark Paytress, page 114

(thunder ocean)
07/06/04 05:59 AM
The Heart's Filthy Lesson new [re: EuropeanCanon]  

I thought it was brilliant. There's so much crap, then there's something like that which comes along, which is an absolute masterpiece and only gets to number 35. On "The Heart's Filthy Lesson" every sound is a gem. The arrangement was brilliant and he sang it well. My own feelings are, much as I think his voice is phenomenal, he oversings a lot of the time. He sings harder than he needs to to; that's why I prefer his earlier stuff. "Heart's Filthy Lesson" was right back into that not-so-full-on singing. That's what I hate about Whitney Houston. I know she can sing very well but, fuck me, you don't have to sing flat out in every song you do. Too much singing going on here! "Heart's Filthy Lesson" was right to the point. It was right where it needed to be, a very focused track, right up my street, right in the middle of the sort of music I love.

David Buckley: Strange Fascination (2001 edition), page 511

11/28/04 08:39 AM
Re: Gary Numan new [re: Emil]  

Q: Do you think Beggars Banquet saw a little Bowie in you and label mate Peter Murphy?

A: I doubt that Beggars saw a little bit of Bowie in me. I was a little spotty punk rocker when they signed me. The electronic music and strong image was still to come. Martin Mills (who owns Beggars Banquet) has said that he saw a stage presence in me that was commanding and unique from the very beginning and that was one of the reasons why he signed me. The thing I learned from Bowie was all to do with presentation and that wasn't able to surface until the records began to sell and I got the opportunity to do TV. That was sometime after I was signed up by Beggars so I tend to think that they saw something else in me rather than a little bit of Bowie. To be honest I couldn't care less what it was, I was just glad to be signed by a label.

Gary Numan, electronicmusic.com, November 1997

(thunder ocean)
02/02/05 09:04 AM
Cloning new [re: EJSunday]  

"I've seen some of his videos. To be honest, I never meant for cloning to be a part of the eighties. He's not only copied me, he's clever and he's got all my influences too. I guess it's the best of luck to him."

Bowie on Numan,
interview by Paula Yates on Record Mirror 1979,
reproduced in Strange Fascination by David Buckley

(thunder ocean)
02/02/05 09:29 AM
The Fury new [re: Sysiyo]  

I lost my whole thing for Bowie within five second of reading what he had said. The man had been, outside of my family, the biggest thing in my life. I'd had fights over him, I'd got beaten up because of him. If there was a Bowie influence running through my songs, it wasn't intentional, although I would be stupid to deny it because he was such a big part of my life.To have some who you hold in such high reagard say something so dismissive and so petty about somebody else's life I thought was pathetic, really. I understand it much more now because I'm 40 years old and I've had my ups and downs and I can understand much more of what was going on in his mind. That would have been about seven or eight years into his fame. If I'd gone back to when I was seven or eight years into mine, I guess that I might have mad similar problems if someone had come along in the mid-1980's who had a really big electronic hit. It didn't actually happen, but if it had, I might have felt a bit bitter about it, and I might have said something a bit scathing in an interview.

Gary Numan,
interview by David Buckley in Strange Fascination

(thunder ocean)
02/02/05 09:45 AM
The Kenny Everett Show new [re: Sysiyo]  

I'd done my bit, then Mallet said, "Bowie's going to be here next week. Do you want to come and see him?" Can you imagine? You'd just got famous yourself and all that was brilliant in your life and the next thing you're actually going to meet David Bowie! Shortof flying to the mood and back I couldn't imagine anything else I would have rather done. So, I go along and there are a few other famour people there like bob Geldof and Paula Yates, and I am shy. There's a little side room and we are allowed to look through a doorway and bugger me if Bowie didn't see me! I am sitting in the back of this room, trying to keep out of the way, and totally in awe. So recording stops and it's all awkward for a bit and nobody's sure what is going on. Obviously, something's happened because Bowie's not happy. Mallet comes over to me and says, "Can I have a word?" So he takes me outside and says, "David Bowie spotted you. He's not very happy about it and doesn't want you in the building." And that was it! So I'm thrown out! If Bowie had said, "Look, Mallet, I want that bloke off," then you were off because Mallet had a huge financial incentive to want to stay doing Bowie's videos. the next thing I know is that about three or four days later we get a call saying unfortunately it's not possible to have your song on The Kenny Everett Show, it doesn't fit in schedule, or some other fuckin' stupid excuse. So that was it! Out of the building and off the programme!

Gary Numan,
interview by David Buckley on Strange Fascination

07/12/05 11:07 AM
Re: Gary Numan new [re: Emil]  

"When I first got into electronic music, I used to listen to Ultravox a lot. They were the only people really who were doing things where they mixed synthesizers - electronics - with conventional instruments, and that's what I wanted to do. I didn't want to replace old instruments the way people like Kraftwerk had done - with just all electronic. That kind of didn't work for me. The things that Bowie and Eno were doing were kind of not really what I was after either, but Ultravox were. Ultravox were very much in the same sort of vein. So, I listened to them quite a lot. Before that, I really wanted to be a pop star/rock star because of people like T Rex and Marc Bolan and so on. I was a Bowie fan for a while, but not for that long."

Gary Numan, Music Street Journal, 2000

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