Upgrading an earlier two-fer CD that curiously omitted great swathes of both albums, the coupling of 1979's breakthrough Replicas and the 1978 demos that comprised The Plan is both chronologically and musically askance – one entire LP, Tubeway Army's eponymous debut, divided these two projects in time, and while it, too, barely hinted at the utter re-evaluation that Gary Numan would soon be making, the jolt would have been a lot less pronounced had some kind of internal logic been adhered to. No complaints, of course, about the bang for your buck. No less than 38 tracks are spread across the two discs, as the original 12-track The Plan and ten-song Replicas are joined by a wealth of bonus tracks, each offering up a full snapshot of Numan's activities at those particular points in time. The Plan adds three more of the demos that were recorded with the original LP's worth, then adds on the six songs recorded during sessions for the band's first two singles, on either side of the main attraction; Replicas is appended by half a dozen session outtakes, two of which were period B-sides.
One has to give credit to an '80s new wave musician who can adapt and create contemporary-sounding music. There are icons from that era who continue to release new recordings - Depeche Mode and the Cure, for example - but don't evolve musically; the sound is unchanging as if they were still back in the decade. This is not a bad thing, however; core listeners are usually who buy these artists' newly released albums and they don't generate new fans. That said, hats off to '80s Brit popster Gary Numan, best known for the hit "Cars," who offers up a modernized industrial-goth set in Pure. The album can comfortably sit alongside Marilyn Manson and Nine Inch Nails on store shelves. Pure doesn't drive like the industrialized adrenaline rush that is, say, Orgy, but the tracks' lingering and creepy pace leaves behind a different kind of impact - it's more haunting than relentless…
Gary Numan is known for robotic, stylized singing. His primitive electronics and pre-"new romantic" sound did nothing for me. A myriad, zealous voices will tell you that Numan was sings "good songs." Now, in this 2-CD collection of Numan interpretations you can hear those good songs without Numan's idiosyncratic delivery. The known and the unknown join to make proto-dance music out of mechanical master's material. Matt Sharp (Weezer) and Damon Albarn (Blur) cover "We Have a Technical." Also on the compilation are Gravity Kills, EMF, The Magnetic Fields, Jesus Jones, the out-of-place hip hop group Underdog (but, there's only one of them), Sukia, The Orb, Pop Will Eat Itself. One of my favorite cuts is "Metal" by Towering Inferno. Brian Eno described their Kaddish album as "frightening" and they are here joined by Eddie Reader. I also am very fond of the two versions of "Are 'Friends' Electric?" Techno rockers Republicaare joined by Numan himself for one version and Belgian discovery An Pierle offers another.
For the first time in nearly half a decade, Numan, to a large if not total extent, recaptured the sense of compelling darkness at the heart of his music on Strange Charm. Though Numan himself had a difficult time with the recording of the album, speaking in later years about his struggles with then-new technology and how best to make it work for his music, the end results often justify the expense of effort. For the first time in a long while, Numan actively uses silence and less-crowded arrangements to create a more dramatic impact - it lets the songs breathe a bit more, while further foregrounding his vocals. Flat-out successes such as "The Sleeproom," with its haunting, quite beautiful chorus, and the concluding ballad "This Is Love," with heavily echoed piano and singing leading the way, show how his decision worked wonders…
Exile is probably the first album to see him firmly on the path, following-up the career reviving and direction-resurging Sacrifice. Musically dark and moody with touches of techno and goth, it's the lyrics here that truly set the tone. It's a far cry from some of his earlier work. After his innovative and coherent music of the late '70s and early '80s, Numan had taken up residence in the musical doldrums with album after album of little consequence. 1994's Sacrifice proved he wasn't too far gone, and was a wonderful return to relevance. Exile, meanwhile, took it all a step further, and is likely where he would have ended up had he never gone astray in the first place. By far his darkest album up to that point, and a wonderful contrast to the dark-in-its-own-right Replicas from 18 years earlier.
By the release of their second album, Replicas, Gary Numan was the undisputed focal point and leader of icy electro-punkers Tubeway Army. And the move proved to be massively successful back home in the U.K., where both the album and the single "Are 'Friends' Electric?" topped the charts. The band had made a conscious effort to streamline the sound heard on its 1978 self-titled debut – the distorted guitar riffs were played on Moog synthesizers instead, and Numan had perfected his faux-space-age persona.
Gary Numan is a pioneer, and his influence on so many artists is unmistakable and grand. Gary’s style connects him with fans of multiple genres… electronic, industrial, indie-rock, metal, etc. He remains an innovator, and his fan base continues to grow.