BILLY CURRIE

EMBRACING AN ARCHITECT

Billy Currie (full name William Lee Currie), is a classically trained, multi-talented instrumentalist/composer, probably best known for his time served as a long standing member of new wave electronic rock/pop synth pioneers and ‘80’s hit makers ULTRAVOX.

Often regarded by many as the creative genius and driving force behind the band, Billy Currie is frequently described as the 'Hendrix' of the synthesizer. Sampling a wide spectrum of his work over the years would enable one to understand exactly why. He is typically noted for his trademark soloing sounds, which back in the days of the hits were created using his ARP Odyssey synthesizer. 

Today, Billy has become more acquainted with the world of soft synths, integrating virtual instruments alongside more traditional sources.  He maintains his stance as a world class Viola/Violin player, ever experimenting with an array of amplified sounds to support many environments and create lasting moods.

“The Viola is a philosopher, sad and helpful; always ready to come to the aid of others, but reluctant to call attention to himself,” ALBERT LAVIGNAC (1846 – 1916)

Long after the classic line-up of Ultravox had disintegrated, Billy’s flow of creative energy didn’t stop there.  It continued to take a stronghold.  As we switch the spotlight to some of his most heartfelt work, it becomes apparent that over the course of the years to follow, his solo output would be plentiful, with a number of highly emotive albums demonstrating a wealth of diversity and influence alongside Billy’s usual skill of great composition and melody.

IN THE BEGINNING

British born and hailing from Huddersfield, Yorkshire, Billy’s career to date reaches far and wide. Playing in orchestras and quartets from the tender age of twelve, touring with Gary Numan, a soundtrack to a soft porn film called "Ain't Misbehavin" (1974 - Tiger Lily), recording and writing what many consider to be the soundtracks to the New Romantic Movement with ‘Visage', (including the co-writing of their biggest hit record 'Fade to Grey' which charted at a U.K no. 8, with a no. 1 in Germany), and performing at Live Aid with Ultravox in 1985. In 1993 Billy took part in a German Film Festival project, dedicated to the late Conny Plank [Conny Plank produced the Systems of Romance, Rage in Eden and Vienna albums and sadly, died of lung cancer in 1987], while later in 1995, Billy worked with Violinist Blaine.L.Reininger in Brussels (from the American band Tuxedo Moon).

Unsurprisingly Billy’s musical awareness developed very early on, aided by the fact that his cousin bought him a guitar when he was just ten years of age. This supplemented the fact that Billy had also started to sing - performing with the Huddersfield Choral Society.

1961 would see Billy take up the violin, joining the school orchestra just the following year. There were excellent prospects for Billy to obtain a place at the Huddersfield School of Music, however, to take up such a golden opportunity, Billy found himself having to change over to the Viola. The required change was due to the fact that Billy had started quite late on the Violin. The switch would become slightly confusing due to the use of different clefs, however, such a challenge would not deter a student of Billy's calibre and he would go on to secure a place at the college in 1965. He commenced the intense training typically required to become an orchestral player, studying composition, harmony and also the Piano as a second instrument. Following the switch to Viola, Billy was able to enjoy playing in some of the best string quartets and led the Viola section in the orchestra. Billy also performed in a Viola, Clarinet and Piano trio.

Herbet Whone was Billy's Viola teacher (Herbet produced numerous books including 'The Hidden Face of Music', as well as being an accomplished painter), but it was Billy’s discovery of composers such as Bartok, Schoenburg, Honegger and Varese that enabled him to further enhance his knowledge and understanding. His recollection from first hearing the last movement of the Bartok Fifth Quartet was something that would provide insight. Further to that, playing the Piano became the exercise that would further introduce Billy to the art of composing, laying firm foundations for his future projects.

CONTINUING THE JOURNEY THROUGH THE EARLY YEARS

1969 would see Billy achieve his main objective of that time by securing a place at the Royal Academy of Music in London. It was at this point that Billy would make a life changing decision. That decision was not to take up his place at the Academy. Alternatively, Billy’s gut feelings would lead him to look at participating in other areas of musical expression – this time within a band format with a strong jazz and blues influence. The band, in which Billy played Viola, would eventually settle on the name ‘Company Roadshow’.

“Transportation - it can push the boundary of every musical continent, but I urge you to go the distance - it actually makes for a very workable and memorable round trip….”

Shortly later came the time to move on and in 1970 Billy would relocate from London back up to Huddersfield, then getting involved with occasional project ‘The Ritual Theatre’, a group of classically trained musicians complete with four dancers. During this period, Billy would then move to Bristol, joining the band ‘Flash Gordon’, before yet another move – this time to Bath, where he would work with a singer/guitarist Jeff Starrs, playing Piano in the live environment for the first time. They would support ‘The Strawbs’ at the key time when the single ‘Lay Down’ hit number one in the UK charts. In In 1972, a wild recipe containing oats was on the agenda! ‘Wild Oats’ being the band Billy played with that would support ‘Hawkwind’ at Bradford St Georges Hall. More work followed with ‘Ritual Theatre’.

1973 would deliver a key turning point when Ed Francis, one of the dancers from ‘Ritual Theatre’ would introduce Billy to vocalist John Foxx. John Foxx fronted the band ‘Tiger Lily’. At this point Billy had moved once again from Huddersfield back to London. He would perform with John, gaining a strong sense of refreshment in the musical sense – the wheels that would take Billy to new territories were now firmly set in motion.

STEERING THROUGH THE '70'S
Billy would have complete confidence in this new found area of musical expression. So much so, that despite his monotonous work in a warehouse at that time, this didn’t bring him down. Huge amounts of work would be put into Tiger Lily, four nights a week being set aside for rehearsal as well as all day Sunday. In 1974 Tiger Lily would do a soundtrack to a soft porn filmed entitled ‘Ain’t Misbehavin’, later released as a single – the proceeds of which Billy would use to buy an Electric Piano.
1975 would lead to another key meeting, this time with Steve Lillywhite who worked in Phonogram Studios in London. It was an introduction that would offer Tiger Lily a great opportunity to put down their new songs when the studio was free. Come 1976, Tiger Lily would sign to Island Records, Steve Lillywhite would produce, and further experimentation with sounds would commence. The band would change their name to Ultravox!, putting out three records on Island, namely, 1976’s ‘Ultravox’, 1977’s ‘Ha! Ha! Ha!’ following with ‘Systems of Romance’ in 1978, the latter being produced by Conny Plank & Ultravox.
Sadly, low record sales would force the hand within Island Records to drop Ultravox in 1979. To further dampen spirits, Ultravox had set out on their first tour of the United States, laden with the prospect of John Foxx’s imminent departure from the band, to embark on a solo career upon return to the U.K.

QUIET MAN MEETS NEW ROMANTIC
Back on U.K shores Billy would come to his next cross roads – standing at that junction was DJ Rusty Egan. Rusty would play tracks from ‘Systems of Romance’ at his club in London, a club that ironically was named ‘Billy’s’! [The scene later moving to the Blitz club]. It was at this point that Billy was presented an opportunity to work with the band ‘Visage’. Visage were a studio project which would consist of Rusty Egan, Billy Currie, Midge Ure, and Steve Strange, as well as three musicians from the band 'Magazine' - Barry Adamson, John McGeogh and Dave Formula. Shortly later Billy would get an invite to play on Gary Numan’s U.K. tour, on offer he duly accepted. It was on this tour that the backing track to Visage’s big hit ‘Fade to Grey’ was put together by both Billy and keyboard player Chris Payne, during soundchecks. Billy would return from tour to continue with the Visage album, and would later invite colleague Midge Ure into Ultravox. Moving into the 1980’s would bring not one, but two albums – ‘Visages’ self titled and Ultravox’s ‘Vienna’.

BREAKING NEW GROUND
1980 would prove a great success in terms of albums, with both Visage and Vienna becoming hugely successful, and not just in the U.K. Ultravox would sign to Chrysalis Records and the single Vienna would climb the UK chart to secure its place at number two, held off the top slot only by Joe Dolce’s novelty record ‘Shaddup Your Face’.
As a band Ultravox would become a sum of many parts, with visuals playing a large role in defining the band as an entity. Not only was their music unique, but their videos would also prove them to be leaders rather than followers. They extended the boundaries for artistic expression using intelligent manipulation of sound, film, lighting, lyrics and art, all elements being skilfully crafted to create maximum impact. The years that lay ahead would be productive with more successful albums – 1981’s Rage in Eden, 1982’s Quartet and 1984’s Lament. Visage would also release ‘The Anvil’ in 1981.

STANDING ALONE
It may be that Billy was considering solo output as early as 1983 - having already written some tracks that would later appear on 'Keys and the Fiddle', however 1988's excellent 'Transportation' album was his first adventure out into the wilderness under the solo banner, the album featuring guest Steve Howe [Yes] on guitar.  

‘Accidental Poetry of the Structure’ is a superbly accurate title, representing an equally impressive collection of sensual and evocative compositions..’

As we push the spotlight onto some of Billy’s most innovative albums, it’s apparent that the solo compositions of Billy Currie contain huge amounts of atmosphere coupled with various personalities that are in the main, sophisticated with classical twists of elegance plus some good old fashioned vibes, all of which sit nicely alongside a flirtation to the modern edge – whether that be the sounds or in the production itself.  Billy rarely shows a passion for mundane simplicity, instead, on first listen be prepared for some dramatic sequences and an immensely varied mixture of creative energy.  Billy’s talent shows great endurance in that a new solo release is due out sometime in 2009, proving that although Ultravox, until recently, had experienced significant downtime, Billy’s talents never really expired, but rather matured with age. 

TRANSPORTATION

Airlift / Traveller / Transportation / Rakaia River / India / Perfect Flight / Over-Soul / English Home

Originally released in 1988 & Billy Currie’s first solo effort, this album has been knowingly and lovingly crafted, taking on a strong theatrical stance.

“Transportation” sums up the whole record - it’s vast, majestic, wild and remote.  Billy plays the piano with incredible intent here, creating phrases which contrast later with the more subtle parts of the track.  An incredible journey, true of the whole album and not just its title track, with some stunning guitar parts courtesy of guest Steve Howe [Yes].  Listen carefully as “Transportation” resolves with a short violin section and you will hear “The Ascent”.  Ultravox continue to stir the undercurrent of some fast moving waters - Billy’s loving relationship with the keys during “Rackaia River” at one point contain traces of “Astradyne”.

“Perfect Flight” oozes pure passion - the whole feel of this track has an underlying sexy connotation, and its soulful presence sits well in a swanky New York cocktail bar.

Every track on here shimmers with artistic richness resulting in a work that’s both eccentric and adventurous. 

Some would say it’s extreme, in that it can push the boundary of every musical continent, but I urge you to go the distance - it actually makes for a very workable and memorable round trip.

KEYS AND THE FIDDLE

Memories Don’t Go / Sojourn / Tekapo Blue / Sisters & Brothers / Leap/Metronomic and Rising / Enchanted / Passage to Possession / Upswing / Break Down My Door / Riding White Horses / Happy Valley / Spirit of Her Spirit / Quiet Words / Clean Stones / Gloat / Playground / Away

The bright cover art for KATF available with the download version is somewhat abstract, resembling a 1970’s BBC test card.  Largely an album of contrast and contradiction it’s immensely unpredictable which all makes for very interesting listening.

There are some impressive vintage sounding cuts that appear on this offering. “Riding White Horses” consists of layered synth textures of extravagance - climbing to great heights, and sitting well alongside structured electronic beats. “Sojourn” again is a lively beat driven, vibrant sounding composition, with some shimmering keyboard sounds contrasting nicely with classically styled guitar.   “Break Down My Door” holds the key to amplified blues driven guitar sounds which literally cry out courtesy of guitarist Russell Bell. 

In summary, ‘Keys and the Fiddle’ is an innovative work, while giving strong hint to Billy’s primary roots.

PUSH

Stand Like a Balance / Step Forward / Swimming in Air / Kissing the Shame / High Climb / Into the Space / Why Do You Hang on Me / The True Transmission / Theremin / Cross Hands / Rollback

Billy explores many avenues in his own unique and subtle way; there are moments on here that would ignite the imagination of those who appreciate elements of Pink Floyd, Space Ritual, Tangerine Dream and Hawkwind.

“Stand Like a Balance” has a depth of spiritual essence and will appeal to the purist looking for a connection with nature.   Edging into anthems of the dance variety, “Step Forward” is a fine example, while those distinctive ARP Odyssey sounds cut through and define tracks such as “Kissing the Shame” and “In to Space,” injecting that essential element of Billy Currie originality.

“Theremin” is a majestic tune in its own right – great piano enhancements which trickle through the track and seek attention throughout, while “Rollback” identifies itself as a playful piece, prior upping its pace. “Cross Hands” spills both sunshine and tranquillity.   With the usual thirst for drama and extravagance, “The True Transmission” feels very classic Billy Currie.

“Why Do You Hang on Me” is a rather exquisite journey which manages to capture an element of Albert Lavignac’s quotation relating to the Viola.  It’s easy to feel such words within this work – a deeply moving force of compelling sensations and a definite showpiece of the album.

A classic in the true sense, each distinctive track portrays powerful musical imagery, heavily weighted with emotionally charged and eloquent synthesizer sounds.

STILL MOVEMENT

Waving Hands in Clouds / Simultaneity / Afterglow / Apocrypha / The Waves Look Sleepy / Standing Still / Highfalutin / Stately / Deflect Downward / Step Forward to Seven Stars / The Other World

In the main ‘Still Movement’ is a vast musical landscape containing a laid back collection of ambient sounds. Home to huge pools of tranquillity, this album overflows with atmosphere. 

“Waving Hands in Clouds” will have you immersed in its reflection.  “Step Forward to Seven Stars” is an airy track with a nice progression of muscular sounding chords, complemented by some excitable lighter piano lines played on the higher octave.  “The Waves Look Sleepy” induces high cries from the violin upon introduction, before settling into its strong rhythmical flow.  Springing a desolate feeling “The Other World” showcases some spirited interaction of rich synth responses to the pianos more sombre personality.  Uplifting moments of inspiration emerge with “Stately” with its modern sounding dance beat. “Afterglow” is a luminous track with subtle and imaginative percussion parts – it marches through the musical wilderness with some well put together chord sequences, a captivating violin melody line complete with pretty eruptions of sparkling synth sounds.

Despite beautiful soothing overtones ‘Still Movement’ remains adventurous, resulting in a truly diverse electronic experience, maintaining the courage of a modern edge. 

ACCIDENTAL POETRY OF THE STRUCTURE

Accidental Poetry of the Structure / Williams Mix / Skips of a Chopped Head / Krakow / Fixe Movement Three / Matsang River / Hall of Impressions / Folly Brook / Compassion / Listening to Strength.

An avant-garde collection of instrumentals - this album has a strong sense of free flowing melodies, synonymous with all Billy Currie’s work to date.

Delicate piano sounds introduce the title track, followed by an immediate sensation of drama, before a tuneful hook delivers its prominent power.

Throughout, Billy’s top end piano notes gently engage some haunting ambience, particularly evident during “Williams Mix”, “Skips of a Chopped Head” and “Krakow”.  The latter shows contrast in that it also leaps and bounds in a rather joyous way, portraying certain elegance in its movement.

“Matsang River” flows as nicely as such a title would suggest, while “Folly Brook” is consistent with its gentle violin sounds before building during its onward course.  “Listening to Strength” concludes this work, generates a spacious feeling, nicely populated with some highly emotive strings.

‘Accidental Poetry of the Structure’ is a superbly accurate title, representing an equally impressive collection of sensual and evocative compositions.

Clearly Billy has an impressive body of solo work to date, however, other essential hidden instrumental treasures which feature Billy Currie are also in existence, having made their appearance in the context of both ULTRAVOX and VISAGE, long before Billy explored further with his solo work:  

ASTRADYNE
(Ultravox: ‘Vienna’; Chrysalis UK 1980)

An incredibly uplifting instrumental, from the signature ‘Vienna’ album. “Astradyne” presents a superb arrangement of artistic, groundbreaking & intelligent electronic rock. The track is broken down with some cleverly crafted piano and ignited by a superb violin solo. Towards the end of the track, a searing synth solo fires up, resulting in a complete revolutionary feel.

MONUMENT
(Ultravox: ‘Monument’; Chrysalis UK 1983)

Monument is cutting edge.  A track which behaves in a radical way, it caught drama, action, power, mystique and atmosphere and rolled it all up into one complete soundtrack, defining another magical era in terms of live shows, for the classic line-up. 

THE ASCENT
(Ultravox: ‘Rage in Eden’; Chrysalis UK 1982)

Unafraid to experiment, Billy integrates all his talents and creative energy into something that’s both innovating and diverse with this tuneful and bright composition. Its strong classical element is surrounded by upbeat vitality.  A very unique approach for both the era and the genre.

MOON OVER MOSCOW
(Visage: ‘Visage’; Polydor 28MM 0019; UK 1980)

This track has a futuristic sense of direction which later becomes intertwined with a sinister and intimidating mid section – enough to send a shiver down the spine.  Prepare for images of cobbled streets, damp grey mist and darkness.

THE STEPS
(Visage: ‘Visage’; Polydor 28MM 0019; UK 1980)

An alien landscape accompanied only by a strong sense of loneliness. Any potential musical additions are inconspicuous in their absence.  A simple idea, the aftermath of which is eerie, cold and captivating.

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Jus Forrest - 2009