Complete Live 1977 by Ultravox! – A Sonic Time Machine That Still Kicks
Let’s get one thing straight: Complete Live 1977 isn’t just another live album. It’s a raw, unfiltered snapshot of Ultravox! at their peak—before John Foxx left and the band morphed into something else entirely. Released in 2014 (yeah, nearly four decades after it was recorded), this Japanese gem from Highland Project is like finding an old mixtape you forgot existed but immediately hits all the right buttons.
The genres are listed as Rock and Electronic, but let me tell you, that doesn’t even scratch the surface. This record straddles Art Rock with its moody grandeur and New Wave with its sharp edges. One listen, and you’ll feel like you’re standing in some smoky Tokyo club circa '77, watching these guys rip through tracks like they’ve got nothing to lose.
Why You’ll Remember These Tracks
Take “Artificial Life,” for example. Oh man, this track punches you right in the gut. Billy Currie’s violin dances over Stevie Shears’ jagged guitar riffs while Warren Cann’s drums hammer out rhythms so tight they almost hurt. And then there’s John Foxx’s voice—cold yet oddly inviting, like he’s whispering secrets meant only for you. The way the song builds tension feels cinematic, like you’re watching a sci-fi thriller unfold in real time. It’s no wonder people still talk about how ahead of its time this stuff was.
And then there’s “Saturday Night (In The City Of The Dead).” If ever a song captured the eerie beauty of urban decay, this is it. Chris Cross lays down basslines so deep they vibrate in your chest, while Foxx spits lyrics that paint pictures of neon-lit streets and hollow-eyed strangers. Listening to this track feels like walking alone through a city late at night when everything’s closed up and quiet—it’s haunting, sure, but also kinda beautiful. Like those moments where sadness and awe blur together.
The Vibe Is Everything
What makes Complete Live 1977 special isn’t just the music; it’s the vibe. There’s a looseness here, a sense of experimentation that studio albums sometimes lack. You can hear the band feeding off each other’s energy, taking risks, making mistakes—and somehow, those imperfections make it better. It’s alive in a way polished records rarely are.
Billy Currie deserves extra props for pulling double duty on keys and violin, adding layers of texture that elevate every track. Meanwhile, Warren Cann proves why he’s one of the most underrated drummers of his era—his beats aren’t flashy, but damn if they don’t drive the whole thing forward.
Final Thoughts (With a Twist)
Listening to Complete Live 1977 feels like eavesdropping on history. But here’s the kicker—it doesn’t feel dated. Sure, the production has that lo-fi crunch, but the songs? They could’ve been written yesterday. Or tomorrow. Maybe that’s the magic of Ultravox!: they weren’t trying to fit into any trend. They were creating their own world, one synth pulse and violin wail at a time.
So yeah, go grab this album if you haven’t already. Just don’t blame me if you find yourself stuck in a spiral of existential thoughts after blasting “The Man Who Dies Every Day.” Trust me, though—it’s worth it.
