Numan has always occupied a slightly odd position in the pantheon of music, insofar that he’s pretty much universally known, yet has never received the kind of respect as he ought to have done. ![]() What is for sure is that the Year Zero for commercially viable, big-selling synth-pop was the release of The Pleasure Principle, the first solo record from Gary Numan. However, they had very rarely been put front-and-centre of the music until the late Seventies, when Kraftwerk and various new-wave acts made them critically respected. Edgar Froese had used them in his Tangerine Dream recordings as far back as the late Sixties, and several progressive rock acts had implemented them into their ambitious compositions (although you needed a doctorate to operate them). ![]() Synthesisers had been in use in popular music long before our collective consciousness normally recognises them as having appeared in the charts.
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