This group has been put together for fans of Gary Numan and visitors of the Numanme site, to discuses all things Numan sell/trade share stories and images
from all aspects of Numan's career.
Numanme Radio Podcast will be playing you some of the best Classic Alternative, New Wave, Dark Wave, Synth-Pop, and Punk. Also, a staple diet of Gary Numan/Tubeway Army without question. Shows will be updated here when they become available.
The gallery contains Gary Numan-related photographs. They range from the Tubeway Army days to the present day. Feel free to browse and if you would like to add any of your images please get in touch.
Why a full page on Dramatis? Because certain members played a big part in Gary’s sound in the early days, without any doubt a very important part of Gary’s History.
Dramatis were a British synthpop band from the early 1980s. Chris Payne (vocals, keyboards), Rrussell Bell (guitars, keyboards), Cedric Sharpley (drums), Denis Haines (keyboards) were originally members of Gary Numan's backing band. Dramatis formed after Gary Numan quit touring, the backing band got together to form Dramatis. A five piece electronic pop outfit, they tried to capture the Numan fans using techniques colleges. Many Numan fans would turn up expecting to catch a glimpse of their idol, but he never materialised. Dramatis did have some chart success with Love Needs No Disguise but this was probably due to Numan singing on the single which he actually co-wrote with the band. They released six singles and one album before disbanding in 1982. Two of their singles reached the UK Singles Chart: the 1981 single with Numan "Love Needs No Disguise" which reached number 33, and the 1982 single "I Can See Her Now" which reached number 57. Dramatis have also written a number of themes for T.V. programmes and where much in demand for their multi-instrumental
talents.
Chris Payne (vocals, keyboards), Cedric Sharpley (drums), Rrussell Bell (guitars, keyboards)
Dramatis released an LP called "For Future Reference" which, if it had not been for the die-hard Numan fans, probably would have gone completely unnoticed (even if it had been released in the US, which it wasn't), despite some fun, hook-laden songs ("Oh 2025" for example). This album will likely only appeal to the Numan fan masses or fans of early 80's synth/new wave material. The material does not really stand the test of time, unlike the bulk of Numan's material. Numan appears only on the track "Love Needs No Disguise". The album has been re-issued under different names "The Dramatis Project" and Future. Their first single was Ex Luna Scientia which used heavily processed vocals and (probably) a vocoder to hide the fact that there wasn’t a natural lead vocalist or charismatic frontman. The record has an almost prog rock feel, which isn’t a bad thing. Whatever you thought of the record, it was excellent, you had to give them credit for not just cashing in on Gary Numans signature
sound.
The same couldn’t really be said for the follow up Oh! Twenty Twenty Five which, while not terrible, sounds like a second string Numan song. On the picture sleeve the band have been given a new romantic makeover which they don’t look completely comfortable
with.
They reunited with Gary for Love Needs No Disguise which finally gave them a UK top 40 hit.
Their short career is represented on The Dramatis Project & Futur confusingly credited to Tubeway Army featuring Gary Numan. This is part of the inner sleeve notes from the The Dramatis
Project.
Dramatis released the album for future reference, and recruited Gary Numan as guest vocalise on one of the tracks Love Needs No Disguise, which made No 33 in the UK single charts in 1981. Their label of the time, beggars banquet, odiously thought that a Gary Numan – related project was worth a punt, and so the band were given studio time to cut the entire album. Vocalist Russell Bell lacked the robotic tone and alien character of Gary Numan, but they could still craft an appealing electronic pop sound, best evinced on the track On Reflection, which marries attractive synthesiser tones with a sense of the dramatic that the projects name suggests. Its fresh pop sound was not unlike contemporaries New Muzik, who similarly charted electronic pop waters. Elsewhere, the band even show signs of a Prog Rock influence, with the romantic piano flourish of Take Me Home and the ghostly shards of synth wafting behind the songs simple three-word lyric constructing an authentically eerie background. The use of viola also evokes mid-period Roxy Music, when violinist Eddie Jobson was in the band, with a soundtrack quality that is not without
merit.
The opening track, Oh! 2025 nails the albums futuristic colours to the mast, the lyric litterd with references to the pastas seen from centuries hence. Twenty-odd years on, the song has a certain naïve charm, although some of the rather clunky arrangement and production values seem very much of their time. Perhaps a Gary Numan Vocal could have put the song over more convincingly. His vocal on the aforementioned Love Needs No Disguise serves to blur the focus of the album as a distinct Dramatis project, but its mood of lush languor marks it as of the albums most successful and full-realised tracks. The delicate synthesizer opening is reminiscent of Davis Bowie in his glacial Crystal Japan mode and the drum machine rhythm track and atmospheric piano, together with edgu guitar solo, make for a sleek pad from which Numan can contribute a vocal of some subtlety and effect. Human Sacrifice with its chanted vocal, anticipates the rag hard sound of Frankie Goes To Hollywood. Its remorseless syth pulse and viola swirls make for an effective wall of sound. Turn starts promisingly with some neoclassical piano chords, before becoming a somewhat undistinguished stompalong enthusiastically, played
though.
The Dramatis Project was not a resounding commercial success, despite Numan’s presence and Love Needs No Disguise hit single. In truth Numan’s career had by now peaked, commercially, and Dramatis undoubtedly suffered as a result. By 1982 the New Romantic Party was in full swing, and bands like Duran Duran had taken full advantage of the emergent MTV with glossy video productions that made the likes of Gary Numan seem of a bygone Pop age. Dramatis had a minor hit on Elton Johns Rocket label the following year, I Can See Her Now, but the electronic charabanc had long since left the
station.
Cuttings
Rrussell Bell: When Gary retired for a period after the '81 Wembley gigs, we, as his band, had some time on our hands. We signed a deal with Elton John'scompany, Rocket Records and recorded an album called For Future Reference. Gary popped down to visit us at Ridge Farm studios and liked a track we had just recorded called “Love Needs No Disguise.” Ironically, the lyrics I wrote for the song were about the time we had spent touring with Gary. As a band we got on so well together it’s unbelievable, I’ve never known a band that been so happy working together. I don’t think we had an argument for years which was almost embarrassingly odd. It wasn't really a Gary Numan project but Dramatis probably wouldn't have been signed if we hadn't been his band.
Poppix Magazine Interview
The following interview originally appeared in Poppix magazine 1981.
DRAMATIS.
Dramatis are Rrussell Bell, Dennis Haines, Cedric Sharpley and Chris Payne (who co-wrote “Fade To Grey’ for Visage). They used to be the band that played with Gary Numan, until he retired. They remained together after to continue playing and recording their own compositions and now have an album and a single out. POP PIX discussed the band generally with Rrussell Bell, the guitarist and vocalist.
We all come from similar backgrounds but different upbringings in music. I don’t think there is much that hasn’t influenced us really. There is a bit of everything both classical and electronic. Three of us were classically trained and so obviously we have had quite a lot of that drummed into us. We all listen to people like Peter Gabriel, Genesis and that sort of thing a different mixture of influences. I studied the violin and we use violins and violas quite regularly in the album. Because Chris plays viola so we do little arrangements.
I have been in quite a few bands around London—gigging and recording. We’ve all done quite a bit. Before we joined Gary, we were doing sessions and things, so it gave us a good background of studio techniques—working with different producers and learning on the way up.
Somebody once described our music as ‘Classionic”, the classical elecironic sound of which some of the stuff we do fit that category. Some of it is electronic with a heavier more ethnic arrangement, or that’s what we would like to think.
The line up has remained the same four people that were in the Gary Numan band. We learned quite a lot off him actually, from his ideas in the studio. Gary was very easy to work with and very easy to get along with. He knew exactly what he wanted musically and we used to do it, We would help with any arrangements and we often used to do our own parts in a song. Gary used to write all the Songs and lyrics, and then we used to fill in round them basically.
As for our style of clothes, we just tend to wear what we think looks good at the time. We try to avoid following any fashion because we think that is fatal if you are following something, you’ve got to be behind it and so it is just a waste of time. All four of us for the photo session for the album cover just went out individually. We never consult each other we simply go and buy something, or search through the wardrobe and put something on. We have democratically agreed between us that we do not really care what the other wears, so in that way, we are not going to end up with a uniform.
Regarding the similarity to other groups, I like Ultravox. I think they are one of the closest approximations to us, being that they are a four piece and rely on keyboards quite heavily, but at the moment I am trying to catch up on the current music scene. I am sure that there must be a lot of good things happening at the moment, but I have been so busy that I have not been able to listen to a lot of it. I enjoy listening to anything new that is coming out at the moment either electronic or ordinary music.
Our Album took us about three weeks to record and we produced it ourselves. I think that regarding the production of electronic music, you have to really move to keep tip with the advancement going on all the time. When we are recording, we usually think of a sound and then put loads of effect boxes together in order to achieve it, although that is probably the hardest method. To a certain extent, we cannot get away from the sound and style we had when we were with Gary, because it was us playing it. We are sort of lumbered with the fact, that as we Played previously it is going to sound like us. However, we are not making any conscious attempts; we are just writing music as we write it basically.
R Rrussell: Gary popped down to visit us at Ridge Farm studios and liked a track we had just recorded called 'Love Needs No Disguise'. Ironically, the lyrics I wrote for the song were about the time we had spent touring with Gary. It wasn't really a Gary Numan project but it probably wouldn't have been signed if we hadn't been his band.
R Rrussell: Were fed up pandering to people’s whims we get thirty different people telling us to do this or that and we end up in a right old mess so we said forget it, we’ll do what we want, it’s the only way.”
Ced: it’s a very real problem. We get so many different opinions it makes us confused in our own minds, confused about how to write songs, not knowing which way to go and ending up bang in the middle. For instance, we have three tracks that are follow-up single material.”
Rrussell: “... but the record companies don’t see it that way. We do five minute songs and they say ‘can’t you make it 3 half minutes? We don’t write specifically long songs, but they tend to be longer than record labels like. It’s ridiculous; we can’t start cutting bits out!”
Cred: “It makes it difficult when were writing, it all has to be worked out in advance, and that’s a bit boring. Yet the odd one gets through like that Dire Straits song that’s a bit longer.” It’s wretched, they agree, but the consolation is that everyone else has to do it as well.
Rrussell can only hope to drown his sorrows in his work with everyone’s fave robots, Tik and Tok, with whom he recorded ‘Summer In The City’.
Rrussell: “We’re doing ‘Vile Bodies’ soon, the follow up, which should be ready good. We might even do it in Japan, ‘cos they’ve got interest from a Japanese record company. Peter Godwin will be producing it, I’ve been working with him for a few days recently too, on his new’ album, which is very good. He’s a talented bloke.”
But it must still be frustrating working with other people?
Rrussell: “Terribly, because you get good ideas when you’re in the studio and think I wish I’d done that on our album!”
Isn’t it broadening the horizons, though?
Rrussell: Yeah. It’s something we’ve always done and probably always will. We only work with friends really or people we respect or like musically. We used to do sessions we hated, but there’s no point realty”
Ced: ‘it’s interesting working with good people”
Rrussell: “But I’d hate to end up as a full-time session musician, on Radio 2 when I was 50... It’s back to the casinos again! We’re all broke, you see, so I’ll have to go back to gambling to make a living! I had to sell my sports car — it broke my heart!”
It’s all a vicious circle, though, ‘cos ‘when they finally get the backing they need to tour the UK, it’s very likely they’ll be unable to find the right venues to play.
Rrussell: There are no ‘in-between’ places now, and there’s a great need for them.”
Ced: “That’s why this business is ‘suffering. Colleges now only hold gigs once every two or three months which is sad, because live music’s very important.”
Rrussell: “Look I’ve got a hole in my shoe I’ve never had one before as long as I can afford a new set of guitar strings, I’m happy. I’d rather be on the road all the time.”
Ced: “It’s nice to bitch about the music biz sometimes!”
Rrussell: “It’s the most ridiculous business in the world, there’s no sense to it”
Cech ‘But if we didn’t: like it as much as we do..
You have to be a masochist. Though don’t you”
Rrussell: “Very much so. It’s the last remaining part of the slave trade. It buys people, uses them up and discards them. But we love it so much we carry on regardless. As soon as it stops being fun, we give it up. It’s like gambling ‘living on your wits, that’s why it’s great, ‘cos it keeps us on our toes.” Being cheerful for just a moment,
What does he think the future holds?
Rrussell: “I think it’s a good time for three pieces. Ten years ago you had Yes, ELP, Genesis, and I think every decade has room for a band like that, which I think well slot into. We don’t play the same music, but we have big arrangements. There must be a hole for us somewhere!”
'The Shame' was it about Fatty Arbuckle
Rrussell Bell: It was about when people are famous they can't get away with as much, they can do things ordinary people do, but they get sort of written about. There was a whole verse about Fatty Arbuckle in it, but it was so subtle that no one would have gotten it or took it out. It's about that sort of thing. There was a line 'The F.A. Cup For Decadence' which was Fatty Arbuckle, it was very subtle, it's that sort of thing though, that kind of scandal.it was 'bottles in the night' that was it, that refers to the Fatty Arbuckle
thing.
Smash Hits Interview
The following interview originally appeared in Smash Hits magazine.
“We didn’t want to carry on as the Gary Numan band without Gary Numan. We wanted to be a completely different entity.
Thus speaks Rrussell Bell (that’s how he spells it God knows why!), guitarist and main spokesman for Dramatis. Easier said than done, though. judging by the evidence of the last eight months. Since Gary bade farewell at Wembley on 28 April, the remaining foursome haven’t exactly taken the charts by storm.
“Well,” says Rrussell. “there’s pros and cons with being his old band, obviously. We don’t feel it’s something we have to live down, more something we’ve got to accept. And Gary always encouraged us to do something on our own anyway.”
Despite that, it’s no coincidence that their latest output “Love Needs No Disguise”, features a familiar voice and has, inevitably been their biggest chart placing to date.
As Rrussell points out: A lot of people are saying that we’re using Gary cos we can’t make it on our own. which is unfortunate, really, as that’s not what happened at all. in fact it was just a spur of the moment decision after Gary had popped down the studios to see his old mates recording their LP. He heard the backing track, liked the words, ask if he could sing it and as they say “laid the vocal down in an hour and a half”. A convenient release for both parties.
“Gary wanted a follow up single to ‘She’s Got Claws”, so we simply decided to put the song out as a joint effort. Obviously we expected it to do better than our other ones because he was on it. It certainly won’t do us any harm.’
Too true as Gary commented when phoning from’ Australia: “This is just the break they need. I didn’t have anything to do with the writing of the song and if it’s my name that’s taken it to where it is, then the song itself will take it the rest of the way, I’m sure. They wrote it, don’t forget. Not me!”
The New tear for Dramatis will kick off with a European tour with a specially made and “unique” stage set. Plus a new single planned for January release.
Any future plans with the pan-stick pilot are “up-in the air”. Rrussell adds - “literally”.
This group has been put together for fans of Gary Numan and
visitors of the Numanme site, to discuses all things Numan
sell/trade share stories and images from all aspects of Numan's
career.
This group has been put together for fans of Gary Numan and
visitors of the Numanme site, to discuses all things Numan
sell/trade share stories and images from all aspects of Numan's
career.
Dramatis Singles Discography
Dramatis released their debut single, "Ex Luna
Scientia". It was backed by "Lady D.J.". The A side appeared on their debut album, For Future Reference. The B side was a non-LP track.
Ex Luna Scientia
Rocket Record Co.
1981 (May)
(Haines/Bell/Sharpley/Payne)
Produced by Dramatis/Simon Heyworth
7" Ex Luna Scientia / Lady D. J. (XPRES 53)
12" Ex Luna Scientia / Lady D. J. (XPRES 53-12) - Songs on 12" are slightly longer.
French 7" picture sleeve Dramatis "Ex luna scientia"
Ex Luna Scientia
Phonogram
1981 (May)
(Haines/Bell/Sharpley/Payne)
Produced by Dramatis/Simon Heyworth
7" Ex Luna Scientia / Lady D. J. (6000 670).
Dramatis released their second single, "Oh! Twenty Twenty-Five". It was backed by "The Curtain". The A side appeared on their debut album, For Future Reference. The B side was a non-LP track.
Oh Twenty Twenty Five
Rocket Record Co.
1981 (August)
7" Oh Twenty Twenty Five / The Curtain (XPRES61).
Dramatis released their third single, "No One Lives Forever". It was backed by "For Future Reference". The A side appeared on their debut album, For Future Reference. The B side was a non-LP track.
No-One Lives Forever
Rocket Record Co.
1981 (September)
(Bell/Haines/Payne/Sharpley)
Produced by Dramatis/Simon Heyworth
" No-One Lives Forever / For Future Reference (XPRES 63)
12" No-One Lives Forever (Remixed Long Version) / For Future Reference, Take Me Home
(XPRES 63-12)
- For Future Reference is a sample of Turn, I Only Find Rewind, On Reflection, Human Sacrifice.
Dramatis released their fourth single, "Love Needs No Disguise". It was backed by an instrumental called "Take Me Home". Both tracks appeared on their debut album, For Future Reference.
Love Needs No Disguise
Beggars Banquet
1981
(Haines/Payne/Sharpley/Bell)
Produced by Dramatis/Simon Heyworth
7" Love Needs No Disguise / Take Me Home (Beg 68)
12" Love Needs No Disguise / Take Me Home / Face To Face (Beg 68(T))
Highest UK chart positon - 33.
Dramatis released their fifth single, "Face on the Wall". It was backed by an instrumental called "Pomp and Stomp and Stamp". Both tracks where non-LP tracks.
Face on the Wall
Rocket Record Co.
1982 (February)
7" Face on the Wall / Pomp and Stomp and Stamp (XPRES69)
12" Face on the Wall / Pomp and Stomp and Stamp (XPRES69-12).
Dramatis released their Sixth single, "The Shame" The A side was a non-LP track.. It was backed by a "I Only Find Rewind ". The B side appeared on their debut album, For Future Reference.
The Shame
Rocket Record Co.
1982 (May)
(Bell/Payne/Sharpley)
Produced by Dramatis
7" The Shame / I Only Find Rewind (XPRES 79)
12" The Shame (Dance Party Mix) / I Only Find Rewind (XPRES 79-12).
Dramatis released their seventh single, "I Can See Her Now". It was backed by an instrumental called "One Step Ahead". non of the tracks appeared on their debut album.
I Can See Her Now
Rocket Record Co.
1982 (November)
(Bell/Payne/Sharpley)
Produced by John Punter
7" I Can See Her Now / One Step Ahead (XPRES 83)
12" I Can See Her Now (Extended) / One Step Ahead (XPRES 83-12).
Dramatis
Albums Discography
For Future Reference
Rocket Record Co.
Train 18
1981
Side 1 - Oh! 2025, Human Sacrifice, I Only Find Rewind, No-one Lives Forever, Love Needs No Disguise
Side 2 - Turn, Take Me Home, On Reflection, Ex Luna Scientia
Recorded at Ridge Farm Studios
Engineered by Simon Heyworth and Simon Smart
Produced by Dramatis/Simon Heyworth
for the Songwriters Workshop Ltd.
All titles written and arranged by Dramatis.
The Dramatis Project
Dressed To Kill
SELCD609
2000
1. Oh! 2025 4:29
2. Human Sacrifice 3:50
3. I Only Find Rewind 4:12
4. No-One Lives Forever 3:53
5. Love Needs No Disguise 4:39
6. Turn 5:18
7. Take Me Home 5:26
8. On Reflection 3:29
9. Ex Luna Scientia 4:53.
Future
Teenline Dementia
TEENIE060
2003
1. Oh! 2025 4:29
2. Human Sacrifice 3:50
3. I Only Find Rewind 4:12
4. No-One Lives Forever 3:53
5. Love Needs No Disguise 4:39
6. Turn 5:18
7. Take Me Home 5:26
8. On Reflection 3:29
9. Ex Luna Scientia 4:53 .
Dramatis Live Radio One 1982
CDR
1. Sand and Stone
2. I Only Find Rewind
3. Face on The Wall
4. I Can See Her Now
5. Turn
6. Love Needs No Disguise
7. Pomp and Stomp and Stamp
8. The Shame.
The
Band
Full Name: Chris Payne
Birthplace: Cornwall, Penzance
Birthdate: 1st February 1957
Height: 5’lO”
Colour of Eyes: Dark Green
Colour of hair: Black
Parents’ names: Maureen
Present Home: Lancing
Favourites
Colour: Green
Clothes: Tatty
Singer (Male): James Oliver Heath
Singer (Female): Marie Osmond
Instrumentalist: Richard Harvey
Composer: Shostavtakovich
Group: Peter Gabriel
Car: Porsche Turbo
Food: Sea food
Actor: Oliver Reed
Actress: Glenda Jackson
Music: Mag/Paper International Musician
Instruments Played: Chris is an adept keyboardist and viola player. He also plays a wide variety of medieval instruments from the disturbing sounding
'rauschpfeife' on his PMOL track 'Grotesque' to the oboe-like Bretonic 'Bombarde'
Musical education: He took a three year diploma course studying medieval instruments
Previous occupation: Non
Hobbies: Football, walking, pistol shoot¬ing, fishing, bar billiards
Likes: Tennis, squash, chamber music, water ski-ing, walking in the country, jogging, swimming, photography
Dislikes: Being knifed at football matches
Ambition: To cross the Andes
Biog: Cornishman Chris Payne is widely known as the original keyboard player for Gary Numan and for co-writing Visage's seminal 1980s hit 'Fade to Grey' with Billy Currie and Midge
Ure. He has also written prodigious amounts of music for TV and films. Recently he formed bands 'Eden' and then 'Celtic Legend'. Celtic Legend videos play regularly on oMusic TV (Sky channel 369). Chris has composed, scored, recorded and conducted his orchestral and choral works in Prague and London.Agreat admirer of folk music hence the connection with
pubd, real ale and the rock band Kalenda Maya.
Past Bands/Collaborations: Keyboard and violinist for Gary Numan (1979-1990),MD for 'Dead or Alive' (1985 tour), Randy Edelman and Johnny
Warman.
Album Credits: Gary Numan - The Pleasure Principle (LP) 1979,Gary Numan - Telekon (LP) 1980
Writing Credits, Fade To Grey (with Midge Ure and Billy Currie), Intro tour music for Iron Maiden
Film/TV/Advertising: Vidocq, Made in America,Krays, Nike,
Walkers Crisps, National Geographic, Renault, Sony Playstation (Soul Reaver).
Chris was also a member of 'Big Noise UK' a band which included Cedric Sharpley and Ade Orange. 'Big Noise UK' reworked the hit song 'Fade To Grey' which appeared on their first album titled Good Morning Baby which was released on President Records in 1991.
Full Name: Russell Bell
Birthplace: Kent, Gt. Yarmouth & London
Birthdate: 15th September 1955
Height: 6’O”
Colour of Eyes: Usually blue
Colour of hair: Usually black
Parents’ names: Gaby and Richard
Present Home: Chiswick
Favourites
Colour: Blue
Clothes: Slick
Singer (Male): Gary Numan, Peter Gabriel
Singer (Female): Pat Benatar
Instrumentalist: Numerous
Composer: Numerous
Group: Peter Gabriel
Car: Cord
Food: Beef Strogonoff
Actor: Robert De Niro
Actress: Beverley Jane Smith
Music Mag/Paper: International Musician
Instruments Played: Synthesiser, guitar, syndrums, violin, tambourine — you name it!
Musical education: Classically trained
Previous occupation: Session work & produced 2 singles for a band called ‘Carcrash’
Hobbies: Musical instruments, karate, driving, physics, casinos.
Likes: Anything funny. Lobsters, guitars, gadgets, science fact and fiction.
Dislikes: Man eating spiders, rust and things that blow up in your face!
Ambition: To play the first gig on the moon.
Biog: Rrussell began playing in Gary Numan's band in 1979. His main insturment is the guitar followed by keyboards, violin and saxophone. He also has a degree in physics and psychology, is a member of Mensa and a qualified karate instructor, writes scripts and cartoons and does occasional stand up comedy shows when time permits. Rrussell also has invested in water, so the next time you turn on a tap you owe him money.
Past Bands/Collaborations: Chris Mars (Flock Of Seagulls) band 'Walk Through Walls'. A single 'Long Way From Home' was mastered and cut. Unfortunately I have never seen it and I don't know for certain if it ever
maderelease.
Film/TV/Advertising: A video for 'Long Way From Home' I don't know if it ever materialised. The first film that Rrussell wrote the musical score for won a BAFTA award. Rrussell has also written music for advertisements among them are Clark Shoes and Trebor Softmints (says they both taste the same). He also received a New York advertising award for one of his advertisements. Rrussell's jingle company is called 'One Hand Clapping' and Rrussell is a partner in the production company there.Worked with Craig Charles from Red Dwarf writing comedy and also writing music for adverts TV and Films.
Interview: Russell Bell ClickHere
Current Bands/Artist Name: I’m currently writing with and producing an artist called Zak
Full Name: Cedric Sharpley
Birthplace: Cape Town
Birthdate: 2nd July 1952 – 2012
Height: 5’8½”
Colour of Eyes: Green
Colour of hair: Brown
Parents’ names: Ann & Henry
Present Home: Herts
Favourites
Colour: Black
Clothes: Modern
Singer (Male): Gary Numan — David Bowie
Singer (Female): Kate Bush
Instrumentalist: Various
Composer: Various
Group: Police
Car: Sorroco
Food: Indian
Actor: Clint Eastwood
Actress: Raquel Welsh
Music Mag/Paper: International Musician
Instruments Played: Drums
Musical education: Self taught
Previous occupation: Working in various bands
Hobbies: Driving, tennis, football
Likes: Bands, food, drink, dancing, films, teachers, travel, sleeping
Dislikes: Having no money
Ambition: To be successful in making garden gnomes, waxing candles & drumming
Biog: Before joining Gary Numan in 1979 Cedric Sharpley was the drummer for the band 'Druid'. He was the drummer on their LP's 'Towards The Sun' released in 1975 and 'Fluid Druid' released in 1976. Cedric's post Dramatis activities include going to New York to work with Billy Idol. Cedric has also played with Hazel O'Connor, The Q-Tips, Big Noise U.K. (with Chris Payne & Ade Orange) and numerous other artists. Last seen at his country cottage with his bordeaux colored Pearl Drum Kit holding musical soirees with three up and coming guitarists. Known as the human drum machine, Cedric has been spotted as far afield as Turkey signing autographs and wine tasting.
Past Bands/Collaborations: Druid, BillyIdol, Hazel O'Connor, The Q-Tips, Big Noise U.K. (with Chris Payne & Ade Orange) and numerous other artists.
CED SHARPLEY 1952 – 2012
Sadly Ced Sharpley died at the age of 59 on 13/3/2012, after suffering a
heart attack the week before. The tragic news was announced by his
fellow band mate on FaceBook and Twitter.
Gary Numan message on he’s official website : “I’m so very sad to
say that Cedric Sharpley, who as many of you will know played drums for me
for many years, has died after suffering a heart attack last week. Ced was
not only a truly great drummer but a gentle, fascinating and funny man to
be around and he will be greatly missed. This has come as a great shock to
so many of us. Rest in peace Cedric”.
Chris Payne Facebook: “I have some very sad news for all Numan and
Dramatis fans. Rrussel sent me an e-mail informing me that our dear friend
Ced Sharpley passed away this evening. Our thoughts, love and sincere
condolences go to his family”.
RRussell Bell: “Just heard that my dear friend and colleague, Ced
Sharpley passed away this evening. Words aren’t enough.”
Ced Sharpley, drummer with Gary Numan between 1979 to 1992, Ced was due to
be a special guest at the Gary Numan Back Stage book launch party with
RRussell Bell and Chris Payne in London. A reformation of Dramatis was
announced with a new album on the way and there were hopes that Ced would
make a full recovery.
Chris Payne said “He’s a great percussionist and brought that to his
drumming. A lot of GARY NUMAN’s stuff was kind of mechanical, it had to
be for the nature of the music but Ced brought that extra little thing
because of the way he drums. He wouldn’t just play very Kraftwerk type
rhythms, he’d add something to the pieces.”
Neil Brewer(tinderfish)
Hi,
I felt it my duty to let you know that Ced has had a heart attack. He died
today Tues 13th March. Ced has been my friend for around 48yrs, we’ve
made music together, argued and laughed alot. I already miss Ced and I am
so bloody lost for words.
Ced crammed quite alot of recording, touring and local gigs into his life,
music was his life. His drumming and personality will be missed by a lot
of people on the local music scene, not least by Boozadaddy and of course
tinderfish.
I send my love to Gill, his partner of 4Oyrs+ and his family, this will be
another hammer blow to them having only just lost Ceds sister, Trish.
Not much more to say. I don’t know what happens when we die, but in
life, Ced went for it and I still have his playing ringing in my ears, he
was loud and proud. Ced was like a brother to me and saying good bye is a
tough thing................
heart breaking. Neil.
Ced was a big favourite with the Numanoids all remember Ced Sharpley
fondly. To the family of Ced, Please accept our condolences on your loss.
You are in our thoughts and prayers.
Biog: Denis had left theDramatis before the UK tour; Denis seemed too disappeared of the
musicradar. He only worked on one Gary Numan album "Telekon" in 1980also toured with Numan. But apart from that not much is known about him.
Denis Haines - The Listening Principle 1986. Thecolors series was best described as a soundtrack looking for a film. Theartists were commissioned by a company called FILMTRAX in England to donew age representations of
colors. Each album forms part of a seriescalled 'Colors' which featured artists Phil Thornton, Denis Haines
(exTubeway army - Dramatis). It’sa gorgeous ambient/new age album co-produced by Simon Heyworth
(who'sworked with Gong and Mike Oldfield on Tubular Bells). 2 track stand outbecause of a Dramatis link,
"Curtain"is in fact a track taken from the Dramatis album "For
FutureReference", "The Curtain" & "In Loving Memory" is a non vocalversion "Take Me Home" from the same album.
Also on the Discogs website it shows DenisHaines released a single in 7” and 12” format in 1984 the song wascalled "It Spoke To Me
OfYou" Out-of-print and extremely hard to find.
So what's happened to Denis Haines since? Ifyou know let us know.
Dramatis
Oh! 2025
I know a time called then
When we were only men
And to be alive
Just meant you hadn't died
Time can't erase
Heartbeats
Out of phase
And your empty eyes
Don't seem to want to realise
Oh! 2025
When we were still alive
Oh! 2025
When we were only simple men
And in the automat
!!! [sound effect]
And that was that
We didn't mess with time
Knock things out of line
Oh! 2025
When we were still alive
Oh! 2025
When we were only simple men
And in the dreamless night
I pulse
Out of sight
Am I the only man
No part of any plan
Before the age of clean
Before the power screen
Before the maser beam
Before my world was only me
Before the age of clean
Before the power screen
Before the maser beam
Before my world was only me
Oh we were young and free
You can't alter me
So now you keep me here
Is this law
Or is it fear
Oh! 2025
When we were still alive
Oh! 2025
When we were only simple men
Oh! 2025
When we were still alive
Oh! 2025
When we were only simple men
When we were only simple men
When we were only simple men
When we were only simple men
When we were only simple men
When we were only simple men
When we were only simple men
When we were only simple men
Human Sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Communication
Screaming telephones
Modern living
In the urban terror zone
Advertising
Neo-honesty
Office androids
Tell you how you ought to be
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
A savage emblem
A token of the times
The pen is mightier
Than any social crime
No blade of passion
In this suicidal game
Just felt-tip talons
Tearing at your name
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Situations
Tribal genocide
Dark streets like open wounds
Where Malakovsky died
They're selling madness
To stimulate the sane
The media razor falls
On the writhing social vein
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
Human sacrifice
I Only Find Rewind
Days
Fading into years
Ticking off the time
Clocking up the fears
Every time
I try to find
The button labeled play
I only find rewind
I only find rewind
Sighs
That echo in the night
The darkness in your mind
That's searching for a light
Even now
When life is so unkind
I never lose control
I only find rewind
I only find rewind
It's the same every day
Life is slipping away
Rewinding - Rewinding again
Frames
Exposures in the night
A 2D memory
A subtle parasite
Deja vu
A thin dividing line
I never see the door
I only find rewind
I only find rewind
It's the same every day
Life is slipping away
Rewinding - Rewinding again
No-one Lives Forever
The radiation age
Immortality
No-one lives forever
But I though life was ending far too soon
No-one lives forever
That's why I'm alive in my cocoon
Arise the thin-ice boys
H.P. energy
No-one lives forever
But I though life was ending far too soon
No-one lives forever
That's why I'm alive in my cocoon
Spare part surgery
False security
No-one lives forever
But I though life was ending far too soon
No-one lives forever
That's why I'm alive in my cocoon
The sounds of thinking metal
We used to call him mother wouldn't you
No-one lives forever
There's no more room for you in my cocoon
Love Needs No Disguise
She dances
He watches
She sighs
Remember
Love needs no disguise
In motion
That cannot deny
She's saying
Love needs no disguise
And if the park gates are closed
Remember we toured the skies
And if the 'friends' all go home
You know love needs no disguise
He dances
And we realized
Remember
Love needs no disguise
In simple embraces
They lie
In darkness
Love needs no disguise
And we can lock all the doors
Forget the reasons and fame
There's no deceiving inside
You know we'll all be the same
And if the park gates are closed
Remember we toured the skies
And if the 'friends' all go home
You know love needs no disguise
Turn
Watch you waiting on my life now
Turn turn
I couldn't give a damn
See my smile upon your face now
Turn turn
You couldn't keep your eyes off me
He only wants you for an evening
Turn turn
I'll take you for my own
Can't you see through his deceiving
Turn turn
Don't let him take you home tonight
Which direction can you take for to
Turn turn
Will surely bring you here
Watch my perfect silhouette oh
Turn turn
Another cigarette or two
You call that company aroudn you
Turn turn
They couldn't give a damn
I see the sadness in her eyes now
Turn turn
She looks a lot like me
Take Me Home
Take me home
Take me home
On Reflection
And on reflection
I thought I knew you
But as they all say
You always lose
You find the right face
In every street cafe
I though I knew the score
But I was wrong again
And when old friends
All seem ex-directory
And when friendship
Seems harder to dial
Then sometimes
Like a 'B' movie ending
I see life
As a series of old cliches
She had the perfect smile
Oh I can see her now
In every movie ad
And every back street bar
I was enchanted
In every single way
She kept the key but she
Didn't want to stay
Do you remember
When we were oh so young
We saw no end to time
Our love could never die
Now I'm an old man
Too old for crazy games
But I'll still dream of you
Until your image fades
Ex Luna Scientia
N.A.S.A.
Ex luna scientia
Ex luna scientia
Ex luna scientia
Ex luna scientia
Ebon arc afire
Grey moon below
Deepening the shadowed earthly glow
Exploration for the sake of man
Carving knowledge
From this ancient land
N.A.S.A.
Ex luna scientia
Ex luna scientia
Ex luna scientia
Ex luna scientia
Questing eyes surveying ethers' orb
Lovers seeking knowledge in the night
Whispering the lunar tides of dawn
Answering in irridescent light
N.A.S.A.
Ex luna scientia
Ex luna scientia
Ex luna scientia
Ex luna scientia
The Shame
Private lives and legendary faces we once knew
Mockingly displayed upon the wall for all to view
Oh oh the shame the price of fame
I swear I saw knife flash she was clawing for his eyes
He was one of seven children so it really on surprise
Oh oh the shame the price of fame
Oh oh the shame Oh oh
Plane crash killed the heroin Howard died alone
the CIA where monitoring Marvin's telephone
Oh oh the shame the price of fame
Oh oh the shame Oh oh
Naked in the bedroom I see bottles in the night
Witnesses were horrified a most appalling sight
Oh oh the shame the price of fame
Oh oh the shame Oh oh
Oh oh the shame the price of fame
Oh oh the shame the price of fame
Oh oh the shame the price of fame
Oh oh the shame the price of fame
Oh oh the shame the price of fame
Oh oh the shame the price of fame
The Curtain
This song is an instrumental
One Step Ahead
This song is an instrumental
Pomp and Stomp and Stamp
This song is an instrumental
Lady D. J
She plays with me by numbers
Transmits in code
Erotic key in image
In radio
Your call sign emanating
From metal spies
Your records spin my senesce
Asking my ties
Radio radio Lady D. J
Radio radio fade into the night
I can’t resist transistors
My siren calls
I’ve seen no screen to find her
Resistance full’s
She grants request for strangers
She checks my time
Her tempo set my heart beat
I call her mine
Radio radio Lady D. J
Radio radio fade into the night
At the night we share the darkness
Her voice my mind
Affairs across the airways
Were touch in time
For I shall surly need you Lady D. J
On some forgotten wavelength
A disc away
Radio radio Lady D. J
Radio radio she plays my song
Radio radio she plays to you tonight
Radio radio and she plays on
Radio radio Lady D. J
Radio radio she plays my song
Radio radio ……….
Face on The Wall
Love circuit rabbit eyes
Your picture on my TV screen
No secrets no replies
I see you trough producer eyes
I remember face on the wall
Serenade you the image recalled
mirror mirror face on the wall
the start of it all the face on the wall
job city isolate where lovers love to drift away
your cameras focus in
dark shadows dark your face it seems
I remember face on the wall
Serenade you the image recalled
mirror mirror face on the wall
the start of it all the face on the wall
close circuit early man
some people never understand
my TV I’m a star
I need you message on the wire
I wonder why
why seeing trough technician’s eyes
sounds of life deceptive pries
white lovers lies
In the night
Love circuit rabbit eyes
Your picture on my TV screen
No secrets no replies
I see you trough producer eyes
I remember face on the wall
Serenade you the image recalled
mirror mirror face on the wall
the start of it all the face on the wall
I remember face on the wall
Serenade you the image recalled
mirror mirror face on the wall
the start of it all the face on the wall
I remember face on the wall
Serenade you the image recalled
mirror mirror face on the wall
the start of it all the face on the wall
I Can See Her Now
When I can see her now she’s call me away
When I can feel her now she’s asking me to stay
When I can see her now she’s showing me away
Spend some time all alone
Stays by the phone
Waiting for you
Every hour every day
Still he stays I don’t recall
When I can see her now she’s call me away
When I can feel her now she’s asking me to stay
When I can see her now she’s showing me away
Every hour every day
I still hear you say
I don’t need you
Once must be only one love
Once must of made himself look such a fool
Once must be only one who cared
And still the pain of love
And still the pain of love
When I can see her now she’s call me away
When I can feel her now she’s asking me to stay
When I can see her smile she’s showing me away
When I can see her now she’s call me away
When I can feel her now she’s asking me to stay
When I can see her now she’s showing me away
When I can see her now she’s call me away
When I can feel her now she’s asking me to stay
