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.
Discover Gary Numan quotes Here you will find a list of random quotes from the man himself Mr. Gary Numan some about life and he's success, little snippets into the life of Gary Numan....
Dramatis deserve a full page because several of its members played a major role in shaping Gary Numan’s early sound. Their contribution to his classic late‑70s/early‑80s period is undeniable, and their short-lived project remains an important part of Numan’s history.
Who Were Dramatis?
Dramatis were a British synthpop band formed in the early 1980s by members of Gary Numan’s touring group:
Chris Payne — vocals, keyboards
Rrussell Bell — guitars, keyboards
Cedric Sharpley — drums
Denis Haines — keyboards (early member)
When Numan announced he was quitting touring in 1981, the band regrouped as Dramatis, a five‑piece electronic pop outfit aiming to continue the momentum they had helped build.
Many Numan fans attended early Dramatis shows hoping their idol might appear — but he never did. Even so, the band achieved modest chart success, most notably with Love Needs No Disguise, co‑written with Numan, who also provided vocals.
They released six singles and one album before disbanding in 1982. Two singles entered the UK charts:
Love Needs No Disguise (1981) — UK #33
I Can See Her Now (1982) — UK #57
Beyond pop releases, Dramatis also wrote themes for TV programmes and were in demand for their multi‑instrumental abilities..
Chris Payne (vocals, keyboards), Cedric Sharpley (drums), Rrussell Bell (guitars, keyboards)
For Future Reference
Dramatis’ only album, For Future Reference, might have gone largely unnoticed were it not for Numan’s fanbase. It was never released in the US, and its appeal today is mostly to Numan collectors or enthusiasts of early‑80s synth/new wave.
Numan appears only on Love Needs No Disguise.
The album has been reissued under several confusing titles, including The Dramatis Project and Future, sometimes even credited to Tubeway Army featuring Gary Numan.
Singles & Sound
Their debut single Ex Luna Scientia used heavily processed vocals — likely a vocoder — to compensate for the lack of a natural lead vocalist or charismatic frontman. The track has a prog‑rock edge, and whatever one thinks of it, the band deserve credit for not simply copying Numan’s signature style.
The follow‑up Oh! Twenty Twenty Five is more Numan‑like, though not without charm. The picture sleeve gave the band a New Romantic makeover that didn’t quite suit them.
They reunited with Numan for Love Needs No Disguise, finally achieving a Top 40 hit.
Album Highlights
On Reflection — elegant synth tones and a dramatic feel that suits the band’s name.
Take Me Home — romantic piano flourishes and eerie synth textures.
Human Sacrifice — chanted vocals and relentless synth pulse, anticipating the harder electronic sound later used by Frankie Goes to Hollywood.
Turn — begins with neoclassical piano before shifting into a more straightforward stomp.
The opening track Oh! 2025 sets the album’s futuristic tone, with lyrics imagining the past from centuries ahead. Today it has a naïve charm, though the production is unmistakably of its time. A Numan vocal might have elevated it further.
Numan’s performance on Love Needs No Disguise is arguably the album’s most fully realised moment. Its delicate synth intro recalls Bowie’s Crystal Japan, and the drum machine, atmospheric piano, and sharp guitar solo create a sleek backdrop for one of Numan’s more subtle vocals.
Commercial Reception
Despite Numan’s involvement, For Future Reference was not a commercial success. By 1982, the New Romantic movement was in full swing, and bands like Duran Duran were dominating MTV with glossy videos. In comparison, Numan — and by extension Dramatis — seemed part of an earlier pop era.
Dramatis had one more minor hit on Elton John’s Rocket label with I Can See Her Now, but by then the electronic bandwagon had moved on.
Legacy
Dramatis remain a cult favourite, especially among Numan fans who recognise how essential Payne, Bell, Sharpley, and Haines were to his early sound. Their brief catalogue captures a moment when four talented musicians stepped out from behind a very large shadow and tried to create something uniquely their own.
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 released their 8th single,
"A Torment Of Angels".
A Torment Of Angels
(Dramatis Self-released)
2020 (January)
(Bell/Payne/)
A Torment Of Angels FLAC, MP3
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.
Dramatis – For Future Reference
Label:Cherry Red – CDBRED858
Format:CD
Country:UK
Released: Apr 2022
Disc One:
For Future Reference
1 Oh! 2025
2 Human Sacrifice
3 I Only Find Rewind
4 No-one Lives Forever
5 Love Needs No Disguise
6 Turn
7 Take Me Home
8 On Reflection
9 Ex Luna Scientia
Bonus Tracks
10 Lady Dj (12” Version)
11 The Curtain
12 Face On The Wall
13 Pomp And Stompandstamp
14 The Shame (12” - Dance Party Mix 1)
15 I Can See Her Now (12” Version)
16 One Step Ahead (12” Version)
17 No-one Lives Forever (12” - Remixed Long Version)
Disc Two:
Single Mixes
1 For Future Reference
(selections From The Forthcoming Album 'for Future Reference')
2 Oh! 2025 (7” Version)
3 Ex Luna Scientia (7” Version)
4 Lady Dj (7” Version)
5 The Shame (7” Version)
6 I Can See Her Now (7” Version)
7 One Step Ahead (7” Version)
bbc In Concert - Paris Theatre 1982
8 Sand And Stone *
9 I Only Find Rewind *
10 Face On The Wall *
11 I Can See Her Now *
12 Turn *
13 Love Needs No Disguise *
14 Pomp And Stompandstamp *
15 The Shame *
* Previously Unissued
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
Cedric Sharpley – Biography
Cedric Larry Sharpley (2 July 1952 – 13 March 2012) was a South African‑born drummer best known for his work throughout the 1970s and 1980s with Gary Numan, Tubeway Army, Druid and Dramatis. His precise, inventive playing became a defining element of Numan’s early electronic sound, contributing to five studio albums including the UK number‑one releases The Pleasure Principle and Telekon.
Early Life and Druid
Born in Cape Town in 1952, Sharpley moved with his family to Hertfordshire, England during the 1960s. In the early 1970s he co‑founded the progressive rock group Druid alongside Neil Brewer, Andrew McCrorie‑Shand and Dane Stevens. The band released two albums and appeared on The Old Grey Whistle Test in 1975 before disbanding in 1977. Shortly afterwards, Sharpley joined Gary Numan’s band Tubeway Army, replacing Numan’s uncle Jess Lidyard on drums.
Tubeway Army and Gary Numan
Sharpley joined Tubeway Army just as “Are ‘Friends’ Electric?” was climbing to number one in June 1979. He performed the hit on Top of the Pops and The Old Grey Whistle Test, as well as “Down in the Park”. A John Peel session recorded that month was credited solely to Gary Numan, marking the retirement of the Tubeway Army name—though Sharpley, Paul Gardiner, Billy Currie and Chris Payne continued as Numan’s core band.
Numan’s first solo album, The Pleasure Principle, reached number one in the UK, driven by the global success of “Cars”, which also topped the Canadian charts. The follow‑up single, “Complex”, reached number six in the UK.
Sharpley also played on Numan’s second solo album, Telekon (1980), another UK number one featuring the singles “We Are Glass”, “I Die: You Die” and “This Wreckage”. He continued with Numan through the Dance album in 1981, which reached number three and produced the top‑ten single “She’s Got Claws”.
During this period, Sharpley collaborated with Currie and Payne on the track “Fade to Grey”, originally intended as a Currie/Payne release but ultimately recorded by Visage, becoming a UK top‑ten hit.
Dramatis and Later Work
Following Numan’s temporary retirement from touring in 1981, Sharpley joined Payne, Rrussell Bell and Denis Haines to form the synth‑pop group Dramatis. Their 1981 album For Future Reference did not chart, but the single “Love Needs No Disguise”, featuring Numan on vocals, reached number 33. Another single, “I Can See Her Now”, reached number 57.
Sharpley later returned to work with Numan on the albums Warriors and Berserker, and rejoined his touring band when live performances resumed. He also reunited with former Druid bandmate Neil Brewer in the groups Frame by Frame and Tinderfish.
Dramatis planned a reunion in 2012, but Sharpley’s death halted the project. A new single, “A Torment of Angels”, was eventually released in 2020. Reflecting on Sharpley’s influence, Rrussell Bell said: “Losing Ced was a massive blow… Even now, whenever I program a drum track, I try to imagine what Ced might have played.”
Death and Legacy
Cedric Sharpley died of a heart attack in 2012. Gary Numan paid tribute on his website, describing him as “a truly great drummer… gentle, fascinating and funny”. In a later interview, Numan expressed regret at having lost touch with him, saying: “It really bothered me… I regret I lost touch with him so badly.”
Sharpley remains celebrated for his distinctive, disciplined drumming style and his key role in shaping the sound of early electronic and new‑wave music.
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
