Please submit any questions for drum talk to drumtalk@shorthouserecords.com

I wondered if there was any truth in the ironic rumour that Nik had used some of his royalty money, from the recent well-known sofa manufacturer's advert, to purchase a sofa from said vendor. If so, did he take up their offer of 5 years interest free credit, with nothing to pay for the first year?

Nik: No truth, I'm afraid

 

At some of your gigs, you bought out a camera to take photos of the crowd.... did you develop the film, and if so, do you still have the photos - and would you be willing to put them on your website? It would be interesting to see how many fans recognise themselves in the audience!!!

Nik: I'm ashamed to say that, on most occasions, the camera was just a prop, a theatrical device to get the audience to make some noise. The exception to this was when I played Wembley Stadium with Elton John in the summer of '84. The resulting picture featured as the centre spread in the The Riddle Tour program. I don't have a copy of it.

 

Someone contacted me asking whether I remember Fiat Lux (who supported you on tour). I must admit that they are not a group who I can recall. Do you have any further information on this band and whether they are still going? I've done a quick search on Google and found the band - but nothing about what they are currently up to - if indeed they are still going!

Nik: Never heard of 'em.

 

I've just discovered how little I understand about the lyrics of "The Riddle". I was trying to play it on my guitar, which is the easy part, or so it seems. I can't make heads nor tails of the meaning of the song. Maybe that's why it's called "The Riddle"???
* * Who or what is "the old man of Aran"?!?
* * Nights in the scullery and days instead of me...???
(What do you want to spend your nights in a utility room for?
* * Pieces of valentine?
(I sure hope valentine is the day, not a man...)
* * I got time to kill sly looks in corridors without a plan of yours
(Where does the comma go? I got time, to kill, sly looks in corridors, without a plan of yours)
Don't misunderstand me, I love this song, hence me wanting to play it and sing it, I just don't understand what it's about. Can you please enlighten me?

Nik: This is a joke.... right? (Please see previous Drum Talks)

 

I was wondering if there was ever or ever will be a collection of rare or very early material made available. I read that Fusion released an album, but alas, I can't find it anywhere. Thanks so much!

Nik: The Fusion album was under the name of The Reg Webb Band, which is why you may not be able to find it. I've signed a few copies over the years but don't actually own one.

 

As a die hard fan in the '80's, I appear to have generated a mini fan club of 4-6 year olds. I don't think many four year olds go to nursery singing Don Quixote, I may be wrong! Do you have any plans to do some live gigs? (Not for the children!)

Nik: Many thanks for your recruiting efforts, but I have no plans to gig at present. Although maybe a new career as a children's entertainer.....?!

 

Tour, Tour, Tour, you lazy git!!!

Nik: Nicely put.... maybe if you said please?!

I've been listening to the new album continuously and the last song keeps triggering thoughs... just a question about "You Don't Have To Be The Sun". I'm not sure if you're familiar with Bjork's work, particularly "Unison" last song on her "Vespertine" album. Are you inspired by it, collaborated with her, or connected somehow... because I hear some major similiarities. Just backing music not lyrically, the strings, electro, soaring notes... it's a beautiful song, love to know if you're interested in her work? She's a huge inspiration for me personally, just wondering if she's influenced you lately? Also want to say that 5/4 in "Old House" is a nice inclusion. P.S. A group of us in a small town in Australia are in the process of working on the "Kershaw re-appreciation gang", exposing and forcing your new work upon the masses! We love your work so much, keep up the awesome albums.

Nik: Oops, BUSTED ! The string line in "You Don' Have To Be The Sun" bugged me for a long time. I was sure I'd heard it somewhere before. Although it isn't exactly the same as the Bjork melody and there definitely wasn't any plagiaristic intent, that's obviously influenced me. I've been a Bjork fan for years. I think she's brave, innovative and totally honest in everything she does.

 

When you're creating demos what do you use to create/write the drum tracks? Do you still use pro-tools? The new album is top notch!

Nik: My studio is currently packed away in boxes, so I'm currently using a couple of old saucepans and a bag of frozen peas. Before that, I often used some Christian Eigner drum samples in an Akai 6000. Nowadays, there are a lot of 'soft synth' drum programs around (BFD, for example). Still no substitute for the real thing, however.

I wanted to ask you about your guitar style. You sounded quite similar to Alan Murphy, particularly on the '80s stuff. Was he an influence or were you influenced by the same players as him?

Nik: I think we were both heavily influenced by Allan Holdsworth. Jakko Jakszyk is another disciple. All three of them (Alan, Allan and Jakko) played with Level 42 at some point in their careers. Strange but true.

 

I was checking out the mug shots section, and the photos from Live Aid... unfortunately, the US MTV feed of Live Aid was as close as I ever got to seeing a live Nik show. Seeing those photos reminded me of that funky guitar you had. I don't recognise the make, is it a custom? It's an odd looking axe, but like Brian May's fireplace mantle guitar, or Zappa's 70s era EG clone... you can't argue with the sound that comes out of it.

Nik: It was made by a friend of mine, Dave Gladden. Unfortunately, he's no longer making guitars.

 

I have just read that you were in Los Angeles when the earthquake hit in October '87... I was wondering if you can remember what happened and what you did? Patrick Stewart went through that one and he lost a few items and scrambled out of bed and stood in a doorway... then shat himself!

Nik: I was over there recording The Works and renting this house up in Laurel Canyon. It was one of the houses built on stilts on the side of the canyon. I'd only been there about a week when I was awoken by what sounded like a large truck driving through the bedroom. You don't have to have been in an earthquake before to know what's going on. It's pretty bloody obvious. I remember trying to stand up and walk across the room. I ended up with my face in the carpet and watching the swimming pool water slurp from side to side. It felt like it was going on for minutes, but was probably only a few seconds. I finally made it outside and stood there with my heart trying to burrow its way out of my chest. About five minutes later, the phone started ringing. I tiptoed into the house and picked up the receiver. it was Brian, my recording engineer. He said, "Welcome to California Nik".

 

Have you ever met and/or collaborated with Neil or Tim Finn?

Nik: A chance would be a fine thing!

 

On your website you wrtie about working with Gary Barlow, could you tell us if this was writing together, or for him and if so did anything come of it?

Nik: We wrote one song together. Neither of us would claim it as our finest hour. I can't even remember what it was called.

 

Your collaborations with Michael W. Smith led me to your music. He mentioned you being a musical hero of his in his liner notes.

1. Did he talk to you about this specifically and can you share any details on what specifically influenced him?
2. Smitty almost never shares in the writing of his music (he outsources the lyrics 100%) and yet I hear your hooks on the chorus of "Let me show you the way". Was this yours, his, or a true collaboration?
3. Anything else in the vaults that might make their way out someday between you two?

Nik: 1. He approached me to work with him and said he was a fan but didn't go into detail.

2. If I remember rightly, I think the chorus tune came from me. Sometimes ideas fly about the room and it's difficult to know who thought of what. Steve Lipson (producer) also had some input in the writing.

3. Nothing in the pipeline at present. Haven't spoken to him for ages. I think "Loud, Confident and Wrong" (from my last album) might have upset him. (He's a good friend of George Bush Snr!)

 

What should Billy do? Have you any advice for him?

Nik: Good question! Maybe I should write a sequel. I think, unless they sort things out, both Billy and Sally need to get themselves some good legal representation!

 

Since it's so difficult to get your second album (The Riddle), have you considered buying the rights to all your works in MCA from MCA? That way you have control (being the self proclaim control freak you are) over your earlier works as well?

Nik: Good idea. Lend us a fiver!

 

Must admit to rediscovering your stuff fairly recently and was blown away by "To Be Frank", will download the new one soon, but I was looking around the net the other day and a few people seem to be making a big deal out of "Old House" having the 5/4 time signature. I haven't heard it yet but what are your thoughts on music writers today? Back in the day a lot of bands used to experiment and be able to count over 4 (It Bites, Peter Gabriel (Solsbury Hill) and many others). I believe people are not able to easily listen to a track that's not 4/4 these days.

Nik: I don't personally understand it. I've done songs in 6/4 (Wounded and Cloud 9) and nobody seems to have a problem with that. Is there a numerologist in the building....?

 

In the original video to "I Won't Let The Sun Go Down on Me", at the end you're stood as a statue all white. What were you covered in?

Nik: Vanilla sherbet.

 

Have you ever eaten at London's 'The River Cafe'...?

Nik: Nope.

 

I really love your songs. I think "Billy" is the anthem for all couples... ahahha.... I just printed out the chords and belted it out on the ole' acoustic and I have to freakin' say; its as much fun to play as to listen to it in the car!!! I might be wrong but I really believe Billy is about people having the trappings of false expectations in each other and the need to communicate what we really want and need. In my mind sometimes what you want was always right under your nose the whole damn time. I think there is a little Billy in all of us.... I've been outta collage and married for two years now and I'm still trying to find out 'what the hell I'm meant to be...' P.S. Me and my wife love "Loud, Confident and Wrong".... especially since we're living in the belly of the beast here in Texas. It's hard being blue people in a red state. We might move to Austin soon. The 'Blueberry in the Tomato Soup', or just leave Texas altogether! P.P.S. When are you touring the States????

Nik: You have my deepest sympathy. It's bad enough suffering the fall out from George Dubblya's antics, I can't imagine what it's like living in the middle of it all.

 

Would you consider doing a gig at a smaller venue like the Villa Marina or Gaeity Theatre in Douglas on the Isle of Man perhaps?

Nik: How small are we talking here? For instance, there is that theatre in Great Yarmouth model village... Too small?

But seriously, I would need at least enough room to swing a cat. Not a large cat. The cat I take on tour is a miniature variety only found in parts of New Guinea. It's specially bred for swinging in small rooms. I'll need two dressing rooms; one for practising my Bette Midler impression and the other for entertaining local dignitaries. In fact, three dressing rooms. I forgot about the cat. The cat's dressing room wouldn't need to be big as it wouldn't be doing any swinging there. Just space to relax and enjoy its fine selection of herbal teas.

I hope that makes things clearer.

When I play iTunes on my Mac I usually hit the 'mix' button. I have the mix at 2.5 seconds. I keep a file called 'FortuitousMix' - when one song mixes really well into another. You've clicked with a few other artists. The most recent being 'Marc Antony's funeral oration' as interpreted by Lord Buckly mixing into 'One Day' (you) mixing into 'Have You Ever Been (To Electic Ladyland)? (Hendrix) into 'Gone To Pieces' (you) then into 'Neo Geo' (Riyuchi Sakamoto). It sounds really cool to me. My question is; Have you ever been approached about doing a movie sound track?

Nik: There was talk of it in the mid '80s. Then again, there was talk of a lot of things. The whole movie music thing is a bit of a closed shop, I believe. I'd love to have a go but it would be a might presumptious to think I'd be any good at it. Completely different ball game!

 

I missed your only tour in Australia back in the mid '80s, (my Mum thought I wasn't old enough to get to Melbourne on my own, at the age of 14 - what ROT) and have always wondered since, if you would ever consider touring overseas (read: Australia) again?

Nik: I consider it on a regular basis!

 

I have a copy of a song sung by BRIT school luvvie Fahan Hassan called "Walk Away". Rumour has it it's one of your songs. Is it? If it is, is there a version with you singing it? I absolutely adore the song but I'm not too keen on the vocal. Really stage school, samey like everyone else kind of singing. Also, did you ever sing The One and Only? Because as much as Chesney is a sweetheart, I'd love to hear a recording of you singing it.

Nik: How on earth did you get hold of that? I must say, it's a bit harsh calling Fahan a Brit school luvvie. I've worked with several ex-students of the Brit school (Imogen Heap for one) and I wouldn't call any of them Luvvies! I wrote two songs with Fahan; one was "Walkaway" and the other was called "You Love to Hurt The One You Love". No, I don't have a version of either songs with my vocal.

The only time I've ever sung "The One and Only" was at a charity gig organised by Chesney just before Christmas (2006). God knows how I remembered the words!

What effect are you using on the vocal on "Your Brave face"? It sounds like phasing or flanging or something. Sounds great whatever it is. Also I remember reading that you said something about your old songs going from A to B via Z and that you've since simplified that. Personally I those visits to Z but do you now look back at those older songs and feel that was naive and flash or do you just like to change your style every now and then?

Nik: Can't honestly remember. I don't think there was much science involved in getting the sound. Just plugged a few things in until it sound right.

The new album is my favourite of yours and one of my most loved albums of all time. I listen to it at the gym on my mp3 player... makes for a fun work out. My question is in regards to "Old House". I'm wondering how you came up with the riff... did you sent a challenge for yourself to write a song in 5 or did you hear it in your head that way? I'm a drummer (not a very good one) and if it's not 4/4 or 6/8 I really have to do a lot of counting to keep a beat. Old House has a great groove to it and the playing on it sounds very natural. Did you find it challenging at all to write and record in a time signature that's not typically used in rock/pop? Keep up the great work! Can't wait for the next album (maybe try something in 13/8 next time!)

Nik: That's just how it came out. It didn't actually occur to me that it was in 5/4 until I starting recording it. I think 5/4 is easier than most time signatures to get away with. It's quite cyclic. Get the snare drums in the right place and you can fool people into thinking it's in 6/8. Another reason for it sounding natural could be that Simon Phillips is playing it. I'm sure he'd make 13/8 sound just as natural!

 

Love your work. I now live in Southern California (from Devon originally), any chance you'd be over here to do any live gigs? I recently saw Howard Jones in a local small club - just him and a piano - amazing. So I thought how about just you and an acoustic guitar and a room full of fans - sound cool?

Nik: Howard is especially designed for the smaller gigs. His legs fold behind his back and his neck retracts into his shoulders. It's amazing. He has a small lever behind his right knee; press it and he becomes only slightly larger than a tin of Quality Street. Press the lever behind his left knee and he turns into a sofa bed.

I, on the other hand, have no such powers (see also 'cat swinging' above)

I just read these lines: Q: What is your personal favourite song you have ever written (if you can remember them all)? A: "Billy" from 15 Minutes is still my best lyric. And I'm still very fond of "Have A Nice Life" from the same album.
I was kind of thrilled to read this because these songs are among my all time favourites, I would say. I am father of 2 boys, so I've been working on the being-a-man-thing as wall as the becoming-a-good-father-task. Currently I read books by Steve Biddulph and Robert Bly, and I thought these two songs of yours fit perfectly in that fatherhood/man-quest/query. So thank you for them. I was also please to read about your love for R.V. Williams music, in another entry of DrumTalk, where you mentioned some others of my favourite artists, such as Peter Gabriel, Bjork, that information helped me to better understand some of the string arrangements on "To Be Frank". Do you listen to Scandinavian composers? I like the work of Dag Wiren, Johan Svendsen and Carl Nielsen, as recorded by the 'Bournemouth Sinfornietta' - Maybe you might like those?

Nik: Yeah, the whole "being a man" thing is a tricky one. I don't think you ever get the hang of it. I bet Robert Bly is as confused as the rest of us. Thanks for the tips. Always good to find something new.