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I've listened to your Human Racing album many times, and often I get a strong feeling of Stevie Wonder's influence, even in the way you sing. Is this true? A good example is the title song - it makes me think of the song 'Village Ghettoland'. Also (somewhat related), I maybe reading into them too much, but I also get the feeling of spiritual themes from some of your songs. If you were to describe your spiritual path in a few words, what would they be? I love the heart and wit in your songs and it is very apparent that you put a lot of work into them.

Nik: I listened to a lot of early Stevie Wonder in my formative years and people have commented in the past about the track "Human Racing". Though I'm very flattered by the comparison, I don't see it myself and certainly wasn't trying to sound like him (tonight Matthew, I'm going to be Stevie Wonder). As regards to being spiritual, I'm not sure I even know what that means. I think a lot of people who claim to be spiritual have just read too many books about being spiritual. I know that there is more to us than flesh and bones. Does that make me spiritual?

 

I was always asking myself what kind of synthesizer is playing at the end of the song "Don Quixote" (also playing in the middle of the song before the brass part comes)? This synth is playing chords. This synth is also at the beginning of Grace Jones 'Slave to Rhythm'. Is it a synclavier or a fairlight sound? Maybe the Roland JX10? What is the name of the keyboard and sound?

Nik: I think it may have been a PPG wave 2.2. I don't know what scares me most: the fact that you felt the need to ask me that question or the fact that I knew the answer!

*Nerd Mode ON* Several bands are buying in machines such as the Fairlight and Synclavier, so I was wondering if you had any urge to go retro? Do you miss using the Fairlight and how involved were you in programming it? While I'm on the subject... you don't happen to have any Fairlight tapes or discs lying around you no longer want, do you? *Nerd Mode OFF*

Nik: Blimey! This is getting pretty hardcore! I can't see what the attraction would be. It's not as if they've got a warm analogue sound of their own. They're just old rubbish digital samplers and sequencers. I remember seeing Trevor Horn's old Synclavier collecting dust at Sarm West studios. It has a room of its own, is the size of a small Norfolk village and has a market value of £7.50.

I have been a big fan since I picked up and played a copy of "The Riddle" in about '89 from a pile of records discarded by my teeny bopper sister. The track that got me was "Know How" and particularly those chucky chords at the end. Then over the albums I noticed a pattern; Mike McDonald, Jeff Porcaro. Then I noticed the label: MCA. So I have to ask you; are you a Steely Dan fan? I can hear some of them in your chord progressions and arrangements.

Nik: Indeed I am sir. I was always aware of them with songs like 'Rikki Don't Lose That Number' and 'Reelin' in the Years', but it wasn't until I joined a Jazz Fusion band that I seriously got into them. We used to play 'Green Earrings' (from The Royal Scam) and 'Black Cow and Deacon Blues' (from Aja). Aja and Gaucho were two of my favourite albums of the late seventies. Alas, I have been remiss in recent times and haven't kept up with their output since their reunion. Maybe I'll remedy that right now.... TAXI, get me to iTunes and don't spare the horses!

I have just been reading the book Inside Out by Nick Mason of Pink Floyd, in which he writes that David Gilmour noticed Gary Wallis playing in your band back in 1987. Did David consult you before he poached him for their tour, or was this the music industry equivalent of a transfer under the 'Bosman Ruling'?

Nik: To continue with the football parlance, Gary was a free agent when Pink Floyd snapped him up, although Dave Gilmour did offer me three camels for him. I'd finished touring with "Radio Musicola" and was in the process of writing "The Works". I had no immediate need for a mad percussionist other than to redecorate my kitchen, so I was happy to see Gary gainfully employed. I remember seeing him with Pink Floyd in L.A. when I recording "The Works". Marvelous!

Wow! Must be something in the air. Level 42, Scritti Politti, Hue and Cry and now YOU. All some of my favourite '80's artistes releasing albums this year. All I need now is an XTC release and life would be complete! Are you heartened by all these other artistes putting out new stuff, and if so what do you think has sparked it?

Nik: Heartened? Not as such. I don't think there's any particular reason for this 40+ frenzy (other than panic and desperation). Maybe the planets were aligned!?!

How did the songwriting retreat in Iceland go? Who did you write with and did any songs occur like hot geysers on a cold day?

Nik: I had a great time, met some lovely people and ate too much food. Oooh... and wrote some songs!

The number of "any chance of a tour"? or "what about a cosy venue" requests and responses about cats and collapsible '80's pop vegans is interesting. I queried the idea of 'unplugged' a while back (Nah mate, they don't sound finished, innit!) and I've wondered why the general reluctance. The questions have worn out their welcome perhaps?

Nik: It's no secret. I've never been the most comfortable or natural of performers and, consequently, am not particularly driven to do it. If I do eventually gig again, it will be for one of the following reasons: a) I wake up to find that I've turned into Rick Parfitt, b) I think of a fun, new, exciting, artistically satisfying and fiscally viable way of presenting the songs or c) someone offers me unfeasibly large amounts or wonga.... (every man has his price!).

I suppose you've seen the WIBG Venice video on YouTube? Can you enlighten us on the 'bridge' moment.... did you know that it was coming up or was it a last minute move after someone yelled 'Duck'!? and did you almost hit another low bridge.... looks like it from how the video cuts away at one point.

Nik: I do remember this. It was on one of the Islands near Venice (looked more like the Norfolk Broads). We were in a desperate hurry as we had a plane to catch. The guys from the production company spent most of the time shouting and waving their arms about. A lady called Cathy Oudemans was with me. She worked for WEA Records in European Artist relations. It was her who shouted every time a bridge loomed. Nobody else was much bothered so, without her, I probably wouldn't be here now.

Just to say what wonderfully crafted songs you write. What's next?

Nik: Thank you. Next... I'm going to hang a picture in the downstairs toilet!

A 55-year old career musician here, facing irrelevance with each grey hair! Do you detect any connection between adult songs of domesticity, family etc and declining stardom?

Nik: What makes you think I'd know anything about declining stardom? Cheeky bugger!

 

A friend tells me that "Take Me To The Church" is allegorical; I say it's what it says it is, like 99% of your work. Should I wager him?

Nik: Absolutely not! I'm not a tin of Ronseal.

 

On the wonderful new CD, what production made the drums so clear through your Wall of Sound? Who is that fabulous engineer?

Nik: I mixed all the tracks (apart from "Yeah, Yeah" and "You Don't Have To Be The Sun") but my job was made a lot easier by the fact that the drums had been so beautifully recorded. Most of the drum recordings were made by my good friend and fellow short bloke Mark 'Tufty' Evans. All Simon Phillips' drums were recorded by my good friend and fellow short bloke Simon Phillips (he does most of Toto's engineering as well as playing all the drums. Talented bastard!) I tend to use short blokes on my records as I can only afford studios with very low ceilings.

How much preproduction do you do at home? I imagine the cost of piling on those ideas on the fly to be prohibitive.

Nik: Apart from recording the drums (and two mixes), everything was done at home on the last album. So, I would say, there's never any need for pre-prod. I have a special cabling system in the house which means I can record all the guitar parts without getting out of bed.

Is it true you have an ambulance on stand-by on location for your video shoot of "When A Heart Beats"?

Nik: Not that I remember. Doesn't sound very likely, unless it was there just in case I fell off my cowboy boots!

What was the craziest request by a producer for you to perform on any of the world-wide TV appearances you attended? I have video footage of you performing "Don Quixote" on a Scandinavian TV show having to race from one studio to the next halfway through the song to reveal your hand at cards and at the end of the show you were stood shaking your maracas! Which was amusing.

Nik: I've done some pretty dodgy things on foreign TV. It's amazing how your level of quality control is inversely proportional to the distance you are from home! I've done Elvis impressions, sung with a man dressed up as an ape and performed "I Won't Let The Sun Go Down" on top of a Bavarian mountain with Marie Antionette. Strange, I don't seem to remember the example you cite. I must've erased it from my memory.

What is generally the time duration of starting rehersals for a tour, from getting the guys together to having everything up to your high standard ready to hit the road?

Nik: When I toured with "15 Minutes", everybody (apart from Keith Airey) was working from scratch, so I think that was about a month of rehersals. Usually, we'd start rehersing two weeks before and finish on the last night of the tour (you never do get it absolutely right).

Would you ever reunite with The Krew members if the opportunity arose and the circumstances were right?

Nik: Absolutely..... I'd love to see how much hair everybody had left!

"Cloud Nine" is a great song. What inspired you to write it?

Nik: The song is about owning your own experience of things. I was driving over the brow of a hill when I was confronted by some amazing view or other. I was struck by the thought that no one else was seeing, hearing, tasting, smelling or feeling the same way I was at that particular moment. The experience was unique and mine alone. That was my view; they were my hills and my sky.

Have you ever, at any time, been tempted to release a single or album under another name to see if you would get a different reaction from the media and the public?

Nik: Yes. In fact, I've been releasing records under the name of U2 for some years now. It's been quite successful. (!)

For some reason I've recently been wondering about a slightly obscure track of yours "She Cries". It's one of my favourites. (from your earlier period anyway). I also have a version of it by Bucks Fizz, which to be fair to them, and dare I say, is slightly better that your version! My question is this: Did you write it for them and chose to record it and stick it on a B-side yourself or did they simply like it and record it also? Or don't you know? Either way it's a great track.

Nik: Bucks Fizz recorded "She Cries"!!!! Bloody hell! It was recorded for the first album but ended up as the B-side of one of the early hits.

 

You either want to tour or you don't. You obviously still have a huge fan base along with new 4 year old fans. Sarcastic remarks don't really answer the questions asked of you. Everyone knows touring is where the money is these days because you don't exactly get airplay unless you count the endless playing of "I Won't Let The Sun Go Down" on Radio 2!!! So come on Mr Kershaw, give your long suffering fans the news they want to hear TOUR DATES or what about a live gig on the world wide web from your local pub, back garden or Hyde Park, it doesn't matter.

Nik: Who is this 'everyone' of who you speak? Whoever it is, they are mis-informed. Touring can cost you your shirt and a large portion of the rest of your wardrobe. Anyway, what makes you think I know what I want?

 

Rummaging through my old tapes I found a copy of 'Laugh About It', a song produced for Mama's Boys in the early 90's. As I was their live sound engineer in those days and have quite a few live DAT recordings from that period I was wondering if you played the guitars on that track, since the takes do not sound like Pat McManus'.

Nik: I'm pretty sure I didn't play the guitars. They were all good players and wouldn't have needed me to do that for them. Some of the guitar parts might have been my idea though. Can't say I remember to be honest.

What was the TV program that showed you playing in the streets of London live and unplugged? I think there was another guy singing the same song at the same time and in the same street?

Nik: Don't recall the name of the show but it was live on a Friday night from some club in Leicester Sq. I nearly missed it as I was stuck in traffic. The busking was filmed earlier in Covent Garden. The other busker was Glen Tilbrook. He got £6.30 and I came a close second with £2.50 (although, I think one of the pounds might have been a laundry token!)

Just wondered what you are up to? I'm really enjoying the new album, any tour dates coming up?

Nik: None to speak of.

Now you have returned from the Icelandic songwriting retreat, did you leave with any material for yourself to record, i.e. for the - fingers crossed - next album? Is there any talk of where or who will release any of the songs involving your contribution?

Nik: I haven't embarked any of the songs for a new album, but I would never rule it out. A couple of them stand a fair good chance of getting covered. I'll keep you posted.

Are you aware of the recent comments in reference to you by Radio 1 DJ Chris Moyles on his breakfast shows?

Nik: Indeed I am. I'm never quite sure whether he's taking the piss or not, although I believe he was a genuine fan at one point. He came to a gig I did to promote "15 Minutes" in the BBC canteen. We ended up in the pub next door and I bought him a pint. To be totally precise, the bloke from Eagle Records, who was with me, actually bought the pint, but then he would've claimed it as expenses, which would've been paid by Eagle Records, who would've added that to the money I owed them for putting the gig on in the first place. Regardless of who bought the pint. Chris Moyles definitely drunk it.... impressively quickly!

Anyway, all name checks on Radio 1, whether ironic or otherwise, are gratefully received. Keep up the good work Chris, there might be another pint in it one day!

What do you consider to be your biggest claim to fame?

Nik: Forgetting the words at Live Aid.

Do you carry with you a recording device in case something instantaneously inspires you lyrically or musically?

Nik: I used to, but now I figure, if I don't remember an idea, it probably wasn't worth remembering.

 

You once said to the Glasgow audience back on the "Human Racing" tour that Eric Clapton was set to record his version of "Wide Boy". Do you know if he ever did?

Nik: Sir Eric of Clapton came backstage at the Hammersmith Odeon after a show on the first tour and said that he was about to record it. Not sure if it was ever recorded and, if so, why it never made it onto a record. Maybe he couldn't handle the guitar parts!

 

Are you looking forward to reading Mickey's autobiography, and at some stage, can we expect one from you?

Nik: No and no.

 

What is your opinion at the continued level of interest and support for you via your MySpace and the Official Chat Forum?

Nik: I'm continually amazed, humbled and astonished by it.

 

How often do you visit your official Chat Forum and do you have an interest in what has been said about you by your fans?

Nik: I tried to get in once, but I couldn't because I had trainers on. It's always fascinating to know what people are saying about you but I'm not narcissistic enough to be a regular visitor. I think that would be rather unhealthy. I do, however, have a mole who keeps me posted.

You've worked with Tony Banks. How was the experience and are you a fan of Genesis? Any chance you could do a gig at Shepherds Bush Empire some time this year? It's been too long since we've seen you in concert!

Nik: I was a big fan of Genesis in my youth (the Peter Gabriel days). It was good to work with Tony. A real gentleman. And... there is no chance of me playing Shepherds Bush Empire this year!

 

Alrite mate. I was wondering if you could tell us who the B-side "My Friend John" is about? Maybe it's Elton John? Perhaps John is a forerunner of 'Frank'? Or maybe even it's about an athelete or racing driver called John who's entering a race, or perhaps it's just a ficticious character?

Nik: Definitely not Elton John, other than that... I dunno. I'd have to listen to it again. What was it the B-side of? (I never bought any of the singles)

Dear Mr Talk,

May I assume informality and call you Drum?

Just writing a thank you for my copy of "You've Got To Laugh", which arrived the other day and to which I haven't yet stopped listening.... That young Kershaw chap is pretty good, isn't he? I never imagined he'd be able to top "To Be Frank", which - to be frank - is one of my all-time favourite albums, but I was wrong. "You've Got To Laugh" is the best thing he's ever done. It's so good that I even forgive him for making us wait so long between albums.

Anyway, if you happen to bump into Nik whilst wandering the plush corridors of ShortHouse Towers, please pass on my thanks and appreciation to him. I've been a big fan since the early days and in my opinion he's yet to write a song that's less than spectacular.

So when are we going to get a compliation of non-album tracks? A live album? The Official Nik Kershaw Jigsaw Puzzle?

And you can forget those blatent lies about "The Riddle" not meaning anything! I've actually worked out all the clues, except for the lyrics. That Golden Hare will soon be mine! (Or am I thinking of something else?)

Cheers
(Name & address withheld)
(from a nearly-famous author)

Nik: Nicely put, witty and erudite. Were we seperated at birth? I've just checked out your website. You could teach me a thing or two about ranting. Do you give lessons?

Just wanted to say how great I think the new album is, my fave song is "Promises, Promises" especially the guitar solo in the middle. Will there be a new album in the future?

Nik: Yes. (How's that for a straight answer?)

 

Being a Devonian with a wife in the self-catering business and a friend in the hotel business (not to mention having many acquaintances in the farming business who have over the years forced to diversify into the serviced accommodation business), I wondered whether you could enlighten us with the slightly more detailed whereabouts of the "Dodgy Hotel Room, Somewhere in Devon, UK?) Just of of interest, you understand.

Nik: I couldn't possibly say (so my lawyers tell me), other than it was in the Tiverton area.

 

How did you manage to prophesise the downfall and capture of Saddam Hussein in "The Riddle"?
An old man was found near some trees by a river Tigris in a dug out hole in the ground. He had two strong arms, blessings of Babylon, and had enjoyed the fruits of seasons of gasoline and gold, but he never personally fought anyone to keep it as history burned.
'A blackbird sang on Bluebird Hill' may reference B52's taking off from the UK each night and a lyric from a wartime classic:...'bluebirds over the white cliffs of Dover'.
'Thanks to the calling of the wild, wise mens' child' - could this be the wild hick child of a past President and his cronies who were wise only in knowing how to use this stooge and manipulate the public to make it all happen.
'The nights in the scullery and oh for anything but light' could reference the need for Saddam and his family to hide; the famous underground bunker beneath Saddam's palace, and his final hiding place. 'So to America the brave wise men save' - do they stockpile weapons?
Replace Aran with Iraq and it's almost a modern history lesson!

Nik: You need to get out more!

What could we do (in addition to arranging accommodations for your cat-swinging, referenced in April '07's Drum Talk) to get you to come to the U.S. for a tour? Or maybe just a personal visit with a handful of fans?

Nik: Not sure the U.S. would let me in after "Loud, Confident and Wrong". If they did, it would require a large suitcase full of cash left in a phone box of my choice.