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I recently got my copy of the very fine "You've Got To Laugh" album and notice that you had Nick Beggs doing his thing with the Chapman Stick on some of the songs. Do you play 'The Stick'?

Nik: Only in the privacy of my own home. Beggs doesn't seem to care where he whips his out. (Actually, no I don't. There are far too many strings and the whole playing concept is alien to me. I'd find it easier shuffling cards with my feet).

Every time I listen to Jon Astley's "But Is It Commercial?" (The Compleat Angler, 1988) I think to myself that the backing vocal sounds remarkably like Nik Kershaw. Was it you or did Mr Astley happen to pick someone with a similar voice?

Nik: I did do some work with Jon but I seem to recall it being early nineties. Can't remember what exactly we worked on or what my contribution was. Can't remember where I put my car keys or why I'm standing in a bucket of fish either. In fact, who am I?

Are you looking forward to this year's events and how have you prepared for them? For the 80's gigs are you fronting a 'house band' or your own band?

Nik: Not being sure when this question came through so I don't know which events we're talking about or whether they've already happened, in which case I'd be looking backwards instead of looking forwards, unless they were actually happening now, meaning I'd be looking sideways presumably, all of which makes this the longest sentance ever achieved in a Drum Talk. I'm so proud!

Were you involved in Icefusion 2008?

Nik: No, I was too busy becoming 50 and being treated to a weekend in Marrakech by Sarah.

I remember reading somewhere many moons ago that you had at one point invited Sting to record on the Radio Musicola album. Did you actually have any specific track(s) in mind for him to contribute on?

Nik: I think this was actually the idea of my manager at the time (Mickey). I wouldn't have had the nerve to ask him. Mickey knew Miles Copeland (Stings Manager) quite well. So I don't think I had any particular plan. I'm sure I would've been able to find something for him to do had he actually turned up, however. It would've been rude not to. I think his Mum was very ill at the time so it never came together.

Trapped wind aside, and in percentage terms, how productive is SHORTCD002 coming along?

Nik: Ahem....

Have you ever thought about following the whole 'Musical' thing and putting your songs around a story in the West End? I think it'd really work well!

Nik: That one's probably not up to me. Has anyone got Bill Kenright's number?

Are you interested in classical music? I think that you could create big classical music (of course is expensive, but one never knows). Would you like it? Have you tried?

Nik: Yes, I grew up with classical music playing in the house. My Mum sang and my Dad played the flute. I can whistle anything by James Galway between 1966 and 1973. I'm big on Elgar and Vaughan Williams. I like the big romantic themes. I was exposed to a fair bit of Prokofiev when I was a kid and my therapist says that's probably why I can't wear hats! I've been writing some bits and pieces of media music recently and found my self in Bratislava the other day recording an orchestra. That was quite a thrill.

Is it possible to get hold of the Fusion album from the 1970's? I used to have it on blue vinyl but have since lost it. When are you back playing in Ipswich. We've been waiting outside the corn exchange for a long time.

Nik: The only time I ever see one of these is when I'm asked to sign one, though I think I have one copy myself (but nothing to play it on). Don't know when I'll be playing Ipswich again though, when I do, you can be sure it won't be the Corn Exchange (one of the worst venues for acoustics I've ever played).

I was at the Jazz Cafe gig in 1998, and it was a stonker. You need to satisfy those of us who have such warm feelings towards the synth pop era, and get a hits show together. Please.

Nik: My spell checker has suggested that I should change 'stonker' to 'stinker'. Don't remember it being that bad. That's the second time my computer has insulted me today. I'm thinking about putting it on the naughty step.

Nik, could you just please write a book? I could read your ramblings for hours!

Nik: Are you serious? It takes me a year to get a three page paragraph blog together!

Is there ever likely to be a re-release, on CD of "The Works"? Also, what songs have been recorded acoustically (I've heard 'Wouldn't It Be Good) and can these be bought?

Nik: Not very likely, although you can download it on iTunes (apologies if you're in the US.) The version of W.I.B.G you're referring to (not exactly acoustic) was the B-side to 'Somebody Loves You'. It doesn't exist in any other format that I'm aware of.

Do you still use your Dean Markley Combo and if not do you want to sell it?!!! Or has it long gone....

Nik: Yes, I still have it. I use it as a gerbil hutch.

Nik what prompted you to write "Wouldn't It Be Good", what was the meaning of the song, about being in someone's shoes?

Nik: It's just a song about envy; never being aware of content with what you have and coveting thy neighbours goat.

I think I'm right in saying its 25 years since you recorded "Human Racing"! I remember reading that between "The Riddle" and "Radio Musicola", you ditched a lot of songs as you didn't think they were good enough. Did they ever reemerge or morph into other songs or are they hidden away in the MCA vaults waiting for the 'Kershaw Anthology' treatment should you meet an untimely end?

Nik: I tend not to go over old failures, although there were probably some that were broken up for salvage (a verse here, a middle 8 there). The rest were boiled and made into a nice soup.

I've been a big follower of your music since 1984, as a synth player myself I am curious about a few things.... 'I Won't Let The Sun Go Down On Me': is the main synth in that song a Korg Mono/Poly by any chance? What did you use for the main synth riff in 'Wouldn't It Be Good"?

Nik: The scary thing is that, although I have no recollection as to what I had for breakfast this morning, I can remember the synth that was used for the synth tune in 'I Won't Let The Sun...' 25 years ago. It was an Oberheim OB8 and it was played by Paul (Wix) Wickens. The main synth tune in W.I.B.G was a combination of PPG Wave 2.2 and a good old yamaha DX7. Give this man an anorak!

Your mug and Rafael Nadal's,.... Can you see the similarity?

Nik: Yes, I'm always being mistaken for Rafael Nadal, along with Oprah Winfrey and Red Rum. Apparently Nick Heyward has the same problem.

Who would you consider to have been the most diverse and dynamic drummer you have played with?

Nik: I'm pretty spoiled for choice there. I've played with some great drummers. I guess the two that stick out are Simon Phillips and Vinnie Collaiuta. They both have 4 brains (one for each appendage).

How do you decide who you write songs for? Or do artists come to you? Also, is there anyone you would really like to work with?

Nik: It doesn't exactly work like that. It's not like I can pick up the phone to Barbara Streisand and say, "Babs, I've decided to write you a song". I've never had much success writing songs for people. I usually write with them or just write a song that ends up being recorded by someone who happened to stumble across it. The paradox is, most people I'd like to write with don't exactly need my help, which is why I think they're great in the first place.

Was the album mixed on those bright Yamaha speakers that became industry favourites for years?

Nik: You mean NS10s? Nope, most of the tracks were mixed on Genelecs.

Concerning "L.A.B.A.T.Y.D". Were you in a bad mood or depressed when you wrote that song? Or is it a philisophical song about life, death and the hope of another life after?

Nik: I think I was having a bit of a Buddhism moment.

Did you stay in touch with 'The Krew'?

Nik: I still see Keith Airey every now and then, and get the odd facebook message from Tim Moore. Dennis Smith called a few months ago too. I haven't heard from Mark for many years.

Do you ever wished you had danced with a fan during Live Aid rather than tripped over a wire?

Nik: Curious question. I remember forgetting the lyrics to "Wouldn't It Be Good", but I forget tripping over a wire. Is there video evidence?

We all know that the lyrics to "The Riddle" don't actually have any meaning. But what came first, the music or the lyrics?

Nik: The music. Do you think someone would sit down and write those lyrics for no reason?

Love your music.... are you single?

Nik: Not even slightly.

Sorry to bother you with something rather trivial but did you used to own a '63/64 black (refinished) telecaster that had been routed for a humbucker in the front pick up position?

Nik: Nope. (That was no bother at all).

Special thanks to Pete Waterman is included on the "Human Racing" album credits. What exactly was his input at that period in your career? I wondered if he was approached to produce a single of 'IWLTSGDOM' because as we know, the B-side was to be the track 'Dark Glasses', which incidently was re-recorded and released in Europe by Edwina Lawrie (Lulu's sister) in 1984 on Pete's record label.

Nik: Peter managed the producer of the album, Peter Collins.

I am playing "15 Minutes" and "You've Got To Laugh" for everyone who will listen. Who is playing drums on 'Old House'? I have heard songs in four that don't groove like that.

Nik: That'll be Simon Phillips. Not another question about Simon Phillips! This is supposed to be all about me, me, me!

I remember seeing you in Leicester Square several years ago, doing the promotional busking with Chris Difford and for what it was worth I think you were robbed. I mean quite literally, seeing as though you collected a meagre 85p. So, my question is this; did you travel after 10am, thereby making full use of a cheap-reate travelcard, or did you remember the hedonistic 80s and splash out on a cab? If you answered 'yes' to the former, perhaps you could look on the back and tell me what's the best route from Leicester Square to Kensington High Street.

Nik: Actually, I think you'll find it was Glen Tilbrook and, for your information, it was at leat £2.50. I can't remember my mode of transport but, whatever it was, it wasn't the most economically sound days work of my life.

I think 'Start Wasting My Time' is a fine song. How was it like working with Teitur and what do you think of the finished song on the album?

Nik: I worked with Teitur at the 2007 Songfusion in Iceland and it was an absolute pleasure. The demo we recorded on the day was very straight forward with me playing acoustic and singing. When I heard the final version, I was astonished (in a good way). I wasn't too familiar with Teitur's previous work so I hadn't been prepared. He is a very quiet unassuming character and I hadn't expected anything quite so... er... bonkers.

When I was about 12, I phoned Saturday Superstore to speak to you and was waiting on line when Mike Reid said "that's all the calls we've got time for" - I was upset but asked for a signed photo; to my horror all I got instead was a cheap Saturday Superstore badge! What is the worst gift you've ever received?

Nik: I don't know about worst, but a fan once presented me with a toothbrush.

I often find myself musing over how Malcolm McLaren called you a wally or something because he claimed you ponced about with music whereas he made art. Did that actually happen or am I way off track? And was it to your face, or was yours a name he just picked at random to toot his horn (not Trevor)? If I didn't imagine it, however, do you know what the story was behind his ooh-I'll-scratch-your-eyes-out attack on you?

Nik: No, I don't think you imagined it. I seem to remember him saying something of the sort on a radio interview. Can't say I was bothered.

Last summer I met Simon Phillips at a Toto concert in Norway. I'm a huge fan of both you and him so I complemented him for the excellent work on the three songs he plays on YGTL. (And I meant it) But he answered that he recorded four songs!!! Is there another one that is not released?

Nik: For a drummer, he's rubbish at counting! There were four or five tracks in the frame but he only had time to play on three.

Tell us which of the Bananarama chicks was the hottest? Did you ever get close to them?

Nik: The only one I remember getting close to was Keren. I was doing an MTV interview at a party at the Hard Rock around 1985 and found myself sitting next to her. There had been a fair amount of juice consumed and it wasn't until after the interview finished that I realised the chair arm I'd been clasping throughout was, in fact, Keren's shapely calf. Nothing was mentioned and I bet, to this day, she lies there next to Andrew Ridgely wondering what might have been... or perhaps not!

What was the last book you read?

Nik: 'The Liar' by Stephen Fry.

Sat in the famous black chair on 'Mastermind', what would be your chosen subject?

Nik: The role of root vegetables in the downfall of the Roman Empire.

I noticed in one of your 'Ramblings' that you are a frequent visitor to Co Cork, so wondered if you've ever kissed the Blarney stone?

Nik: I have indeed kissed the Blarney stone, but there were no tongues.

Have you sampled your own conga riff off 'Human Racing' on 'Can't Get Arrested'?

Nik: That would involve a breach of copyright! The recording of 'Human Racing' is owned by Universal Records. How dare you insinuate such a thing..... ahem!

Is it true that in the middle of the 90s you recorded a song called 'The Touch' (a Kim Wilde cover)?

Nik: Nope.

I heard on French radio you had played guitar at a Celine Dion concert in the late 90s. True or False?

Nik: False.

As Universal decided to release "Then & Now", they wanted some new songs from you. As we know, 'Times Like These', 'Dangerous Eyes', 'Cloud Nine' and 'What It Is' were used for it. But which songs are the ones that you had to record instead of them for "YGTL"?

Nik: I think that last 4 tracks I recorded for that album were 'All About You', 'She Could Be The One', 'Lost' and 'Oh You Beauiful Thing'.

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