19 extreme voice

HeldenHelden

“SPIES” T O SEE LIGHT OF DAY? E x t r e m e

V o i c e

1 9

Welcome to EV19! It’s a little later than we had planned, but what’s a few months between friends..?! Once again : I we’ve been kept very busy by record companies and suchlike, the fruits of which you will hopefully see in the shops n t r before too long. We’ve been wading through various Ultravox live repertoire CDs, with a view to releasing them o d u

through EMI (see the News section). Also, Midge has been a studious chap lately with a new album due in c t i September, and asked us to design a new website for him and a tour programme for dates later in the year. Work o n should begin shortly on CD sleeves for John too, as he plans to release The Pleasures of Electricity, Cathedral Oceans 2 and some back catalogue starting with Metamatic this Autumn. Busy busy busy!

The 20th anniversary release of Vienna came out in April, to much acclaim in the press (with the notable exception of Q Magazine who obviously knew nothing about the album at all), and many plaudits for the remastering team at Abbey Road. Incidentally, those of you who rushed out and bought your copy straight away may not have received the “20th anniversary edition” sticker, which was supposed to go on the top left-hand corner of the case. This was due to a bit of a cock-up at the production stage and was swiftly rectified by EMI, but for those of you without a sticker that feel particularly deprived, we have some to give out with the first 500 copies of this issue (attached to a comp slip so it won’t get lost). And if you haven’t bought the new edition of Vienna yet – why not?!

As usual, quite a few subscriptions run out with this issue, in which case your address label will say “subscription expires this issue”, and a subscription renewal form will be enclosed. We would very much like you to accompany us for the final issue! Any cheques etc should be made payable to Cerise A. Reed, please. But don’t panic, it’s not the end of Extreme Voice! The website will take over – we’ll still keep on producing new articles and interviews and the current content that you get on the site, it will just all be in one place (and free, of course!). Please do subscribe to the news email service if you haven’t already – just head for the News page on the website. And what if you’re not on the Internet by then? Don’t worry, we’ll still keep on mailing out the news flyers for anyone who wants to send in some stamped addressed envelopes, or International Reply Coupons outside the UK.

Subscription rates for the FINAL issue (EV20) including post and packing are as follows:

UK £3.50 • EUROPE £4.00 • OUTSIDE EUROPE £5.00 Cerise Reed and Robin Harris, Extreme Voice, 1 19 SALISBURY STREET, ST GEORGE, BRISTOL BS5 8EE, ENGLAND.

TEL: +44 (0)117 939 7078 FAX: +44 (0)870 122 4755 URL: www.ultravox.org.uk EMAIL (CERISE): [email protected] EMAIL (ROBIN): [email protected]

All the very best! A l l

t e x t

a n d

p i c t u r e s

©

2 R 0 e 0 p 0 r

o E d x t u r e c t m i o e n

V b o y i

c w e , r

i e t t x e c n e

p p t e

w r m h i e s r s e i o

s n t

a o t n e l d y . . MIDGE URE F

E CD releases I R B

N I

ULTRAVOX Ultravox : U-Vox Various Artists : The Dawn of Electronica During the production of the artwork for the Vienna CD, “For a music synonymous with futurism, one so CD re-releases and too late to make the last issue of Extreme Voice, we apparently disconnected from the notion of ‘roots’, received confirmation from EMI Gold that they wanted to it may see unlikely that ‘electronica’ should have a go ahead and reissue U-Vox. Originally pencilled in for a past, let alone a full and illustrious history, but it Midge Ure : No Regrets (Exclusive version) September 2000 release, it’s been bumped back to the has...”. So reads the text which accompanies this rather first week in October in order to allow a number of other uneven selection of tracks. This album came completely out of the blue. Crimson projects to be rescheduled. The track listing won’t come Records, who are responsible for some of those exclusive as much of a surprise – it’s the basic album with a handful Despite the CD clocking in at 76’18” you can’t help ‘in-store’ compilation albums, approached EMI about the of B-sides – but a close look at the contents of the Abbey feeling that there’s something missing – and there is... possibility of a ‘new’ CD from Midge. Steve and Kathy at Road vaults hint at the possibility of there being an Nothing from the likes of Kraftwerk, The Human League, EMI Gold contacted us for a possible track listing to unreleased ’orchestral’ version of All in One Day. As Heaven 17, Orchestral Manoeuvres in the Dark, Simple feature only solo material. It was obvious from the outset usual its inclusion is subject to hearing a verification tape Minds, Thomas Dolby, Yazoo et al. that Crimson wanted a ‘greatest hits’ CD, but we’ve all to ensure that it is indeed what it says it is. heard those tracks too many times already. Moreover, as As for the sleevenotes, a little basic research should’ve fans we figured that something akin to the Rare CDs Ultravox : Vienna Here’s our proposed track listing: been the order of the day, so we wouldn’t have to suffer that came out a few years ago for Ultravox would be Vienna was released on April 10th to coincide with its ill-informed comments like “John Foxx’s Underpass better received. 20th anniversary (give or take a month or two), and is now 1. Same Old Story 4’40” was a companion piece to [Tubeway Army’s] Down available to buy. As an aside, in the next – and final – issue 2. Sweet Surrender 4’34” in the Park...”. Still, aside from the obvious (the guys To begin with we listed all of Midge’s singles (from No of EV, there will be some feature articles on the filming of 3. Dream On 4’48” being represented on three of the eighteen tracks) it’s Regrets through to Dear God), after all Crimson would the Vienna video and the recording of the album itself. 4. The Prize 5’37” great to once again hear some of these electronic want it to contain most, if not all, of these easily 5. All Fall Down 5’08” classics. It’s also refreshing to see that the compilers have recognisable tracks. We then listed all of the B-sides that Special thanks must go to Anton Corbijn, who reduced 6. Time to Kill 4’25” steered away from the more predictable material – have so far not been included on CD. These two lists his normal fee somewhat dramatically to enable us to use 7. Moon Madness 3’28” which, in this case, will mean that people might actually would form the basis of the album. Both the studio and 2 his fantastic photo of the band in Vienna behind the CD. 8. Follow Your Heart 4’53” begin to realise that Ultravox wrote something other live version of After a Fashion made it to the final track 3 With Anton’s kind permission, we will also be using it on 9. All in One Day 5’11” than Vienna. Let’s hope that this is the first of many listing mainly because they sound so radically different, the cover of the final issue of EV – for the very first time, 10. 3 4’03” similarly themed discs... whereas the opposite is true for Dear God so only the in FULL COLOUR! 11. All in One Day (instrumental) 6’15” live mix survived. 12. Dreams? 2’32” 1. From Here to Eternity [Giorgio Moroder] 6’00” Below is the final track listing: 13. All Fall Down (instrumental) 5’37” 2. Slow Motion [Ultravox] 3’28” We’ve always thought that mixing studio and live tracks 14. Stateless 2’54” 3. Down in the Park [Tubeway Army] 4’22” together never really sounds particularly good – 1. Astradyne 7’07” 4. Life in Tokyo [Japan] 4’01” something we’ve always avoided when working on the 2. New Europeans 4’05” Catalogue Number: 7243 5 25611 2 4 5. Underpass [John Foxx] 3’58” previous EMI Gold releases – but here we wouldn’t have 3. Private Lives 4’07” 6. Diamonds, Fur Coat, Champagne [Suicide] 3’20” much choice. So we decided to separate them, effectively 4. Passing Strangers 3’50” 7. Ricky’s Hand [Fad Gadget] 4’07” creating a ‘studio set’ and a ‘live set’. In fact this mixture 5. Sleepwalk 3’12” Ultravox : Live Albums... 8. Fade to Grey [Visage] 3’49” of sources has resulted in the way the tracks have been 6. Mr X 6’33” We’ve known for a while that there has been some 9. Memorabilia [Soft Cell] 3’53” sequenced. 7. Western Promise 5’18” unreleased Ultravox live material languishing in the vaults 10. Dreaming of Me [Depeche Mode] 3’45” 8. Vienna 4’54” at Abbey Road, but we’ve so far been unable to do 11. Remembrance Day [B-Movie] 3’43” We felt that the ‘studio’ tracks should be presented in 9. All Stood Still 4’22” anything about it. However, a few months ago we 12. White Car in Germany [Associates] 4’54” chronological order, showing how Midge’s style developed, 10. Waiting 3’54” started talking with another division of EMI about 13. I Ran [A Flock of Seagulls] 5’05” whilst the same needn’t apply to the live material. The ‘live 11. Passionate Reply 4’18” possibly releasing some of it. As things stand at the 14. Kebabträume [DAF] 4’00” at rehearsals’ version of Fade to Grey would mark the 12. Herr X 5’51” moment, there are potentially four albums’ worth of 15. Yashar [Cabaret Voltaire] 5’41” transition between the sets, though it was still important 13. Alles Klar 4’55” material including entire concerts from 1980, 1981 and 16. I Love You [Yello] 4’09” not to mix up the shows from which they were taken. 1986. The fourth album would be a mixture of live and 17. Beat Box (Diversion 1) [Art of Noise] 2’58” People familiar with the live version of After a Fashion, as 14. Vienna video – CD-ROM track studio tracks from 1984. All of this is still very much in 18. Dr Mabuse [Propaganda] 4’59” it appeared as the extra track on the B-side of the Call of the planning stage at the moment, but we hope to have the Wild single, will remember that at the end of the track Catalogue Number: 7243 5 25523 0 6 some more definite news in time for the next issue. Catalogue Number : MCI UNCUTCD001 you could hear the drums from the beginning of the live version of The Chieftain (which had already appeared on 7. Strong 4’45” Wings and Strings the Wastelands single). Rather than having this 8. The Refugee Song 5’19” On 24th June Midge guested at Sir George Martin and duplication we wondered if it would be possible to get 9. Move Me 5’37” Ron Goodwin’s Wings & Strings charity event, them segued together – it was, problem solved! 10. Absolution Sometime 4’59” appearing with the Foundation Philharmonic Orchestra 11. Four 4’46” to sing Live and Let Die, In My Life, Vienna and However, we encountered difficulties when we tried to Golden Slumbers in front of a 10,000 capacity crowd. locate the live versions of All Fall Down and Strange Catalogue Number: TBA The reception was highly enthusiastic, with the audience Brew. The original master tapes had somehow been more than willing to oblige Midge’s invitation to “fill this misplaced, which meant that these tracks would have to gap at the front!”. The show featured flypasts by a be remastered from vinyl – but you can’t tell from the Spitfire (about which Midge was very excited, filming its sound quality. As with the aforementioned segue, Abbey Midge Ure : No Regrets (general release) MIDGE URE aerobatics on his camera), a Swordfish, a biplane Road have done a fantastic job. No sooner had the artwork for the “Exclusive” release formation and various others, plus a spectacular been delivered than we were asked to create another General News fireworks display at the end. You can see photos and (for To call it No Regrets isn’t strictly true on our part, as we design for it – this time for EMI Gold themselves! They liked the first time) video extracts on the EV website: weren’t able to fit Mood Music (a personal favourite of the look of one of the other front cover options we’d Coney Island www.ultravox.org.uk/evnewswings.html. ours) on to the album. This was purely down to time originally given them, the Answers to Nothing era Terry Midge has recently composed an original film score for a available within the CD format – adding it would have O’Neill shot above. The title and track listing will remain Richard Schenkman film entitled Went to Coney Island Midge and Sir George were also kind enough to pose for taken the album over 79 minutes, at which point the the same, but we’ve decided to make a few subtle changes on a Mission from God... Be Back By Five, starring the photo below, about which we were inordinately sound quality would start to deteriorate – and EMI didn’t to the rest of the package. Release: September 4th. Ione Skye, Jon Cryer, Rafael Baez and Rick Stear. The film pleased. Incidentally, a The Gift poster was pinned up as want to take any risks with such a high-profile release. opened in New York and Los Angeles on 9th June, and a joke in Midge, George and Ron’s dressing room – Catalogue Number: 7243 5 28562 2 0 features songs by Gary Numan, Adam Ant, Girlfriend, everyone thinks George was the culprit! As an ‘Exclusive’ release, this CD will not be available Ambrosia, Modern English, The Tramps, The Rascals, Nick outside of the UK, or in any of the mainstream record A question that’s already been levelled at us is why no Gilder, Bread and Gary Wright. Apparently there are plans Alex Harvey stores. Within the UK, CDs should be carried at all main extended versions have made their way onto No to release a soundtrack album, and as soon as we have BBC Radio Scotland recently recorded a biography of branches of Woolworths ONLY. Release: July 10th. Regrets. Well the answer is quite simple. There’s just any news on whether this will include any sections from Scottish legend Alex Harvey, to which Midge provided not enough room for all of them, and one or two Midge’s score, we’ll let you know. More info (including a the narration. This is one in a string of similar projects, Here’s the track listing:- would only disrupt the flow of the album. If No film trailer) at the Coney Island film website at the which has seen Midge lend his dulcet tones to biogs of Regrets is successful (fingers crossed), EMI Gold may following address: www.evenmore.com. the likes of Thin Lizzy and Bryan Ferry. Studio set: consider a ‘follow-up’ CD of Midge 12” single remixes, 1. No Regrets ?’??” something along the lines of Extended Ultravox. 2. After a Fashion ?’??” There’s even a chance that we could use a previously 3. Textures ?’??” unreleased version of Call of the Wild, which, coupled 4. If I Was (single edit) ?’??” with six of Midge’s other singles, would mean that this 5. The Man Who Sold the World ?’??” album would be approximately 49’00” in length. Below 4 6. That Certain Smile (single edit) ?’??” is a possible track listing. We’ll keep you posted. 5 7. Wastelands (single edit) ?’??” 8. Call of the Wild ?’??” 1. If I Was (extended version) 6’40” 9. Answers to Nothing (single edit) ?’??” 2. After a Fashion (extended version) 5’44” 3. That Certain Smile (extended version) 6’37” Live set: 4. Wastelands (extended mix) 6’13” 10. Fade to Grey 5. Call of the Wild (12” mix) approx 6’00” (live at rehearsals 27.09.85) ?’??” 6. Answers to Nothing (extended version) 8’28” 11. When the Winds Blow 7. Dear God (extended remix) 8’07” (live at Wembley Arena 23.12.85) ?’??” 12. After a Fashion P

(live at Wembley Arena 23.12.85) ?’??” Midge Ure : Move Me P h h o o t 13. The Chieftain / The Dancer The follow-up to 1996’s Breathe, Move Me is Midge’s t o o

o o f (live at Wembley Arena 23.12.85) ?’??” eagerly anticipated new album. Turn to page 8 for more f

M M i i d 14. All Fall Down information. The proposed track listing is as follows, d g g e e

a (live at The Venue, Edinburgh 21.11.88) ?’??” though the order may change between now and release, a n n d d

S 15. Strange Brew which may or may not be this side of Christmas: S i i r r

G (live at The Venue, Edinburgh 21.11.88) ?’??” G e e o o r r g 16. Dear God 1. Beneath a Spielberg Sky 4’52” g e e

M (live at The Venue, Edinburgh 21.11.88) ?’??” 2. Words 3’45” M a a r r t t i i n 17. Just For You 3. Alone 5’11” n : : E E x (live at The Venue, Edinburgh 21.11.88) ?’??” 4. Somebody 5’50” x t t r r e e m 5. Let Me Go 4’54” m e e

V V o Catalogue Number: 7243 5 27591 2 5 6. Monster 3’01” o i i c c e e book series The Sandman and the award-winning novel favourite here at EV Towers, never being allowed to Good Omens), was created by former 4AD designer, stray too far from our CD player since it was released Timothy O’Donnell. The track listing is as follows: back in June! Well worth investigating. The track listing is as follows : 1. Quiet Splendour [John Foxx] 2. Ringing the Bell Backwards [Jansen / Barbieri] 1. Lightbulb Sun 5’31” 3. A Chaos of Desire [Black Tape for a Blue Girl] 2. How is Your Life Today? 2’46” 4. A Single White Rose [Human Drama] 3. Four Chords that Made a Million 3’36” 5. Lions [Tones on Tail] 4. Shesmovedon 5’13” 6. Scourge [Unto Ashes] 5. Last Chance to Evacuate Planet Earth 7. You’re So Pretty [Audra] Before it is Recycled 4’48” 8. More [Judgement of Paris] 6. The Rest Will Flow 3’14” 9. Life Amongst the Black Sheep [Peter Ulrich] 7. Hatesong 8’26” Tomorrow’s World Live 10. Mother [Christian Death] 8. Where We Would Be 4’12” New website Midge appeared at this event courtesy of Roland (for 11. Nostalgia [David Sylvian] 9. Russia on Ice 13’03” Billy now has his own website, at www.billycurrie.com. whom Midge has recently done some advertising, 12. Soaked and Captured [Soul Whirling Somewhere] 10. Feel So Low 5’18” There’s not much in the way of interactivity – it’s pretty above). He gave lectures on live sound engineering, and 13. After The Call [Pieter Nooten / Michael Brook] much an online CV to attract work rather than a stop-off performing Move Me from the new album together Catalogue Number: KScope SMACD827 for fans – but it’s interesting to read Billy’s take on his with the house band, which included Dave “Ming” Catalogue Number: Projekt 102 various projects. Williamson who will no doubt be familiar to you from live shows over the last couple of years. The show ran from Orphée goes on sale on the 15th of July until the 15th of June 28th to July 2nd, extracts from which were August for $11.98 + Postage & Packing ($4 in the US and BILLY CURRIE EXTREME VOICE broadcast on Friday 30 June. $6 for Europe). After that, it goes to the regular $13.98 price. US residents can also order with a credit card by General News Wedding bells in the air calling 1-800-CD-LASER. The mail-order address is : Robin marries Angela Clifford (who puts up with this “Ultravox thing” that we do like a real trooper!) on 15th JOHN FOXX Projekt July. Congratulations, you two! Box 166155 CD releases Chicago, IL 60616 What an old duffer USA Cerise is (at time of writing) hanging on to her twenties by her fingernails, and finally succumbs to the “big 3-0” For more info: www.projekt.com on July 24th. Where do the years go..?!

6 TRON 7 We Came to Dance Tron’s new single is a version of Ultravox’s We Came to Film soundtrack Dance, featuring Midge on vocals and Warren on Billy recently composed the music for a short film called e-percussion, via an original 2” studio demo of the track Various Artists : Orphée The Fragile Skin, written and directed by John Carr. which was used with their permission. The single is out on “Grief-stricken, Orphée descends into the “The Fragile Skin is a Low Budget Horror Film in the Mystic Records: MYS CD 507 and is also available from the underworld. Incapable of following any path but the Haunted House tradition, a tale of mystery and witchcraft address below for £5 (UK), £6 (Europe), £8 (rest of world). one his heart lays before him, he descends with a set in Queer Britannia on the verge of the new The new Tron album Auslaender (inc. We Came to Dance) song on his lips. Lost within thoughts of pain, sorrow Porcupine Tree : Lightbulb Sun Millennium” reads the blurb. The film was due to be is now available only via mail order for £14 (UK), £15 and longing, he seeks an audience with Hades to The new Porcupine Tree studio album, Lightbulb Sun, shown at the London Lesbian and Gay Film Festival on (Europe), £18 (rest of world), payable to “D.Djordjevic”. beg for the return of his wife, his lost muse. Orphée’s features unique cover artwork from John Foxx. The first April 13th. There is a short extract in MP3 format on TRON, 20 Bethel Road, Welling, Kent DA16 1SB, England. voice is his instrument, and only the sweetest song 20,000 copies of the CD come in a transparent plastic Billy’s new website (see next story). will win the freedom of his beloved.” slipcase with the text printed onto it, which can be removed to leave a text-free version of the front cover Billy said: “I composed and performed the music in my own Thanks to.... Projekt’s newest compilation, Orphée, explores the image. All subsequent copies will have the text on a studio which is well equipped with synthesizers, samplers ethereal nature of the male voice. Bringing together an removable sticker. and run with Logic Audio (Mac). I played the viola a lot Midge and Sheridan, Warren and Alison, Chris and Lynne, impressive array of well-known artists, Orphée venerates and the results from the digital recording were very John Foxx, Angie Harris (nèe Clifford), Rob Kirby, Berenice and the sensitive, introspective inner soul of the singer and the The album was recorded at Foel Studio, Llanfair successful. And very eerie. When I am working, I like to Dave, Jim Halley. Special thanks to Steve Woof, June Pollard song. The album features an exclusive John Foxx track Caerinon, Wales and at No Man’s Land, Hemel mix my own playing of real instruments with what I create and Kathy Duncan of EMI Gold and Sam Rosenthal of Projekt. from the Cathedral Oceans series entitled Quiet Hempsted between November 1999 and February on the computer music programme. The interplay keeps For contributions to this issue, we’d like to thank Stephanie Splendour. The luxurious twelve page booklet, which 2000, with strings arranged and produced by Dave things fresh and new sounding. The Fragile Skin is in the Shaw for her original transcription of the Helden interview, includes exclusive text by Neil Gaiman (author of the comic Gregory of XTC. Lightbulb Sun has become a firm horror genre, which I took to like a duck to water”. and Suzanne Mohide for the great photo of Midge. E

e MU: Ohhh, I hadn’t even seen it like that... ever. It’s EV: Is that what it’s going to be called? x t M r

never crossed my mind until you just mentioned it at all. e e m v I mean, maybe subliminally... I don’t know. I suppose MU: It’s going to be called Alone. It’s just a better o e

M V

Midge’s new album Move Me sees an impressive return to the good ol’ guitar-wielding days, giving him maybe the content has a similar scenario, but it wasn’t title, although the ‘Save me, save me, save me’ bit is : o

i e

the chance to “get nasty” once again onstage. We strapped him to the couch and probed his psyche a bit... an inspiration thing for it at all not deliberately the bit that everyone remembers. I don’t know... c t e a

d anyway... or I would have put a guitar solo in it! Alone looks better. 1 p 9 u

: e M r EV: Speaking of guitar solos, what on earth were you EV: It would also mean that there would be three U i

d e Provisionally entitled Move Me, this album was thinking of when you wrote Monster?! songs with ‘me’ in the title. g g e d

i

going to be named after Midge’s new website, U r M e

: midgeure.com, but he changed his mind, saying MU: I love it! I love it, it’s great. We MU: There’s also lots of ‘somebody’s’,

u 9 that he’d gone off the idea; “I’ve been dot-com’d played it today and it was stonkingly ‘something’s’, ‘someone’s’ as well... p 1 d

a e out. It’s just everywhere right now and there’s quite a good. It started life as... what did “We played it it’s just how they came out. t c e i

o few negatives associated with it as well now. I don’t it start life as? It started life as a :

V M [Monster] today and

e want it [the album] associated with something that’s piece of music for TV. I was EV: It’s a very personal album o v m a loser”. asked to do some music for that lyrically, probably your most e e

r M t programme called Bad Girls, it it was stonkingly personal... x e E Having had a chance to listen to Move Me there were used to be called Jail Birds and good” going to be some questions that needed answering, then they changed it and then it MU: I’m not sure it’s the most not least of all if Midge had collaborated with anyone was called Bad Girls... it’s a drama personal. I mean I’m not going to sit on the new album..? set in a women’s prison and it was going and analyse it (sighs). I suppose most of to have been the title track for that and I the stuff you write is personal anyway, it’s all MU: Nooo, it’s all very me. thought raunchy, gutsy, women’s prison, nasty, grungy, about life experiences. But I think there’s been more and I just loved playing it. And when I played it to personal than that, I think some of the previous stuff was EV: We meant lyrically... Berenice [Hardman] and Dave [Claxton], and everybody a bit more kind of ‘heart on the sleeve’. Again this is else who heard it thought it was like a thirty second questioning, so from that point it’s kind of personal. But MU: Oh Danny [Mitchell]! Yeah, Danny and I, we’ve thing, and they went “Bloody hell, you’ve got to do I’m not going to think about it too much ’cos otherwise done two together, The Refugee Song and something with that, that’s fantastic!” And I just I’ll start getting paranoid and change it all (laughs). Absolution Sometime. loved it... It gives me a chance to strap my guitar on and get nasty, get heavy. EV: The way your voice sits in the mix, right up-close, is EV: With your last two albums ending with very very reminiscent of how it was on Answers to thought provoking songs as their last tracks, it’s nice to So I don’t know what it’s going to be called yet, ’cos Nothing... t’s now been four years since Breathe... and so the see a really ‘up’ song [Four] this time around. Monster’s its working title and as with instrumentals it prospect of a new album from Midge is something takes you forever to come up what you think is a MU: It’s the fact that I’ve done it all myself again. I’ve I that’s inevitably approached with a certain amount MU: Usually waltz-time songs (laughs) yeah, it’s the reasonable title that reflects what the music’s doing. not only produced it, I’ve engineered it which I’ve 8 of trepidation. How will it compare to everything that way it works out. They ended up as the last thing So, Monster seem to suit right now, but hopefully never really done in the past. I’ve dabbled with it 9 gone before, and moreover will it all have been worth simply because they were the last ones that I did and I that’s going to change. before, I’ve done a bit of vocals and a bit of this and a the wait? wasn’t quite as sure of those as I was some of the bit of that. But sitting here in the studio and doing it others. So that’s why they ended up in the position EV: We noticed that some of the track titles change from scratch, it just means that there’s much more of a Well, we should’ve known better... admittedly it’s not that they are. when you go out to play live. Alone has also been stamp of me on it. So I did mess around with the as instant as some of its predecessors, but sticking with referred to as Save Me on the set-list. vocals, just in the same way that we used to do in it certainly pays dividends and keeps paying them the EV: The track Somebody seems to be your take on Ultravox. We used to do all that megaphonic voices more it’s played! the Peter Green classic Man of the World. MU: Yeah! and stuff, used to mess around with the vocals and use e r U

e g d i M : ) m o t t o b (

s o t o h P

e d i h o M

e n P n h a o z t u o S s : : ) M p o i t d ( g

e o t

U o r h e P E

e the vocal as an instrument and I’ve done the same old, in fact it’s more than five years old. My original x t M RYOICHI YUKI r thing on this. In a way it’s kind of, I’ve probably said it version of Breathe was done at Zachary House, the old e e m v in the past, but this is probably more true than studio, which is more than six years ago. I remember o e

M

Collaboration with Midge Ure – still available! V

anything, because of the guitar content, because of the sending it to BMG and they thought that it was a bit : o

i e

synth content it’s probably... if Ultravox were still alive... electronic, my version, knowing that I had done it in my c t e a

d it’s probably what they would’ve sounded like now. studio on my own and they didn’t want me to do that. 1 p 9 u Marilyn McFarlane and Veronica Lynch.

: e R r It’s still raunchy, it’s still kind of fairly high-tech in Then a year later I got a phonecall saying that they’d y U o

i e

certain areas and just messing around with all the EQs played the tape again and they thought that it Midge fans will be particularly interested in c g h d i i

and stuff. I didn’t know whether it was right sounded fantastic. Then we went off and the first track, Heaven, since this is a Y M u

: or not because not being an engineer recorded it with the producer Julian wonderful reworking of Personal k

i

9 you tend to think that a proper Mendolson, and I thought “Well Heaven, a track which Midge wrote with a 1 n

“I’m not sure it’s d e trained professional engineer that’s OK,” and we did four Glen Gregory over a decade ago. It was

c M i o

would come in and listen to tracks and BMG hated them, so never commercially released, and has now i d V

the most personal. I g

e what you’ve done and laugh at they were all scrapped! Then I had new life breathed into it. e

m it and go “Oh God, you really listened to the original version U e r r

mean I’m not going to e t messed that up, that again and then I found Richard On March 21 1998 the album was released c x o E l

frequency’s really cutting in to Feldman as a producer ’cos I in Japan on MIDI Creative. Until this point l sit and analyse it” a b

my head. And you’ve got to do liked the sound of what he did no worldwide release has been secured, but o r this, and you’ve got to do that...” with Milla Jovovich’s album. I ended In the cold EV can offer copies for sale, as the sole a t i o

And it didn’t work that way because up lifting the vocal that I’d done on the winter months of October 1996 distributor outside of Japan – you can’t buy n when Bruno came in to mix the album he’d sit original version [of the tracks that were sent to through to February 1997, Midge Ure and this album in the shops. We will take your and listen to is and go “Oooh, I love that vocal BMG] and we built the entire track around that original Japanese artist Ryoichi Yuki collaborated order, and the disc(s) will be dispatched sound” so we just kept it, we kept what I had done vocal. The whole track was basically a carbon-copy of on Ryo’s debut album, Dear God. direct from Japan. It may be expensive, but and my kind of version of the mix. what I’d done seven years ago. we should point out that EV doesn’t make a The album was written by Ryoichi and penny from it – however it’s well worth it So it’s really down to the fact that I’ve sat here on my So to me Breathe and all of its connotations and all of Midge, and produced and recorded at for such a lovely album. tod doing 99% of it again up until the last minute and its collective compadres is incredibly old, so I’ve just Midge’s Wonderful High studio outside then bringing in players to make it better, to play better moved on an awful lot. Bath. The lyrics are a mixture of English and FF How to order FF bass parts and better keyboard parts, give it that kind Japanese, and Ryo’s vocal style is both of human feel. So in a way I’ve reverted to how I was It’s very strange for the record to have become very pleasant and accomplished. Midge plays To make things simple, there is one price which working ten or fifteen years ago. successful three or four years after you’ve recorded it. guitar and keyboards on every track, and includes postage and packing to anywhere in So we went out to back-up Breathe, but in the many other familiar names are present, the world. We can accept cheques, postal EV: So who’s come in and guested on the album? meantime I’d been producing Countermine, I’d been making this a must-have for the collection. orders, bank drafts, International Money working with all these young guys, I’d changed my Sound samples of the first five tracks are Orders and Eurocheques in UK Sterling payable 10 MU: Not a lot of people. Some backing vocalists led by studio, changed the technology, changed how I available on the sound page of Ryo’s to “Cerise A. Reed”. For many destinations we 11 Billie who put the vocal section together for me for the recorded and all of that has all gone into what I’m official website at http://www.yuki- can also accept personal cheques and cash (eg Wicked Women show. She’s fantastic, she came in and doing now. You change the equipment, you change the love.co.jp/sound/sindex.htm. USA, Canada, Europe and some others – notes kind of worked on Spielberg Sky. She worked out the process of how you do it and that affects the music – only please) in your local currency, if you harmony parts, did all that, she did the whole vocal that’s all that’s happened. I haven’t consciously thought The case of the CD is very interesting – it’s include a bank conversion fee of £2.00 per arrangement thing. There’s only four singers on that, we “Ohhh, I’m going to sit there and do this and do thicker than normal and contains an order. Your local bank or Bureau de Change just multi-tracked it up umpteen times and she just made that”. That’s how it come out. So Breathe’s very old ingenious cellophane bag filled with real will be able to give you the current exchange it sound like some fantastic gospel choir. So they’re there, and this is hopefully quite new. It’s just different. sand, which sits in front of the insert. This also rate for UK Sterling. everyone except Troy [Donockley] from the live band last is unusual in that it consists of matt paper lyric time out, because there was no space for Troy to come sheets fronted by four transparencies, each on. It’s just moved on a lot from Breathe and I didn’t featuring a slightly different photo of Ryo want the kind of Celtic thing in there because I was printed in varying blues and greens, and having much too much fun playing with the technology punched together with a brass eyelet. The again. So there was no space for Troy’s pipes, but he was overall effect is quite stunning! fine about it, he realised that you just can’t just come in and twiddle over the top of whatever’s there. But Josh Familiar guest names abound, such as Mark [Phillips] was on it, Dave [Williamson] was on it, Russ and Steve Brzezicki, Mick Karn, Josh [Field] was on it and besides that probably no-one else. Phillips, Jerry Meehan, Simon Slater, That was it. I think that was it. e c i Price: £20 each (including postage & packing)

o EV: The new album sounds very different to V

e Breathe. Was that a very conscious decision or did it m e r t

x just feel right at the time? Cerise Reed, Extreme Voice, E : o

t 19 SALISBURY STREET, ST GEORGE, BRISTOL BS5 8EE, ENGLAND. o h

P MU: The passage of time. Breathe to me is five years EMAIL (CERISE): [email protected] E b x e t r e W

m e e h t

V g o n i i c n e n i

1 p 9 S

: :

T 9

elcome to the LAST EVER EV fanzine competition. Yes, this is it, no EV18 winners (see over): h 1

e

e Wmore, it’s the final one and a bit of a stonker it is too. There is ONE First Prize: Steve Wedd F c i I N

o PRIZE; We have the full range of EMI remastered Midge solo and Ultravox (who chose item #1) A V

L

Second Prize: Astrid Nielsen e CD releases, all signed by some or all of the band. You may be interested c o m

to know that partially signed copies of these CDs have been going for £60+ (who chose item #2) m e r p t on eBay (an Internet auction site), so the value of this prize could well be in Third Prize: Harry Steffen e x t E i

excess of £1,000.00. (who wins item #3) t i o n ! We also have signed copies of John Foxx’s latest releases, including the FINAL PRIZE: ultra-rare Exotour ’97 (#999) and Subterranean Omnidelic Exotour ’98 Title Signed by t the end of last year, Midge (#005) numbered limited edition CDs. Plus a few others to fill the gaps, such The Peel Sessions CC, JF A decided that he needed an as The Collection, If I Was: The Very Best Of (USA version with an extra The Island Years WC, CC, JF online presence where he could track), early Ultravox!’s The Peel Sessions and The Island Years, Midge Vienna CC, MU interact more readily with fans, and Japanese artist Ryo Yuki’s collaboration Dear God, and Billy’s first solo Rage in Eden WC, CC, BC, MU both personally and professionally, outing Transportation. Quartet WC, CC, MU Monument WC, CC, MU as well as being a base for Sue Lament WC, CC, MU Goulding’s Homeland site with What do you need to do to get your hands on this amazing prize? The Collection CC, MU its massive amounts of archived Simple. Just submit a review of an Ultravox-related concert (any incarnation U-Vox MU information. And if that weren’t of Ultravox, John solo, Midge solo, Billy solo, Slik, Rich Kids, Humania, Rare Volume One CC, MU enough, it also had to be a resource narrowed down and refined. A big the chat room whenever he has ten Helden, Flying “B” Brothers etc) before 1st November 2000. It doesn’t Ultravox live 1981 WC, CC, MU for journalists, with a biography, problem proved to be the lack of minutes, and even replying to some have to be long – anything over 200 words will be perfectly adequate. Extended Ultravox WC, CC, BC, MU discography and high resolution recent photos, but Merlin came to of the direct emails he receives. Dancing With Tears WC, CC, MU photos. Quite a tall order! the rescue with some nice live shots If you haven’t ever seen them live, don’t worry – it could be a TV concert that Reap WW Old Gold WC, CC, MU taken at the Reading Alley Cat in ne of the most visited areas is you’ve seen, such as Monument the Soundtrack or Wicked Women. If I Was: Very Best of MU fter much discussion on 1997. We had previously used some O (unsurprisingly) the Lounge, Please submit your entries by email or on a floppy disk (MS Word) if possible, The Gift MU Acontent and a meeting shortly of these for a live album design in where you can hear tracks from his but NEATLY handwritten entries are also acceptable. Answers to Nothing MU before Christmas (during which 1998 after being heavily treated in upcoming new album, enabling Pure MU Breathe MU Midge and Cerise’s dreadful coughs Photoshop to exaggerate the “live” Midge to gauge fan reactions way If you also happen to have concert photos or ticket stubs that you can scan Dear God (album) MU, Ryo Yuki 12 were exacerbated by Berenice’s vibe (Glorious Noise, sadly yet to before they see the light of day. and submit (or send in – we’ll happily scan and return them), we’d greatly 13 Midge Live 1991 MU smoking, at which point she was see the light of day as BMG wanted There is also a constantly-changing appreciate it. It won’t actually help your chances though, ha ha! No Regrets MU directed to sit at the other end of a studio album first). They were range of video footage here, a Cathedral Oceans JF the couch!), work began on perfect for the website. mixture of new and old, live and TV How will it be judged? Since literary merit is such a subjective thing (and Shifting City JF midgeure.com. appearances, great for those not the idea of this is to create as much content as possible for the website Exotour ’97 JF, Louis Gordon he site launched in February based in the UK. Gigography!), we will put the name of every entrant into a hat, and ask Exotour ’98 JF, Louis Gordon ot long after the Millennium T and has been hugely successful, Midge to choose a single winner at random. All entries will appear on the Barcode mag CD JF N celebrations had finally died with Midge recording video diaries o drop in where you’re online site (www.ultravox.org.uk), fully credited to their writers. Orphée JF down, a selection of visuals were on a semi-regular basis (streamed S next – you never know who Future Picture Live BC presented, which were then via Real Audio/Video), popping into you might bump into! The closing date is the 1st of November 2000 by post or email – contact Transportation -- details are on page one. The winners will be drawn and notified by the end CLOSING DATE: of December 2000. Are you up to the challenge? 1st November 2000

www.midgeure.comwww.midgeure.com E s

Steve Wedd Alistair Coleman x r t e r n Winner #1 Runner-up e n m i e w

V n o o i t i i c

t The Garden : In the distance, music plays. Voices echo e e

p up into towering vaults as I walk round the folly and 1

The audience finds itself on the 9 m

o down towards the lake. There stands the statue, picked stage! Bristol Hippodrome, where I : C out against the lifting sky, the figures picked out in C : o

saw my first Ultravox concert, seen m 9 perfect grace. 1 here from their point of view. p

e e t c i i t

John Foxx speaks to me through his music, his writing, i o The opulent décor is very Vienna, o n V

his use of imagery. No other artist delivers such a

r e but the empty theatre reminds me complete package, no other artist strives for perfection u n m of the image from No Regrets. n e

r the way he does. e t r x s - E

To act there was fun – “another u footstep where they once walked”! p Al wins a runner-up prize of an autographed Cathedral Oceans CD sleeve.

Astrid Nielsen Winner #2 Rosemary Geary This is my entry to your competition. It may seem a little obscure! Runner-up I don’t have a photo of the band And sadly none of Midge Ure!

For me, this picture takes me back This is a dawn. If the sun could be To the Eighties when it was taken. understood as the life, it means the dawn is This was the ‘Ultravox look’, it. I think the aspect of Ultravox is really the Unless I am very much mistaken. LIFE. They have something mysterious and wonderful, something which many people That pensive gaze, the artistic look, still nowadays remember, which there is every At which Midge was particularly good. day, which is a part of yourself; the sun, so That serious expression, the film star stare – the day, so the LIFE. Back cover of EV18, you’ll see it there!!

Quite unintentional at the time, 14 Who’d have thought it would lead to this rhyme? 15 Pictured fifteen years ago and slightly thinner, This photo is my first with Midge Could this by any chance be a winner?! and me on it. The history: Rosemary wins a runner-up prize of an 05.12.1986 Dusseldorf: I was too autographed Midge Ure Live 1991 CD sleeve. impressed to think about making a photo (I thank God they did the U-Vox tour because I had not seen Ultravox before). Liz Lightbody 16.11.1991 Hamburg: I had forgotten my camera. Runner-up

17.11.1991 Frankfurt: I had no This sums up the man that is James “Midge” time after the show. Ure. No matter how he’s feeling, he makes time 20.11.1991 Cologne: It was too for people like me. A big smile and a friendly cold so my camera did not work. greeting. Multi-talented musician with more than one string to his ‘guitar’. He’s a genuinely 30.08.1996 Trochtelfingen: No decent lad. Whenever I see him in person or in chance to meet Midge. a photo, or hear his voice, I’m reminded of the brilliant person he really is. That’s why I’ve been 01.09.1996 Hamburg: After the a fan since Slik. Midge – not just a rock legend, show my crusade is finished. Finally I but a sincere and warm human being. got my photo. But take a look; I can’t Harry Steffen believe my luck while Midge seemed Liz wins a runner-up prize of an autographed Winner #3 to be tired. Well, after ten years..! Midge Ure Live 1991 CD sleeve. E x w t e i r e v r m e t e n

i V

n o e i c d l e e

1 H

9 e

: h T T h :

e 9

H 1

e e l d c i e o n

V i

n e t e m r v e r i e t w x E

16 17 s i r A

n a i r B : o t o h P Warren Cann & Hans Zimmer in conversation sort of facets of whatever there is, all the things that if you were doing it in the stereo ‘Sensu-Round’ you E x w t e i Original transcription by Stephanie Shaw. interest us, ’cos basically rock ‘n’ roll can go just that have inside the control room. r e v r m

e far and then it gets boring. t e n

i V Having our own studios would also enable us to n o e

Why i

WC: Exactly. Hans’ father was an inventor and even as become closer to the video side of things because c d l e e a little kid I always saw myself as eventually someday there’ll be a video copying suite and eventually an 1 H

9 e Back in the hazy days of 1983, Warren Cann got WC: Why? Why is because as musicians we’ve both being an inventor. It’s eventually ended up being a little editing suite as well. : h T T

together with German musician Hans Zimmer (these found that the challenge is lacking. There’s still a more subtler than that, I seem to have become an h :

e 9 days exceedingly well known for his film scores – challenge; the challenge of making a successful record, ’inventor’ of music, but I still have aspirations. If you HZ: One of the things we think interesting, if you see H 1

e e

Mission: Impossible 2 being the latest in a making a hit record. There’s the challenge of stuck me in a laboratory I wouldn’t be bored, this album as the first in a line of projects, is l d c i e o very long line) and created Helden. your hearing something in your head I wouldn’t think – “God, there’s no already the sort of technology that we n

V i

and managing to actually capture musical instruments here!” – it and Steve [Rance], our engineer, n e t

“A lot of [the e m Helden consisted of Warren on “We knew we that on tape, there’s the challenge wouldn’t matter to me at all. I’d used on this album. You know, it’s r v e r i e t drums, percussion and vocals, of knowing how you want be just as excited blowing quite a progression from what w x equipment] is so E and Hans on keyboards and had to concentrate something to sound, well, myself up. anybody else has done before. synthesizers, plus numerous rather of not knowing exactly new, it’s really only The way, for instance, the supporting musicians: Zaine on the story and how you want something to HZ: Talking of that; the reason studio we’ve been using so far Griff, Linda Jardim (now Linda sound but knowing how it we probably do work quite so in the prototype is virtually totally computer Allen), Hugo Vereker, French concept first” should feel and then using all of well together is because we’re just controlled by micro. The diva Ronny, Eddie Maelov (of Eddie your experience and technique to musicians by accident, you see, it stage” instruments link straight into and Sunshine fame), Brian Robertson, actually translate that onto something was like, I mean, before I became a computers etc, we’ve been using that Brian Gulland and Graham Preskett. that is on tape. These are challenges to us that musician I wanted to become a painter, I quite a lot, and we are going to build a studio have become familiar, and there’s nothing new to us wanted to become an inventor, I wanted to become all which can do much more than any of the other studios Two live shows were played in March 1983 (with a within that framework, plus I think between both our sorts of things, a writer, it was just music that are capable of at the moment. laserlight accompaniment) at London’s personalities there’s also many elements that are not happened at the time. It was as simple as that. It Planetarium, the first band ever to do so. However, just that of being a musician. wasn’t really a choice, it just happened and probably WC: Our ‘why’ may thus seem rather long-winded Helden was more a studio project than a band, the the same for you [Warren], now it seems like a good but all of these things are contributory factors to why album Spies being what Warren describes as “a HZ: The other thing is that because we’re very good time to take what we know from music to carry on and we’re doing it. I would just like to explain that, movie for the ears”. In fact apart from the album, with what we do with electronics etc, I get very bored use it to do all the other things. although the technology we are using to create this a highly detailed movie outline was drafted, but with listening to other people’s records which are music is complete utter state-of-the-art equipment and the right record company offer never came along electronic and they may get great sounds but don’t WC: To keep channelling resources back in upon a lot of it is so new, it’s really only just in the prototype which would allow them to pursue all of their actually write any good music. themselves so one can keep growing. It’s a bit, well, it’s stage, things that have been custom built purely for ideas. The project was indefinitely shelved with the like a sort of Renaissance Man type philosophy. You ourselves that no-one else has access to, our primary exception of two singles; Holding On and WC: They don’t actually know what to do with it... like to be able to do something of anything, but in this concern, lest you get the wrong impression, is to make Stranded, the latter being a bonus 7” given away day and age you find that, well, you’re almost pushed emotive music. 18 with issue 20 of In The City magazine. HZ: But one of the things we set out to do was to into being a specialist. 19 write good music and go about it the other way round, HZ: One of the ‘whys’ of why this album has come Currently, the album Spies is once more on the verge rather than going for great technique and impressive HZ: Right. And the other thing, using our project the about is, in a way, it’s a crossover between... well, It’s of being released; the safety masters are located and electronic sounds we knew we had to concentrate on way we went to use it, gives us the opportunity to All Entertainment, what we try to do is a crossover several record companies are interested – all that the story and concept first, then let the music’s sound work with different people from totally different fields between music and visual things. One of the remains is for the contracts to be negotiated and take shape. who are not musicians, you know, they might be film approaches on the album was that it wasn’t just a percentages to be worked out and agreed upon. makers or writers or things like that. piece of music but it was like a movie for ears. You Spies could soon be coming in from the cold... WC: Yeah. But the why as to us doing this Helden know, you can put your headphones on and sit down project is very much a multifaceted answer. It’s not just WC: It will enable us to build a recording studio – in and shut your eyes and hopefully see a story behind Meanwhile, here’s a bit of a teaser. The following for purely musical reasons that we decided that this itself something out of the ordinary because we don’t your eyelids. interview outlines the motivation and the entire was something we had to do, it’s because, as I want to build a conventional type of studio for what story behind Spies, in fascinating detail. mentioned earlier, we both have many leanings we do and the way we do it. That’s really almost towards other fields and personally, the both of us are obsolete. We want to build a studio in which almost all crazy about ‘the movies’ for a start, just plain and of the musical activity takes place directly in the control simple... and I want to move into that world. I find the room, it’s due to the nature of the instruments from a TRACK LISTING film world, both the visual and technical behind-the- technical point of view and due to the nature of the scenes side to be, to me now, at this point in my career, music itself and how you play to it. It’s a lot more Once Upon a Time in the... Moonlight in Vermont in many ways far more interesting than the equivalent immediate playing to the quality of sound coming back The Ball 2529 areas in the music world. at you out of monitor speakers than it is when you are Young and Scientific On the Borderline having to imagine the overall feel of the music you are

My Killing Hand Stranded P HZ: The other thing is that we are basically using the supposed to be accompanying. You have to imagine it h o t

Pyramids of The Reich Movies for Eva o

album and the projects just as a means to open doors, under those circumstances because through : P e

Transmission Eva t to go and do all the other things, like our studio and headphones, particularly studio headphones, the e r

Holding On G i

getting involved with different technologies and quality is so poor that it puts you just ten steps further l b e r movies and writing and books and, you know, all those away from the plane that you could be operating upon t WC: We wrote the album unlike anyone else who these other things. Each thing should be done for its album more aural interest if it wasn’t just one voice and HZ: I mean it’s the old idea of, you know, the very... E x w t e i attempts these things by first writing a damn good own identity’s sake. one set of backing vocals throughout the whole thing. r e v r m

e story. We had to have a story if all of this was to For the characters of the story to have more meaning it WC: Opposites. When combined making something t e n

i V proceed properly. After getting the story we then WC: We had to impose strong discipline on ourselves, obviously seemed like a good idea if, as much as totally unique. n o e i

turned around and specifically wrote to order all of the it hurt like hell (!), but we had to make sure that every possible, they were all sung by different people. c d l e e songs, it was very difficult, the real challenge. It’s not a song had the ability to stand up on its own, that you Now those are the singers. 1 H

9 e question of writing fifteen songs and then picking the weren’t hearing a lot of music with virtually sung So, hence you have MD, being myself, and the part of : h T T

ten best ones and then finding you’ve got some sort of dialogue happening. That was a prime concern of ours, the young man, The Stranger, being played by a friend HZ: Then we had a friend of ours, Brian Robertson, h :

e 9 common thread running through it because if you try everything on the album stood up on its own two feet of ours, Zaine Griff, and Eva another friend of ours who’s a guitarist who used to be in Thin Lizzy etc., and H 1

e e

and develop a story that way you far too and that the album, as an entity by itself, just who we’ve worked with many times, a girl who is probably as opposite to both Warren l d c i e o often end up trying to cram round pegs worked as that – an album. An album named Linda Jardim. By then we’d done and me as you can get. n

V i

into square holes and vice versa. So, someone could put on and without quite a considerable chunk of work n e t e m everything had to fit together very “We would like thoughts of novels or movies on the album and as these things “The characters WC: He’s now playing in an ultra- r v e r i e t neatly and very tightly if would work as a record tend to gather momentum and heavy metal band called w x

E everything was to work, that’s the story made otherwise you’ve only got a ideas suggest themselves we in the story were all Motorhead, having the time of why we had the story first, then portion of something rather next brought in a friend of his life so I hear. We also asked a we wrote the music. Now, based into, not only a than a complete thing. mine, Eddie Maelov, to sing the sung by different friend of Hans’, a brass and on the assumption that the song Young and Scientific. woodwind player called Brian album is successful, that is going to novel, but a HZ: Equally, if you make the people” Gulland to come down and do a open the doors to funding for our movie” movie the lyrics obviously wouldn’t HZ: He’s portraying a mad scientist. few things. studio, we would like the story made be the... into, not only a novel, but a movie. We hope it’s WC: Yes, and his type of voice suited the part HZ:Who is actually very interesting insofar as going to open doors, really, into that side of the WC: The dialogue... of the character so well, a quite cultured voice but he is a classical musician, again an opposite to us in entertainment business which is so far fairly closed off cracking up, someone just really very demented. many ways, who specialises in playing renaissance to us. The people who make movies tend to stay in HZ: The dialogue. I mean I don’t think there’s medieval instruments. We used him mainly on their own world. People who play in movies may anything worse than a rock musical movie. HZ: He is... he is! saxophone for the end of Movies for Eva and socialise with musicians but that’s really as far as it goes. because he was a trained choirboy we asked him to do WC: Because in its own way that’s exactly as bad as a WC: And to lend a bit more warmth and yet at the some vocal backing parts for us as well. HZ: Same with writers. We wrote a story but this only movie that’s been made of a successful stage play and same time, while lending warmth, adding an element of means we wrote an outline. We wrote a form to put you look at the movies and it’s like, it’s too stagey, it’s the bizarre to the computer, we asked another friend of WC: The type of vocals that Brian did weren’t our music into which gave our music shape, a form, but the play on film. Too stiff. ours, Ronny, to participate. Ronny’s voice is just so sexy particularly what you would term a character part but at the same time we are not great novelists; it gives us that the idea of her being the computer’s voice seemed they had to be technically very accurate. the opportunity to go to a novelist with the idea, with HZ: Right. A prime example is The Wall [by Pink Floyd] to fit. I know I liked it! the form, the shape, and get a great novelist, well... probably, which has no dialogue except for two words. HZ: We used his voice mainly as an instrument. alright, a novelist to write a story from it! 20 21 This might give a film director interest in it. Again, we Who give him the idea, we even give him a novel once the novelist has written it, and it gives him a shape and WC: The prime perpetrators of this thing are Hans idea to make a film from. In the music what we try to Zimmer and Warren Cann. The next person to be do is put the pace and emotions of something visual drafted in on this was Hugo Vereker because, whilst into something you can see on the screen, something Hans and I had the capability, I suppose, to do the lyrics, you can feel. We’re trying to do an album which we felt we had, in a way, bigger and better things to doesn’t just pass you by but gives you fear, it gives you worry about and it was easier for us because we had sex, it gives you violence, it gives you love, it gives you the whole concept and the feel of the album in our all these things, you know, tingling spines and what heads. It was easier for us to bring Hugo in, explain to have you. Just like sitting in a movie and I’m sure this him how everything was going to go and then just is possible to do in music. really set him loose on it, while we would constantly be conferring with him and when things went in the right WC: We have to stress that the album itself, the story, direction we would encourage him and when they it’s not the soundtrack album. Should it be made into weren’t in the right direction we would discourage him, a movie then it’s only going to appear as things that we would cut those things out and it worked out very musical references have been taken from. Hopefully well, Hugo picked up on the feel of it and... we would write the score for the movie. We would take themes, melodies, etc., there would be obvious HZ: This sort of bears relevance to our idea about it P h

cross references, but the album itself is an entity unto being a growing project, you know by involving other o t o :

its own right. people from other fields like Hugo who’s a writer of W a r

children’s’ books and things like that. r e n

HZ: Absolutely. We have to keep things fairly C a n separate even though we want to get involved with all WC: After Hugo we decided that it would give the n Actually, the same goes for Linda in many places even WC: So, I think those are all of the people. adventure for ears, it was an adventure for us. sometime in the future, not too far away, the world E x w t e i though she was one of the main characters. One of the has been divided into, as it seems to be already, into r e v r m

e things we like doing is using voices as part of the HZ: Except for Steve Rance. WC: Because that reflects our personality our and two major powers. One’s the West and one’s the East, t e n

i V instruments because if you’re dealing with a lot of hi- tastes. When we go see movies we don’t go off and and the West will go the way it’s going at the moment n o e i

tech computer stuff it can get very cold and that’s the WC: Ah, well, Steve comes under a category of his see The Discreet Charm of the Bourgeoise. Actually, which is it becomes more and more industrialised while c d l e e one thing we wanted to avoid so mixing in a little bit own. Previous to this you’ve the people who’ve either maybe I will go and see that... we don’t go to see An the East has many mouths to feed and therefore is far 1 H

9 e of a voice here and there does add a human element. sung or played on the album. Steve’s main contribution Unmarried Woman. more agricultural. : h T T

has been as kind of a technical referee between h :

e 9 WC: It was an interesting effect in many places where everyone. His instrument, if you want to phrase it this HZ: Or Kramer versus Kramer. WC: Just as a matter of interest and accuracy, Japan, if H 1

e e

voices take over from the instruments and way, was the recording console itself. you look at a globe, is kind of pig-in-the- l d c i e o you can’t tell where one ends and the WC: Exactly, we go off and see middle in some ways as well. Japan has n

V i

other begins, and so on and so HZ: Plus he knows a lot about Raiders of the Lost Ark, Firefox or aligned itself with the West. n e t e m forth... “It’s an computers and he knows a lot Blade Runner, or just things that “In many ways r v e r i e t about synthesisers because he capture our imaginations. So, you have a very technological w x

E HZ: Especially with singers of adventure album, likes messing about with the story is very industrialised nation, the West Brian’s and Linda’s calibre, they machines so... HZ: And so this is what we set versus, as Hans was saying, the are so perfect. Their pitching it’s an adventure out to do. To do the first simple. It’s a spy East, which is more agricultural etc., is so accurate that it’s WC: This puts him in a very adventure album. In many ways yes obviously keeping a degree literally like playing an instrument, for the ears” unique position because by far the story is very, very simple. It’s a story and a love of parity. It has its own highly you write out a score for them and and away, almost without exception, simple spy story and a love story and story” evolved sense of technology as well, it’s just like playing it on the piano recording engineers have tunnel vision, all of those things. it’s just that that is not its primary because their pitching and their timing is that’s all they know. They know about the motivation any more. so exact. processes of recording sound but the whole field is You have three main characters which are: MD, The accelerating so quickly and the boundaries are Stranger and Eva, whereby, obviously, Eva being the HZ: It’s a different sort of technology. WC: Brian’s part of the small pool of very eccentric breaking down, things are merging. You never, ever, only girl is the pig-in-the-middle and the whole thing talent that we happen to know and that we can draw would have had a recording engineer in the past evolves around her. Then, of course, since you have, as with many ideas, if upon, when necessary. Because we can foresee on a having to know anything about computers. The two somebody says they want to become agricultural and future project where we would feature more of Brian’s things just never intersected one another, but now they Furthermore, originally we set out to do some sort of somebody else says they want to become industrial forte, medieval instruments, in conjunction with do and Steve is the ideal person to work with us science fiction story but I think the more and more we you immediately get a breakdown of ideas and people synthesisers because the contrast between the two because he is so familiar in all of the related fields. went on it was either time catching up with us or it stop talking to each other. This is something that could be fascinating. became more and more like just ’round the corner. happened with the West and East conglomerate. HZ: The other thing about Steve is that he’s a very HZ: I mean the only other musician really which we creative engineer so that he literally becomes a WC: Yeah, we, I think we became aware from a truly Furthermore, because of the importance of industry or used on the album was Graham Preskett who played musician on the album. A lot of the effects and, in fact, central creative point of view, rather than a consumer’s agriculture, whichever country you’re in, whatever it is, some violin. Now Graham is another strange person, one complete song [Moonlight in Vermont] were point of view, that the important thing about a story industry has finally emerged as the rulers of those 22 he is actually a conductor and arranger, it just so Steve’s responsibility. It’s basically that. isn’t the window dressing, it isn’t whether it’s a countries, it didn’t seem important any more to have a 23 happens that he plays the violin. He does a lot of work western or whether it’s science fiction because, literally, president etc. It’s alright just to have things run by large with the London Symphony Orchestra and millions of themes are timeless and our story’s a very simple one corporations. Not dissimilar to how it is nowadays. other people. What and Where and thousands have been written and thousands more will be written. What makes each and every one WC: It’s just a little bit more out in the open. WC: And he’s happiest playing violin when the violin WC: We now move into the whats and wheres. unique and good or mediocre or bad is the way in has been so processed that no-one would guess in a which it’s been fleshed out and brought to life. So this HZ: Yes, exactly. thousand years that the sound source is a violin. It HZ: I mean, as we said in ‘why’, it’s the album as a is why we want to bring in the talents of a novelist sounds like something over the top, like... I don’t know! movie for ears, it’s, as Warren said, “We need a decent and/or screenwriters and present the thing to them WC: Instead of new Democrats or Republicans, and story” and the thing we set out to do, rather than writing etc., because they’re the best in their field. their electoral circuses, things tend to shift with Wall HZ: The same goes for Graham’s head really, he’s a philosophical, arty type of story, what we wanted to do Street as to whether it’s General Motors or IBM Sperry- happiest when it’s really perfect! was an adventure story. It’s an adventure album, it’s an HZ: A rough outline of the story is something like – Rand that’s running the country. P s h i r o A t

o n s a i : r B B r : i a s n o

t A o r i h s P HZ: One of the sort of interesting things about the work and if they spend a lot of time on religion they HZ: This basically is the backdrop of the story, it is calibre and character because MD used to be the Mother E x w t e i story is I went into quite heavy research over the might not work so hard. So, why not turn religion into supposed to come across in the Overture [Once Corporation’s top assassin. They have, it would be a r e v r m

e possibilities of all this with the Managing Director of some sort of work and by promising people Upon a Time in the...], great, pompous, grey, bleak, future equivalent of a bureau like the KGB, I don’t know t e n

i V IBM who basically brought these ideas to me by something, like, for instance, life after death, which foreboding etc., etc. what the initials of their actual assassination bureau are, n o e i

explaining to me the way a corporation like IBM, for they have basically done by explaining that if you work it’s not KGB, it’s a sub-group, but that’s what he used to c d l e e instance, controls governments worldwide. So, all for The Corporation, the corporation is eternal, you are The story opens at a ball which is taking place do. He was chosen for that from a very young child in 1 H

9 e these things seem to be happening at the moment. not, and you get your quotas of work done with somewhere in the middle of one of those buffer zone, kindergarten and ever since then he’s been constantly : h T T

no problem. middle European counties, it is... channelled towards that one aim, being the best, being h :

e 9 We took it from there, we had the West as being very the strata of assassin who is simply unbeatable. It was H 1

e e

industrialised and the East as being very WC: This is the East and the Mother WC: A fairly minor ball, it happens just by many, many years of training, he worked his l d c i e o agricultural etc., but of course both need Company that Hans is referring to. The coincidence that a significant but not way up through the ranks to eventually n

V i

the other but as both aren’t speaking West have their own solutions, but too important diplomat from the become their top assassin but, n e t e m to each other something has to “I went into carry on about the East... Mother Corporation is in the area “MD used to because the major adversary of the r v e r i e t happen to carry information from and this partially prompts the East is naturally the West, you w x

E one to the other. We decided quite heavy HZ: Yeah, pretty much the whole reason for the ball in the be the Mother have to fight fire with fire. They that somewhere in the middle, same either side, they both first place. He’s in the vicinity so couldn’t have a totally again not too dissimilar to how it research with the have their own angles. they decide to show respect and Company’s top indoctrinated, under-control type is nowadays, you have little honour him by holding this ball. of assassin because he just countries like Romania, MD of IBM” WC: The way the West handles Everyone who’s anyone in that assassin” wouldn’t be able to cope with the Czechoslovakia, Hungary, Poland and things is they’ve de-emphasised locality has been invited and this type of mental agility and philosophy all these countries that are like buffers religion because it tends to make people gentleman, his name is MD, has arrived of utter personal freedom of choice and between the two super-powers. act as a mass, to think as one, to feel as one with his very, very beautiful wife, Eva, and the movement that his Western equivalent would and do as one. Now, this has been twisted around in the ball is proceeding quite happily. Everyone is dancing, have to bring against him. When you’re bringing to bear WC: Practically speaking, conceptually as well I East’s own eccentricities to suit their own purpose, but everyone is waltzing, it’s very grand. that type of weapon if you don’t have a defence against suppose, there has to be a buffer zone between such this really isn’t in the interest of the West because it then you are vulnerable and defenceless. He is one of dissimilar philosophies and entities like the East and the they’re so... HZ: And everyone is looking at Eva. the very few privileged elite to have a sense of West. So this area of Czechoslovakia, Poland etc., is individuality and self initiative instilled in him, it was fulfiling the role as a grey area in between, the buffer HZ: Culturally different... WC: Eva is a very beautiful lady but she has that rare encouraged. zone, neutral territory ‘Checkpoint Charlie’ and that quality of not – although she is beautiful – of not sort of thing. WC: Yes, such differing backgrounds, plus the fact that prompting a fear reaction in people, she seems so true Now in his position and with that type of background to deal with their technology the West has decided to life and not doll-like, that people can’t help but he’s become a very, very dangerous person and as his HZ: These middle European countries aren’t really that the most fruitful way of handling this is to instantly warm to her. She’s very chatty, she’s very reactions inevitably slow down, he’s been married to industrious as such, especially since they couldn’t possibly emphasise self reliance. If you don’t push the machines amiable, very down to earth. She’s just one of those Eva for now for, say, about ten years so he retired in afford to align each other with any one of the super- around, if you don’t have the agility and mental people that, no matter what your private opinions may about his middle thirties, late thirties, somewhere powers because they’d just be wiped out by the other. flexibility to do so then the machines are going to end be in any direction, when you meet her you just can’t around there, he’s been eased out because as a field 24 up pushing you around which would be the end of the help but instantly feel affection towards her. She’s so operative he may have the mental armament but not 25 WC: Like Switzerland, they survive on being West. So they do stress initiative, self reliance, all of the unselfconscious about this trait of hers as well which, the necessary physical stamina to keep up with his professional neutrals. things that the East are totally against because that again, helps to totally endear her to people. She’s on adversaries. Having this type of person loose with that would mean the end of their system. the dance floor, where all of the young men are type of freedom of movement... HZ: It just so happens that Switzerland has a lot of queuing up, eagerly waiting for a dance with Eva. She’s industry but this is just by chance probably in being HZ: So here we go with something like this:- waltzing around having the time of her life, as she HZ: ...and that type of knowledge. very industrious. always seems to do, and MD is being diplomatic by The Mother Company, who is the major corporation in wandering ’round having small talk with all the other WC: Yes, having someone like that loose within the So, our little country is in the middle wherever they are. the East, controls its people by telling them that it is officials, just keeping himself occupied, but then the realms of the Mother Corporation has the people at eternal. The Mother Company will go on whatever whole tone of the ball changes. the top of the Corporation very worried. Now, every WC: Chocolate makes you industrious. happens. If all its little workers die there will be new time someone has risen to this status, you have to workers to fill their spaces, but to give incentive to the HZ: The thing, first of all, about MD is he is quite a understand that they can’t be killed because it’s the HZ: Chocolate makes you industrious – no, our little workers, which goes further than just the weekly bit older than Eva, he is... very nature of their job to be so vigilant. They can country is in the middle of... wherever, and basically wages etc., and they can perhaps buy a nice house at circumvent any action taken towards them like that specialising in trading information and being like a the end of their years working there, they basically say; WC: Late forties, early fifties. and no Mother Company has been foolish enough to diplomatic immunity centre where the traders from the because the worker works for the eternal corporation attempt it, well, they have done in the past but with West and the traders from the East can meet and he will be remembered by the computer on the files, HZ: He is involved in the Mother Company insofar disastrous results. discuss underhanded projects. every little bit he does is part of making the corporation that he is one of the, sort of, Managing Directors. eternal. Therefore, he is part of the corporation, HZ: The other thing is who are they going to replace Another interesting sort of thing which bears relevance therefore, he himself becomes eternal as such. WC: MD’s position is actually one of a puppet in that he him with? Once they kill somebody like this of course, to our story politically, as it were, is that since the has no real power but his position is such that it does the next one along would not play the game because... corporations have taken over power they have done WC: Which is your ideal circle; the more you carry a great deal of prestige and people accord him a lot away with this good old fashioned thing called contribute the greater the glory of the Mother of respect and deference but, as far as what he actually WC: ...he would know what would happen to him religion because they have realised that one of the Corporation, the greater its glory – the more kudos you does, it’s very minor. He was given such a position, in fact eventually! Also who would you get to kill him, who things which is very difficult to do is to get people to reflect in even though you’re dead. it was created especially for him and predecessors of his would be able to succeed because you’re trying to kill someone who’s the best? So they’ve evolved quite a HZ: Now we’re at this ball, everybody’s happy, WC: It’s all very open, these people aren’t necessarily about such goings on. I suppose as one would do, Eva E x w t e i clever sop in that they palm him off, they pacify him everybody’s dancing, there’s chit-chat, lots of little skulking around, they’re also mixing drinks and serving then realises that someone’s eyes are just burning into r e v r m

e with a prestigious job and everything one could ask for gossip, you know, the normal sort of bitchery is going drinks and food to people. her, she looks around and she sees him. When she sees t e n

i V and just kind of tranquillise him into submission. on in the background. him the same reaction occurs, she’s thunderstruck, she n o e i

HZ: But basically they’re informers. They’re an army just immediately freezes. Her partner is so happy, so c d l e e HZ: By giving him a beautiful wife, by giving him WC: We can fill this scenario out, it’s not quite your, you in itself, informing on everybody and everyone because thrilled to be dancing with Eva he doesn’t even notice 1 H

9 e money and by giving him prestige etc. know, what you would immediately think of when you one of the great helps the Mother Company has is its she’s suddenly more or less gone a curious : h T T

think of, say, a grand Viennese ball because of the dress, great computer 2529, which stores away everybody’s combination of being limp yet totally stiff in his arms, h :

e 9 WC: Regarding MD and Eva, the Mother Company the setting etc., we both have very definite ideas for data etc., everybody’s on file. and he’s literally having to drag her around the H 1

e e

helped engineer their marriage. Eva was a that. You also have a lot of people wandering dancefloor because she’s not contributing to l d c i e o very well known socialite I suppose. around who are instrumental in a minor WC: So being a gatherer of the dance – she just keeps staring at n

V i

way to the story, there are ‘servants’ information, a stool pigeon if you the young man [the Stranger]. n e t e m HZ: A slightly mysterious “Eva was a which is given a sort of Polish like, being a gatherer of “They’re an r v e r i e t background, no-one quite knew spelling, it’s... information in itself carries a Well as Eva and her various w x

E where she came from but it very well-known reasonable amount of prestige. army in itself, partners had been waltzing didn’t matter. HZ: Szervancs. Really, what a It’s not necessarily a despised around the floor, her naturally socialite szervanc is is like the security profession, a lot of them have informing on being the centre of attention, WC: And they had thought police of the place, like your been transferred or retired out of everyone keeps sort of glancing “Well, who is the most desirable I suppose” normal ‘bobby’ is supposed to be the Mother Company’s proper everybody” over having a look at Eva, it helps woman in the East at the moment?” servant of the law and of the people military services to join the szervancs. to bring a little bit of a glow on their and naturally the choice was Eva so they and then, of course, overreaches himself evening, it’s rather like when you’re helped engineer their marriage, it wasn’t quite and becomes slightly more powerful, in this Then all hell breaks loose. worried about the time you keep checking the as by chance as the two of them thought and the case it’s pretty much the same. The szervanc is the clock every so often to reassure yourself, people were Mother Company did everything it possibly could to instrument of the state who follows orders, keeps HZ: Well, not really, because nobody quite knows desperately trying to have a good time at this ball foster the relationship. It succeeded, I suppose, everybody under control. Being in a totalitarian system what is going on. Eva is dancing, MD is talking, as we because of all the cameras everywhere. There are because of a few hints from the Corporation and MD they need to keep a fairly straight watch on the said everybody’s talking, and the doors open and what cameras everywhere in the East, there’s no such thing being very, in spite of his self reliance, still quite people. There are video cameras everywhere. The seems to be a latecomer to the party or the ball arrives. as utter privacy any more except for the very, very obedient to his superiors if things were put to him in a szervancs are monitoring things, the szervancs are It’s a young man who stands at the top of the stairs powerful. They keep looking towards Eva to try and certain way. So, they were married, we’re actually ten listening in on conversations hence the chit-chat is looking down at everybody, nobody knows who he is, buoy themselves up and have a good time. People years from their marriage. fairly excited but totally meaningless. he’s not announced, you know, like at a ball you are notice this reaction in Eva so their eyes stay on her formally ‘announced’, he’s not announced and nobody longer and longer. Finally, her partner realises that he is knows who he is. Suddenly he sees Eva and it is like at dragging her around the floor like a limp doll. the same moment she sees him and, you know, she stops dancing, people notice something is going on, Everyone’s still dancing but dancing slower because far they’re not quite sure what is going on they just notice more attention is being paid to the watching of this 26 that somebody arrived and somebody stopped dancing than the dancing or keeping up their conversations. 27 and the Stranger walks towards... The young man starts walking towards her very slowly. Eva breaks away from her partner and starts the same WC: Ahh... it’s a little more delicate, I think. He walks thing, she’s walking through, bumping into the other in, if you were in a position to be observing the two people still dancing around creating a mild relevant characters you would be seeing him walking disturbance, it’s nothing too outrageous yet, but you in, Eva’s just unselfconciously dancing away having a can hear everyone whispering and the gossip rising like good time. There’s the Stranger at the top of the stairs “tsk, tsk, look at Eva, what’s going on here ? who overlooking everyone at the ball, looking, looking would have thought such a thing!” because it’s there, then all of a sudden he just freezes. He just obvious that, to them at any rate, that, you know, stops. You don’t know what could have provoked such there’s some kind of minor scandal going on here. a reaction but it’s obviously something very, very disturbing. It’s like he’s in a trance and very slowly, no- He’s a very good looking young man; it’s just that they one’s paying really the least bit of attention to him, he never would have expected something from Eva such very slowly descends the stairs almost as if he’s half as this, yet it suddenly becomes far more bizarre than asleep, making his way towards the centre of the that type of reaction because they’re being so blatant dancefloor. He reaches the bottom of the stairs, sort of about it and this is what’s shocking everyone. The bumps his way through the fringe of people young man walks right up to Eva and they stop. surrounding the dancefloor whereupon he just stops Everyone’s waltzing totally out of time with the music and just stares, you realise he’s staring at Eva. because they are just trying to keep their eyes on what’s going on. Everyone, suddenly, it’s almost as if it’s s i r A

Well, Eva’s dancing away, young men are constantly a common thought flashes ’round “no, they wouldn’t n a i r

B cutting in on whichever fortunate young man happens dare, not in front of everyone!”. : s o

t to be dancing with Eva at the time and it’s all done o h

P with the best of good natures, no-one’s really jealous HZ: Not in front of her husband. WC: Not in front of MD, MD’s right at the back return and send him on his way, they tell him that they The first thing MD does is he goes to this old scientist WC: Or younger. He’s there in the uniform of a major E x w t e i somewhere up on the other level of one of the aren’t all that fussy if he comes back with the young who is really the master programmer for 2529. Now, looking exactly as he did on the video tapes. The old r e v r m

e balconies and the unthinkable, the unspeakable man alive or dead but that they must be caught. many years ago when MD was an operative agent, boy thinks he’s cracking up but he nevertheless takes t e n

i V happens... they lean towards each other and, yes, they obviously a man in that position does many favours for the information to MD. n o e i

actually kiss, right there in front of everyone. As soon We’re still in Young and Scientific; MD is in a rage, people and is consequently owed innumerable favours c d l e e as they kiss something very, very curious happens. No naturally, so he sets off. Well, I shouldn’t say naturally by a great many people. Sometimes he overlooked This takes us on to the next song My Killing Hand, 1 H

9 e sooner do their lips touch than they immediately, it’s because for all of his past he has been brought up to be things that he discovered during a case or the course of which is kind of an intimate, internal reflection being : h T T

like they’ve had an electric shock, they fly apart, their a relatively unemotional person, to not make too many his investigations, what have you. A lot people are still made by MD. Now that they have the information that h :

e 9 eyes grow incredibly wide, they stare at each other for personal judgements. The area of conscience that’s afraid of MD and they do owe him favours. He goes to is really the only clue they have to go on, that the H 1

e e

a second, then the young man grabs Eva’s fostered in a person as they grow up has this old scientist, who in his younger days, young man is apparently ageless. This, of l d c i e o hand, drags her off in the direction of been very calculatedly, very deliberately before he reached this eminent position course, is reported to the heads of the n

V i

the exit and they run out. Within a left out of his education. of head programmer, had been in a corporation and by now they are n e t e

m “The first thing space of seconds from the “Everyone’s position where he’d compromised doubly reassured that their r v e r i e t moment he started edging HZ: One of the things, for himself slightly and MD, not subterfuge in not telling MD w x

E towards her they’ve kissed and shocked, the music instance, regarding his being dim at all, let it ride MD does is go to that they were sending out their they’re gone. relationship with Eva is that he’s thinking “Well, this is one more the master assassin to kill this Stranger was stops. There’s never really thought about if he favour I may need to collect the right decision. They also Everyone’s shocked, the music is really in love with her, how someday”. He goes to him and programmer for decide that, whereas before they stops. There’s mass confusion. mass confusion” much he wants her, how much says “Look, I know you’ve heard hadn’t really considered the When the music had stopped, does he need her, all the things about this current case, I mean, it’s 2529” matter too deeply, they were correct synched with the collective gasp that had normal people think about. the scandal of the entire Mother to have also ordered the assassin to kill gone through the entire ballroom when their Corporation territory by now”. And this old Eva, although everyone felt affection for Eva lips touched, MD turned around to see what the WC: Yeah. He just kind of accepted it. Well he flies boy is convinced there must be some minor operating the threat of this young man – now reinforced by disturbance was and all he could see was his wife half off, he is quite emotionally overwrought about this, fault in 2529, that just one particular file has been another even stranger threat, that of his agelessness in tow and half running along with some total stranger now for MD that’s really saying something ’cos he’s temporarily mislaid and it’s nothing really more serious and the possible ruin it would bring upon the system in just, just leaving the exit doors. usually so calm and cool. than that... a slight glitch in the computer. MD says the East – is so great that they can’t even extend trust “No. It’s been checked out by all of your staff and by to Eva; she’s been contaminated by his presence, so HZ: This sort of total confusion carries on, the ball is HZ: One, I mean, one of the reasons he is pretty our back-up staff and it’s for real”. The old boy, who dangerous is he that they decide she must die as well. basically over and finished with because this has never overwrought about, it is not so much that he’s lost his isn’t really there all the time in a full operative capacity, happened before. The szervancs are running around, wife, it’s just, you know, there is this whole thing he’s sort of so far up the ladder that he just works MD’s reflecting upon his own rage, the more he after all, they are the ones who are supposed to keep about, you know, she went off with another man etc., entirely on his own into pure research, into ways of thinks about it the more he realises he has come to order, they are the ones who are supposed to be in etc. Again this is all very new for MD. making 2529 better and has just been brought back actually love Eva, it’s that thing of you don’t really control and know what is going on but they really really under the express request of MD, says “All right, miss or appreciate what you have until you don’t don’t know what’s happening here at all. MD pretty WC: And also professional dignity and his professional I’ll check it out myself”. So he puts the tapes through have it anymore. much takes charge because it’s his wife who seems to interest in the fact that the young man is not or never the computer and finds out for himself that, yes, it is 28 be missing. He goes and collects the video tapes of the has been on file has definitely got him going too. true: there’s no glitch, 2529 is operating perfectly. This Again, just to underline what the Mother Corporation’s 29 events from the cameras and he can’t make head nor Where things start to thicken now is the fact that the young man was never filed and, as MD had suspected, thinking. It would be along the lines of “Well, what if tail of it. Mother Company has not told him the whole truth. by now the old boy is taking it personally. It’s not just an the people were to find an alternative life after death What they haven’t told MD is they’re so frightened, academic question of information being mislaid, he’s other than in a machine? They would lose their WC: He reports to his superiors because that’s really they are so afraid and so upset, so shocked, that this taking it very personally indeed. 2529 is like his son in incentive to work. If some method of eternal life, the only thing for him to do. The next thing you see is young man wasn’t on 2529 that they have decided he many ways, it’s his only family and this sort of thing just immortality, were discovered, if the Stranger introduced MD in the inner sanctum of the highest officials of the must immediately be killed, he’s that much of a threat cannot happen. He’s determined to find out the cause. such a thing then the entire Mother Corporation would Mother Company Corporation and they tell him that to their system. They don’t want him captured, they MD just says “Well, I’ll let you get on with it, if you crumble, it would be the end of everyone’s existence. the tapes have been examined and... haven’t told MD that they aren’t trusting him to do the need any help call me” and that kind of thing. So, the So that’s why they both must die”. job, they have assigned the Mother Company’s current old boy tries every approach he can think of. And very HZ: ... which happens in the song called Young and top assassin to chase them. They’re just covering their late, very late one night or early morning, for some Now this takes us on to Pyramids of the Reich. It’s an Scientific basically. bets. Their rationale is that MD is still, if he set his mind reason he decides he’s interviewed all of the szervancs instrumental piece which is a flashback sequence and to it, quite a dangerous person and they see that this – I mean, for the sake of the story we could have one this reveals the link between Eva and the Stranger. They WC: Yeah. There’s quite a lot of information that’s is the sort of thing that could possibly arouse any kind of them saying something like “Well... perhaps he were wartime lovers endeavouring to stay together. imparted in that song. They tell him that the tapes of latent anger, it could set him against them so it looked a bit familiar” or “I don’t know, there’s Which war you may ask? Well, of course, World War II have been examined and that they have NO would be totally out of place if they didn’t offer him at something about his manner”, what have you, it’s only in the twentieth century. They were lovers during that knowledge of this young man. He has no personal least an opportunity to go after Eva and the Stranger a minor point – for some reason he decides to call up time in the past and Eva’s commanding officers had identity number, he is basically, well he’s not on file, not so they’re characteristically covering their bets. They’ve various photographs on file of the 20th century’s volunteered her, on her behalf, for a project financed by ‘slightly’ or they ‘don’t know much’ about him, he sent the current assassin after them and they feel, well, second world war and... he finds it. He notices on the the Nazis taking place in utmost secrecy in laboratories doesn’t exist as far as the Mother Company’s master this way we’ve got two people chasing them, the screen, while viewing a photograph of a series of high hidden beneath the Egyptian Pyramids. We know that computer, 2529, is concerned! He doesn’t exist and assassin will keep close watch on MD and if his own ranking officers in the Axis High Command, that the they were looking for the ‘master race’ and these never has existed. They tell MD that what he must do leads aren’t pointing him to the couple then MD may third young officer to the left of a Wermacht General is genetic and biological experiments to try and further is retrieve Eva and this young man immediately. They come up with something that would lead him. At any the young man. He doesn’t look a day older. this end, this is where the experiments were being tell him that he has the full resources of the Mother rate, throughout the whole story this assassin is never conducted and they had reached a high enough level of Company at his disposal and that they wish his wife’s too far behind. HZ: Or younger. development to where they were no longer experimenting on animals or slaves. They had reached were really superhuman. They had a life expectancy of young while they themselves aged they wouldn’t ever the flashback into the present which is actually the E x w t e i the point where they were ready to start experiments a thousand years. They were the culmination, they were tell a soul about it because it reminded them so future and I’ve pre-empted myself a little bit here as far r e v r m

e and further the research by working on what the the very first of what would have proved to have been forcefully of their own mortality. So you may be as the story goes, I over-explained a few things earlier t e n

i V Germans considered to be quality specimens of the a successful transformation of an ordinary human being thinking that’s a bit of a flaw in the story but it actually on. Actually, in Transmission we discover via the voice n o e i

current Reich of which Eva qualified for eminently. into a citizen of the Reich, the true Arian race and helps it. of Ronny acting as the computer 2529 that the Mother c d l e e inheritors of the earth. The West thanked their lucky Company, unwilling to take the slightest chance, issues 1 H

9 e Eva and the young man didn’t want to be split up so stars that these experiments had been stopped just in As time goes by and they realise that, yes, this in fact instructions to the man who succeeded MD as prime : h T T

he proferred his application to the project and thought the nick of time, as it were, but they decided they is a scenario that has come to pass, the East does retire assassin that not only must he ensure the Stranger’s h :

e 9 “Well, we may eventually be split up but at least if I would turn Eva and the young man into agents. They their top assassins and put them through this soft job demise but also that of Eva. She has perpetrated or at H 1

e e

volunteer Eva and I may be able to stay thought “How can we utilise these two etc., procedure. They realise that “Ah-ha, this the very least been part of, as far as the l d c i e o together a little bit longer”. people – we can’t let them run loose”. is a chink in the armour, this is an public is concerned at any rate, a n

V i

accessible point”. They have no scandal. Everyone who was at the n e t

“Eva and the e m HZ: It’s a bit like Noah’s Ark... The German scientists other way of infiltrating the East’s “Ah-ha, this is ball has witnessed a scandal for r v e r i e t turning up in pairs. themselves, the people in charge secrets of so high an advantage someone as eminent as MD, and w x Stranger were the E of this project, they were no point as a former top assassin. a chink in the I suppose all of that love for WC: So he applies and is last and most dummies, they weren’t about So, unknown to the East and Eva, once given an excuse and accepted; the people in charge to create a Frankenstein who the Mother Corporation armour, this is an freed from the influence of Eva’s of the project thought the Noah’s successful would turn on its creators. As themselves, not only did they presence, has turned into Ark angle could be very useful, it intelligent and as enhanced as Eva engineer the marriage of Eva to accessible point” backlash against him. It’s certainly was very interesting and very subjects” and the young man were they had MD but so did the West, the West unforgivable in the Company’s eyes, intriguing to them. They passed his one controlling factor, one flaw if you did everything in its power as well to it’s likely that Eva has been subjected to application whereupon Eva and the young want to phrase it that way. Their minds had make sure that Eva married MD. dangerous beliefs at odds to those of the man set off to Egypt. Now, as it turned out, Eva and been tampered with, something like an implant, who Company. It should never have happened to the wife the Stranger were the last and most successful knows what, one had control over them. They had full This next brings us up to Transmission which is a very of someone as public and influential as MD, he must subjects, this is revealed later on by research done into consciousness, they had apparent full freedom of short little link between Pyramids of the Reich and... be taught a lesson. You hear Ronny saying as 2529 them by the West. You see, the allies overran that part choice, thought, and deed, but, for example, if they “Instructions to counter control, subjects: intruder plus of Egypt, this is artistic license here. We’re saying that were commanded to rise, walk to the door and open HZ: ... and Holding On. Company female, Eva. Order: immediate cancellation they were in that part of Egypt. it, no matter how they would attempt to resist, they of subjects... your discretion”. had to do it. There was a foolproof method of control WC: Right. It’s a little link between Pyramids of the HZ: They never made it. to ensure that they wouldn’t turn on their creators. No- Reich and Holding On. Transmission takes you from HZ: Then we have Holding on. one wanted to create a master race and then find that WC: No. We’re saying they were in that part of Egypt you yourself had been made redundant. So, the West and they captured the pyramids in late 1944. Now in possession of this control, turned the young man everything, lock, stock and barrel, was shipped back to into their top secret agent, their top field operative. He the West, and examined. A fine tooth comb put was like a troubleshooter, he travelled all over the 30 through everything. All of the doctors and all of the world, he had no specific department. Any time there 31 scientists, all of the subjects, they were all interrogated was a hot spot or bit of trouble in the world, anything and put through thousands of tests. What they that needed sorting out no matter where it was, they discovered was that of these many subjects; some would send him. perhaps had enhanced hearing, some had enhanced IQ’s, very high IQ’s, other people had phenomenal As far as Eva was concerned they decided the most senses of sight, smell, any of the senses or several productive and fruitful course of action for Eva to take, combinations of them. But, as time went by, because or for them to take regarding Eva, would be to send these interrogations did take quite some time, side her to the East and have her act as a sleeper, or a effects began to manifest themselves and quite a high ‘mole’ some people call it. They had a glimmering of rate of attrition became evident. Most of the people, how the structure in the East worked and how it other than, of course, the scientists themselves and the seemed to go, they used their own computers to doctors, most of the subjects succumbed to one kind of project a possible infrastructure and possible future of side effect or another as time went by and all that was how the political workings of the Mother Company left was basically Eva and the young man. All the would eventually end up. They had a suspicion that this scientists were engulfed by the West’s own current type of thing which we’ve explained about MD would projects much the same way it happened to a lot of happen, that something similar would probably occur. people at the end of the second world war. The The top assassins of the East would be palmed off with scientists, particularly these scientists, were just more a nice job and a beautiful wife etc., etc. They weren’t interested in the sake of research. They were offered quite sure, the possibilities were basically limitless, but new jobs, so they took them. But here you have Eva this seemed to be high on the list. So, they sent Eva to P h

and the Stranger... two people whom, while not being the East. Her agelessness helped immensely in her o t o :

anything like, say, the Six Million Dollar Man or Woman, infiltrating society, people didn’t really seem to notice B r i a n

were phenomenally strong. They had incredibly high it, it struck as very deep chord in people, that if they A r i IQ’s, their sense of touch, taste, smell, hearing etc., saw someone who seemed familiar remain generally s Holding on is the love song of the album. Several joined forces in the European sector and are, according onto the track from further up the corridor. It conveys happened on the train was merely staged to buy them E x w t e i hours after the escape from the ballroom Eva and the to the scanner, heading towards the East. Not only is the fact that one is on a train, that choice of time time to let him and Eva get away. r e v r m

e Stranger are heading to the Eastern Border hoping this their action apparently suicidal, the search by the signature gives the impression of constant rolling t e n

i V move would throw the search parties into confusion. Mother Company forces will surely be comprehensive motion, the musical sequence, the solo sequence is Moving right on now we’ve got Stranded. MD’s n o e i

For the first time in many years, it’s the first time and the border absolutely impassable even for these really that of a fight scene, very dramatic, very proved right, when he returns to his room in the c d l e e they’ve seen each other in almost a hundred years! For two. Their covers and their years of work will have been percussive and 2529 leads us into On the Borderline. temporary, makeshift Mother Company headquarters 1 H

9 e the first time they can talk of their love. They met at completely wasted. There is no logical explanation for in that town, the Stranger is waiting for him. He’s : h T T

the ball entirely by accident, totally by chance, the their behaviour since neither the Stranger nor Eva knew This chase continues on foot, but there’s no sign of the already there. The latter tries to bargain because he h :

e 9 Stranger was moving across middle Europe having each other’s whereabouts, for them to meet is uncanny couple nor of the assassin. MD has a particular interest, knows that all three of them are in danger from the H 1

e e

recently completed a mission and was not and unprofessional. The people watching the he may have fooled the szervancs but MD assassin. He guarantees MD safety if he’ll l d c i e o scheduled to attend the function but screen can’t work out what the hell is knows that the assassin will have help them escape to the West. MD n

V i

this encounter produced an going on. realised his actions were calculated replies that he would be a prisoner n e t

“Their covers e m unexpected surge of emotion and that he must find his wife “What happened in the West and it’s Eva who r v e r i e t which they had last felt only After Moonlight in Vermont before the killer does. The controls their destinies. The w x and their years of E before their initial programming. we have 2529. Eva and the amount of time that MD’s on the train was Stranger is trying to make a Really, their programming work will have Stranger are eventually spotted bought is an unknown quantity deal, the Stranger realises that shortcircuited itself, that control, near the Eastern boundary and because he may be a bit rusty merely staged to he and Eva are in possible deep that mental straitjacket which been completely they have been seen boarding a but he was very, very good at his trouble, they’re in hot water had stopped them from acting as West bound express. This job, he hasn’t lost his touch that buy them time” because they’ve broken their totally free agents, had just gone wasted” information was relayed to MD and much during the intervening decade control and while they aren’t pffft! The control held over them by the with a number of szervancs he sets up a and he knows he has no real worries perhaps exactly fearing for their lives West telling them what to do and how to do it blockade on the track and awaits the arrival of from the szervancs, it’s just a matter of how from the West their prime concern is allegedly was finished. The emotion of seeing each other after the train, still clinging to his hope that Eva may be an long is it going to take before the assassin works out to now remain together. If they’ve blown it by so long overrode that control and when they kissed, it unwilling passenger. The train is halted and MD heads that bit of legerdemain – in order to let Eva and the wrecking Eva’s cover and blowing the Stranger’s cover actually shortcircuited. They were free and their the search through the carriages and to his utter Stranger realise that they were about to be captured then they think they’ll be separated forever. But while controls no longer operative. As a result they are astonishment he confronts in a corridor a man known and give them a chance to escape – that sort of thing they’re having this conversation, while MD and the determined to continue on together. to very, very few... his successor as the Mother is bound to be worked out by the killer. He must think, young man are talking, Eva’s in hiding and she’s Company assassin. So, immediately realising that he’s got to work out the implications of seeing this realising MD saved her life on the train and, for the first WC&HZ: Side two of the album! there’s more to the situation than meets the eye, man on the train. At the small town near the Western time, she’s doubting her actions. thinking quickly and needing to buy time knowing that border where the search has concluded for the night WC: OK. Now we’re on side two, it begins with Eva is in imminent danger, MD fools the szervancs into MD recognises several facts. His discovery that his You see, during this hundred years that they’ve been Moonlight in Vermont. In another continent a group thinking that he’s been attacked by this man and capacity for actual emotion and love, because this was separated the young man has constantly thought of Eva, of men are closely monitoring the dangerous creates a scuffle. They subdue the assassin while MD hitherto ignored, and the implications of the career he he’s not doubted for one moment that someday they movements of two of their top agents. The couple have catches a glimpse of the Stranger and Eva jumping was chosen for at birth which are vast. He was, as I would be together again and his love has not diminished mentioned earlier, encouraged to not have a in any way, whereas, Eva being a consummate woman, 32 conscience. As far as he is concerned it really isn’t a being ultimately practical, while she loved the young 33 matter of right or wrong involving all of the people man equally as deeply with that long passage of time that he has had to eliminate, that he has had to kill and the unique feelings one must go through when you during the course of his career, and you can’t really live such a long life without any apparent ageing or fault him for it because by his own standards he is a slowing down of your life, she begins to wonder. She’s man of his word and a man of integrity. The fact that become very, very fond of MD and she’s beginning to outsiders i.e., almost everyone else, being in possession wonder if perhaps her love for the young man just isn’t of conscience and of a moral core, would look upon his love of a memory and that what she feels for MD could deeds as being very distasteful and perhaps evil, really perhaps be love of the present even though she always is irrelevant because MD didn’t see it that way. on the surface thought “Oh well, someday myself and Therefore those deeds don’t affect him in the way they my young man will be back together again” so she is would someone else who had that type of personality having to do a lot of deep thinking to work out exactly yet committed the deed. His desire for Eva’s safe what is happening to her. return, he realises, is acknowledgement that no loyalty or future shall lie with the Mother Company who The Stranger is producing his trump card to MD with repaid his life service by wanting Eva dead. The references to his affair with Eva in the past, he reveals Stranger needs him to escape and will probably trust to MD exactly what he and Eva are and tells him all him because of what happened on the transport, by about their unique origins because he feels this would now MD has worked out that this young man is no be the final nail in the coffin of MD’s love for Eva. He mere young man, he’s, for all his apparent youth, a can’t go back and expect MD to go through a deal like very experienced agent to have lead such a good chase this when really the person he is dealing with is the s i r

A so far. It’s been everything that MD could muster just man who has stolen his wife. His point of view, his

n a i

r to discover them and keep up with them. He realises argument to MD is “Listen, I don’t really care about B : o

t that he is dealing with a person of considerable you and Eva having been together because we will love o h

P intelligence who will also work out that what for a thousand years, we belong together, we’re unique, the only thing you can do is step down and let had made passionate love, that initial flare of pure E x w t e i us be together”. MD has no choice but to believe the heat, Oh God, that’s so poetic, has died down slightly r e v r m

e Stranger since the young man’s story fits in with the and it’s become a more reflective time. While the t e n

i V old photograph and the sequence of events since the Stranger has been off trying to do some kind of deal n o e i

ball and he agrees to go with them and aid their with MD, she’s been on her own and she’s had time to c d l e e escape, but what he doesn’t tell them is that in his own think. As I mentioned earlier, she’s beginning to 1 H

9 e mind he resolves not to go, he’s going to stay behind. wonder really, truly, where her affections lie, and : h T T

The realisation of his love for Eva is enough for him, he obviously she’s decided “I love this young man, I loved h :

e 9 doesn’t need to actually possess Eva and he has to him with all my heart once but it’s been a l-o-n-g H 1

e e

concede that the young man is right, they are time”. She’s been living with MD for ten l d c i e o unique, those two are the only two of a years and MD is a very attractive man in n

V i

kind. There’s a matter of pride every respect because although, n e t e m involved too, because no-one “Eva is holding also as I said, his profession is r v e r i e t would wish to grow old in front actually a very distasteful one he w x

E of a loved one’s eyes while they a gun – it was is a man of integrity, educated, remained young. The gap would and in his entire sojourn with grow wider and wider as one she who pulled Eva he has done nothing but became older and older and treat her with kindness, perhaps that love might even turn the trigger” gentleness and respect. to loathing or worse. Also, he certainly has no wish to become a HZ: Well, I wouldn’t necessarily say Western political puppet because he knows all kindness but, you see, what she found out as too well how valuable the information that he carries well during the episode is that MD has sort of changed in his head is. So he, on the surface agrees with the because he let his emotions show for the first time. young man, “Yes, I’ll go with you, I’ll help you escape back to the West” but he is not going to go and has WC: Right. Exactly. no intention of doing so. HZ: Which made him into a totally different person. Then we have Movies for Eva. At the break of the following day Eva and the Stranger meet in a vast WC: She’s seen him slowly open up during the ten derelict Cathedral built on the border wall, their years that they’ve been together and that has drawn prearranged escape route. As they start down the her towards him inestimably, more than she actually diplomatic tunnel known to MD, as an ex-assassin he ever realises. was privileged to a great deal of highly secret information involving in particular methods of HZ: While the Stranger seems to get more and more 34 infiltrating both East and West. There are hordes of sort of hard and callous because of the way... 35 szervancs surrounding the Cathedral and they enter. WC: ... the way he’s been living for the last hundred Halfway down the tunnel MD turns and starts to go years. back. He’s got Eva and the Stranger on their way to the West and freedom, he knows that they can’t turn HZ: Right. And the way he’s trying to trade MD for around and follow him back to take him, they’ve got their safety in the West because they’ve screwed up no choice, they have to carry on. But the Stranger does and blown their covers and things like that. follow him and draws a gun knowing that the only chance he and Eva have of being allowed to stay WC: Exactly, excellent. together is if they arrived with MD as a gift for Western

Intelligence. As you look over the young Stranger’s HZ: So, the roles during the second side of the album P h o

shoulder and see MD in the great distance beyond MD the roles really turn around where you discover that... t o :

you see the assassin fronting the pursuing szervancs A i r

S t

and he’s pointing a gun. Simultaneously the young WC: MD’s quite a good guy after all. u d i o

man is raising his own gun... s ,

O x

HZ: Right. And the Stranger’s just flash. f o r d

A gunshot crashes out but you see that it’s the Stranger S t r e

who falls and not MD. You see the assassin standing WC: She had to make a choice, she made it, whatever e t .

P

there but it’s not he who pulled the trigger. Eva is the consequences. So, grabbing MD’s arm she leads h o t o

holding a gun – it was she who pulled the trigger. him down the last stage of the passage to safety. Eva g r a p

is the closing track on the Spies album, it’s like the h e r

u

Eva’s had a few days to think, she’s realised that when aftermath, a frozen frame. A credits sequence. By the n k n

she initially saw the young man all of that mad dash way, the very last lyric on the album is the line “... and o w n

flight for freedom, the way she and the young man tells of pictures yet to come...” . E x w t e i r e v r m e t e n

i V

e o r i U c

e e

1 g 9 d i

: M T

h e e h

T M :

i d 9 g 1

e e

c U i r o e

V i

n e t e m r v e r i e t w x Midge Ure E

Part two of our exclusive interview...

36 37 e c i o V

e m e r t x E : s o t o h P they did to my house (laughs). What they KEPT doing the Thursday). Did you break the record? How did this E x w t e i to my house! So maybe they’ll have all melted and challenge come about? r e v r m

e have all burned to death, a horrible slow, lingering t e n

i V death. Makes me feel good! MU: It wasn’t a challenge, it was, like management e o r i U

companies do, they come up with little ploys to get c

e e EV: You performed some ‘secret’ dates with Mark you publicity, and that was one of them. It was a bit of 1 g 9 d i

and Steve Brzezicki back in 1988, under the name The nonsense really, just to do it and get a little bit in the : M T

h e Flying “B” Brothers. Was a full gig recorded? paper. It gives you a bit of coverage and mentions the e h

T album, all that stuff. So I’ve got no idea M :

i d 9 MU: It was actually, we recorded one whether it broke the record or not, I’m g 1

in Edinburgh. Some of it was not even sure if there was a previous e e

c U i

actually very good and some of it “Warren and I record for it. Probably you get a r o e

V i

was pretty dreadful because of criminal record for doing it! n e t

cut up the master e

m the feedback and noise and r v e r i e

t whatever. It is what it is, it’s EV: Didn’t Ultravox record an w x tape so it’ll never E quite good and it had a good orchestral version of Vienna at energy. I remember listening to it be heard” one point? at four o’clock in the morning in my car straight after the show, MU: We did. We cut the tape up, it completely smashed, screaming and was dreadful. I dunno who the conductor shouting and all sorts with the Brzezicki was, he was meant to understand the world of brothers in there! And the management of the hotel rock and have the respect of the orchestra. Orchestras had to come out and ask us to (hushed voice) “be are notoriously difficult to work with. If they can suss quiet” (laughs). Rock and roll! We did a strange that you’re a complete idiot, they’ll do nothing for you. selection of songs, we were doing things like Take Me I think it was the London Symphony Orchestra, or the Home, and doing it as a three-piece is really quite Royal Philharmonic, I can’t remember... This guy turned radical, very different. It was an idea that came about up an hour and a half late, keeping these 60 or 70 EV: You wrote a song for José Carreras entitled This Montserrat at the time and he asked me to do some on a drunken evening with Mark, and it just grew from musicians all sitting there, reading their papers. So they Rose Must Die, how did you become involved and will lyrics for him which I was very honoured by, I thought it there. I said, “let’s record it”, because it was just such hated him instantly! He hadn’t finished writing the it ever be recorded? was fantastic. He played me this melody, it was very good fun. parts out, so he went straight into the back room to romantic and a little bit OTT but very nice, so I came up finish off the parts. Into the second session – you know, MU: Well it was recorded to a certain extent. George with This Rose Must Die, I sang the demo so he could EV: You released a Flying “B” Brothers 12” vinyl these guys were like £7,000 a session or whatever – he Martin asked me to do lyrics for this piece of music he play it to José, but nothing ever came of it at all. There ‘bootleg’ [the Dear God limited edition], reputedly just lost it completely. We sat there and watched this was doing, he was going to produce four tracks for José is a copy in existence somewhere. It was George playing aiming to break the Guiness Record of the fastest- abysmal mess happen. At the end of it Warren and I cut Carreras. It never came about, but we were in this lovely piano and a little bit of string machine and pressed release (recorded on a Monday, released on up the master tape so it’ll never be heard, it’s just 38 whatever, very basic but I haven’t heard it for however 39 many years it is – thirteen or fourteen years.

EV: Do you have happy memories of working in Montserrat’s studio complex? Watching nature reclaim much of the island must have seemed almost like the end of a long friendship.

MU: Ahhh… happy memories yes, loads of happy memories, we had a great time… Dancing off the diving board in pure Madness style, y’know, doing that Madness walk, was pretty good fun. Warren turning orange with these suntan pills, cos he’s nocturnal, he’d stay up all night and then sleep all day, and miss all the sun! Um… yeah, it was just a great place to be, it was fantastic. And yeah, obviously it’s dreadful to see what’s happened to it now, the poor island has been through so much – Hurricane Hugo and Soufriere, the volcano. It’s dreadful. And I can’t forsee it ever getting back to how it was. My house was just on the outskirts e c i

o of the main town, Plymouth, and that’s just a ghost V

e

m town now. So if they rebuild or do whatever, there’ll be e r t x

E a new centre of Montserrat, and I don’t know if they’ll : s o

t get around to rebuilding Plymouth. But the good thing o h

P is, the volcano might get the termites back for what pursue the whole directing thing. That kind of didn’t very keen to continue and said there is no reason why E x w t e i happen so I moved to Notting Hill Gate to a flat as a it couldn’t happen... r e v r m

e temporary measure, and then we got pregnant and it t e n

i V was like, “Well I’m not going anywhere”, so we moved MU: Well the big hindrance at the time was that I e o r i U

to Bath. We’ve been here five years now and I kind of didn’t want to sing on it. I wanted someone else to be c

e e lost contact with JBK. Not that I couldn’t just pick up the front person and we were the kind of nucleus, it 1 g 9 d i

the phone now and say, “How do you fancy doing was very creative workshop type thing but I didn’t : M T

h e this?”. But the idea was great, the actual getting the want to be the vocalist yet again, but maybe now it e h

T time to finalise the idea was difficult. We did two or doesn’t really matter that much. The bits that I’ve still M :

i d 9 three things together and they were all got left, the song and a half or whatever it g 1

starting to shape up incredibly well. It is, it sounded great and when asked to e e

c U i

would be a real pity not to see it describe it at the time I said it was r o e

V i “I was going to

through. Mick and I have worked like a modern Pink Floyd, which is n e t e

m together loads of times for lots of what Radiohead are now being r v e r go to Los Angeles i e

t different projects, it would be mooted as. It was spacey, it was w x

E stupid not to do it. textural but it was still an and pursue the interesting, atmospheric kind of So I’m not saying that it’s not whole directing rock sound. A huge sound to it, going to happen. Technology the even though we all did it in my way it is, they can send me a jazz thing” little studio. disc, I can stick it in my computer and it all comes up on my computer screen. I can EV: There was talk of you writing something hear what they are doing, edit it, then put my guitars with at one stage with Troy [Donockley], is that ever on and sing a bit here and there, stick it back on a jazz going to happen? disc and post it back to them to edit and add bits to and so on. So we don’t have to be in the same room MU: I think that was Berenice’s idea (laughs). I think to do it. Not that you wouldn’t want to be in the same that was a way to get me kick-started towards making room (laughs), but we could actually do it that way. the new album, but I didn’t really need kick-starting, I nonsense, dreadful. We scrapped it. That was the only on the All In One Day thing, we saw a huge difference. That’s perfectly feasible these days, whereas when we just needed to get the touring out of the way and then thing to do because if the record company got their George walked in and said “Morning, people”, and they started doing the project you couldn’t do that. I had just be left alone to my own devices and just get on hands on it they’d try to remix it or patch it up, or went “Morning Sir!”. Respect! George Martin walked in the studio, they’d all have to come to me, they’d all with what I do best and that kind of happened. But something like that. and they all respected him, they knew that George knew have to be there together. You’d have to block out Troy’s brilliant, he’s a fantastic musician. what he was doing, they could trust him. Some of the three months and say, “We’re in there doing this EV: You recently recorded Vienna with the Royal players there played on the Sergeant Pepper album project, nothing else is going to happen”, which is Danny [Mitchell] I feel comfortable writing with. Philharmonic, for the B-side of Mike Batt’s single with [The Beatles]. Penny Lane, all that stuff, those guys difficult as they’ve got umpteen projects on the go and Walking in and just sitting down and writing with 40 them. How did that come about? were there! It was great. I’ve got a solo thing that I’ve got to go off and do. So someone is a very strange thing ’cos you’re opening all 41 maybe now is the right time to pursue it. the flood-gates, all the heart-strings just get loosened MU: He just asked me! He was “The wonders of EV: What became of your sessions and everything pours out, that’s the way it’s got to be doing a classical album, mainly for with Jansen, Barbieri and Karn? EV: We spoke to them a while ago when they when you’re writing a song. Maybe Troy and I wouldn’t Germany. He asked me, like ten modern technology. played live at the London Astoria 2, they all seemed be compatible doing something like that, maybe we years ago, if I could come on MU: Mmmm... Right now, and do some charity thing when I was nowhere near the they’re dust-gatherers. he was there with an orchestra, and I said “I’ll do it if you let me orchestra, I didn’t EV: Noooooo!!!! do Vienna”, because I’d love to do it with a full-blown, big ensemble. see them!” MU: Well they are right now. It’s still But I couldn’t do it at the time it all came in the back of my mind to take it on together! And he remembered this, and when further. It all got very confused. We started he got the chance to do this orchestral album he said, doing them when I was in the old studio in Zachary “I know you want to do this”. He just sent me a tape House [in Chiswick]. Steve [Jansen], Richie [Barbieri] – the wonders of modern technology! – a little digital and Mick [Karn] weren’t signed then and it worked tape for my DAT machine here with the backing track incredibly well. We all got together, we all spent some on it. I sang it here, played the guitar solo as an extra time in the studio, had a few laughs and we started to for him and posted it back. He mixed it at home. So I come up with something that actually sounded really was nowhere near the orchestra, I didn’t see them! quite good. And then regular life kind of took over... I’d e c i

o have an album to go and promote or record or V

e

m EV: They’ve obviously improved since the early 80s! whatever and then disappear for a year. Then I moved e r t x

E house and it was difficult to try and do more after I : s o

t MU: Yeah, maybe! It wasn’t their fault, it was the moved, because there was this grey area where I was o h

P conductor. Later when we worked with George Martin going to move from London and go to Los Angeles and would, I don’t know, we’ve never actually tried, we bought this digital video editing suite and I’m trying to band called Zilch who approached me about six E x w t e i never got around to doing it. Maybe at some point... learn to use that so I can do promos for tracks that will months ago to do some recording and production with r e v r m

e never be singles and stick ’em up on the website, all of them. They’re very good players, very keen and very t e n

i V I can see Troy and I maybe getting together and doing that stuff. I’m trying to learn that at the same time... so enthusiastic, it’s something new for them. e o r i U

a film soundtrack or a TV soundtrack or something like I’m Mr Techno-Head right now. It’s very tricky ’cos I’m c

e e that, because that’s an area where I’m sure we’d be not very good at sitting reading manuals, I just want to EV: Moving on to Max Headroom soundtrack that 1 g 9 d i

incredibly compatible. He’s a huge movie fan and what get on board and start doing something creative. But you and Chris wrote, some of that a year later became : M T

h e he does is very filmic and cinematic. I think what I in order to do something creative that’s got some kind Edo on The Gift... e h

T could do in that area is very filmic and cinematic and it of thought process through it you have to sit and read M :

i d 9 would be interesting to see what that the manual. It’s horrible. So I’ve taken a lot MU: Well it was a thing I ran past Chris, because I’d g 1

collaboration could up with. But maybe on board in the last couple of months, done that little piano thing and again, Chris and I had e e

c U i

that’s further down the line, that’s and put the new band together, so said, “It doesn’t matter who writes what”, like Lennon r o e

V i “It’s very tricky not going to go away. The fact it’s a little messy at the moment, and McCartney, we both take responsibility and both n e t e

m that we’re not going to tour not everything’s working 100%, take credit for it. When I came up with the idea of r v e r ’cos I’m not very i e

t together this year doesn’t mean but it’ll get there. calling it Edo and doing it with a koto, playing the koto w x

E that we’re never going to do it physically in the studio, I phoned him up and asked again, or we’ll never be in good at sitting EV: How are the new band him if he minded me sticking it on the album, and he contact or we’ll never get reading manuals” shaping up? said “No, that’s fine, it’s not a problem”. Because it together for the odd collaboration. suited The Gift, it was a nice, textural break. So that’s something that I’ve got kind MU: Oh great! It’s a five piece of bookmarked for the future. again, including myself. So it’s bass, EV: Was Max Headroom easy to score for, and drum, guitar, keys and myself. Two guitars how long did it take to reach the final dubbing stage? EV: In the last issue of EV you said that you were again, but we’re running some loops and samples and about to get a new digital mixing desk. How are you stuff like that live, which we haven’t done yet, we’ll be MU: It was dreadful, they were still shooting the film. coping with your new studio set-up? doing that tomorrow – I hope. Yeah, it’s a technical We’d get a video sent across of the opening sequence, nightmare, but we’re getting there. And that will be and they’d ask if we could do that. So we’d work on it, MU: Well it did feature the music but the odd note MU: Badly so far (laughs). Roland have come along interesting ’cos it’ll be drum loops along with real the piece with helicopters and all sorts of stuff going on. changed. I was pissed off because the guy that got me and put in this new all-singing, all-dancing tiny little drums and all of those atmospheric textures that you We’d write the thing a specific length – and this is involved in it in the first place worked for Chrysalis, mixing desk for me and it’s not quite up to scratch. It’s hear in the record that no-one has to play. It would before you could stick it in a computer and then easily then left and went to California with the idea after the not doing what it’s meant to be doing yet ’cos I think stupid to take a keyboard player out there just to press chop out half a bar, or make it longer or do whatever, initial film. He sold the idea to network television over it’s still data testing almost. They know what it can do, a key to get that texture going for about a minute, but with this stuff here (indicates studio), it’s incredibly there and re-shot the pilot scene-for-scene, with new or what it should be able to do, but it’s not quite doing all of the playing stuff will be done by the band. The flexible, but back then it was straight to tape. So it was actors except for Matt Frewer and Amanda Pays. He it yet. So it’s a huge learning curve, plus I’ve just nucleus of the band is actually a band in themselves, a very fragmented, we’d get the start, then the love then got someone to replicate the music except for a sequence, then we’d get the end, as they finished few notes, which meant that someone else didn’t write shooting and editing it they’d sent it across to us, and the new soundtrack. We wrote the soundtrack and 42 we’d have to write it. Of course, by the time you got to they kind of adapted it very very slightly and that really 43 the end, they’d re-edited the beginning, which meant annoyed me. But I had my go at them one night after the music had to be changed. So, sometimes you could the show in Los Angeles. Everyone said to them, don’t get away with chopping the tape down, editing, closing mention Max Headroom to Midge, don’t go there. it up and sticking another synth over the top to smooth Chris Morrison [CMO Management] said, “Don’t even out the cuts and edits and stuff. Other times it was back mention it, he’s fine, everything’s fine, he’s alright”. But to the drawing board, you had to re-record it all. they did mention it and I just went “You bastard!”, screaming at this guy in a club, “How dare you!” EV: It must make it very difficult to visualise how the y’know. So if he hadn’t said anything it would have whole thing will work together. been fine, it would have been absolutely fine, but he chose the wrong moment, he did the wrong thing and MU: Well, we didn’t see it, we didn’t see the final he knew it. But we were friends afterwards so it was thing until we went to the premiere. fine, it was fine. But it just annoys me that for the sake of a phone call he could have had the rights for the EV: Were you disappointed that no moves were original music, we could have done new music, we made to issue a soundtrack from the film? could have done whatever he needed.

MU: No, as far as I was concerned at the time, it was EV: It must have cost more to have it done from never going to be a kind of ongoing soundtrack thing. scratch, surely? All it was, was a little ninety-minute, made-for- e c i

o television movie. Nobody could actually foresee at the MU: Well not really. You just get some guy with a V

e

m time how big the whole character would become. keyboard and a drum machine and say, “See that e r t x

E music? Just make it very much like that, I mean very : s o

t EV: You must have been fairly pissed off though very much like that”. So the guy doesn’t have to think, o h

P that the American release didn’t feature the music? just play it and just change a note here and there and through, even though this was a huge success, so they great moments, when we did it in the studio. Billy E x w t e i said “Look, we want something that has no tune, no came up with a mid-section for it that was one of r e v r m

e melody, it’s rhythmic, it’s noises”. Fine, so I did that. A those really vibey things. I sang, I did a guide vocal t e n

i V month later they came back and said, “There’s not which we all played to and then I went in to do a e o r i U

much melody”. I said, “You told me not to put any proper vocal. I spent ages doing this proper vocal. I c

e e melody in it”. “But we need melody, something like came in and went, “Yeah, it’s alright, it’s OK” and 1 g 9 d i

you did before”. So I said OK, and wrote this piece of Warren said, head coming up from a magazine more : M T

h e music, changed the entire thing, did it all again. They often than not (laughs), he said (adopts deep e h

T came back and said “Mmm... it’s a bit pffff...” and they Canadian accent) “Your rough vocal’s better”. I said M :

i d 9 used all that horrible terminology that “What?”. He said “The rough is better!”, g 1

doesn’t make any sense to anybody, and I thought ,“OK let me hear it”. He e e

c U i

“It’s a bit like the feel of formica, it was absolutely right. I did a couple r o e

V i

should sound a bit more like the “Warren said, of lines where the voice broke n e t e

m feel of wood”. “What?!”. and it wasn’t particularly good r v e r i

‘Your rough vocal’s e t because it was just a throw- w x

E This stuff went on for about a away guide vocal. But the week, so I said “Look, forget it. better’. And he was feeling was right. So we ended I’ll take my bit of music, you take up using the initial rough vocal your money and go away and get absolutely right!” and I wouldn’t have if it wasn’t for somebody else to do it because I Warren sitting there listening to it – can’t hack this. There’s two months to go proving that he was actually listening to to this thing, how many more times are you it – and he was absolutely right! going to change it? Forget it”. EV: Does the burning of the Levi’s contract at the So they went off and got someone else to do the music end of the Hymn video indicate that Rivets was and put the new advert out. It was such a disaster that recorded during late 1982 / Spring 1983? it only ran for ten days. It was a mess. It was taken off a chord. The atmosphere is all set up for him, all the like Vienna”. And they all went “Yeah, let’s get Midge and the Rivets advert was put back on again. So we MU: Oh what nasty buggers we were! I have no hard work, all the trying to enhance the actual image to do this”, because they were all panicking about took the music, put some lyrics to it and it became recollection of that at all but yes, probably, because we has been done, so all they have to do is recreate it. what they had actually commissioned, and they Love’s Great Adventure. So I win. And Love’s Great directed that video. commissioned loads of stuff. The same guy that did Adventure was the new track on Ultravox’s The EV: Of course in the series the music wasn’t used at Max Headroom came to me and said, “They want Collection album. It paid back in many different ways. EV: We’ve recently learned that the extended mix of all, it was completely different. you to do this commercial”, they showed me this thing Serenade was originally meant to accompany an and I said, “OK, when do you want it by?”. And they EV: Was it intentional that a brand new single edited single release. Which of the four Quartet MU: The series was a completely different concept... said, “Tomorrow!”. would go onto The Collection? singles replaced it in the end? 44 45 EV: It was rubbish! So I went home and I wrote this little MU: Record companies want something new, and I MU: I have absolutely no idea! bit of music on a little home just happened to have this thing. It was one of those MU: Well it was fine. I thought “Everyone said, keyboard, a little thing with the character was fantastic. But speakers on it just sat in the they dumped the original don’t mention Max kitchen, then went to the studio directors as well, it was new the next day and recorded it. directors put on for the series. It Headroom to Midge, Then the all the people from the was Rocky Morton and Annabel agency who were there while I Jankel that did the original film, a don’t go there!” was trying to mix it said “We love couple that had done umpteen pop it, fantastic, great”. So they insisted promos and things. on sitting there behind me talking and shouting as I’m trying to mix this track for EV: How disappointed were you that your their advert. It was shown in Sweden at some huge submission for the second Levi’s advert Threads was international launch that they were doing for this turned down? commercial, huge it was, big monstrous hit, it got loads of comments. They did market surveys of the MU: Not at all. My first little toe-dipping in the water youth of Europe, asking them what they thought of of the advertising business was very easy. I was the Rivets music and they thought it was great, it was approached to do the Levis Rivets thing on a Monday. fantastic. e c i

o They had spent three or four months having various V

e

m writers write things for this commercial, which I had Then they asked me to the sequel, but the problem e r t x

E never seen at this point, and someone somewhere in was they asked me four months before it was needed, : s o

t one of these ridiculous pony-tailed Filofax meetings so they had plenty of time to change their minds! So I o h

P that they have, said “What we need is a piece of music went through what all the previous writers had gone EV: Why might it have been edited as a single and EV: It was nothing to do with the fact that she’d just years but I’m not quite sure that’s right. The guys had rest of it was regular rock accoutrements. We were E x w t e i an extended mix created? done a duet [Don’t Give Up] with Peter Gabriel? been doing some writing on their own while I was trying to get back to that initial rawness, and Warren r e v r m

e away, and some of it I just thought was absolutely didn’t want to do it and we just all thought, well this is t e n

i V MU: Quite possibly it may have been stacked MU: That didn’t seem to bother her camp at all, they dreadful, some of it I thought was very good… Other insane. He hasn’t played his kit for a year or whatever. e o r i U

beforehand, we sat there and thought “Okay, these seemed perfectly happy about it, because it was a very bits I just thought, this isn’t the same band that I left. So we were already thinking radical, nutty, “This isn’t c

e e are the tracks that we think are singles, let’s do the different-sounding song. And it wasn’t, because it’s like a marriage, y’know, one Ultravox talking here” kind of thoughts. It’s 1 g 9 d i

extended mixes now” and then just never got around of you moves away and you become strangers, you get unfortunate, but that’s what happens I suppose. : M T

h e to putting that track out. What was the last track we EV: Were you aware that All In One Day would be back together again and you can’t just pick up from e h

T did? We Came to Dance? Yeah, it didn’t do your final Ultravox single? It seemed to receive very where you left off. It was partly my fault because I EV: Do you miss Ultravox? M :

i d 9 particularly well, so I think the record limited publicity compared to the previous wasn’t around to be there and do all this g 1

company at that point just went, “No, U-Vox single launches. stuff with them, but it was just so MU: I do. I had a great time, it was e e

c U i

we’re not spending any more” and different… All Fall Down was in one of the best times in my musical r o e

V i “All of a sudden didn’t put anything else out. MU: I think there was a serious that package, and that’s where “They were my career, being with them. When I n e t e

m decline in interest in Ultravox at my head was, I’d been away joined up it was so instant, it r v e r you’re not the bee’s i friends, my intimate e t EV: We always felt that that point. Bearing in mind that working with other musicians was fantastic, so creative. I w x

E Sister and Brother was an for probably a year, two years, and experiencing different learned a hell of a lot through obvious contender for the third knees any more, I’d been haggling with the things. I came up with the idea friends for a long, the band. I used to have these single released from Answers to you’re last year’s record company to let us off the of working with The Chieftains inane, stupid grins when we Nothing. Why exactly was this label in America, cos it was such a for example, we were just at long time” used to kick off with Astradyne abandoned? thing” nonsense. We used to walk into the completely opposite ends of the scale or The Voice, onstage we were a record company foyer in Los Angeles, really. In fact we were all a bit like that, it powerful, powerful band. And you MU: Just lack of interest, which is a pity and they’d have photographs of these really wasn’t just ‘the three guys and me’ all going in could feel it, there was something great about because we went to the trouble of clearing it all with obscure artists up on the wall, and none of Ultravox. different directions, we were ALL pulling in different it, something really good about it. But all things have a Kate [Bush] and EMI, and they were all quite happy for And you think, Ultravox sold millions and millions of directions, ’cos we weren’t really a band any more – natural lifespan and it didn’t work for me eventually, it to happen. Kate was perfectly happy for it to happen records for that company. And they knew we were in we’d got rid of Warren because he wouldn’t play his and I’m sad that I don’t see Chris as often as I should, as well. It’s usually got something to do with the town as well, and you’d go in and they’d say, “Sorry, drums, he just wanted to sit there and program his and I haven’t seen Warren since the day he was ousted success, or lack of success, of the single prior to it. what’s your name?”. So you’d say “Midge” and they’d machines. But we were trying to say, let’s go back and from the band... And I still feel bad about the fact he So… if that single didn’t do particularly well which it say, “Mitch?”. So you’d go “MIDGE. M-i-d-g-e”, do the album like we did Vienna – let’s get in a was ousted, that was the step that “We had to take in didn’t, it was Dear God… You can see why, it’s y’know. But of course there’s no photograph, I couldn’t rehearsal room, let’s write the stuff with very limited, order to make us work”, and we still didn’t work. It understandable, but you’d have thought that a record point and say, “Me. Let me in!” (laughs). So I’d been basic gear because prior to that, the whole thing had was a nonsense, the whole thing. company with any suss at all would have thought, fighting with the record company for quite a while, so expanded, we had like 22, 23 synthesizers on stage “Hold on a second, a duet with Kate Bush?”, y’know that stuff unfortunately filters down, and like all things, and it was insane! But when we did Vienna we had So yes, I miss them, of course. They were my friends, – video, everything, just gone for it, chased it. record companies change drastically. The people who three synthesizers, one little drum machine, and the my intimate friends for a long, long time. were into you move off or get sacked or whatever, they go away… And the new people come in and they’re 46 interested in dance music or Lisa Stansfield, all of a 47 sudden you’re just not the bee’s knees any more, you’re last year’s thing. Subsequently, they just don’t want to do anything with you. And we all kind of felt that as well, so it was time to move away, time to get off.

It was pure luck actually, that I managed to get myself off after the band broke up, as they’d kept me on after the band broke. But it turned out that the Max Headroom thing that Chris and I had done for them, there was a dubious clause in the contract, where if we had exploited the clause actually implied something like, we’d get a percentage from all profits made, from not just the film that we did, but a percentage all across the board – all the merchandising, all the subsequent series that went to television and whatever. And as soon as we said [to the record company] “Well, we’ll just have to do an audit then!” they went, “Oh OK, you can go” (laughs). e c i

o EV: Did you feel it was right then, that after the V

e

m U-Vox album you should call it a day? e r t x E : s o

t MU: I’d been away from the band for quite a while, o h

P I can’t remember how long – my head tells me two ? s w e N

e h t

r a e H

o t

t n a W :

9 1

Want to hear the news e c i o V

e m e r

t as we get it? x E

Then you have two options! One is to visit the website (www.ultravox.org.uk) and submit your email address on the home page. If you don’t have email, you can send us Stamped self–Addressed Envelopes (SAEs), or, if outside the United Kingdom, International Reply Coupons (IRCs, available from post offices) with addressed envelopes, and we’ll post the news updates to you as soon as there’s something to report. As you’ve probably noticed, EV’s schedule is a little erratic due to our work commitments, the website and the CD re-releases, so the mailers allow us to keep you up-to-date in the meantime. Many of you already use this free service, but we’d like to get everyone involved so that you don’t miss out on any exciting developments! Send as many SAEs or IRCs as you like, numbering your envelopes (no.1 of 5, etc) so that you know when they run out. Don’t forget – send them NOW!

CERISE AND ROBIN, EXTREME VOICE 19 SALISBURY STREET, ST GEORGE, BRISTOL BS5 8EE, ENGLAND Email: [email protected] • Web: www.ultravox.org.uk

n (IRC) 48 Coupo Reply tional Interna

A. Reader Some Street Anytown Elsewhere BS5 8EE Photos: Trevor Key Reproduced by kind permission