Gary's period with IRS has been the subject of much longtime speculation and disagreement among fans. How much did IRS interfere? Was it sent back for remixing 4 times? What is the connection with Janet Jackson's "Rhythm Nation 1814"?

I felt some of these things should be straightened out so, potentially abusing my ability to email Gary, I asked him a few direct questions, padded with an apology if they were too sensitive for him to answer. Gary replied with his usual detail which I think will help us all understand this period of his career. It certainly gives me new perspective on "Outland" and hope it will do the same for you. Thanks to Gary for being so open about things. I cannot help but admire Gary's candor.

In the following what I wrote is preceded by a '>', Gary's writing has no quote marks before each line.

First though, Gary looked over Kay's FAQ and clarified some aspects of his experience with IRS:

IRS fired me, or in music biz parlance, decided not to exercise their
option. They messed with my songs in the most disgraceful way, behind my
back and at times against my express wishes. They made me work with people
who were completely crap and clueless. I once had to listen to these three
monkeys, with not a single record sale between them, telling me where I had
been going wrong for my entire career. These three then went to work in my
studio, giving out loud praise to each other about how good the changes
were that they were making to the sound of a particular song, until I was
forced to explain to them that they hadn't actually turned the bloody desk
on in the first place and that nothing had changed at all. They were
completely brain dead. These people with the dead ears were who Miles had
put in charge of my musical 'recovery'. Shite Shite and SHITE. The My World
Storm remix, and any other remixes done while at IRS for that matter, are
nothing to do with me. I didn't even know some of them were being done let
alone approve of them. A most unpleasant period.

>I hope this is not a touchy subject.  I'm asking you this in email because
>>if you don't want to answer it, I won't mention it again.  I apologise if
>>this raises painful issues.  I and many others are just insanely curious
>>about these things.

>I once talked with a guy at IRS in Los Angeles (Milliken or something like
>>that) and we discussed the prospects for a big comeback for you in music.
>>He felt that you needed to do something revolutionary in music like you
>did >with "Replicas" and "The Pleasure Principle".  It sounds as if IRS
>were >responsible for what "Outland" became which in my opinion is almost
>the >opposite of what this guy at IRS was thinking.  Is the rumour that
>IRS sent >"Outland" back for remixing 4 times true, and if so, is there a
>more >Numan-like mix of the album before it was altered to IRS's tastes?

'Outland' was re-mixed 3 times, making a total of 4 mixes altogether. To
be honest the overall sound of the album, in my opinion, was actually
improved by the changes. My gripe at the time was that we could have gone
straight from mix 1 to mix 4 if people at IRS had only made up their minds
and not messed about. I do not in any way blame IRS for the final sound of
the album or for it not being a fan favourite. That was all my own doing.

>The reason I ask, is that I have talked with many about "Outland" and the
>>feeling is that there is a good album in there but it was crowded out by
>>the wall of percussion, the female vox and the more dancey sound.

The percussion and backing vocals was exactly what I was looking for at the
time and so I don't think any of the previous mixes would show a
significantly different album. Most of the re-mixes were for petty,
pointless little changes, although as I say, at the end of the day it was
improved albeit by a tortuous route. I have to say that, at the end of the
day, this album would appear to be destined to remain a 'least favourite'
for many fans.

Strangely enough, although I don't like 'Machine And Soul' very much I
actually like 'Outland' quite a lot. My girlfriend Gemma was never that
keen on it though so I'm used to the idea now and no longer get upset about
it. It would seem that I was just going in the wrong direction for my own
fan base. 'Machine And Soul' went in the wrong direction for all of us
which, in some ways, has probably turned out to be a good thing as it
forced a complete re-think on my part with a much better result in
'Sacrifice'.

>Another thing many have been wondering is the reason for the similarity
>>between 'Soul Protection" and Janet Jackson's 'Rhythm Nation 1814'.  They
>>are uncannily alike and we are curious if it was pure coincidence,
>>independant derivation of the ideas from the same source, or a conscious
>>tongue in cheek statement by you to IRS saying "if you want a dance
>>orientated sound, here it is".  Even the "Outland" album and her "Rhythm
>>Nation 1814" have similar structures and she did put out an album called
>>"The Pleasure Principle".  So many coincidences.

I don't really know what to say about 'Soul Protection' and Janet
Jackson. I can't in all honesty say we both derived it from the same
source. I think I was just listening too hard to how Jam and Lewis put her
stuff together in a rather sad and desperate attempt to 'fit in' with what
IRS and others around me at the time seemed to be wanting from me. IRS DID
want a dance orientated album, hence them forcing the 'Rockers Uptown'
wankers in my direction, and I was deep into my lost direction period,
although I hadn't realised it then.

Her putting out an album called 'Pleasure Principle' is probably because
we both saw the same 'Magritte' painting of the same name. I just saw it
and stole it first.

Send your questions via email to Derek Langsford [dlangs@sunstroke.sdsu.edu] with a subject line of:

Gary's Qs

Please include your real name and the town/city, county/province/state and country where you are located. Please follow these directions carefully and don't post your questions to the Digest as that means more work for me :-(

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Thanks to all for taking part,