As usual, info on how to send questions are at the end of the session.

Gary's responses to this month's was delayed a few days but considering his schedule I was surprised to get them at all. Of course, next month's will be delayed later still as the Premier Tour continues through the first week of April. Maybe some of you can ask questions about the tour after seeing it?

Q1.  I was out at a car wash the other day and a car pulled up into the
     stall next to mine, driven by a black gentleman with hip-hop blasting
     out of his speaker system. I like to crank my stereo too, so this sort
     of thing doesn't bother me--however, imagine my surprise when the next
     song to come up had a sample of the "Cars" hook! Are you aware of
     "Cars" being sampled by any hip-hop or rap group and is there anything
     you could do about it legally if they did?

A1. I am aware of some of it. I suppose I could even try to get a bit heavy
    and legal about it if I wanted to but I don't. If something did really
    well and sold a lot of copies I might be a bit more interested in
    getting my share but I'm not prepared to go through all that legal
    unpleasantness for mickey mouse money.

Gary - it seems we have at least two things in common now - my OBX-a just
packed up!

Q2.  I find that when I'm writing / building songs - I get sick of them
     half way through, probably because I'm doing it on my own - do *you*
     feel that you often need someone there with you when writing/ building
     songs to bounce ideas off or to push you along when your about to give
     a track up?

A2.  Never when I'm writing and only on rare occasions when I'm working on
     adding parts to songs, especially now. I also get sick of things quite
     often or just don't feel that they are up to scratch and so I junk them
     before I lose too much time. That's why I have very few unused tracks
     on the shelf, I abandon things long before they are finished.


Q3.  The 1979 John Peel sessions have versions of Cars and Airlane that
     used slightly different arrangements and patches to what finally
     appeared on the "Pleasure Principle" album - when did you decide that
     the arrangement was right for recording? (by the way - I thought the
     "liquid" oscillating patch used in the start of "Films" should have
     stayed).

A3. I've not listened to the John Peel sessions since the day I did them so
    I can't remember what the differences were between them and the final
    recorded versions. I'm often messing about with the arrangement of songs
    during the final mix, and sometimes after that using hard disc recorders
    to re-edit tracks in different ways. In those days it was probably
    decided on the day we recorded the songs, during the recording itself I
    would imagine.


Q4. Do you find that the technology you use to make music actually
    stifles creativity when writing because there's so much to deal with?

A4. Sometimes but not often. If you are reasonably familiar with the
    equipment you use, or at least the parts of the equipment that you use
     regularly, then those technofear problems can be kept to a minimum.


I've just got the "Dream Corrosion" video - the first since I purchased
"Micromusic" in 1982 - excellent (only wish I'd been there!).

Thanks - don't give it up!

Hi Gary.

Q5.  I was wondering how much control you have over your ticket prices, as
     12 pounds plus a booking fee does seem rather a lot to pay for a gig at
     The Astoria?

A5. I didn't personally sit down and discuss it apart from agreeing that
    they should be the same as the last tour in 1994 which I thought would
     have made most people happy. You must bear in mind that the Astoria is
     not the same gig as LA2 which we played last time and so, although not
     a flash and luxurious theatre, is quite a good place for a show. The
     people going to the Astoria will get exactly the same light show,
     music, and performance that they will get anywhere else and will be
     able to get closer to the band which a lot of people actually prefer.
     The booking fee is nothing to do with me and I certainly don't get any
     of it. I believe that the booking fee can be avoided by buying tickets
     direct from the box office but I won't swear to it, certainly some box
     offices don't tack on a booking fee.

     I'm sorry if you feel that £12 is too much as I've always rather prided
     myself on the good value of my ticket prices.

Hi Gary.  I've been a fan since 1979, and although I've had a bit of a lapse
in listening to the most recent stuff, I'm catching up quickly.  I've seen
you tour and my claim to fame is that I touched your hand once at the Odeon
in Birmingham (I'll never wash again!).

Q6.  After listening to your more recent work, it seems all your beat,
     rhythm sequences are so complex and involved, whereas when I listen to
     the old songs that you wrote, the rhythm, the lyrics, the melody seem
     so much simpler and uncomplicated.  Was it a conscious decision on your
     part to move into more technically challenging sounds and beats, and do
     you ever look back at the old stuff and think "yeah that worked, try
     that again", or don't you look back?

A6. I look back at the older songs whenever I tour as I have to decide what
    to play. I nearly always think how dated and empty the old rhythm
    sequences sound compared to the more recent things and try to build them
    up to a better and more interesting standard. I wouldn't actually agree
    that they are all more complex although they are bigger in sound. Take
    'The Seed Of A Lie' on Sacrifice for example, that is a quite simple
    drum pattern but a big sound nonetheless.


Q7.  Would you ever consider using more conventional instruments again, or
     do you see modern technology as the only way forward in music-making?

A7.  Although I use a lot of modern technology it's actually not what it
     seems. In the old days synthesisers did just that, they made synthetic
     versions of known instruments. These days you are, by and large,
     listening to a real instrument being replayed by a synth. In many ways
     the name synthesisier no longer applies. I use synths to replay genuine
     piano's, strings, bass, guitars (as well as an actual guitar of course)
     plus many other conventional instruments. I know I may be stretching my
     point a little bit but the truth is that I am using conventional, and
     genuine, instrument sounds, I just get them in a different way.

Dear Gary:

Q8.  What can you tell us about that great little car that appeared in the
     film sequence of your stage show that appeared in "URGH! A Music War"?
     You drove it around onstage while performing "Down in the Park" as I
     recall (I've tried to rent the video to see it again but it isn't
     locally available). Who built the car and what became of it.
     What was the motive power of the car; how did it handle and how fast
     would it go?

A8. It was an electric wheel chair with a specially made top casing built
    on to it. It was powered by large batteries, went about 2 mph, was
    steered by a small joystick and I think was given away to a fan many
    years ago as a prize.


Q9.  Is there a  collection of all the various stage props you have used
     over the years?

A9.  No, Most things were stored for a while until we realised that it was
     costing a fortune to store things that we were unlikely to ever use
     again. Most of it was broken up.

Hi Gary. I'm glad you liked the aviation badges and such.  I just bought the
Sacrifice CD and I honestly think it's your best work to date.   What an
enigma you are! I see a man who writes these songs which drone and question
our very existence.   Yet, you express your own freedom and love of life
with your flying and daredevil antics. You write a song like Deadliner, yet
you write a song like You Walk In My Soul (which is beautifully written).

Q10. I hope I'm not misinterpreting you but you seem to almost contradict
     yourself. Is this a personal sense of "Balance"  you have where life is
     concerned? Or are you as confused as the rest of us! (G)

A10. A bit of both I guess. I think it comes down to fine detail. I do
     think that, on many occasions, I have appeared to contradict myself but
     that's because it isn't always possible to explore every tiny avenue of
     something in a single song, or even an album, or perhaps even in an
     entire career. I would need to explain the very subtle differences
     between one feeling or belief and another apparently contradictory one
     to make it make sense to listeners and that is rarely possible. On the
     other hand I can sometimes write things that do take opposing points of
     view, either for the sake of it or because an opinion, feeling or
     belief has simply changed. It's no easier trying to explain it now than
     it ever has been through music I'm afraid.


Q11. Not that I was offended, but what do you mean when you wrote about
     living the "great American lie?". John Wayne asked me to ask you. (G)

A11. I'm sorry but I can't remember. I can't even remember what song I used
     the line on.


Q12.   Glad to hear you are a Babylon 5 fan.  Have you ever considered going
       online (Cserve) and letting Joe Strazcynski (the creator) know how
       much you like the show?  I think Joe would love that kind of support.
       Just a thought.

A12.  No to be honest. I may give him a try when I get back from the tour.
      Is it really as easy as just sending him an e-mail?

Hi Gary. Looking forward to seeing you back in The States touring
again...you have more supporters here than you probably think..since
I have had many friends throughout the years that still listen...i
suppose we have record companies and stale (w/ a capital S) radio
to blame....anyway, enough kissin butt :)    Good luck.


Q13. How much creative input have your bands had into the recording of
     your albums... has it changed much since the early days?

A13. Very little actually. In the early days I wrote everything and just
     got the band to play their instruments within guide lines that I felt
     suited the song and these days I write everything and play pretty much
     everything as well. Whenever I do get someone in to work on stuff I
     already have a very clear idea as to what I want from them. I hardly
     ever use band members in the studio.


Q14. One of my favorite songs has always been M.E.....why was it
     abbreviated like that? any significance?

A14. It stands for Mechanical Engineering. I had read a lot of things at
     the time about what the last man on earth would be thinking and feeling
     and I wondered what the last machine would be thinking given that
     machines would be capable of though when the end of the world was upon
     us. The song was from the machines point of view.


Q15. Alot of people who like your music also like Kraftwerk. And, I
     have heard you were influenced by Kraftwerk and David Bowie...Was it
     a strong influence? Did they share information on electronics with
     you or something?

A15. In truth Kraftwerk were never an influence although they were, for a
     while, a name to attach yourself to which may be where this influence
     thing came from. I've never actually liked them very much. Bowie was
     never an influence for electronic music as the electronic stuff that he
     did was, in the main, more grandiose than anything I ever did and had
     more to do with than Bowie anyway.


I truly feel that the piano piece to Down in the Park is amongst the
most beautiful pieces that I have ever heard.....

Q16. Can you please tell me how it came about, who played it, (Chris Payne?)
     and how I can get some sheet music for it?

A16. Denis Haines played it when I asked him to. I don't believe that sheet
     music for it exists now or ever did. I do think it was a lovely version
     though.

thanks as always, dan

Q17. I was looking through the ASCAP and BMI web pages (http://www.ascap.com
     and http://bmi.com) and noticed that you are registered to receive
     royalties for cues in two movies:  "Ski School" and "In the Heat of
     Passion".  We know that some of your music was used in a film titled
     "Ski Patrol" but that wasn't listed.  Do you know about these
     ("Ski School" used 'Devious').  Were you involved with the decisions to
     make these pieces available for use?

A17. I'd heard about 'Ski School' but not the others. I had nothing to do
     with them being used and only found out about 'Ski School' when
     someone told me they had heard it in the film.


Q18. Another movie "Midnight Tease" used 'Love Isolation' in its soundtrack
     yet is not listed by BMI or ASCAP.  Any knowledge of that?

A18. None whatsoever but that news is even more interesting so I would like
     to see the film and check up on my royalty statements.


Q19. The Foo Fighters are to record a cover of 'Down in the Park' for the
     and album of music from and inspired by the X-Files TV show.  Do you
     watch/like the X-Files?

A19. I like it very much although I'm not a great fan of horror films which
     I think X Files gets a bit close to sometimes. I'm easily scared by
     stuff like that and don't enjoy the tension of waiting for things to
     happen at all. Gemma loves it though and is a huge X-Files fan.


Q20. The transition from "Strange Charm" to "Metal Rhythm" was big in many
     ways.  You signed to a new label and your sound changed substantially.
     Whereas SC had long songs exploring rhythms and textures, MR was far
     more conventional - a collection of short, straigtforward songs
     (all good I might add).  Was this your desire or did IRS want a more
     conventional album from you?

A20. It was nothing to do with IRS as the album was already written before
     IRS came along. It wasn't a concious decision to do something differenr
     to 'Strange Charm', it just worked out that way.


Q21. I just acquired a Japanese pressing of the New Anger CD (thanks Jim).
     "New Anger" and "Devious" were remixed by Andy Piercy and William
     Orbit remixed "My Dying Machine" with added guitar.  Did you have any
     input on this remixing?  What do you think of them?

A21. A little but it was really Miles Copelands idea. I went along to the
     mix of one of them, can't remember which, and adjusted a few levels but
     it was probably changed back as soon as I left anyway. I don't approve
     of taking album racks and remixing them and then putting them back on
     to the album. It's a bit like taking a bit off one car, reshaping and
     respraying it and then putting it back on. It's easy to make something
     seem out of place.


Wondering how you get all your necessary vitamins :-) ,

Derek

Hello from Seattle Washington!  I have enjoyed your music for sixteen
years, and wish you all the best for your comeback in 1996!  I really
like the new graphics for NU-WORLD and am eager to hear the rest of EXILE.


Q22. I know from several accounts that you spent some time in Los Angeles.
     I wonder, given your taste in food, if you ever happened by The Sunset
     Grill (Immortalized by Don Henley) and if so, what did you think of the
     Burgers?  Once again, best wishes!  And don't crash the plane(s) :-)

A22. I actually lived on a street off of Sunset but I don't remember going
     to a place called The Sunset Grill. I will if I ever get back there
     though.

Q23.  Have you built any snowmen recently?!?!

[Gary missed this one - I think he can be excused with his schedule as it
is :-) ]

Q24.  With your interest in the Blade Runner film, have you read the
      recently released 'Blade Runner 2 - The Edge of Human'?  I have almost
      finished it and thoroughly enjoyed it. It tied up a lot of loose ends
      and opened a few others!

A24.  No. Didn't even know that such a book existed. I'll go and get it.


Q25.  After the 'incident' with Radio Heart and what happened with the album
      release, what made you decide to get involved with David and Hugh
      Nicholson again for 'Like A Refugee'?

A25. That was all my dads idea, Radio Heart and Refugee, and he's a
     forgiving man.


Looking forward to seeing you on tour. I'm sure it'll be as brilliant as
always.

Q26. I wonder if Canada has any special status on the Numan album/single
     release plan. I ask this because over the years, we have seen a variety
     of releases which came out in Canada but not in most other countries.
     This is the case for the Warriors LP, the Change Your Mind 12" as well
     as its PROMO version (yea, I have it), the Exhibition double LP and
     double CD (which both have different track listings than the UK
     release), etc. Is it because Polygram (or whoever) feels there is a
     market in Canada? Should I think that Canada has a special place in
     your heart?

A26. The releases you mention are all non Numa releases and so I was
     unaware of them being released overseas in any country so I can't claim
     a special feeling for Canada or anywhere else. I'm deeply and
     fanatically English. I have nothing against most countries,
     particularly Canada and the States where I have had some quite amazing
     experiences, but the only special place for me is here amidst the quite
     and beauty of the English countryside.


A suggestion... whenever you make your way back to North America, please
don't forget to include Canada in your schedule. We have two very good
music television stations, MuchMusic and MusiquePlus, which I am sure would
be more than happy to have you in their quarters, possibly even have you
play a number or two (or a whole set) in their studios for live broadcast.

Q27. I really enjoyed the Dream Corrosion CD...what exactly are you singing
     in the live version of Me, I Disconnect from You? It is reminiscient of
     the 'Wakareyo' from This Wreckage...

A27. I used to make up stuff every night for some reason and it was nearly
     always complete nonsense. I think that night I sang ' I won't be a
     falling star' or some other similar sounding crap. That's what it
     sounds like to me anyway.

Q28. Looking back, if you were able to make a video album of only one of
     your albums, which one would you chose and why?

A28. Sacrifice without a doubt. It is by far the most interesting and
     mature album lyrically, in my opinion of course, and one that would be
     easy to translate into a video of great power and menace.

Hello Gary,

Thanks again for so much enjoyment over the years. I haven't seen you live
since 1980 when you played here in Montreal twice in 10 months.  But that
will change soon since I'm crossing over for the '96 tour and will be there
for the last show.

Q29. A while back you indicated to a fellow fan to get back to you as the
     tour dates got closer to get more details as to how to meet you after
     the show(s); so I'm asking...I'd love to get an autograph and maybe a
     few minutes to chat.  Are there by any chance back-stage passes I could
     get?  Would I be allowed to videotape parts of the show *for my own
     personal souvenir*?  (I don't intend to produce a bootleg,I promise!
     I'll sign a release if needed)

A29. Back stage passes are never given out to anyone other than crew, band
     and the occasional wife or girlfriend. To be honest there is very
     little to see backstage. Most places are dirty and grim, there are no
     wild sex orgies or mad drug taking parties, just a lot of pressurised
     busy people running around.

     A video for a personal souvenir is also not possible as how can we know
     for sure that you're genuine. And if we let you how can we stop someone
     else with the same idea or story. People are welcome back to the hotels
     afterwards but they are not welcome if they try to video me as I find
     that a great infringment of my privacy. Talking to fans is one thing
     but having it recorded is another thing entirely. I don't want to have
     to be careful about my every word or nose picking episode at the after
     gig parties. I want to chat, relax and have a good time.

     You are more than welcome to be a part of any after show get together
     in the hotel but personal souvenir videos are out, sorry.

Bye,

Gary Numan.

Send your questions via email to:

Derek Langsford (dlangs@sunstroke.sdsu.edu)

with a subject line of:

Gary's Qs

Include your real name and the town/city, county/province/state and country where you are located. Please follow these directions carefully and DO NOT post your questions to the Digest. Use a question from a posted session as a guide to the best format to use.

Please write out fully the name of your state or province. I doubt if Gary would know the difference between MA, ME, MI and MO. It'd be really nice if you could copy the format of the questions as presented here. That would allow me to simply copy and paste questions into my email to Gary rather than spend an hour or so formatting them all.

Questions are collated and sent to Gary at the end of each month and Gary's answers are posted ASAP after he responds.

I reserve the right to delete and edit questions for content or length.

Thanks to all who participated.