Gary is back on-line after a month without access. He said:

As Gary Glitter would say 'I'm back!"

Nightmare from nightmare town. My Quadra died. I bought a brand new PowerMac. It died. I wait nearly a month for a replacement and IT WORKS. So far anyway.

Please pass on my best wishes to everyone and, if you get a chance via the digest, please let them know that I wasn't being idle. I'm just a victim of the electronic age or some such bollocks. My dad's Mac has gone down twice in the last few weeks as well so I've spent almost as much time trying to fix his as I have on my own machines.

Bye for now,

Gary Numan.

He sent the Digest answers the next day.

Details of how to go about asking Gary a question are given at the end of this section. If you forget the info you can find it at the World Wide Webb where all of the previous "THE DIGEST ASKS GARY" sessions are archived.

Here we go:

Hi Gary,

Q1. Will the video of the Premier Tour be the same show as the CD ? If so,
    it might be more interesting for them to be different shows if you have
    recorded more than one...

A1. It will be the same. We only recorded one night.


Q2. Have you had any thought of the 1st single from Exile? There was one you
    played at V96 that had quite a fast almost talking vocal line on the
    verse and a heavier bridge which featured almost a Metallica-like
    rhythm which started by going down a semi-tone (sorry, I dont know the
    title)

A2. That song was called 'Dead Heaven'. It would certainly be amongst my
    favourite choices for a single but we have yet to find out about a
    record deal and, if we get one, I'm sure the record company will have
    their own opinions.


Q3. After your experience at V96, would you consider playing at any of the
    major summer festivals in 1997 ?
    (particularly Reading !!)

A3. The V96 festival, although enjoyable, has still not converted me into a
    great festival fan. I will still tend to be very cautious about doing
    any more.


Q4. Given that youve probably performed "Cars" hundreds and hundreds of
    times, do you ever run out of ideas and poses to do when the lyrics run
    out ?  :)

A4. It's a constant problem. It's one of the reasons that I hate doing the
    song on TV, I have so little to do.


Q5. Have you recognised that good though the Sacrifice album is, the
    percussion seems to be quite repetitive ? I'm hoping you will use a more
    wide-ranging selection on Exile...

A5. I've heard someone else say this, could have been you come to think of
    it. 'Sacrifice' used about 30 loops and only 5 were used in more than
    one song so although the style of the album may have had a similar ring
    to it the actual loops were in fact different for the most part..


Q6. What would you change in your past career if you could (the duet with
    Leo Sayer perhaps ??)  :)

A6. I liked working with Leo sayer, he's a nice man and gave me a good slot
    on a very popular TV program. That duet was simply something done for
    the fun of it and I don't see any reason to worry about the rare times I
    do things that are a bit tongue in cheek. It would take too long to list
    the things that I would change but amongst them would be leaving Beggars
    when I did, signing other bands to Numa the first time round, not
    cultivationg a better relationship with Radio One from the very
    beginning and becoming successful when I was too young and arrogant to
    realise what I had.


Thanks Gary. Looking forward to Exile... :)

Q7. Since you are upgrading (or expanding) your Outland Studio does this
    mean you will be replacing some of the equipment, and if so, will you
    make any of the old equipment available to your fans for purchase?

I for one, would be interested in purchasing some of said equipment and
pay for shipping expenses to the states as well.  Just thought I'd ask.

A7. I may get rid of some older stuff but not definitely. I have for many
    years made my old equipment available to fan club members at reduced
    prices but, perhaps surprisingly, have not always received that much
    interest in it. I could certainly try doing it via the internet but it
    would have to be on a 'take it as is' basis.

I was round at a friend's house recently (a digest member who shall for the
time being remain anonymous, as he is 24 and a big boy now!), and he showed
us a video of him meeting you on Jim'll Fix It in 1982 when he was
10.

It involved you singing Music For Chameleons as he sailed round and round
in your little car / wheelchair / lawnmower kinda thing.

Q8. Do you have any memories of this meeting at all ?

A8. Only that he didn't smile but I know who you mean anyway.

Hi Gary

First, thanks for replying to my last one, I sensed the question may have
pissed you off a bit which is understandable considering you probably have
answered questions asking for justification of your post Telekon work for
15 years now.  Anyway I hope this question is better....

Q9. Gary, what would you say is the most significant evolution or change
    in your musical style since Telekon?  For example, I think one major
    change is that you don't use those powerfull synth progressions you
    once did ... have you noticed this and if so, was it a conscious effort
    to get away from such things in your music?

A9. I think 'Sacrifice' is as powerful as anything I've ever done, if not
    more so although I think you'll find that 'Exile' is even more
   'doomsteady', along the lines of 'Down In The Park' which may be the sort
    of thing you're referring to.


Q10. At the time, did you set any goals for yourself as far as improving a
     certain area of your musicianship and do you feel like you have
     obtained them?  Are there any goals you are still striving for?  Any
     new goals you hoped to achieve with Exile?

A10. I've never strived to be a good musician. I've always been a bit
     scared of possibly losing my 'style' should I become involved in any
     pursuit of musical ability. I've often said that I arrange noises, that
     is my only talent really, and that's questionable.


  Thanks Gary ... BTW, I did not like the question you got last month
  which basically stated that you don't need that many Pounds to tour
  in the U.S, it was short-sighted and ignorant and I think you handled
  it quite well.  I just want you to know you can always crash at my house
  free of charge (well, you may have to jamm a few tunes with me, but thats
  fun anyway...) if and when you come to play Boston.  Until then, take
  care.

Gary, Thank you for the continued output over the years.  I truly have
enjoyed it.  I have a couple of questions I hope you will be kind enough to
answer.

Earlier on, you have stated that using a drummer is too costly and a
hassle due to learning the parts, creative difference and achieving the
right drum sound.  Listening to the last few records, it seems you are
using a sequencer and some form of drum data bank for your drum patches.
You have indicated that this gives you unique control over the sound (which
to you is important - agreed) and it allows you to control cost.  I am in
the process of recording a solo record myself.  I am a drummer and have the
same problem with achieving the proper sound, cadence, timing, etc.  I have
found that I too, can select patches for the drum sounds, assign them to an
electronic kit, then play the kit to achieve a real drummer feel.  This
gives me great control over the sounds and also, once played into the
sequencer, manipulation of the drum tracks is easy.

Q11. Aside from the cost to hire a drummer to play into the sequencer and
     learn the basic tracks, do you think you would ever consider using this
     method? I ask, because recently, I have noticed many of your drum
     patterns and sound are sounding very similiar to each other. Perhaps I
     think this because there seems to be a general lack of drum fills,
     accentuations and such which tend to lend the drum tracks being very
     repetitive, song after song.  I mean no disrespect, simply a
     drummer/writer asking a recording process question.

A11. Using loops, either self created or 'bought in', is actually, in my
     opinion, a very different way of thinking about drums as an instrument
     and in the way that drums sit in a track. Very different to using real
     drummers and/or drum machines. My use of loops has been to try and
     create an extremely powerful but background/hypnotic feel, thus
     allowing the other instrumentation and particularly the vocal to be
     more upfront without having to be overly loud in the mix. I don't claim
     this to be the right way or the best, just something that I've tried
     for a while. When the new studio is built I athink that I'll probably
     use Richard Beasley to play along with the loops which is how I perform
     the current songs live and which seems to work very well.


Q12. You have stated a tour here in the States is probably not going to
     happen without a major label deal.  I have also read that you think
     without a deal, there is a 50/50 chance of coming to the States for a
     tour.  What size label are looking to secure for Exile? Bigger than
     I.R.S? Could the label be smaller with contractual agreements for tour
     support?  Just curious.

A12. Tour support would be vital, but so to would a reasonable expectation
     that any record company that I became involved with could at least do a
     reasonable job of using such a tour to push an album effectively. A
     tour without a good promotional follow on would be a waste of time.


Thank you for your patience, in consideration for the forthcoming Exile
release, and in light that we all expect this album to be one of your
finest, if perhaps the major label deal does not go through, would you or
have you considered doing the following for promoting the new album:

Understanding this may cost a few dollars, have you ever sent your
independent releases to the major market alternative radio stations here in
the States with a promo package and the selected single?  True, you may have
to send about 250 (2 radio stations -major market per state) packages, but
it may hold great opportunity for new airplay.

Q13. Have you ever done this before, would you consider doing it for Exile,
     could some of us American fans assist you in doing this in some way?
     What do you think?  If perhaps you would like to discuss this marketing
     opportunity in more detail, one on one, feel free to contact me at:
     micromuzak@aol.com.

A13. I haven't considered anything like it because I haven't a clue how
     things work anywhere in the world other than here in the UK and I only
     have a vague idea about that. I need to sign to a decent label because
     they do know all this stuff and therefore can point me in all the right
     directions. If no deal is forthcoming then I will have to start to look
     into all of these suggestions as I'm sure that many of them make good
     sense.


Thanks again for all the music, it is fantastic.

Hi Gary!  First off I'd like to say the usual gratitutious thanks for making
truly fine music for the both the body and soul.  I'm a fairly new fan, as I
was just a kid during your height of popularity in the early '80's, but I've
finally discovered your music which is truly some of the most pioneering (an
overused term except in this case) work I've ever listened to.  You've been
arecent influence on my music (I play/program keyboards), and I hope to
make at least a fraction of the impact you've made in music.

Q14. As a big fan of synth-pop, I was wondering what were your feelings of
     the synth-pop acts of the early '80's that followed in your footsteps?
     In particular I'd like to know how you feel about Vince Clarke (my
     other big influence) of Depeche Mode, Yazoo and of course Erasure
     fame.

A14. I think he's a master of light weight, catchy synth pop tunes. A lot
     of talent in a particular area of music that he pretty much made his
     own. As a personal taste though, although liking much of his stuff, I
     tend to prefer heavier things such as the last Depeche Mode album.


Q15. In a previous digest you mentioned it's within the realm of
     possiblility that you would do an all-guitar album.  If this is so, is
     there also a possibility of doing an all-synthesizer album?

A15. Possible I guess, but unlikely in the near future.

Q16. Soon I will be moving away from home for the first time, and me and
     girlfriend are looking for things to spruce up our tiny, new
     apartment.  What I would like to know is if any of your old
     memorabilia (costumes, gold discs, etc.) up for sale?  If so, how can
     I purchase it, and if not, will you ever offer it for sale?  I don't
     have much cash, but I'm certainly willing to struggle for awhile to
     put up the money for an authentic red and black boiler suit from the
     "Telekon" era. :)

A17. I think I've donated more than I should to various worthy causes over
     the years and so now find that I have little left to satisfy my own
     memories let alone start selling it. Gold discs and stage costumes will
     one day be all I have left of this part of my life and I would like to
     hang onto them. They represent a quite amazing array of experiences
     that I should have been more aware of at the time. Sorry.

Thanks for answering my questions,

Q17. Gary, what kind of control do you have over your Numa catalogue?

I'm refering to the recent rash of cheapo compilation CDs that are doing
nothing for your career, are utterly redundant, and appear aimed at sucking
money out of die-hard fans.  When the Receiver Records compilations first
came out, they were actually somewhat welcomed.  This was before any of the
Babylon CDs had been made, and even after that, for fans who could not
order the Babylon CDs, the Receiver compilations (namely _The Other Side Of
Gary Numan_ and _Here I Am_) provided a hodgepodge way for them to get
their hands on some of the never-released-on-CD tracks from your Numa
years.  After that, however, Receiver came out with an overpriced and
useless boxed set (i.e. _The Story So Far_) and now Rialto Records (whoever
they are) have come out with a redundant compilation called _Archive_.  Now
I'm told yet another compilation is on it's way, called "The Best Of Gary
Numan, 1984-1992" which, from the title, will more than likely be another
hodgepodge of songs that have already been released ad nauseum.

All of these compilations suffer from (a) cheapo packaging (b) misspellings
of songs (c) poorly written and researched liner notes (d) songs listed as
"live" that actually are not (e) songs listed as studio but are actually
"live" (f) a few live tracks - probably from the Isolate Tour, with
marginal sound quality at best.

Obviously, one doesn't have to buy these CDs, that's not the point of my
question/complaint.  Given all of the flaws mentioned above, I fail to see
how these CDs are of any benefit to you at all.  I'd much prefer quality
(i.e. the _Asylum_ series from Japan and most of the stuff from Numa) over
quantity.  Any comments?

A17. (AND COMMENT:) The only comments I have is that we are currently
     heavily involved in legal disputes with said companies about what they
     are doing as it is, apart from being crap, in our opinion, illegal and
     not part of our agreement with them at all. So don't complain to me,
     complain to them, and best of all just don't buy the fucking stuff.
     Anyone that took note of my NuWORLD Internet site would have noticed
     our own warning about some of the releases that you mention some time
     ago so I think we've tried to do our part in warning you away from
     them.


Q18. I know, after having tried and failed :-) to get specifics from you a
     couple of months ago about the status of your contract talks with other
     labels that you are not prepared to say too much.  Instead, I was
     hoping you could sum up the current situation in some way that could at
     least shed a little light on thngs (i.e. things are going well, things
     are dormant, things are not so hot).  If you can't say even that much,
     I'll understand.

The reason why I'm curious is two fold.  (1) I'd love to see you signed to
a good contract on a major label with artisitic freedom.  That is obviously
the quickest route to stardom again and increases the chance that you will
be able to tour the states again.  (2) in this case, _Exile_ is sounding
extremely good from what I've downloaded.  It might surpass _Sacrifice_
which is a great album.  Both of these albums, however, are dark and
brooding and such music tends to strike a cord (and hence get people
motivated to buy) during the fall and winter when the weather fits the tone
of the music.  I'm afraid that if the contract talks don't move along that
it'll be spring by the time _Exile_ comes out and people will be into the
happy-pop stuff instead.  I know this sounds a little strange but all my US
Numan fans that I've talked to agree with it and feel your music fits fall
and winter better than spring and summer.

A18. I've had no feedback whatsoever from any individual company concerning
     the latest Exile CD so far. We intend to give it until, roughly anyway,
     the middle of November before trying something else.



Thanks, looking forward to _Exile_ despite the weather!

Q19. What was the thinking that led to you recording the Images series ?
     Also, will the series be continued and /or re-issued on CD ?

A19. I just wanted to put my side of things. So much that is written about
     me is complete bollocks. I would like to get the entire series onto CD
     eventually. Images 11 has just been made available on NuWORLD.


Q20. Was anyone other than yourself involved in the recording of Exile ?

A20. Mike Smith did a bit and Rob Harris did a couple of guitar parts.


Q21. You have mentioned in the past that you sometimes find it extremely
     hard work getting material together for an album. How easy or
     difficult was Exile ?

A21. Exile was easy but I still had a few dry moments.


Q22. Are you ever influenced artistically by what your fans think of
     your previous work ?

A22. Slightly I suppose but it would be hard to pinpoint in exactly what
     way that influence manifests itself. It might even be to do something
     different to what they said they liked but I don't know that for sure
     and that certainly wouldn't be a conscious thing.


Q23. Quite often in your songs the lyric will contain the title of a
     different song altogether (e.g. 'The Sleeproom' crops up in 'My
     Breathing'). Does this mean you take lyrical inspiration from your own
     songs or are you just playing word games for us to try to follow ?

A23. Word games.

I would like you to know that the "Human" CD has quickly become one of
the most listened to CDs I own.  I have also bought copies as gifts for
friends and relatives who enjoy "new-age" music and this has sparked
interest in your other music.  Even my employer enjoys the "Human" CD
when I play it at work -- and because of that he has become more
interested in your other works.

I know you co-wrote the main and closing themes as well as the cues for
"The Unborn" with Michael R. Smith -- from which songs for "Outland" and
subsequent albums materialized.  It has also been mentioned in the
digest about "Ski School" which the ASCAP also gives you "cues" credit.
I recently found information giving you credit (with Michael _G._ Smith)
for the cues to "In the Heat of Passion" which I assume is another film.

Q24. Can you provide more information about "In the Heat of Passion" and
     the music you provided? (Such as the year, any of your songs which
     materialized as a result of the film score, etc.)  Also, how did you
     get involved with the two Michael (R & G) Smiths?  And lastly, is the
     music from "In the Heat of Passion" available?

A24. I'm afraid not as I've never heard of it. I don't even know a Michael
     G Smith. Maybe someone could let me know.


Thanks for your time.  Hope you're making progress on the US label
support.  I'm plugging you everywhere I possibly can (thanks to the
Internet, access is so much easier -- if they'll only read their
e-mail!).  Hopefully you'll hear from them...

Oh yeah:

Q25. Have you been able to check out the postings in the "Poetry and
     Power" section of "The World Wide Web" recently?  And, if so, what are
     your impressions?

A25. I've been off-line for nearly 6 weeks so I'm only now just beginning
     to catch up and look around again. I'll have a look as soon as I can.


Wishing you and yours all the best...

Gary, these are my first questions to you via the Digest.  Unfortunately,
this has not stopped them turning out as long-winded as everybody elses!

Intro: During the recent Premier publicity coverage, it was very noticable
that many press articles and interviews STILL harboured on about how you are
a "right-wing, gun-obsessed, money-grabbing Tory voter....etc etc....".
Whilst the majority of record buyers do not ever get to read these snidey
comments, radio producers and DJs do.  And records do not get played on the
radio because they're any good, but often because of the overall vibe of the
artist.

Q26. How do you feel about these constant snipes?

A26. Sad, bored and full of violent intent.


Q27. With hindsight, do you regret making so open some of your views.
     Whilst the press snipes are downright outrageous, there were some
     "seeds" to these lies (sorry!).  For instance, you did mention firearms
     a fair bit around 1982 (although you weren't to know that anyone
     associated with firearms would rightly or wrongly be treated as a
     weirdo in the wake of Dunblane), and you did talk favourably about the
     Tory party.  In the recent NME interview they mentioned that you were
     painfully aware of saying the wrong thing.  With hindsight, do you
     regret making so open some of your views in previous interviews?

A27. I regret living in a country where having an opinion about relatively
     simple things can virtually ruin a career. I have never so much as shot
     a rabbit or a bird, I have never shot at any living thing. I voted Tory
     at a time when the majority of British people did exactly the same
     thing. So call me wierd. I don't think that I should have to lie to
     appease simple minded dick weeds that can't see further than their own
     flat mates opinion for their view on a  world which they have never
     seen. I have seen things that most people wouldn't believe to almost
     quote a famous film, more things than I could ever hope to forget know
     matter how much I would like to. I have opinions based on an experience
     of life, a fullness of life, that most people will never get to see,
     and in many ways they can think themselves lucky for that because much
     of the world is not what you read and twice as ugly as you can imagine.
     Judge my opinins only when you've had my life. Because it's my life
     that has shaped the way I think and feel.


Q28. Your response in the fan club newsletter to the terrible 1991 Q
     interview really put the record straight that you were an OK bloke.  It
     was also extremely eloquent.  The problem was that the only people who
     read it (us fans) ALREADY knew that you were an OK bloke.   Paula Yates
     recently employed a PR agent to fight her corner against all the nasty
     things written about her.  Would you consider a similar step?  (In
     Paula's case I'm sure you'll agree it serves her bloody well right!)

A28. I think a PR person could make a great deal of difference without me
     having to change the way I think, feel or speak. Yes, I would
     definitely think about employing such a person although it's worth
     noting that Paula Yates PR lady just changed sides to Bob Geldoffs camp
     and has made things a hundred times worse for Paula Yates.


Many thanks Gary for your time in responding to these Questions.

Q29. If 'sacrifice' had been released a year ealier (before you reworked it)
     what would it have sounded like? Would it have had differnet tracks?

A29. It would have sounded vaguely similar but half finished. I can't
     remember what songs were around a year before it was finished. I think
     Deadliner was one of the last things I wrote for it.


Q30. How did you meet Caroline Munro and why did you sign her?  Did Radio
     ban her version of "Pump It Up"?

A30. She was introduced to me by someone that worked at Numa I think, can't
     really remember. I signed her because she  had a high TV profile, was a
     very fanmous ex model and I thought we might have a chance of selling
     some records.  I don't think Radio One banned her song they just didn't
     play it.


Q31. Why have you never used video screens on stage?

A31. I don't play in places big enough to need them. The biggest place I
     play here is Hammersmith Odeon which is a theatre.

I think the level of anticipation of "Exile" among fans is by far the
highest in at least a decade.  And the sound clips on NuWORLD promise fans
a real treat.   I have a few specific questions about the 'Exile' material.


Q32.  Do you have an extended version of "Exile" ready or was the regular
      album derived differently this time?

A32. I don't have the ultimate finished album at all yet, stretched or
     otherwise. The CD going around at the moment is a deal baiter only, the
     album still need more work. Amongst other things I need to make the
     loops more varied or you'll think it a lot more samey even than
     'Sacrifice'.


Q33. If there is an extended version, I assume you will release it should
     "Exile" come out on NUMA, but do you forsee problems if you sign
     with a label?  Would you still release them via the fan club?

A33. If I make an extended mix album I would be surprised if the record
     company didn't want to make use  of it but, if they don't, I would try
     to get it out one way or another.


Q34. I remember you saying you had 15 songs when writing 'Exile' which will
     have 9 for it's regular release.  What might you do with the other
     songs?

A34. B-sides probably, extra tracks on multi CD single releases, that kind
     of thing.

Send your questions via email to:

Derek Langsford (dlangs@sunstroke.sdsu.edu)

with a subject line of:

Gary's Qs

>> Include your real name, town/city, county/province/state and country. <<

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

Thanks as always to all who participated.