- About two minutes in, I couldn't remember
I didn't know whether I was
talking to her about the album or
discussing my shoes.
Now, so what I'm saying is that it's
I've been talking about the album a lot,
so I'm trying to approach it from a different
way, this answer to this question.
Why did I do a solo album?
I think, why didn't I do a solo album?
There you go, that's a more interesting thing.
Why didn't I do one?
I really thought that I would come to a block
in terms of what I had to say.
After the 1983 with Let's Dance,
I found that I was in a real dilemma
because for the first time in my life
I was sort of an accepted,
almost establishment artist.
And up until that point,
I had been something of a cult artist.
A Cure figure of the '70s.
So it was a real change for me.
And I really,
I felt sort of indifferent about it all.
I really didn't feel that I was fitting into that too well.
And subsequently, I don't think I dealt with
the next two albums particularly well.
Because I thought the songs were very good.
I really was happy about the songs
on those two albums.
But the arrangements weren't very good,
because I kind of gave it over to somebody else to do.
And I didn't get implicitly involved again.
So I was very weary of
doing a solo album until I really felt a need
to do something as a solo artist.
That's why I fell into the hands of
Reeves Gabrels and the Sales brothers.
And got into a group situation, which I adored
and had wonderful times with.
I'm looking forward to doing the next studio one
later this year.
But then it came to the point where
I'd gotten to know Iman
and we decided to get married.
And we decided we wanted to have a church wedding,
being romantists.
But the problem with that was that
Iman's parents and her whole family are Muslim.
And mine all Christian church
So I had to think out
Well I can't have hymns playing in the Church
because that's not going to make everybody
terribly comfortable.
So I had to devise some kind of music that
everybody was going to feel comfortable with.
So we started writing music for the Church.
And writing that, because I didn't want guitar
because I had been working so much with guitar with Reeves.
And it just wouldn't
that kind of aggressive sound
didn't really suit the wedding, I think.
I wonder, well we'll never know now.
I started writing with wind instruments,
saxophone and keyboards.
So I had that kind of tone.
And once I started writing that music,
it opened up a whole lot of other ideas about
things that I needed to write about.
From my point of view.
So that's kind of what motivated doing it.
- [Interviewer] So
- Does that answer your question?
- [Interviewer] Yeah that answers my
- These are the shoes that I bought.
These are the
- [Interviewer] Black shoes,
not brown shoes. - Yeah.
No, churches.
- [Interviewer] Black shoes that make it.
- Black shoes.
- [Interviewer] So how did you feel in the process?
Did you miss working in this
'Cause you've been working Tin Machine
- Yeah.
- [Interviewer] A close knit group.
- Yeah. - [Interviewer] Did you
miss working with those guys?
- It's a different experience entirely,
because what I would have missed,
if I was missing anything was the fact
that it was such a collaboration of ideas
with Tin Machine.
Everybody had something to throw into the pot.
I think for me it was a bit of a relief to
kind of get my own way.
(laughs)
With a solo album, because it's sort of
I instigate everything
when I'm doing solo work.
It's a different feeling entirely
because I definitely have a focus
on what I want to do.
But I always allow the musician to approach it
and interpret the music from their point of view.
But it's slightly more persuasive from my angle anyway,
let me say.
But although, of course,
Reeves Gabrels from Tin Machine is on one of the tracks
on the album.
Which ironically, is a song that we
originally wrote for Tin Machine
that they didn't want.
So we never got to record it.
So I rewrote the lyrics for this particular album.
- [Interviewer] And what is the status right now
of Tin Machine?
- I guess on running hold.
(laughs)
I think Hunt's down in Texas in Austin,
working with Blues bands down there
which he's wanted to do.
Tony's working in L.A.
Reeves and I actually are gonna do a collaboration
later on this year.
Hopefully, for
there's a dance troop called La La La Human Steps
that I'm very fond of
they're my favorite troop in North America.
Have been for years.
Edouard Lock, the choreographer of that group has
worked with me several times,
on several occasions.
I think most,
the best known is Sound and Vision Tour
he can conceptualize that.
He's asked me if I would write something for
kind of a ballet for
a dance piece for him.
So Reeves and I will hopefully collaborate on that.
And the studio album I hope will be
towards the end of this year.
Back into the third album.
Fourth album, actually, because we had a live album.
Yeah, here it is.
- [Interviewer] How is married life?
More importantly, how has it affected the songs and
the attitude on the new album?
(clicks tongue)
- Well,
firstly the album is not about marriage.
It's not about my marriage, it does contain those two pieces
that were from the wedding.
But the bulk of the material really
far more personally related to
just my feelings and questionings about relationships.
Maybe some external situations,
like the riots in L.A.
Last spring.
I think because I had to question my own feelings
about getting into a new relationship,
then it probably made me think about things
from a far more subjective point of view.
So I think a lot of the music on the album
is fairly subjective in its feel.
It's probably a lot warmer in a way,
more romantic in a way.
- [Interviewer] I listened to it yesterday
at the record company.
Sometimes I was still actually surprised.
I expected it to be warmer than I thought it was.
Sometimes I thought it was
- Well, it's warm for me.
- [Interviewer] Yeah.
- Warm for me.
It's sad, do you think?
Sad.
- [Interviewer] Some songs are a bit
yeah, I find a little bit,
quite an edge to them, let's put it that way.
Wasn't all like
- Well I hope there's an edge, yeah.
No, I don't think it's like a glowing kind of
everybody's sailing into the sunset and
life will be roses forever after,
I don't think I would ever write an album like that.
But it's probably a lot less bleak
than some of my previous
- [Interviewer] To go on from there,
is there a particular lyrical theme or thrust
to the album?
- No, it's quite diversified, really.
I think, as I say, ranges from relationships,
through to covers by other artists
like Morrissey and Cream, and so.
- [Interviewer] Yeah that's a great song
- I like the reason came about
in its own way to do instrumentals on this album
because I had such a load of fun
doing instrumentals on the albums
that I did with Eno in the late '70s.
I always felt those albums were very cohesive
because of that.
It wasn't just reliant on songs that
music generally was.
It's terrible doing the
almost get a crick in your neck.
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