Private interview made at the Britannia Hotel, Manchester, May 5th 1986
by Rachael Demadeo
What made you get into the music business?
I think it was the punk movement in Britain that first gave me the hope of getting involved within music. The most important thing to me about it was that it concerned itself with enthusiasm rather than technique and as such opened music up to everyone. From a record company point of view it put them into a position where they no longer understood reasons for success - they certainly would have difficulty basing upon usual standards for image, song writing or talent. Consequently it opened the way for many bands to get record deals and an inroad into music as a profession. The only drawback was that many of these deals were seen by the record companies as a sort of short term 'hit and run' rather than some kind of career development.
Who would you say are your main musical and lyrical influences, and why?
All music is influential whether it is through action or reaction. I think it is also true to say that all music is derivative. To me the greatest hope for originality is to take areas from as wide a range of music as possible in the smallest amounts. If I was to try to pinpoint the three main areas of concern it would be these
(i) Soul music and Gospel music - not to be confused with what is currently known as soul music - Above all for it's spirit and it's non-concern with technique (examples such as Chosen Gospel Singers 1927 from a 'belief in a vocal' point of view, John Lee Hooker 1945-50 from a rhythmic point of view).
(ii) Jazz music dating around 1955-1965 to include people such as John Coltrane, Pharaoh Saunders, Roland Kirk - looseness around a theme. Probably the nearest example from a recording point of view would be Miles Davis in his work with Gil Evans (2 albums 'Porgy and Bess,' 'Sketches of Spain') because of the size of focus he works with and because of his arrangements.
(iii) Impressionist music - Satie, Debussy, Delius - for their 'visual' quality.
What is your motivation?
The main reason for what I'm doing is to make records.
How much (if any) of your music has a foundation in real-life experience?
From a lyrical point of view, life and morality is probably the most important thing ideas of which can be picked up either through the media, literature or experience.
How much of your own feelings go into the songs, i.e. to what extent are the songs a part of you, as opposed to them being fictionally composed from hypothetical situations?
None of my songs exist to teach people anything they are for the most part, personal observation.
What is your personal philosophy or outlook on life?
Humanitarian.
How would you define your music?
I think the most important part about music is that you believe in it.
What response are you aiming for from your audience, and what sort of people do you think you reach?
I'm aiming above all to please myself - although obviously it feels great to have other people like it - and I recognise that it's the support we've had with the previous album that has given us the freedom to make this album (and grateful for it) - but it cannot be a consideration at the time of making a subsequent album.
Has the band ever tried to project any kind of image, or do you just wear what you want and behave as you would ordinarily, drawing attention solely to your music?
At the time of signing our record deal we were under a lot of pressure with regard to image which we were all ill at ease with. Luckily we are now in a position where our music is our image.
Would you say the band's emphasis is on Realism?
Yes and no.
What were your aims when you started out? Have they changed at all with time and experience?
The aims I started out with are with me now i.e. to make records without any constraints in terms of lyrics, sleeve design and image.
How do you feel you've progressed creatively since you started?
All I've really done is follow a train of though that existed at the second album. It's true to say that I don't like synthesisers. The only reason we have ever used them is on economical grounds. The idea of working with 'a small orchestra' if you like, was not earlier possible. Although they can quite reasonably approximate organic sounds, they do not understand 'feel.' They are essentially very cold instruments - to have moved away from them on this album is an important progression for me - more time consuming, but far more rewarding. The other important development for me has been working with Tim Friese-Greene.
Why don't the band feature much on record sleeves or in the videos? And why did the 'Life's What You Make It' video have so much wildlife footage?
I like the idea that record sleeves can be used as pictures - stuck on walls - I like the idea of including an artist within 'the package' of an album. The reason for using James Marsh is that by trade he is a book illustrator. By going through the lyrics with him and telling him what the album means to me I think we end up with a sleeve design more relevant than a photograph.
I like animals. I'd like people to give them more thought.
On 'It's Getting Late in the Evening' you can hear what sounds like either someone laughing or crying(which)? Some people have said that's pretentious: how would you defend yourself there, and what was your reason for including it?
(i) It's me laughing. (ii) I wouldn't, maybe I am. (iii) I liked the track.
What were you trying to say on 'Happiness is Easy'? It seems to me to be rather cynical. Have you any personal reason for being anti-religion?
The song isn't anti-religion - this song is about the way violence has often been linked with religion. Religion is good, War is bad. There is no connection.
You said in an interview with Record Mirror that you never listen to contemporary music at home. Does that mean you don't consider there to be anything of musical worth in the charts? And, if so, how do you explain Talk Talk's position in the Top Forty? What I'm basically saying is that if you have such a low opinion of the current pop scene, why become involved in it?
Because I am involved with contemporary music whenever I'm at home I choose to listen to music outside of that. There is such a wealth of past music it would seem blinkered to stay only with the present.
Do you shun or welcome being in the public eye? i.e. is fame important to you?
The freedom to make records is important to me. I find being in the public eye claustrophobic.
Why do you reject synthesisers in your music, when the present trend is towards highly produced electronic sounds?
I think it's more important for sounds to have personality and feel than sound being produced to impress. i.e. it's the performance that should impress. If anything there has been a conscious effort with this album to use 'cheap' sounds - so as to stress the playing.
In what way do the classical composers you admire influence your work?
It's hard to say, except that it's all I've been listening to for the last two years. I try to spend a large amount of time covering different areas of music - but one at a time - this is my current phase.
How much importance do you attach to your live stage show? Do you pay a lot of attention to the visuals and the lighting?
I think there are only three things important to a live show (apart from the audience)
(i) Firstly, the performance - that you believe in it.
(ii) Good sound - so that the arrangements can be heard.
(iii) Lighting - to help create mood change.
Why do you rate the piano so highly?
Because it feels good to touch, it's mechanical, it works with harmony, you don't have to be good to play it, it's well laid out.
Any chance of a live album?
Possible.
How far do you consider the music on The Colour of Spring to be actually yours? Bearing in mind the fact that much of it is played by session musicians.
I don't actually consider the people on this album as session people. They are people who generally work together either in their own right or in other bands. They are people whose work I like. Because of this they don't act are not treated like session musicians. We can allow them to come in and play with freedom and then select or direct in the area of which we like. I like working with people I think they add rather than take away.
As far as I know, Life's What You Make It is the only track I've come across to have an unvarying piano riff throughout. Why did you compose the tune that way?
There's an album by Can 'Tago Mago' recorded in the seventies. They used to do a lot of work around uncompromising rhythm sections. The idea was to take that stance but combine it with a song.
What was the significance of the animal noises at the intro of 'Such a Shame'?
They were only there with an idea toward future plans of involving wildlife within our videos.
How would you define art?
I think possibly intention is the most important thing. I think it is open to everyone and should not be elitist.
What are 'It's Getting Late in the Evening' and 'Have You Heard the News' about?
It's Getting Late in the Evening' takes its title from an old gospel song. Its lyric was written as such - Blacks finding deliverance from white slavery.
'Have You Heard the News?' is about being with someone who has had a bad accident - and the guilt that you feel although you were in no way responsible.
Where do you go from here?
London.