Find My Love Fairground Attraction Mp3 Free Download

yes, and gwen guthrie and her descendents (as well as being mainly brilliant) are clearly the product of coming from a place where bills bills bills are a real and urgent issue. whereas fairground attraction just come across as smug about being free spirits above the concerns of petty materialism in a way that generally comes absolute financial security. like those canal boat tossers in their hugely expensive regents canal berths.

(obviously this is all a massive projection on my part and may well be completely unfair to FA)

They find it difficult to market [me], which is very strange.

In Australia?

Anywhere. [Laughs]

I wanted to talk to you about that. I wanted to talk to you about why youre not more famous everywhere!

I quite like it actually, its quite good.

You can still wander around. You wouldnt want to be a Spice Girl.

Yeah, and my kids.

How old are your kids?

Eight and four.

Because I read that the reason why Fairground Attraction disbanded was because you wanted to go and start a family.

Oh, no.

What happened with the group?

It was just as dazzling and completely incomprehensible to me as it was to everybody else.

That it finished?

Yeah. Cause I really like hiding behind people and I like, my performing thing is not about so much an exhibition as in its always about doing something that I really like and sneakily pushing it forward, and I dont know why Im like that, maybe Im shy or whatever. So when the band split up it was very traumatic for me, but it wasnt my decision, it was another band members decision, and I dont think that he was in control of his facilities at the time, so he was young, and 

Was that Mark E Nevin, the guy who was writing most of the songs?

Yeah. I think he found it difficult, and I have no idea why. I can understand the pressure, but there was a lot of hidden tensions that I didnt understand. I couldnt begin to put my finger on it. Ive had apologies and Ive had, been taken out together and had, Oh why cant we be together again and all that business. But its very difficult for me to make myself vulnerable again to something like that, because I depended so much on it and I loved it.

And youve moved on from there now.

I have moved on.

There was really just one studio album and then there was an album after that which was like a compilation of B-sides and live tracks.

Well the record company did that to make money. We wouldnt have done that. The one that we were making at the time of the split was going to be fantastic, it really was. In fact 

Where are all the recordings from that?

Well he used a lot of the songs on the Brian Kennedy album Sweetmouth. I think that all of that was going to be Goodbye to Songtown I dont think that they were as realised as they could have been. Brians a great singer but with music its such a delicate thing. Its like anything that we do, our bodies do, our bodies have to be, you know were water, and everything had to be, the chemistry had to be right, and the chemistry was right with Fairground, so consequently anything after that, if someone tried to be Fairground or tried to replace any of the members, the drummer or the bass, it would have been a different feeling and it wouldnt have been the same.

It was quite a funny story how I came across it. I was really keen on this guy who was with a record company in Australia, and he dumped me really badly and then started sending me CDs to try and make it up to me. And one of them was Fairground Attraction. He didnt want to get back, he just felt really guilty cause he was a real arsehole.

Ooh, I wish Id had that. I just get the arseholes that dont feel guilty! Thats great. Remorse  brilliant!

Well there was one package he sent me that I sent back cause I didnt like the CDs, and he was really upset. But one of them was Fairground Attraction, and I absolutely adored it. And my favourite song was Whispers, which was your only composition on it.

Ah, that was the one I was allowed!

I often wondered if youd thought of re-recording that on one of your albums with a little bit more on it.

Yeah, probably. No, I havent actually sung that since Fairground, which is quite difficult.

Can you still get up there?

I think Ive practiced it. When someone reminded me of it, and then I was worried that I couldnt, so I went into the bathroom and, yes I can actually hit those notes.

Was that actually inspired by a friend of yours or something? Cause thats one of the most beautiful tributes to somebody.

Oh, mothers. Mother. Mother, really. The mothering instinct which I think is the life force of us all. I think we are all, from a daffodil to frogspawn to bacteria to us, we have the mothering instinct. I think as humans we have the caring thing, but so do lions and swans and, they protect, everything. And I just wonder if it isnt quite its respected in a way, but theres a kind of twisted value to motherhood. I think men can be mothers, too, and I just it was a song about my mother and the spiritual mother and the feminine force of the world.

I got that it was either a sister or a mother or a best friend. It was just such a beautiful tribute to another woman. And women dont often sing about other women.

Do they not? Ani Di Franco does, Ive heard stuff. Yes, I know what you mean, theres not a lot of I love you-ness happening.

Yeah. Just paying tribute to somebody who is inspiring. I love that song, I absolutely adore it.

Oh, good. Good, good, it worked.

When I mention you to people  Im going to speak to Eddi Reader  they immediately say Fairground Attraction. Does that frustrate you after three solo albums?

No, Im scared by it. Because I think, well god, what happens when that runs out, are they going to just forget about everything else Ive done? Which is a shame, I wouldnt like that to happen. But Im proud of what I did there. But I do think that what Ive been doing since is  Candyfloss and Medicine especially, and Mirmama, which I love 

Well, when I wrote to you I said I just found it and I was just so stunned by it. The self-titled album was the first one that came out in Australia, the Eddi Reader album.

Oh yeah, that one.

I read an interview that you did where you kind of said that you really didnt have control on that album.

No, I didnt.

I mean, there were some nice songs on it, but when I discovered Mirmama, it was like, Ohhh!

They werent realised. I let it go because I gave it to someone else. The first time. Ive never done that, ever. But everyone, my life was in utter turmoil, so I felt helpless, and instead of saying, Im not going to record until I feel better, which I didnt see the end of  it could have been never  I thought Ive got to keep going, Ive got to keep, Ive channelled a lot of my energy into finding songs and writing. But I was exhausted very quickly, so when I worked with the producer I tended to buckle under in an argument quicker than I ever would have before and I tended to lose my sense of instinct. You know, my instincts would be telling me one thing and then these people would be telling me that I was completely wrong. And I caved quite a lot. Which I dont respect, and Ive forgiven myself for it, but the result is an album which Im not happy with.

That won your Brit Award.

The award, I know! I couldnt believe it! I know, I had Jarvis Cocker like drunkenly leaning over me saying, Im really sorry I lost your award, showing me his belligerent 

He lost your award?

He was to present me with the award and I had to sing Patience of Angels  which I love but its not realised on that record. Anyway, he gave me the award and then I had to give it back to him when I went to sing. He said he lost it, but it was a big deal. Do you know what I mean? You know when someone protests a bit too much. I kind of go, look, really, I couldnt give a fuck about the Brit Award either, you know what I mean, Jarvis? Youre not the only one who feels like this. It just felt a bit like, at the time I was intent on getting completely bollocks drunk, and I remember at the end of that Brits Award ceremony holding my thing, and standing outside waiting for my drummer friend and his Reliant Robin, in the pouring rain, while everyone was swanning off to their luxury parties. Jarvis included. Who I admire, but, they were all going off playing that game. And I was standing in the pouring rain at the back of the Alexandra Palace. And this Reliant Robin with its flat tyre and its dodgy gearbox and its dodgy driver and his twin brother, the guitar player, to pick me up after theyd packed all their gear again. So here I was again still stuck in that place that was completely real for me. You see its very difficult for me to be marketed  we were talking about that  because I dont actually believe in the hype, ever. I cant quite get my head around it. I believe it exists but it doesnt mean anything to me, so its very difficult for me to I can enjoy myself for five minutes, like get drunk and be hedonistic or sit in a party.

How significant is an award like that in a country that celebrates artists like the Spice Girls?

But weve always been like that. I remember watching the Brits when I was like 10 or something, whenever it started, and I used to think, rubbish, rubbish, rubbish  everybody on it is rubbish. That isnt the case. No-one is rubbish. But you know, the dollar and the pound are powerful motivations for everything. And Im not being nave, I just think that its fucking us up a little bit, you know.

Well I guess why I relate to your work is that you seem to be doing what you want to do and its very personal music, and it doesnt matter whether its a lushly produced song like Town Without Pity or whether its something really intimate, like Whispers or Semi Precious. It has this intimacy that kind of draws you in, and theres a purity about it. Did you ever listen to Heart in the early days?

No I havent.

If you ever listen to any of the Heart albums before they became a hard rocking band, and right up to an album, particularly, called Private Audition that has a song on it called Angels  they used a lot of mandolins and they were very folky at the beginning. I mean, they had stuff like Magic Man which was more hard rocking, but they had a lot of really intimate folky stuff, and I just love that.

Im really into the 70s folk stuff, early 70s. Harry Nilsson stuff, and I find that its almost too easy for me to get someone who has an innate wonderful knowledge of loops and drum machines. I did this with a bunch called the Towering Inferno. All I had to do was sing into a DAT. Now I can do this until the cows come home and then they it away and they turn it into a piece of music. Thats so easy. But for me that wouldnt be what I do. What I do is sitting with people and feel the guitar player hit a note that makes me sing something else, and letting my body go enough into that fearless place that I can completely express myself without worry.

On Mirmama, Honeychild, I just, its like youre transported somewhere, you just go off. Its gorgeous, I really love it.

Its just been released in America as well, Mirmama and Candyfloss at the same time, so Im trying to get some gigs out there. Cause I really think I could play some beautiful gigs in places like McCabes in LA. Id love it. Theres nothing more satisfying than doing things like what weve just done, which is the Mean Fiddler, where 200 or 300 people are just jam-packed in. Its sad because lots of people want tickets and they cant get in, but for me thats really what makes it all happen for me, why I really want to do it, why I wouldnt be with my kids for a week, why I would stay up all night and think about it. Im just obsessed with that kind of interaction between myself, a microphone and hitting somebody when I look  sometimes I dont have to look at anybody but if Im singing I can feel it when its really working and Ive suddenly gone away from, its quite Shaman-like, I think, I dont know if thats what Im doing or what everybody else is doing to me and making me feel free enough to improvise. And I never seem to make a mistake, which is weird. You know like, sometimes if Ive performed when Im tired, and I dont have a voice, you might suspect that Ill hit a wrong note. But theres this place that I go into, Ill walk on stage with a really sore throat and I can hardly sing two notes, and suddenly after the first song, for whatever reason, Im healed completely. Ive no idea why, because I couldnt talk all day and I cant talk afterwards. But just for that hour.

Well thats about being an artist as opposed to being a marketable product, and I guess thats where this whole marketing thing comes in because 

I will have a problem with it. I have to talk to them today, probably at some point, because on the new stuff they dont hear singles again. Thats usually what they say. But nobody, I dont know why they think they can hear it any time, a single, anyway. Songs are songs, they just are songs, and 

So what was released off Candyfloss and Medicine? I know Town Without Pity was the first single, wasnt it?

Which was not a good idea. Gene Pitney did it originally, and it was pretty similar, we tried to get exactly the same vibe, but with me doing it.

So what else was released as a single?

Medicine and that was it. I think they should have released Candyfloss cause its my favourite.

Candyfloss is so beautiful. And Rebel Angel. I could see that as a single.

Its just, you know, like paranoid android, you know what I mean? It doesnt matter.

Thats what I love about doing my radio show. I just play what I want to play. I play album tracks all the time.

Exactly. And I dont understand why radio people dont do that anyway more. Now, Warner Bros have a problem, they have no artists practically that can be played, no serious artists that theyve got can be played on Radio One now. Theyve got kd lang, and they dont even bother to invite the Radio One people to her gigs now, they just invite Radio Two. Its bizarre. Its like, why wouldnt you just play something that somebody releases because you like it. With Trevor Dan, who I know, a little, I can tell that hes sitting there eliminating stuff that he likes because hes looking at the market, hes looking at a certain age group and its a shame really, its fucking us all up. There are all these 17, 14, 12-year olds that arent going to get to hear things, you know. Its another facism, another form of it.

Im just glad that I grew up when I grew up in the 70s, when music was good.

Well I missed it, because I didnt have any older relations.

How old are you?

36. But I didnt have anybody above me.

You werent just buying records yourself when you were at school?

No, no, because I didnt know what to buy, I had no idea, I just, I remember hearing things on the radio, and Id be, oh thats great! And it would be something really inane like a John Denver track or a Bread thing. Which I quite like now. I mean, I really liked it then, I was very romantic. But the first time I seriously got into something grown up was when I went to a folk club and someone introduced me to Bob Dylan. And then I heard The Hissing of Summer Lawns 

You were introduced to him personally?

No, just his music, at the Irvine folk club, which is the small Scottish town where we live, near the beach. And I went to the local folk club where it was all very traditional and I remember there being lots of tensions because people werent allowed to sing in an American accent, that was very important. We couldnt sing any song beyond 1918. Any earlier was fine. Which was fine, I respected that. Touchfield Street in Kilmarnock, Kilmarnock was far the most  if you sung any non-traditional song people walked out. But in Irvine Folk Club they were a bit more loose about it. You could sing maybe a Bob Dylan song, and this is in 78 or 79! I had this little band with my friend from school and we learned Donna Donna  you know, Donovan songs  and I learned my first Joni Mitchell song from her, and I learned May You Never from her, Eleanor her name was, and she knew May You Never and she knew how to play Blackbird, and tunings, she knew how to do all sorts, so I learned tunings from her. And then I started buying records then. But before that it was only Gary Glitter and Slade.

Well coming from Glasgow Im amazed you didnt get into the Bay City Rollers!

Well I did a little bit, although I was of the type that was more inclined towards Donny Osmond! David Essex, actually.

When I was living here in 1980 I went to see David Essex in the Dominion on Tottenham Court Road, with my cousin and a bunch of her friends. He was gorgeous.

Did you meet him?

No. I was 18.

Was he greying?

No.

He was beautiful.

It was the Silver Dream Machine. That was the concert. He came down on his silver dream machine. Ive still got the program from the concert, and he still had all his hair colour.

Oh god. He was beautiful. He was beautiful. Theres no way that man wasnt beautiful.

He was. He was exquisite. Well, another thing on the marketing of you, and just you as an artist. The last two or three years theres been quite a penchant for female singer-songwriters. And particularly Sheryl Crow and Alanis Morissette, all those American angst-filled artists. And I like a lot of them, I particularly like Joan Osborne. But again, your music isnt full of angst, and youre not trying to get back at somebody for some horrible thing, and theres just Because theres this inner peace about you and your music, do you think that thats a disadvantage?

Maybe. [Laughs] Ive got to be pissed off before I can earn some money.

Like, I was really disappointed that Sheryl Crows first album was really laid back, fun, sweet, almost folky, and then she felt she had to turn into a grunge goddess as well, and her last album was all this gut-wrenching angst-ridden stuff.

Well were very cynical, and I like that, I think its entertaining. And I think, you know Im not disqualifying myself from the anger mob, I get really anger and Ive been really angry and cynical on many occasion. I just, what I get from music usually is that Im actually too angry and too cynical so when I hear a love song or something thats about  like theres a song by Roddy Frame called Song For A Friend on the album Stray. Theres a beautiful line in it about when friends fade and when people take you and devour you, and he sings it with such a sweetness that in a way you cant get to because of the anger. You cant get to it sometimes. Say if youre with somebody, you really love someone, and you hate them because they dump you or theyve abused you in some way, or abused your trust, and in a way you cant get to the real sweetness because of the cynicism. Its a way of not being intimate, the cynicism and the anger. And anger and all thats really valid, but it is a way of avoiding what you really want, which is you really want to love them and you really want to be with them in a gorgeous way, in a non-conditional loving clear way. And thats what I get out of music. So when Im doing music, Im always trying to reach that point where Im just explaining what the child wants, what the baby in me would want, rather than the grown-up is pissed off about or the 13 year-old is pissed off about or the teenager in me is pissed off about. Its more about what the truth is, which is always just a plea for love in some way. You know Alanis and her screaming out to that guy about having the other relationship when he promised himself to her, its great to express that, I think thats really important, but for me I spend so much of my non-musical moments expressing that in my own head that really what I want to hear is something comforting rather than something thats kicking the shit out of anybody.

Although I like people like Ani Di Franco, oh my god, youve got to hear Ani Di Franco. If you like Joan Osborne and that One of Us song, the definitive song is What if No-ones Watching? What if when were dead were just dead. And shes written a song called In the Boardroom and shes bleeding, shes got her periods, and shes listening to these marketing men trying to market her. The whole song is a very forgiving song but the last line she says, All Ive left with you is a stain on your chair. From her blood. Shes never had a record deal because she doesnt believe in record deals, and shes made about eight albums and shes a millionaire, shes just done it on her own, she goes around, she wears gaffer tape on her fingers cause she hits the guitar so hard. Shes a fantastic writer. I think Alanis Morissette used to go and watch her play. The song is What If No-ones Watching. Theres a recent one which is very angry; shes always been very hurt by somebody or another. We dont know who it is. Shes bi, so she writes about women and men but shes very ambiguous about where her sexuality falls; I think she must be bi. She talks about how beautiful someone is combing her hair. One of the songs is, shes watching a girl combing her hair for this man whos abusing her, and she cant believe that something as beautiful could be worried about something that ugly.

The persona that comes through in your music is very much the mother, the nurturing, the feminine. The whole Candyfloss and Medicine album, the insert, is you being totally out there feminine, that babydoll dress  where did you get that dress?

I got it made, I designed it, I had this idea for the whole thing, trousers and stuff, and then we got the trousers, and it was  I have this friend in Glasgow who makes wedding dresses so I asked her to make this thing. But you know its got little lights in it, so it has a battery pack and I can 

I like the image of you reaching for the childs arm. Is that one of your kids?

No thats her, the photographers kid. Genevieve  shes a great photographer. She doesnt use flashes and we tried to get really natural light.

I ordered it over the internet and I got it on import from Japan  it was the only place that it was available.

You should check out the American one now, because the American one Ive taken off Town Without Pity, because I got pissed off with it actually. I got really pissed of with the value that the marketing people placed on it.

Something that wasnt really relevant to what you were doing.

Yeah. It was only meant to be, its fine, but its not representative. And I took it off and Ive put two other things on there. Sugar on the Pill and Shall I Be Mother. And If Youve Got a Minute Baby.

Thats on the Japanese one.

Its supposed to have strings on it. Im really upset with it because every time I hear it I can go, no-ones hearing these strings! But they wouldnt give me five thousand extra to do that.

They being the record company.

Yeah, we had a fight about that. Its very difficult for them, because I dont make them tons of money, so its very difficult for them to be Im always in the position where theyre either chasing good after bad, in their eyes  for me its just a healthy presentation of an art form, but its difficult. Its a very difficult Im in the best position I can be in, being in a big record company that has money to spare, if you like.

Well there are artists like Seal that surely can finance you a little bit.

Exactly, yeah. Come on Seal!

So have you been recording another album now?

Yes. We did it in two weeks. Ive got it in my bag. We went to Chipping Norton which is where Fairground made the first album; it was like going back to some place special because theres standing stones there. And its all very hippy and Glastonebury type. We spent one week and we did 14 songs. And then Ive spent two weeks mixing them all.

Are these the same musicians that you worked with on 

Yeah, mostly, except the bass players different because he comes from here. For one song we have five different mixes of it. This is the master. But I have to actually get these and put them on one DAT format and give them to the marketing people who will discuss how old I am and how invalid I am.

When is it due for release?

Theres no release. I dont even know if theyre going to release it as anything.

If they dont will you send me a tape of it?

Well Ill let you hear something if we go back to the, I want to see if theyve got a suite in there that does copy DAT to DAT, cause then I could do it all here.

So you basically, you feel ready, you have some work and you just go in and you put it down?

I have ten songs. I would like to have done another, theres one song I didnt get to do which is a cover of a Mississippi John Hurt track that I wanted to do because its just a bit more humorous, and then everything else is beautiful and all that, and I just thought if I put a little bit of this humour in then it dissipates just a little bit.

Do you like the McGarrigle sisters?

Yes I do, I love them.

I love their stuff and I discovered them through Linda Ronstadt.

Ah yes. Do you know Linda Ronstadts early stuff? Cause I want to get some of that. Ive not heard anything. Is it good? Cause Im very attracted to it.

Ive got everything shes recorded.

Oh really? I just looked her up on the internet, cause I wasnt really interested for a long time, and I looked her up and I thought, Im really interested in this Stone Poneys thing because it fills my fantasy.

Its very simple. A guy in Q described it as great soundtrack for you if youre standing in a wheat field.

Of course journalists dont do that kind of thing. Those NME journalists and the Q journalists are too busy reading Loaded in the bathroom.

I like listening to it in the perspective of her whole career. I love it. I particularly like the stuff that she did in the early 70s.

Shes got a great voice. Have you heard the Mexican stuff?

Yeah, Ive got it all. Have you heard her lullaby album, Dedicated to the One I Love?

No.

That was the last one. She adopted two children

Yeah I heard about this.

She never married and shes now 51. So shes adopted two children. And shes at the stage in her career where she just does what she wants to do. And she decided she wanted to record pop songs as childrens lullabies. And shes very much into  she produces herself now  and shes very much into multi-layering and using instruments like glass armonica and things. Everything from Queens We Will Rock You to the Mamas and the Papas Dedicated to the One I Love and the Beach Boys In My Room. And its just so sweet.

Oh god, Ive got to get it.

Particularly good if youve got little kids because its very gentle. She said, I did for my kids and here it is. But shes actually got a thyroid disease now. She had a whole tour of the States, A mariachi tour this year, and she had to cancel it. Shes got something called Hashimotos Thyroiditis, its a chronic thyroid inflammation.

What happens?

Its not only that all your thyroid points inflame, its actually like a chronic fatigue thing. Shes just completely debilitated. So she went home to Tucson to her family. Cause she lives in San Francisco. But her early stuff is lovely.

Have you spoken to her?

That is my great dream.

Just ask her.

I would have tried this year. Like any American star shes got a lot of management people, and I have spoken to her manager for something else  Im a publicist back home as well as a journalist, and I was publicising a music festival that we tried to get Linda to come out to do, to sing with an orchestra, and I spoke to her manager, but she wasnt available. So I was going to approach him about meeting her, and then I heard shed gotten sick and I just thought theres no point asking.

Where would I play if I came to Australia? In a small Mean Fiddler 

Yeah, youd want small venues. Theres a venue in Sydney called the Metro which can hold anything up to a thousand but is perfectly okay with a few hundred. Do you know Tim Finn?

Yeah.

He does shows in there. Lisa Loeb came out and played there and its usually standing only unless they put seats in especially. There are small venues. This is the thing with Australia, theyre either nice small intimate venues or 3,000-plus halls. So you wouldnt have any trouble finding small venues. I just dont know whats going on with your record company back there. I rang them first before I came over to find out what plans they had to release Candyfloss and Medicine, and they didnt know.

Ive just got a manager, a new manager, because I didnt have one, I was just wandering around going okay, and not answering calls, so its been a bit hectic. But for two years Ive done all that. And it was my birthday the other day so I just decided to get a manager on my birthday. I said, go do my work for me, please. Hes Billy Braggs manager, Peter Jenner, and Im going to see him today for the first time.

Well if that ever actually happened, that you came out, Id love to help at that end. Ill do the publicity for it. Im your champion down under.

Oh great. Ill send you a DAT copy of this if I get it working today. Ill send you a little comp pack of things weve done.

Thanks! The music is just so sumptuous. I remember when I wrote to you it was like a paragraph full of all these adjectives and I thought, shes going to think I sat here with my thesaurus trying to come up with all these words. But Ill never forget when I sat down with Mirmama and I put my headphones on so I could just relax, and I just couldnt believe what I was hearing. I was just so transported.

Sometimes I get surprised too, cause its not just me, you know, these boys that I play with, Neills a great player, and Calum  you know theyre Ewan MacColl and Peggy Seegers sons, you know, he wrote The First Time Ever I Saw Your Face and Dirty Old Town.

Some of the guys you played with on Candyfloss and Medicine then went and played with kd lang on her Drag album.

No, well Teddy Borowiecki, Teddy has always played with kd. But I heard him through Jane Siberry, when I got Jane Siberry Bound By The Beauty album, and Teddy played this solo that was the most out-there solo Ive ever heard in my life, and I dont like keyboards that much, so I was very surprised to find myself phoning him up. And when I did the Eddi Reader album, when my head was a mess, the producer said, Ive got this keyboard player that we can use, and it was him. And I couldnt believe it.

There was another of your musicians 

Dave Pilch. Well, Dave is a bass player and he knew Greg Penny. You see Greg Penny knew Teddy and Dave, and he called them in when I went to LA. What was amazing was that Dave Pilch played on my most favourite album at the time which was Mary Margaret OHara Miss America, he played the bass on all of that. And I was in the company of the best musicians Ive ever played with really. So I pulled them in for Candyfloss. And by the time of this new album I found a bass player in Britain thats equivalent to Dave, so I didnt have to get someone over from America. Ive got Tim Harris, who plays with Steelye Span, hes a great folk player.

Its interesting about kd lang because I think the Drag album is the best thing shes done in such a long time; again its back to the personal and the intimate, she kind of went so commercial for a while there.

Well I feel really responsible for a lot of the reasons for why she got to do Last Cigarette, because I was told by Teddy, who was in my house living with me, that he was doing the album with kd and she wanted to sing about addictions, cigarette addictions, and should we try and write something? And I remember thinking, immediately my attenae goes  a song about cigarettes, Boo has one already  and I called Boo up and we got a tape together and gave it to Teddy. And he went to LA and within two weeks Teddy called very nonplussed and said, oh kd recorded that song, tell Boo. Of course we were all very excited. Because were pretty down to earth, us, you know were not, I mean we have really good times, we like to live in that fantasy world that we are in amongst the stars and everyone is, but you know we dont What I am trying to say is that we are very romantic and we like the story behind things rather than  me, Boo, Teddy, Roy  were all a bit maverick I think. Were all pretty untogether as far as being, playing the game. I dont think we play whatever the game is.

And as you so aptly put earlier on, if you did and if you had all that hype surrounding you, you couldnt sit in a caf like this having a chat, you couldnt walk the streets, whatever, and who needs that?

Its very scary, all that Fairground stuff. Because when we were on Top of the Pops the next day I went out in the street and it was very scary, folk coming up asking me for autographs. And I remember someone shouting across the street, Youre that I dont want girl!  you know, which is the first line in Perfect  I dont want half-hearted love affairs. And he called me I dont want  Look everybody, its I dont want! And that was very bizarre, and Im not, when someone comes up and asks for an autograph I kind of go, well, why? What do you want? Do you want to talk about something? I love it when people come up and go, I really like what you did and I really think that youre fantastic. I think thats great when someone does that, especially when youre maybe a bit down or something. But no, its no overwhelming by any stretch of the imagination. Which is great.

I found Pefect was a bit of an odd song out on that album, anyway.

Well I knew at the time that it was definitely the single, but I knew that if we didnt get the other stuff first then that would be it, wed have that and then no-one would listen to anything else. That wasnt quite what happened, but there were people that loved Perfect and hated the album, or hated Perfect but loved the album.

I didnt hate it, I thought it was cute, I just much preferred Smile in a Whisper or whatever 

We used Perfect at the end of the set to cheer everybody up because we were because we were all full of, the rest of the songs were all full of angst and break-up and love gone wrong, so Perfect was thrown in at the end of the hour to make everybody dance a little bit, and it worked perfectly for that. So to make it the single was just missing the point a little bit, to make it the first single was missing the point.

Like Town Without Pity.

But they were right  its a great single, and it was fast and furious and still exists, which is great.

Do you want another coffee?

I was just thinking we should try and go next door and maybe get these, and then we can find a quieter place.

[We then went into Warner Records where Eddi played me tracks off the album that would become Angels & Electricity.]