You performed the song “Not from Her World” live in the early 1980s, but did you ever record it?
“Not from Her World” – a song I covered live only, was written and originally performed by 4 Out of 5 Doctors. The band were American, possibly from Upstate New York. I was asked to consider producing an album for them. I loved one or two of their demos/songs, although the job never came to fruition. I used to introduce their song on-stage with the words: “Here’s a good song, which proves four our of five doctors can’t be wrong”.
What led to the deal with Chrysalis for the “I Can’t Even Touch You” single (1982) and how did Midge Ure come to produce it?
The deal, as it were, between Chrysalis and me, came about when I was chatting to Chris Wright, their founder and Chairman, at Sandown Park racecourse. Sent him a demo and he suggested my old friend Midge Ure produce it. Alan Darby was my guitarist at the time of recording “I Can’t Even Touch You” and did lay down the original eight-to-the-bar chugging rhythm part. Midge, ever the stickler, thought it slightly off-beat at times, and re-did the part himself.
Where was the music video for “Ballerina” (1983) filmed?
In the Prince Edward Theatre, Old Compton Street, London. Interestingly, it was also there, in 1986, that I auditioned on stage with Hal Prince for Phantom Of The Opera, in front of twenty or so “angels” (those who invest).
What led to the re-recording of “Sebastian” with Mike Batt as a B-side for the “Ballerina” single?
Mike just fancied the idea and I went along with it.
Where was the music video for “Irresistible” (1985) filmed?
Filmed in a studio in West London, but I would never remember exactly where. RAK (the record label) would have booked it, and found the director [Marcelo Anciano].
What led to the remixing of “Irresistible” in 1986 and how did Stuart Breed become involved?
I always thought it should be a hit. I found it hard to give up trying! Mickie Most knew his [Stuart Breed’s] work. Matt Butler knows Stuart was one of the great remix engineers at the time. The remix was done by Stuart at AIR with me beside him. We used the original recording, produced by Mickie Most at RAK Studios; the same 2″ Master tape, with the same playing/players. Stuart and I simply mixed-and-matched and played with gadgets, but the actual playing, the recording, is the same one recorded at RAK. [The vocal track was] a different “take” on the original 24-track 2″ tape.
Apparently it was Mickie Most who was particularly interested in releasing “Heartbeat Like Thunder” (1986) as a single?
Yes, Mickie loved the song and produced it with great sympathy, I think.
Is it correct that “Sophistication” (1986) features Andrew Gold?
Andrew plays that wonderful, jazzy piano all through the song. He was brilliant. And didn’t take a penny for the session. [He] was working in a different RAK studio while I recorded “Sophistication”; he had a partnership with Graham Gouldman, called “Wax”. I was talking to Andrew in the kitchen, and he told me Graham was mixing a track and that he, Andrew, found the whole mixing process boring so usually sits it out. I played him “Sophistication” and said I’d love to hear a New York, Gershwin-like piano part and solo in there. He jumped up, walked to the piano in our room and said, “roll the tape”. I left him to play his way, and it was very New York, very Gershwin. He was simply brilliant; a musician’s musician; faultless and brilliant. I treasure that moment, that afternoon working with him. Always have. It’s a fantastic solo.
The “Theme From ‘Babbacombe Lee’”, the B-side on “When I’m with You” (1989), is labelled on the vinyl as being from a forthcoming movie about the murderer. What happened to that project?
The guys who planned the movie never got funding. The idea seems to have gone very cold!
How did you and Jim Cregan come to write “A Friend for Life” (2001) together?
I was in Los Angeles, staying at Jim’s (then) house. We wrote most days and that tune came from one lazy afternoon’s messing about. I wrote the entire lyric on the flight home.
How did the collaboration with Hugh Nicholson (“That’s My Life in Your Hands”, 1996) come about?
Hugh had written another song, same chords, different words and title. I asked permission to change the lyrics and produce my own version. I wrote all the lyrics.
Was “Only You” (which appeared on Stripped to the Bare Bones, 1999) ever recorded in the studio?
No – but one day… [ed – and of course, Steve did indeed go on to record it for Uncovered].
