Archive EIS Interview - Family Fantastic 1999

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Archive EIS Interview - Family Fantastic 1999

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Phil can we have a basic biography?

Phil Creswick: My biography? Well, the first sort of musical venture I was in was one of the first boy bands, called Big Fun. That was being produced by Stock, Aitken & Waterman, and we had lots of success around the world and Europe. We sold a few records and then, after that, the band broke up and I moved to New York for a couple of years, where I didn't really do anything. I think I had become quite jaded with the whole music industry because of the situation I ended up in with Big Fun, because working for Stock, Aitken & Waterman you don't write or produce anything.
We were just being told what to sing, where to go, what to say, what to wear, how to dance, who to talk to and who not to talk to. It's only recently that I've got back into writing and producing music again.
Looking back on it, it was a brilliant training programme for what I'm doing now, because I learned a lot about the music business and about how not to get ripped off. The usual story you hear is that there are these bands, and their members are quite young at the time, and they just think, 'Oh, we're on Top Of The Pops, this is great, this is going to last forever!' and then three years down the line it all falls apart. So it was a big learning curve for us, it was a brilliant time, but that said, looking back on it now there are definitely things I would do differently.

Were you frustrated that you weren't involved in the songwriting?
Phil: At the time I was writing songs, I've always been writing songs from a very early age. I don't profess to be a great songwriter - I would like to be one day but it's like any craft, the older you get, the more you learn, the better you become. But at the time I was writing songs which I thought were quite catchy but we weren't allowed to use any of them. The songs had to be Stock Aitken & Waterman's songs. But we did end up writing about half the album, but even then I had to share the writing credits with a lot of other people who weren't really writing the songs, so it was frustrating in that way.
But at the end of it, you come out of it after doing all this travelling and all these TV shows, and living the life of a pop star, you end up going home thinking, 'Well, what have I actually done to achieve all of this? I haven't done anything, I've just been told what to do, where to go and what to sing.'

How did you become part of Big Fun in the first place?

Phil: I auditioned. The usual story. I auditioned, and it just happened really quickly. By the time I'd auditioned there was a record label interested, Jive Records. And we signed to them and did a couple of tracks [as 'Seventh Avenue'] with a guy called Marshall Jefferson, who was this hip producer. I guess now I can look back and see the Backstreet Boys and Britney Spears are now signed to Jive, all these quite cool pop bands, with a bit of a r'n'b feel to them, and I guess they were trying to make us like that. But we were three white boys. You know, I'm from Surrey, another guy's from Coventry, and the other guy was from Scotland, and there was no way it was going to work!
But of course with this real credible house producer Marshall Jefferson, and we did a few tracks, and they were just atrocious. Just not what we wanted to do.
And we released a single that got to 124 and that was it. And so after that I said, 'Right, Pete Waterman's interested, we can do a single with him'. At that time [Stock, Aitken and Waterman] were having major hits, so it was like 'Great, yeah, let's go for it.' And so we signed with them, and our first single [as 'Big Fun'] went in at number 4. But yeah, I think in a different life I would definitely do it differently.
I'm much happier with what I'm doing now, because you're involved in every level of it, and it's something I've always wanted to do. It was very frustrating before.

How did you first meet Vince?
Phil: The first time I met you was in New York.
Vince Clarke: Yeah, through my ex-girlfriend, Tam.
Phil: I grew up with her.
Vince: They're old old old friends.
Phil: Tam was seeing this mystery man and she wasn't allowed to tell me who it was! I'd phone up in Florida and this bloke would go like, [Vince impersonation] 'Hello?' and I said 'Who's that?' 'Who do you want?' 'Oh, is Tam there?' 'Hang on, I'll get her.' And then she'd come on the line and I said 'Tam, who was that?' and she'd go, 'I can't say!' And she was my best friend, and she wouldn't tell me! It was all a bit hush-hush!
So for about a year she didn't tell me, so all I actually knew was that she was meeting this mystery man. And then when she told me who it was, I just went, 'Oh him, yeah, that's cool.'
And then I think I was back in New York and Vince was coming over to do promotion or something with Andy and they came back to my flat for a party. I was really nervous, we ran out of drink, all we had was Tequila left.
Vince: Firstly we met on tour, and then when Phil moved back to New York we saw each other more regularly.
Phil: And then I came back to London and we've been good friends ever since, really.

How did the Family Fantastic project come about?
Phil: Well, we'd already tried doing a couple of tracks together. Actually, one of the tracks on the album, 'One Love One Life', I wrote when I was living in New York. I'd played it to Vince, and he always said that he liked it as a song, he thought it had a really pretty melody.
I had a version that I'd done, and he said he'd have a go at doing a version, and so we did that together, and we recorded another track as well, but it didn't really click at the time, did it?
Vince: We didn't really have the right feel for it.
Phil: Yeah, we didn't have the direction.
Vince: Phil was still involved in his Big Fun thing, there was still a manager involved and everything. The other guy from Big Fun, Mark, wasn't interested at all, he didn't want to be a part of it, but he was still involved in making the decisions.
Phil: I was still trying to make Big Fun work, but it was like flogging a dead horse. Instead of just saying, 'Look, it's time to say goodbye to this whole project and start something new,' I was still trying to resurrect this band.

Which year would this be?
Vince: Four years ago.
Phil: No, it was more than that. It was about 1993, 1994, about then probably.
Vince: I can't remember!
Phil: It was about four or five years ago.
So you did these two tracks...
Phil: Yeah, because of Big Fun, I came out of the school of believing, 'Do a cover version and have a hit, and then do whatever you want,' but Vince kept saying to me, 'No, work on your writing, work on your writing, work on your writing.' So I did. So I took a couple of years off just to think about what I wanted to write, just trying to become a better songwriter basically.
I played around with different projects with the guy Jason [Creasey] who's involved with the band as well, working with him on and off, writing stuff. And eventually we came up with the idea for Family Fantastic. And since then it's been eighteen months...
Vince: Yeah.
Phil: About eighteen months, yeah.
Vince: The first thing we did was to try and do it for Big Fun, which would be with the guys in the band as performers, but then with the Family Fantastic thing it was more about us being producers and working with singers. We would just be the production team. That was the idea.
Vince: And if it was me singing or performing then I'd get into trouble with my record company, so I suggested getting other singers in.
Phil: He said, 'Because I've got as much character as him [Vince] when I sing, so I should call just it quits now!' So I thought, yeah, thanks Vince!

Can you tell me a little bit about Jason, the third member of the Family Fantastic production team?
Phil: He's worked with various people in the past, he's done remixes for Ant'n'Dec, he's did remixes for Big Fun, he's done stuff with the guy from Living In A Box, Peter Cox. He's a clasically trained pianist and trumpeter, and a really, really clever and sweet guy. And a brilliant programmer. I always said that if one day I wrote with him we would end up writing something decent, and we did.
I'm still working with him now, we're doing other projects that have spun off from the Family Fantastic thing. We have a few projects under our belt at the moment that we're working on; again it's as a production thing, because a lot of the times you come up with a great track and get a great person to sing it, and then you give it to a record company and they haven't got a clue. They don't know what to do about the image or marketing, they just think, 'Oh, we'll just stick it out and see how it does.'
But I suppose we're just being a bit more precious about our songs, we don't want to just give our songs to people that will mess them up, basically. It's more of a production thing rather than just a songwriting thing, but I'd like to be involved in every level of the process really.

How did you come up with the idea for Family Fantastic?
Phil: It was in Vince's kitchen, I remember the moment actually because we were talking about a particular track from the seventies.
Vince: Yeah, it was the one, [sings] 'Doot doot doot doot.'
Phil: Yeah, it was 'Funky Town' by Lipps Inc. And we had this idea of coming up with songs like that.
Not by taking samples - nothing's sampled on the album at all - but by taking the feel of certain tracks from that era, quite famous tracks, and then recreating the same feel, but also writing new lyrics and a new melody. So there's a certain element in the song that sparks a memory in certain people, they think, 'Oh, that reminds me of something.' It's not identical, it's just that there's certain elements we've taken from certain songs that people will recognise without thinking about it.
Vince:Phil's got every seventies record there ever was, you know, so he's a bit of an authority on music in that ilk. And we thought we'd do something using that background knowledge, do something like those old songs, except maybe we'd update it slightly.
What we thought we'd do is we'd get a song, and then take it apart.
We'd find what part of it we really liked, and then take that bit and try and break it down, literally take it apart and try to work out how it works. Take it, analyise it, and then try to recreate it, to come up with something with the same vibe, maybe with the same groove, but with a different melody and a different chord progression behind it. That's the basic idea.
Phil: It was all very worked out. It was very deliberate.
Vince: The interesting thing for me because I'd never tried to analyse the music as much before. We weren't aiming to copy them, we were just trying to work out how to do it, now that I've got the musical knowledge to actually know how to really break it down.
Phil: And also because a few years ago, I was really into old school disco. I would sit there and wonder, 'Why does this dance track work? Is it because the basslines going up while the melody's going down, is it because the bass line goes down while the melody goes up? And they join together for the chorus, is it because of the chord sequence?' That's what I brought to the project, my knowledge of disco and dance.
I mean, there's a definite retro vibe in there. All those classic dance tracks from Donna Summer to Lipps Inc have unique qualities, and we tried to keep those qualities but also update it as well, give it a bit of a modern twist.

So you're not trying to directly copy a song, but just evoke the same sort of feeling?
Vince: That's right. We're trying to capture an element from it. For instance, most of these bands from the seventies only had the one hit single.
You can take that one single that was a hit and try to work out what it was about that one song that made it such a great track when all the other ones failed. And then you can use that element as inspiration to create your own track. It's like finding a starting point. For instance, I can play certain chords on guitar and on piano, but I don't know all the chords there are in the world, so I only tend to do the same sort of chord progressions.
But with this it is a way of actually doing something different - instead of doing what I always do, it's saying, 'Let's take this track and try to work out what they've done and how they've done it, and what chord progression they're using,' and then it gives you a base to work on. It's like having a another guitarist in the room who can play different chords to the one's you'd normally play. It gives you a different feel when you're writing the song.
Phil: Sometimes you'd be doing a chord progression and it wouldn't quite work, and you'd have to try something else, but when you get it right, and you know it sounds authentic, that is really something. When the song's just clicked and is beginning to work, that's really exciting. It happened a couple of tracks on this album: on Halfway To Heaven we just got this idea for a track, and I went away and wrote a partial lyric, and once you've done that you just have to fix them the tempo and key and you can start recording. That song came really quickly - I'd come to Vince's and said, 'I've got a couple of ideas,' and he said 'I've got an idea as well', so we went into the studio and he started singing this chorus which immediately was 'Halfway To Heaven'. And I was like, 'Oh my god, this is too freaky - listen to my dictaphone,' and there was me also singing, 'We're halfway to heaven, halfway to heaven ooh.'
And Vince was like, 'Oh my god, that's really weird.' We both just stood there, amazed - we'd both come up with the same title!
And so then we put his chorus and my chorus together and it worked. That's why the chorus in 'Halfway To Heaven' changes, it's got two choruses really. They're just two different ideas that we put together and just worked perfectly together. So 'Halfway To Heaven's the one where everything just sort of clicked!
Vince: Doing this, working from someone else's starting point, it's a bit like having to do a painting; it gives you a whole load of other colours to work with. It gives you something else to use that you wouldn't have thought of otherwise. I mean, I think in the past I've got a bit stuck, doing the same sort of thing again and again, because I've written so many songs I know what works for me.
Phil: You know what you can do and can't do, and so therefore you stick to what you know you can do.
Vince: Exactly. But doing it this way forces you to do go outside what you would normally do, and do something different.

So would you say Family Fantastic is playing on seventies influences and stereotypes?
Vince: Songs from the seventies, yes, using that particular song structure.

So it's not so much a tribute to particular bands, but just a sort of a more generic seventies pastiche?
Vince: Pastiche, definitely.
Phil: Yes, pastiche. Definitely not a tribute, because, after all, some of those bands were crap!
But seriously, some of the bands we've emulated were really awful, like Baccarra, because they like did one single and after that were atrocious! They're not something you could do a tribute to! It's like me saying I'm proud of being in Big Fun, in the sense that I'm proud I did it, but that's about where it ends really, I mean, I wouldn't want to do that music now.
Apparently Baccarra are still touring!
Phil: Yeah, I remember doing a show with Big Fun in Spain, a big sort of Top Of The Pops thing, a 2-hour pop special. We were there in the charts with a single, and we came on to a massive cheer, and then after us were Baccarra, who came on to sing yet another version of 'Yes Sir I Can Boogie'. We were standing by the side of the stage, and afterwards we had to try to say hello to them but we couldn't because we were laughing too much because they were so ragged. And so I'm quite grateful that Big Fun didn't end up like, with me singing 'Don't Blame It On The Boogie' for the rest of my life!
But even though the band was really naff, there was something in that one record...
Phil: The songs are still cool, the band can be naff but their music can still be cool, because the music doesn't change. But at the time with Big Fun I didn't want to be in this band that was still going round like the Three Degrees having different line ups and so on. And that's the advantage of what we're doing with Family Fantastic, because we're not doing it as ourselves, we're just the producers.
And so with Family Fantastic we're trying to capture that, but also give it a twist as well, so it's not so straightforward. So instead of doing a straightforward rhythm thing with vocals we'll go away and try lots of ideas.
That's how the album worked out, just by me, Vince and Jason pooling ideas.
There's also a slight element of taking the mickey out of the original bands as well, in the lyrics...
Phil: Not really. It's all tongue in cheek, yes, but we're more sort of taking the mickey out of ourselves. Especially on something like the rap. I think the rap that lyrically is quite tongue in cheek. The idea was a big band rap where we'd each introduce ourselves.
Vince: But not having really done a rap track before, we didn't know how rap works.
Phil: Originally it was called 'Crap Rap'! We thought we'd do something in a rap and each of us went away and wrote our little bits and then we just had so much fun in the studio doing all these raps, being really silly.
I mean, at the end of the day it all fits together and works and sounds good, but we had such fun doing it. Jason's lyrics were even more ridiculous to start with, but it was great, so much fun. It's a little bit of a parody, of ourselves really, of Family Fantastic.

Can you describe how you went about recording the album?
Phil: Basically what happened was that Vince and myself would start the track off and then we'd get the singers in, the various people we were working with on the tracks, and they'd record a basic version of the track.
Vince: The singers aren't 'known' artists as such, but then we also contacted various other people, just phoning up anyone famous that we knew.
Phil: Seeing who we could rope in!
Vince: So we asked around these various people asking if they would contribute, even if it was just saying 'Hello' at the beginning of a track.
Phil: And we got Reevz Gabriel, the guitarist who's worked with David Bowie and produced his last three albums. I knew him through a make-up artist who's a good friend of ours, and I said, 'Oh, do you fancy playing on our album then?' And he was like, 'Yeah, okay'. And he's a really good guitarist, he's been in a rhythm and blues band, he's been in a funk band. After he'd agreed I phoned Vince and I said, 'I've got Reevz Gabriel, he's agreed to play on five tracks.' And Vince went, 'You didn't! No! How did you do that?'

You tried to drag in Alice Cooper, didn't you, Vince?
Vince: I tried to, I tried to get Alice Cooper but he was unavailable.
Phil: And then we got Tori Amos, through Tam, basically. I phoned Tam up and asked her to ask Tori if she'd do anything, and Tori said, 'Yeah, okay' and did this thing whilst rehearsing for a tour. She did this whole mad improvised song about woman's pussies, whilst banging away on the piano. We couldn't use any of it, apart from her just going 'Plink plink'! So we just stuck it in one of the tracks, it just stops and you hear 'plink plink'.

That's Tori Amos' total contribution?
Phil: Well, we could have used more but it wouldn't have been in context of what we were doing!
Vince: And we also asked Katie Pearson from the B52s and she sent us a tape, but whoever was doing it couldn't work the tape recorder!
Phil: And what we got was all distorted and we couldn't use any of it apart from her saying, 'Oh gosh, I'm ready to dance'. That was it, that was all we could use!
But it was great though, at least we actually we were able to do it.
You just hope they don't put a sticker on the front saying 'The New Tori Amos Album'.
Phil: That's why she wanted us to chop it up into bits and so on to make sure it was unrecognisable.
I'm sure there are Tori Amos completists out there who will buy it for that!
Phil: Absolutely.
[At this point Vince goes into a long anecdote about a previous visit to this pub. Basically he was drinking with Flood and Ebby, and then went to the toilet, only to find that the door to the cubicle was jammed, locking him in. Vince was too embarassed to call out for help, so instead he climbed out of the very small toilet window and walked back into the pub through the main doors, thus totally bewildering Flood and Ebby.]
And at the moment you're working on a follow-up album, based on 1950's music?
Phil: Yes. It is important to have a really strong idea first instead of saying, 'Let's go and write something,' because I think anyone can do that but to follow through and try to do a whole album of tracks you have to have a definite kind of consistent direction.
Vince: Because we're not like a band, we're a more conceptual thing.

So as the Nice! album was the seventies, this will be the fifties?
Phil: It might be, but you might not recognise it as fifties! But that's our inspiration.
You won't listen to it and say, 'That sounds like it's from the fifties,' or 'that sounds like a Doris Day song,' it's not going to.
Vince: We're just using it as a starting point.
Phil: We don't know how it's going to end up. In six months' time you might ask us how it's going and it might have taken a really different twist, we don't know. We're just trying to get into a momentum again of doing it and trying to do something a bit different.

Okay. Just a couple of final points to clear up unequivocally. The Family Fantastic - is it a Vince Clarke solo album?
Vince: No. As you know. No, it's not.

Would you say you were one fifth of the band?
Vince: Not really. One third of a production team, there are three of us. We are the three musketeers!
Phil: Again if in future projects we bring in other people to add to it, then that's fine as well. The production company will probably grow.
Vince: But it's definitely not solo. It's a joint venture.
Phil: Definitely. Split totally down the middle and everyone who worked on the album is now...
Vince: A splitter!
Phil: now getting a good percentage of advances and stuff. Which is something that normally doesn't happen. We've worked it out really fairly and eveyrone is so ecstatic that they're getting advances and stuff. In some ways they'd forgotten about it, because it was recorded so long ago.
And then just before Christmas we got our first advances and everyone was over the moon, it was like, 'Oh my god, this is so exciting.' Everyone running around with their cheques, they didn't want to bank them, they just wanted to frame them, but you had to bank them, you know what I mean! And it's just really sweet that everyone feels appreciated so much. I mean, so much time and effort went into it, it really did, it was a lot of fun but everyone put a lot of time into the project as far as doing vocals, backing vocals and just spending hours doing nothing while we were playing about in the studio.

When the album is promoted, will your name be attached to it?
Vince: Only as producer. There won't be a sticker on it saying, 'This is a Vince Clarke production'. If there is, Cleopatra will die! But no, it's not a case of fart arsing about being silly. It won't happen.
We've got a proper deal sorted out with laywers and so on, and we can't cross the line between my deal with Maverick who have the rights to release my stuff in the USA, and Cleopatra.
Phil: And Vince would never write 'Shake your ass, butt or derrier' in a million years!' I'm sorry I'm guilty for that!
Vince: [Raps] 'My name is Vince and I can rap like a prince.'
Phil: [Raps] 'Six foot one and was the Big in Fun.'

Is this is any way, shape or form a replacement for Erasure?
Vince: No. There is no replacement for Andy Bell. [sings] 'There is one Andy Bell, one Andy Be-ell.' It's like a homage to him.
Phil: We did this album while we were waiting for Andy to get out of bed and do a new Erasure album, really.
Vince: We did this other little project. We wrote four rock'n'roll songs, which I think are really great. Andy's threatened to sing them but he just hasn't got round to it yet.
Phil: We'd had a couple of months break from each other and then Vince phoned up; 'I'd really like to try doing some 1950's rock'n'roll.' And I was like, 'Okay, that'll be different.' So I came up and we kind of messed about in the studio, and we wrote four songs and Vince has now demoed them.
Vince: And I played them to Andy and he loved them, and said 'Let's do an EP!'
Phil: Out and out rock'n'roll but again with that sort of electronic twist. But so far he hasn't done it yet!
Vince: But that's fine though, because I'm quite pleased that he's working on Erasure.
Phil: It's about time.
Vince: Two years!
Phil: Two years? It's been longer than that.
Vince: No, it's not an Erasure replacement at all. I've done lots of other things in the past two years, you know what I mean.
Phil: It's just nice to sort of spread your wings and try different things. I mean in the period between doing the Nice! album and what we're doing now, you've been doing loads of films and stuff, haven't you, Vince?
Vince: I've done a play. I've done two films. I just did a party. An advertising agency party, two hours of music for a big ad company that are having a party. It's going to be brilliant, me and Martyn Ware did it.
Phil: And also with Martyn you did the Pretentious album. So, no, it's not a replacement for Erasure, it's just a production venture.
Vince: It's not just anything, I'm not diminishing it at all, I love it. I'm really enjoying it. It's me trying to do other things as well as Erasure.

You're taking advantage of the opportunity to do other stuff because not much is happening with Erasure?
Vince: Absolutely.
Phil: And giving other people an opportunity too. I mean he's given everyone involved in the project a chance to get something released.
Vince: I mean, I've got a studio, and it's there, so, fuck it, why not use it? That should be the end of the interview, 'Fuck it, why not use it!'
Phil: And I'm now doing stuff with Sonja. Do you remember her, the little Liverpudlian girl? Well, she's done nothing for years, and I've known her for years, and she's just got the most amazing voice. And Jason and I wrote a few tracks, big disco gay anthems, and we tracked her down. She loved the tracks, and now we might be doing a whole album for her. And again we're involved in organising the photo shoot and re-styling her, she looks amazing and she's got such a great voice. So there's that, and there's other projects that I'm working on with Jason as well. So just from doing this one thing with Vince it has opened up the doors to other things as well.

Okay, and just to finish the interview, could I just get your thoughts on each song on the album, or what it reminds you of?
Vince: If we tell you what it reminds us of, we'll just be saying what track it was based on!

'Get Up'?

Phil: Jason's Barry White impersonation!
Vince: What was that based on, then?
Phil: I don't know.
Vince: KC And The Sunshine Band!
Phil: 'Get Up And Boogie!'

Is it okay to mention this?
Vince: Yeah, it's okay! We've checked with our lawyers!

'Treat Yourself'?

Phil: Chic. Based on a Chic track. Particularly the middle eight bit, 'Treat yourself, treat yourself, treat yourself'.

'Funky Feet'?
Vince: That's 'Funky Town'.
Phil: Yeah, 'Funky Town'. By Lipps Inc.

'Spread Your Love'?
Phil: That's one of my favourite tracks, actually. What that track reminds me of was that there should have been a second melody on the outro but Vince would not let me put it in at the end.
Vince: It would have been too much.
Phil: It was like [Sings] 'Spread Your Love around the world, that is what you've got to do!'
Vince: What was it based on though?
Phil: 'Ladies' Night', by Kool And The Gang.
This is like the answers to a quiz. 'Hey Nu Nu'?
Vince: 'YMCA'. No, not 'YMCA' the other one. No, 'YMCA'. [Sings] Young man, do-do-do-do-do-do do-do young man.
Phil: 'Halfway To Heaven' is Sylvester. Not any track in particular but just that sort of feel, again one of my favourite tracks I think. We also wanted to get quite a punky vocal out of Emma because she normally sings very softly, so it was a very tough song for her to sing, but I'm glad we did it because she sounds really good.

'One Love, One Life'?
Phil: Oh god, am I sick of singing that song! It's been around for so long! How many versions of it have we done?
Vince: It's been doing the rounds for a while!
Phil: It's a song I wrote for a friend who died of AIDS, years ago.
I based it from her point of view, 'I have so many friends, but sit alone'. At the time, she had people saying, 'Oh, I'm so sorry for you,' and trying to be sympathetic, but she said that she just felt so completely isolated that she couldn't describe it. And so I put myself in her shoes and wrote it from that aspect. So that's where it comes from. It's a bit deep for the interview, I know, but there you go.

'Better Days'?
Phil: Again, another track I wrote in New York. The vocal is by Clare, she's now a housewife in Surrey, and I've known her for years as well. She's an old friend, a great vocalist, but she's never had the success she deserves. She now makes upholstery and curtains, she's gorgeous-looking but she's settled into her little sort of life in Surrey. She always loved the track, and when we asked her to perform it on the album she was so excited about doing the song, she loves it.

'Soy La Reina'?
Vince:Based on... er...
Phil:'The Hustle' by Van McCoy
Vince:[Sings] it!
It's like Dario G or something like that.
Phil: I guess, yeah. But 'Soy La Reina' means, 'I am the queen' and the bit in the middle is a Spanish rap which says I think, 'Disco-dancing, sweating people, I need you, I want you, I've got to fuck you now!' Basically that's what the lyrics mean. And our singer, this Spanish drag queen, did an interpration of that for us and then rapped it.

'Doin' This Thing'?
Vince: The rap track. Based on...
Phil: 'Last Night A DJ Saved My Life'?
Vince: No, based on the Sugar Hill Gang.
Phil: 'Rapper's Delight'.
Vince & Phil: [Sings] Dum dum dum. De-dum dum dum de-dum!
You just sang 'Another One Bites The Dust'!
Phil: No, Queen ripped it off from Rapper's Delight!
Vince: There's a ten minute version of Rapper's Delight, and Phil can do the whole rap when he's drunk!

Okay, and finally who are the vocalists on each track?
Phil: 'Get Up' is Jason, and me Vince, Emma and Val. 'Treat Yourself' is Emma on the lead, and Val does backing. 'Funky Feet' I do the lead, and then Val does the chorus. 'Spread Your Love' is Val, 'Hey Nu Nu' is Paul, Paul Holgate. 'Halfway To Heaven' is Emma, 'One Love, One Life' is Val, 'Better Days' is Clare, 'Soy La Reina' is Francis Hernandez the drag queen, and 'Doin This Thing' is everyone, and that's it really.
I think that's everything then!
Vince: Our first and last ever interview!

From Wonderland to the World Beyond
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Re: Archive EIS Interview - Family Fantastic 1999

Post by mrblue »

Is this is any way, shape or form a replacement for Erasure?
Vince: No. There is no replacement for Andy Bell. [sings] 'There is one Andy Bell, one Andy Be-ell.' It's like a homage to him.
I love this bit! Thanks for sharing this interview. Hope we see a FF reunion one day.
Rating: 25%

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