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This interview was conducted in Jan 2002.
Questions / Answers
Who is 'Nash The Slash' - how would you describe the man behind the music ?
Tall and thin. Long fingernails with pointy ears and teeth.
My autobiography is called 'Whatever Happened to Max Schreck?'
Is there anything you would still like to achieve in the music world ?
I would like to perform my music with a very large string orchestra (40 players) and hand out fuzz
boxes to just the cello section!
Which would you rather have, a platinum selling album or a commission to score a major Hollywood movie ?
I would like to score a really twisted underground movie that becomes a cult classic and be paid one million
pieces of 3000 mm diameter plates of pure platinum, 50 mm thick.
Which gives you the most pleasure - writing/composing or performing ?
None of the above. The greatest pleasure I get is writing books like 'Frog Jumping For Dummies'.
And why ? (to the above question)
Got a frog?
Who is the best musician you have ever worked with ?
That's a hard question. Who have I actually played with that I thought was a really great musician ?
or anyone I may have worked with ( producers don't necessarily play on the sessions)
My favourite musician to work with and me being a BIG FAN was definitely Bill Nelson, but Bill and I
never actually played a note together. I have worked with some of the best session players in
Canada ( soundtrack to the Bruce McDonald film Highway 61)
What were your thoughts and feelings towards the UK music scene in 1980/81, and why did you return to
Canada when your career appeared to be going so well in the UK ?
The UK music scene was beginning to implode on itself. The punks were fading out or literally
dying off (Malcolm Owens, singer for The Ruts, was the greatest loss I can think of) and the experimental bands
like Ultravox were going through serious changes. Their singer John Foxx ,went solo and sounded
like the Emperor with no clothes, while Ultravox found Midge Ure for their new voice and started a
whole new career. The Stranglers survived as did Siouxie as well as The Cure but many exciting bands
I heard while I was living in England exploded on impact!.
Such is the volatile nature of the British music scene. One joke amongst local musicians was the
over -the- top support an artist would get from the New Music Express or NME.
One month a rave review, the next month a scathing put-down as if the performer was the
reviewers' personal whipping boy. The NME was well named. To many musicians they were known and
pronounced by their intials - The En,Emy!
Back in Canada I had a touring schedule to get back to. The gig scene in the UK was very limited.
You went out and played the rooms once around the country only when the industry says it's your turn
to do so. There were too many groups for any individual artist to be blazing their own trail.
In Canada, I was the Prodigal Son Returns and I could make the most of it.
Some questions from the fans
Adam Hester in the UK asks : ' Im just setting out solo after being in the same band for nearly 15 years.
Im getting work in from film students as well as music graduates from Oxford Uni which is not far from where I
live. I want everything I do to be done without middlemen and record companies.
I thought about setting my up own label. I'm not after Millions of pounds (or$) its just the way I like things.
Are there any things to look out for. By the way im coming over to Canada for a holiday in the Summer to see
you. Its been since Hammersmith Odeon since I last saw you.
Hello Adam,
I would hope the fifteen years in the band you mention has given you some kind of profile in your local music
scene. That's a long time to get a reputation. With that as your background, you should promote your solo
adventure with all the connections and promo you received through the band. There are many things to look
out for, like potholes on the M1, but the thing to do is to figure out how to promote Adam.
Mike Seewald from New York asks :
'Nash, I haven't seen you in person for some 20 years now and I'm saving up for a trip to Canada to see you in
person. I have watched one of concert videos a multitude of times and still can't fathom how while your playing
the mandolin in Vincents Crows, the drum and other effects change. I notice some foot movemnts. I am in awe
of how you can sound like an entire band. If you would be so kind as to provide a brief explanation of how you
pull it off I would most grateful. Thank you very much for your music and thank you for taking
care of your fans.'
Hi Mike, I know you are an old and dedicated fan so I will tell you all my secrets.
Some of the background sounds are pre-recorded, some are loops and some are live in real time.
Some other common illusions and confusions; If it's on tape how does he synch it to video?
How does he do it without using MIDI?
How does he do it without using a computer?
Is there really such a thing as Nash SMPTE?
Does Nash the Slash really know Harry Potter?
Mike Anthony from the USA asks : 'Will Nash ever play New York ? '
I would love to play New York City again. ( I presume you mean the city? The state isn't bad by any means but
NY,NY is one of the greatest places on the planet.) There are border problems now since 9/11 and
things will have to wait.
Mike Braniff from Canada (?) asks :'Hi Nash, any chance of the TV Ontario Night Music being released on
video or dvd ?'
TV Ontario don't even know they made that show. I believe the master tapes were destroyed.
Back to Steve's questions :
Which musical instrument do you prefer playing ?
I have no preference. Any time I start playing different instruments that I'm competent at, that I'm
having fun with, whether classical violin or blues harmonica, I get in a certain mood and ideas just pour
out of me. Sometimes I experiment by writing music in a backwards sequence of orchestration.
What if I used a puny little harmonica to create a chord progression and then added a heavy drum machine,
fuzz mando and monster orchestral horn section on top of it? Think outside the box? That's easy.
Think outside the maze. Follow the one rat who escapes.
How do you get creative with effects, is it just a case of experimentation or do you usually know the kinda
sound you are after ?
See the above.
Is there a particular song or instrumental that is the most requested or appreciated at Nash gigs ?
Baba O'Riley
A lot of musicians and actors are there own worst critics - are you ?
Gruesomely so.
What was your proudest moment on stage ?
Every one of them.
Is that really Richard Branson on the inside cover of the 'Children' CD ?
Yes, and it was his idea to have himself and the staff from Virgin and Dindisc get wrapped in toilet paper and
pose in this most sacred cemetary.
Your output of new and back catalogue CD releases has been quite phenomenal in the last few years,
and the CD release of 'AYTYW Normal' is just around the corner - when can we expect an
all new release of Nash music ?
Not until the entire back catalogue is released.
Talking of 'AYTYW Normal' - I have heard that the track 'Dance After Curfew' was un underground hit in Poland, is there a story you can tell here ?
In 1982 Poland was behind the Iron Curtain. I received in the mail a post card from Polish National Radio
saying that they would like to get copies of my recordings. My first LP's had been intrumental, and thus
immune to language barriers and political attitudes.
I sent along a copy of 'And You Thought You Were Normal' which was my third recording and had both
instrumental and vocal tracks. 'Dance After Curfew' caught their attention with its simple repeated lyric.
It became a poular club hit in Poland and New York City where a video was shot for the song's promotion.
What synth or keyboard is making the 'heavy' sound on the opening lines of the track 'Normal' ?
That is a Crumar Multiman Keyboard thru a Coloursound SupaTone-BenderFuzz-Box!! So There!
Toby Dammit, your lyricist on 'COTN' and 'AYTYW Normal' is I understand, sadly no longer with us, - can you
tell me a little about Toby, and how you two came to work together ?
I have lost touch with this individual and the friends around him but I will try to find out if Toby is still among us.
Will there be anymore more from the FM archives or will 'Lost In Space' be the final word as far as you are concerned ?
Oh, come on!
I have more damn live bootlegs of FM than you could jerk off to! There is no reason to put out more of this
past material when I have so much of my own future music to compose and release.
These archives on 'Lost in Space' mean a lot to me. This is 'Early Nash'. These are the original demos, the ones
I liked to listen to, with the band at its best live. My favorite track is still 'Slaughter'.
Have you looked into DVD as a future medium on which to release Nash music ?
Yes. It's a no-brainer.
Is it a future intention to release 'Nosferatu' on video or DVD with your soundtrack ?
See above
Finally, many thanks from myself and I'm sure from all your fans for 25 years of great music (and for
completing this questionnaire !!).