a) When anyone with any profile does my songs, I get royalties. As for unknowns putting out CDs on the internet or selling them at gigs, I think that slips thru the cracks, but it's not enough to worry about.

b) No

c) A timely question. My latest work, a novel, will be published by Thunder's Mouth Press in September. This is in fact the novel I wrote at least ten years ago but have recently re-written extensively. It was called "The Thylacine's Nest," then briefly, "The Thylacine's Lair," and is now entitled "The Other Life Of Brian."

d) I was of course thrilled when I heard that Quo had covered "Crawling." Ah, Quo – that scourge of the English suburban jukebox, the group that hepcats like myself loved to hate.

Masters of the "square boogie," totally devoid of all the innate feel that constitutes real rock 'n' roll, it is a great pleasure to have heard one of my works leveled into a trim and grooveless straight line by those lovely lads themselves. Marvelous stuff!

From Gerard Hennicke:

Many years ago you appeared on countdown and gave Molly Meldrum a hard time, not once, but twice, sheer magic, although it probably killed off any real chance of commercial success you ever had in Australia. What a thing to see, someone with the guts to tell the truth and not be a sycophant (spelling looks dodgy). Given the recent advances in genetic engineering will you be replicating yourself in order to enter politics while actively pursuing your excellent music career? Will you tour Australia again and will it be with a band? If so would you consider putting Tasmania on your itinerary as we are often left behind? If so the highly rated Hey Mook (www.heymook.com) would gladly fill a support slot.

Ah, good days, good days! Yes, I was quite the card on the old Countdown show. Has anyone got it on video, by any chance? That, I'd love to see.

Politics, no, but things are still in a timely mode, like one of the questions posed by our pal EggHead (see above). My new novel, in fact, features Tasmania quite extensively (the cryptozoologists among you will know that a thylacine is a supposedly extinct marsupial carnivore from Tasmania), although I bluffed it considerably having never been there. It sounds like an extraordinary place, mainly because of its incredible wildlife, and also because of that most fascinating dessert, lamington.

I think a residency in a nice little club in either Penguin or Margate (Margate!!!) would give my career a good old kick up the carsie, no question. (Love the name of the band you mention, by the way.)

From Marshall Boswell:

Hi Graham. Standard preamble: been listening to you consistently since "Squeezing," consider "Struck By Lightning" one of my top five desert-island discs, you rawk, thanks for everything, keep it burning.

You answered a question of mine a year or so ago about Bush, so thanks for that, as well. Here's my new one. Are you familiar with the inexcusably bad American novelist Bret Easton Ellis? And did you know that three "stories" from his piece of shit "collection" _The Informers_ are titled after songs of yours? The stories are "The Up Escalator," "Discovering Japan," and "Another Grey Area." Plot-wise, the stories have nothing to do with the songs they're named after, though that's maybe because the stories don't, properly speaking, have plots. But you should have received a royalty, seems to me, and hope you did, though I doubt it. You should write the little twit a letter, in any case. I'll do it for you, if you want.

Cheers.

I was unaware of this fascinating piece of information. I did read his first novel, the title of which escapes me – the one that put him on the map – and quite liked it. It captured something (a something I can't recall, like the title) very well. I'm flattered, I must say, but anything flatters me...

From Larry:

Graham:

I have read the last 60 Q&A post to ensure I don't repeat a question. First of all it's amusing that at least one person compared you with Ray Davies. No comparison. And what a blast form the past. I was a big fan of early Sparks (the group). Ron Mael lyrics are quite unusual to say the least. But once they got into the dance music scene they lost me. I am glad to hear that you are or was once a fan as well. They have a 2 year old DVD of a recent concert in the UK. Good stuff.

Before the question. I loved your rendition of the J-5 tune. You took an empty commercial pop tune about puppy love...and transformed it into something of substance. Your version is the standard as far as I am concerned.

Anyway. The question. Temporary Beauty. What woman doesn't go through an "ugly duckling" period sometime in her life. And how many are fortunate enough to be with the "in crowd" and go to all the parties. What woman hasn't read one of the many magazines containing articles like "how to find a man" "how to keep a man", "what men really want" etc. And what woman has the glowing natural complexion that does not require cosmetics? I know Ray Davies did not write this song because there are 2 words that kind of jump out at you and grab you....."little people". It turns the song from an observational song to a harsher song with a point of view. There is a definite bitterness. That's what I like about the song...but also that is what I dislike about it as well. I think the average woman (and even man to some degree) can listen to this song, and see parts of themselves described...and to be called "little people"...well you know what I am saying. This has to be one of your most played songs. Do you think this may have turned some women off to your work? I respect your philosophy in letting the reader/listener get what they personally can out of your work without spoon feeding them your "real meaning". But I am sure you have been told that Temporay Beauty is both beautiful and disturbing at the same time.

Can't say I've ever given it that much thought. I can't imagine that enough women – or men for that matter – would have heard the song anyway to have made that much difference. It wasn't exactly a hit, and are people really listening that hard to stuff they hear on the radio?

But seeing as my tendency in writing "love" songs (or even apparently tender songs) is to kill the bitch in the third verse (this should be met with roars of laughter, please!), it would not surprise me that my lyrics have indeed put a few women off in the course of my career. However, this is tempered by the fact that there's plenty of smart females who do indeed enjoy the dubious merits of my lyrical work. (Read below, for instance.)

From Melissa:

Graham--

I love your music and I really enjoyed your book, too. You add a lot to the world of music, and are severely underappreciated by the mainstream (but who'd want that.)

Anyway, er, on the topic of "appreciation," (I suppose) I was wondering about your thoughts on people who have covered your songs. The only one I have heard is "Release Me," but I know that Joe Jackson has performed "You Can't Be Too Strong" in concerts and I'm sure there are many more and I have overlooked some list or something. Anyway, I was just kind of wondering, do those performers have to ask you for permission before they cover your song, or do they record it and then seek your approval, or..I guess what I am trying to ask if what kind of say do you have in that and what are your thoughts on some of the covers of your songs. Are there any worth hearing, or would you prefer people left them alone?

Can I add, has anybody ever covered "Watch the Moon Come Down?"

(and if it's not too pesky, I enjoy "The Madness of Love" from the Richard Thomspon tribute. The other players, Graham Maby and Gary Burke often work with Joe Jackson, who is another favorite of mine, so I viewed as something silly like a tie-in of my two favorite musicians, and it was good to hear.)

As far as I know, no one has to ask permission to record anybody's songs. I usually find out after the fact, as was the case with Rod Stewart when I heard he'd done "Hotel Chambermaid" a few years ago on his album "When We Were The New Boys." The artist recording the cover (or his management or record company) merely has to go thru some paperwork, state the writing and publishing credits on the cover art, and then pay up accordingly every six months or so.

Artists can do any other artists songs live without paying anything.

I don't care who covers my songs or what they do with them. It's great to have your work earning a living for you years after it's been created – that's what it's all about. I have very little interest in whether the versions are good, bad, or just plain wrong! It would be nice, I suppose, if someone were to do a version of one of my tunes and really nail it. I'll report it when it happens.

And yes, some years back I heard a version of "Moon" by a girl singer whose name escapes me. It had a whole different feel and tempo. It was pretty good. I don't know whether or not it was ever released. I recall that a fairly big name producer worked on it. Whoops, nearly forgot. An Italian band recorded the song just a few years back and it appeared on the soundtrack of an Italian movie that went on to become a bit of a sensation in Europe. In English, I think the movie's title is "The Ultimate Kiss," or something like that. But the biggest kick as far as "Moon" is concerned came when I did 4 or 5 gigs with the late Rick Danko and he did an aching, high falsetto backing vocal on the song. Damn, I wish someone had recorded that.

From LEN:

Graham Just speaking for yourself. When you perform solo....when people call out for songs, is there any chance in hell that you actually add that song? Do gigs generally produce the same calls for the same songs? Are you ever happy to hear people call out requests....as if you show up to gigs unprepared and wondering what you should play (sarsacam). Did you ever have an obnoxious person constantly calling for a song that you actually had on the playlist....and then left the song out so as not to encourage the person. Or conversely did you ever play a song that you really didn't want to play just to shut someone up? I saw you in San Francisco recently and you are a very gracious performer. I enjoyed the show. What goes into making your set list?

These days I usually have what I call a "floating set list" for solo performances. About 30 or so songs are printed on the list and scribbled on the right is a vague idea of an actual set, which I either ignore, for the most part, or stick to if I'm not feeling adventurous or the audience are just not putting out enough to inspire me.

I'll often indulge someone who calls out for a tune if it's something I regularly do, or if the vibe is loose enough that I think I can take a chance at doing something that I haven't even run thru lately. I can't just do a song that I've never done solo, though. Even for a one-off gig, I'm practicing for weeks in advance. I have to – this stuff is not 12-bar blues and has a lot of twists and turns, nuance and subtlety, not to mention a shitload of often complicated word play.

There doesn't seem to be any one song that always gets requested, which is probably a rarity in this business.

And yes, I have played songs to shut people up, and I've also not played 'em to piss people off. And I'm not unhappy when people call out for something, but drunken, obnoxious people who can't let it drop are a pain, of course. Some people just cannot believe that you won't be doing a particular song, even when they are seeing a songwriter like myself who has made loads of albums, has a wealth of strong material and should not be out there to relive the "glory days" or some such nonsense. Some chaps (and they're usually chaps) just don't get it.

From Steve J:

Hi, Graham.

Do you find that singing one of your silliest songs can be the most pleasurable? Also, I was listening to "I'm Your Puppet" on the oldies station the other day and thought it would make an ideal song for you to cover solo. What do you think?

Hope all is well...

Steve

Haven't got that many silly songs to choose from. I did used to do "Green Monkeys" quite a lot, with added verses, but haven't done it lately.

Good call on "Puppet." I performed this song at the very beginning of my solo period, around 1989. It was a regular on my set list for a few years. It's a great number for me, but I don't do it now because I tend to replace cover versions continually cos it keeps both me and regular solo attendees amused.

From Amy:

Hello Graham,

I am one of those Brinsley Schwarz dummkopf questioners. Oh well. From a fan's perspective, I find it weird, and sad, yet okay to have felt such passion about music in younger days and then to find it has slipped away. Do many feel this way? I would like to regain that passion for music. Does anyone have a recipe, or is it just a 40 something wishing to be a 20 something again? Music was very special for me. One weekly public radio deejay in our town, Riley, has such a talent for choosing great songs and mixes of songs that I feel a bit hopeful.

There are moments of high enjoyment, however, and your Pittsburgh concert was one. In contrast, I attended the concert of another "old" favorite in a different club only to be disappointed when the show ended after about an hour. Is that all the fans were worth? There was a hint that the management pulled the plug so as to move out the not-so-heavy drinking (spending) crowd and bring in the regular salsa crowd. Downright reprehensible. They are not likely to get much of my money. (They are not likely to miss it either.)

I enjoyed your thoughts from the chairman. I don't think much about corporate radio because I can't tolerate it beyond two songs and I switch back to public radio. I wish you and other truly talented artists the greatest success because you and some of them have brought me a lot of listening highs. If only wishing could help.

All the best and pardon the B.S. question. It is just fun to speak with someone you have been a fan of. How's this question instead? How 'bout them Steelers? Cold enough for ya?...

I think that the appreciation of music that we had back in those "album oriented" days is disappearing fast. One feels like an old fogie to say it, but young people just don't get into the deep arc of a worthwhile album anymore. And who, at our age, has got the time? (And singles ain't what they used to be, that's for sure!)

I was reading a long article in the New Yorker the other day about the imminent death of the recording industry and Malcolm McClaren pointed out that even though it is disintegrating before our eyes, no one really gives a damn! He said if this were happening to the movie industry, we'd at least say, "Wait a minute..." but with music, it's not causing much of a fuss.

To me it appears that the eras of great pop music are over: it's just not important anymore; and I guess people of our age group – coming from a time when rock 'n' roll literally defined our lives – have just gotta let it go. Like you, I listen to public radio, but even then I shun music and stick to talk and news. Books and TV are much more important to me anyway.

I can't help but keep dragging the corpse around, however, cos I'm still writing better songs than 90% of the other acts out there (plus, I don't fancy learning how to be a plummer or something), and I enjoy playing live much more than I used to, cos I'm finally getting the hang of it (although walking onto a stage still feels like stepping onto the surface of Mars: I just adapt to it a lot quicker than I used to, is all).

Thanks for the support in Pittsburgh. This is all you can do: enjoy the odd sliver of entertainment from a now redundant art form: just don't expect it to transform anything anymore.

(Sorry, whatever the Steelers have done recently slipped by me.)

From Larry:

Graham

My wife and I were fortunate enough to catch your "Lost Songs" show in San Diego.
WOW. What energy that band had. I hope you enjoyed the short tour (because I am sure when the money was split up....there wasn't much financially to go around).
I bought the CD at the show and have really enjoyed it.
How was it decided who did each song on the CD? Did you all do other songs and the best version was picked? Or were you each assigned your own songs to do with as you pleased?
I liked what you did with Tip of My Tongue. You took an airy, almost bubblegum type song, and gave it some feeling. You did the same in my opinion with I Want You Back.

Again, I was amazed at the talent and energy put forth by the entire band. It's not often you get to witness such greatness in such a small venue. Obviously you folks on stage were in it for the music and/or the company you kept.

I have never really been big on multi-artist "tribute" albums. In fact this is the only one I have ever owned.....it is a goody.

Thanks for the great show. My wife and I look foward to perhaps seeing you solo again soon closer to our home (in the San Francisco area)

larry
ps Did you get any feedback from Paul?

Thanks for the compliments on the "Lost Songs" show. It was the most enjoyable tour I've ever done. Pity next to no one came. Their loss.

Jim Sampas, the producer whose idea it was in the first place, originally asked me to do the whole thing! After listening to the songs, however, I was not prepared to take on such a mammoth task, because I thought that only a certain amount of tunes were suitable for me. Therefor I picked out 5 numbers and told him to look for other artists to do the rest. His idea was not to do a typical tribute with a different artist for each song, every selection recorded differently in different locations and studios all over the place; he wanted a consistency lacking in most tribute albums. So he picked out a fine group of musicians (the band onstage were not the studio band, by the way) and used them as the core backing band. I went in first and recorded the songs I'd selected, then Bill went in and did his stuff. I then returned to the studio to do backing vocals on Bill's stuff and he did back-ups on mine. Kate came into the picture later.

No feedback from Sir Paul.