recorded it and it was ready for Christmas for release this year and I did the the video in January. Then the pandemic came and the first thing I thought was well, this is my song, my record. It is completely insignificant looking at the big picture. I will postpone it. I talked to my team and then we thought that there is going to be a lockdown. Everyone is going to need culture more than ever just to comfort themselves. Movies, TV, music. And so we changed our mind. Now, I knew obviously it would restrict everything in terms of getting out there. But look at us. I am at home. This is kind of cool. I do not have to leave the house to do my interviews. I can have a cup of tea on the side here. How close are you to writing and releasing an album or EP of all new material? I have an EP ready. Initially, my thoughts were to see how the single goes. But just in case, I have some stuff and there will almost certainly be a second single and almost certainly be an EP. Everybody was asking for an album. Albums are a big commitment. I think that the climate has changed. We are all creating our playlists and jumping from one artist to another on the streaming sites. I love that technology. I use it myself, so I think just good tracks are going to be the future. If you have a big record deal with one of the majors like Sony, Warner, or Universal and you sign that contract that says three albums in three years, then you have got to do it. There is no pressure on me. So we will see what happens. When you look back at that first Kajagoogoo album White Feathers, what do you think of it now in retrospect? I love the sound of it. I love the fact that it was recorded on analog tape. I think it epitomizes almost that early 80’s sound and I am quite proud of it in that respect. Personally, I think my vocals sound a little bit young. My voice was... I mean, come on. I was twenty-three. I just think my voice sounds a little bit more interesting now; a bit more mature. But of course, I cannot take away and I do not want to take away from the success of it. Too Shy and Never Ending Story kind of works on those recordings. But on some of the album, I always think I could sing that better now. But I guess most artists are like that, you know? Never one hundred percent satisfied. Too Shy was produced by Nick Rhodes of Duran Duran. What was that experience like working with him and have you kept in touch with him over the years? No, we have not spoke for a long time. No particular reason. Life gets in the way, but I believe he thinks of me every time he gets his royalty check. It was an absolute thrill. If Andy Williams launched The Osmonds, and Diana Ross launched the Jackson Five, Nick really launched us. Nick Rhodes, I met him in a nightclub where I was a waiter in the Embassy Club on Old Bond Street in Central London. It was a very cool club and lots of music and media people came in there. One night, I served him a drink. He was in there with his manager then, Paul Berrow, and I started telling him all about the band. To my amazement, he just said, “Well, send me your songs and I will have a listen.” A week later, he called me up and he said, “I really like the songs. I am going to take them into EMI Records and tell them I am one of the producers” and that is what happened. Working with him was a thrill because also on board for production was the Duran’s producder of the first two albums, a guy called Colin Thurston. So you had the skill and experience of these people. We were just like young kids from out of town. It was such a thrill. Nick is HIGHWIRE DAZE
July/August 2020
very laid-back, very charming, and quite intelligent. Just all good memories. How did The Never Ending Story come about and what was it like working with Giorgio Moroder? Getting a call to work with Giorgio Moroder would be the equivalent of an actor getting a call from Steven Spielberg. When I got that call, I was so excited because he had written and produced so many amazing records that I love. When the band split, EMI Records asked me to go to Japan for this massive event called the Tokyo Music Festival and Giorgio was there. We connected a bit, but I did not expect six weeks later or thereabouts, he called my manager and said, “I would like to try Limahl on this movie soundtrack I am working on.” So being the stupid 23 year old that I was, the night before, I was due to fly to Munich to record it. I was up all night partying. I was smoking cigarettes, drinking lots of alcohol, I had about four hours sleep. When I got to Munich and we tried the song in the afternoon, I just could not sing. The voice was going “No way Jose.” Giorgio was very cool and very calming. He said in his lovely Italian accent, “Hey, do not worry Lim. We have some food, a couple of drinks, and we try again later.” So anyway, that is what happened. I do not think my voice works before six o’clock. So we nailed it about eight o’clock. I had two glasses of wine, but somebody told me the other day that there was a rumor that he got me drunk and I said, “No, that is not true.” It was a thrill! Actually, he just had his 80th birthday and his wife emailed me and said that she was planning a sort of surprise for him that I do a little greeting by video, which I did. The next day she told me that it was just the two of them and lots of messages - probably from people like Irene Cara and Berlin who are the Top Gun theme people. I mean, you can imagine the people that might have sent messages. She said that he had a great time. After you left Kajagoogoo, they did two more albums - Islands and Crazy People’s Right To Speak. Have you heard those albums? (Please turn the page...) 35