Ray Bonichi: Hi, this is Ray Bonichi and I'm talking to Andy Partridge of XTC about this beautiful album called The Big Express on Geffen Records. Has it been a year since the last one, Mummer?
Andy Partridge: Uhh, about 18 months, so - whoo, took a lot of writing, lot of rehearsing.
RB: Why The Big Express?
AP: Uh - actually, this album had so many titles along the way - it's been everything. It started out as Hard Blue Rayhead, for no other reason other than I liked the words, then it was The Son of Hard Blue Rayhead, 'cause it changed a little and mutated, and it mutated so much that it became The Bastard Son of Hard Blue Rayhead, and then it was Coalface for a couple of weeks, which we thought was a nice expression, and then The Big Express was chosen partly because of the railway connotation, and we live in a railway town, and it is our yearly big expression, it's our big express, we're expressing ourselves... (smarmy voice) Our thoughts, our hopes for the future... So it's the express with two connotations, a railway connotation and a connotation of expressing yourself.
RB: The very first track you've got there is called "Wake Up," a very appropriate track to listen to in the morning when you're half asleep.
AP: Yeah, Colin gets the opener again on this one. It's a Colin song, he's the photogenic one - damn him! (laughs) And this is his paean to people who don't seem to live their lives other than in a sleepy state and don't notice things going on around them. As we were recording this, Dave came to know this track as "Colin's Folly" because we were rapidly running out of tracks, and the amount of instruments that were going on and we were deciding "Shall we use this instrument or not?" Shall we use this 60-piece choir here or not? Shall we use these five pianos or these cellos and things? So we were piling this stuff on and the identity of the track was continuously changing, but the version that's now been fixed is like one of a million possibilities of what it could have been. The choir, actually, is all one person, it's a singer called Annie - Huckrack or Hushrack, I never knew how to pronounce her name, and the choir was the suggestion of David Lord, he was the producer that we worked with. I didn't envisage a choir on it, and I don't think Colin did, and the suggestion came up and we sort of looked at each other a little askew and said "OK, we'll give it a try," and I think it worked out lovely, because it has that kind of half-awake half-asleep feel, that celestial porridge floating through your head - beautiful girl voices. And I think it suits the track lovely, so we left it all on - which was just as well, because it took a hell of a lot of work getting her recorded about sixty times or whatever, bouncing around.
RB: "All You Pretty Girls," now, that's the current UK single, and now it's going to be the US single as well - it's a mixture of modern folk music, if you want to call it, with pop music, with the usual potpourri of ingredients that you put into XTC. I believe the credit goes to you on this one?
AP: Yes, I'm the - the strange squeaking noises, by the way, are nothing to do with any of my bodily orifices, a lovely leather chair I'm sat in here... Yes, "All You Pretty Girls" is - the few people who've heard the track so far, because it's not been officially released yet, but the few people who have heard the track so far have told me everything from, "It sounds like a whaling song or a sea chantey," and two people said it sounded like a Western theme song, you know, something like Bonanza or Cheyenne or one of those kind of television cowboy shows. Somebody else said it sounded Chinese, somebody said it sounded like some real cool jazz, so - (laughs) If you haven't heard this track, you're going to have to do a lot of imagining, 'cause I suppose it's got all those pieces in it. The song was written - I was playing around with an echo chamber and a guitar, and just tapping around with my foot and chopping away with the guitar and using the echo to supply the backbeat, you know - (imitates rhythm of "Pretty Girls") - and it had that nice rolling feel, and I kept thinking of the sea and this continual rolling - (imitates rhythm) - and the actual chords that were played were very simplistic, almost, as you say, kind of a folk song structure, and it sort of married at the back of my head, folk song/sea, and you get this kind of - it just grew into a chantey based on forever leaving, forever going away, whether you're touring in a pop group or rapping around the country, or whether you're traveling from someplace to another, continually leaving home - you know, you think, is this going to be the last time - am I ever going to see it again? And so it's got that "Am I ever going to see any of this again?" thread to it, but it does have this quasi whaling song or the Oriental percussion in it, which is probably why someone said it sounds Chinese, mixed with a sort of everybody's folk bass line, which is probably why it sounds like a cowboy theme song or something like that. And the chord structure in the verse is very jazzy, it's very kind of cool jazz chord structure. So it's a hell of an insect, this one!
RB: At this point I must ask you, because I'm very very confused now, where your real love of music lies - I mean, you love pop, folk, jazz, whatever -
AP: I like most things, and I must be truthful - if I like it, and it sets something off in the back of my head, I'm not particularly interested in its origins. If I like it, it doesn't matter where it comes from, whether it's something from classical music or something from blues or whatever, it's there for the taking - if it does that to me, I feel the right to take it, and use it, if you see what I mean. So I'm not proud about nicking styles from different sorts of things, if they set me alight and if I can use them, then that's fine. I think that's the same with most things, it goes for the world of clothes or painting or writing or whatever, if certain styles set you off, then you shouldn't be afraid to grab them 'round the neck and say "I'm going to have you, I'm going to use you! Come here, you've set me burning internally, now I'm going to use you and you're going to serve me!" You have to grab these styles and be unafraid and say, Yes, I'm going to use this. I mean, that's why it does sound like a Chinese sea chantey with cowboys riding through, in berets and dark glasses and goatee beards! It's a strange tropical mix of those things. But they're the particular elements that arose while the song was being put together. It's an enormous junkyard. I think the whole album is.
From: http://chalkhills.org/articles/Bonichi1984.html
