Dali's Car





AN INCLEMENT DAY in central London. Pete Murphy, Mick Karn and myself are clustered around one of those upright ashtray-on-a-stand affairs in a poky but cosy recording studio. The interview unfolds in an amiable but subdued manner. As becomes apparent (and I had been led to expect worse) neither are hostile but clearly don't relish the task.

This is the first time I've met either. I kept expecting Pete Murphy's hair and tie (had he been wearing one) to suddenly fly backwards as in the Maxell ad. Mick Karn has a surprising and, shall we say common voice, rather like the clichéd brogue of a south London blagger, at least when he's not using long words. He still has the pretty visage of a thousand and one Japan photos although the searching lights of today's picture taker discover a facial mole. Mick: "Moles are cancers, y'know."

The Dali's Car project was evolved over the last year. Previously unacquainted, a Japanese journalist had suggested a collaboration on finding Karn needing lyrics for his music and Murphy vice versa.

Had you been aware of each other's work?

Pete: "I was aware of Japan's stuff and I really liked Mick's solo album."

Mick: "I wasn't really aware of Bauhaus that much but I was aware of Pete's vocals. That's what I would home in on if I happened to hear a Bauhaus track on the radio."

To continue reading this article and to discover many more (over 140,000 words-worth!), purchase Mick Sinclair’s Adjusting the Stars: Music journalism from post-punk London. 



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