ZANG TUUMB TUM DISCOGRAPHY “…or the imagination”

One February Friday

Peter Gill: After you Nash
Brian Nash: My name’s Nash and I’m a red Muso.
PG: ergh my name’s Ped. I hate some people and I like some people
Mark O’Toole: My name’s Mark and I wear kecks that make me looks as though I’ve gotta big packet
BN: Next question
Paul Morley: So now you’re number one and you’re embarrassed by ergh by being a stars
PG: Who’s a star?
PM: Did you used to dream of being a star?
MO: Yeah all the time. I used to stand in front of the mirror in me room with a cricket bat pretending I was…
PG: You dream of being it but but when it happens like you don’t really think you are, I don’t think we’re stars.
PM: What do you think you are Ped?
PG: I’m just an animal that bashes drums
PM: If you three were about 14 would you in Liverpool have formed a gang?
PG: I was in a gang.
MO: So was I
BN: Everyone’s in a gang
PM: Are they?
BN: Yeah, you’re an apprentice hard
PM: Are you a fully fledged hard now Nash?
BN: Oh aye yeah well ’ard!
PG: I mean, yeah I think quite a lot of people in Liverpool, young people, have got little gangs like.
BN: You need to be part of something, don’t ya. You’ve gotta be in a gang. If you’re not in a gang you’re a no-mark. You gotta ’ang around…
MO: If you slash 250 people you get a silver Stanley knife. We can be suave if we want to ya know.
PM: But like, does it like do you like indulge yourself in your number one, does it give you a position of power?
PG: I don’t know.
BN: You can use the laundry in the hotel
PG: When you’re number one, we’re, just like, living like, like we always do…
BN: When you’re 77 you can’t.
PM: Do you consider yourselves to be musicians?
PG: Naaaahhh
BN: Musos…
PM: Are you the energy of Frankie Goes To Hollywood?
PG: Yeah we are you know what I mean, but I mean… musicians? Naah!
BN: We’re the hammer that knocks the nail in
MO: I mean, I mean, I mean.
PM: What’s the nail then Nash?
PG: Well
MO: Whatever you wanna be.
MO: The nail are the two front men.
BN: But without the hammer the nail’s useless, innit.
PM: What was your first thought when you found out you got to number one?
MO: Let’s go out and have a good lig.
PG: Let’s have a laugh I think it was. I mean we were having a laugh up to we were number one.
PM: Is Frankie Goes To Hollywood different from Wham! and Duran Duran and Spandau Ballet…
PG: Well
PM: …because you’re a little bit more honest about things.
BN: The only way we’re connected to Wham! and Duran Duran is that we’ve all got willies
MO: I don’t think that’s true either
PG: I think we’re honest about things what what what makes us different I’m not really sure maybe our music? I don’t know. It’s like I mean it’s music ain’t it…
PM: Aren’t you all the same just looking for a quick laugh and a good drink?
PG: yeah well like everyone is, you are.
BN: I think its its you’re out to have fun and it’s not manufacturer it’s like it’s not manufacturer like this big glam teeny bopper thing
PG: I mean you’re not number one at first it’s the spondulee ain’t it. The cash. Everyones in it for cash really I mean we wouldn’t be getting recorded and we wouldn’t be on no label unless other people wanted cash, you know what I mean?
PM: Oh I Do.
PG: There, There you go, Everyone’s in it for cash.
BN: You can’t necessarily do it for the love of the music
PG: …cash isn’t our number one but it’s good to have, you know what I mean
PM: You gonna help your mum and dad when you get cash?
PG: Yeah
BN: Yeah
PG: I know it sounds rather like, teddy bear-ish but eeh, my old fella’s alright like.
MO: One of the lads Ray, and Gerry, and Eddie
PG: He helped me through my younger days
BN: When you was a sproglett
PM: What about if you was just suddenly plonked like £30,000 in your hand?
PG: Well then I’d go out and I’d get drunk and I’d dunno I dunno I’d buy a Ferrari and wrap it ’round a lamp post you know what I mean


Paul Morley: Your, your record company indicated that one of the reasons they wanted to sign you was simply because they liked the fact that you seemed to want to have sex with as many people as possible in as many different ways…
Peter Gill: or as many girls as possible
Brian Nash: or as many objects as possible
PM: Is that your gift?
PG: What, getting into girls
PM: Lust
PG: Lust? It’s sorta comes like, birds, ale,
Mark O’Toole: Money
PG: Money
BN: Cars
PG: and maybe drugs i’m not sure about that one yet.
PM: Is that what pop music is for you then?
PG: Yeah, sex drugs and rock ’n’ roll, you know what I mean. The full trip
PM: yeah. Do you think Ped that maybe in a year or two you might well die?
PG: Possibly
BN: I hope so
MO: So do I actually. It’ll be quite a memorable occasion
PG: If I die I hope I die on the job

PM: Ped.
PG: What
PM: How would you like to die?
PG: Well
MO: Class, in a classy way
PG: I, I, I thought I told you. If I’m gonna die I’m gonna die, there’s fuck all I can do about it so maybe I shouldn’t think about it
PM: How would you like your pals, if you have any, to celebrate your funeral?
PG: Well I’d like them to get really pissed and say ah, Ped, not a bad lad, shit stinks like, but he’s gone now so let’s get pissed, you know what I mean.
MO: Fuck ’em right off and rob his new stereo he bought
PG: You know what I mean
MO: You know what I mean. Can I have your stereo if you die?
PG: Yeah. You know I wouldn’t wanna people to like grieve over me cos I was fucking no one when I was here.
PM: Does any body love you?
BN: I would love to die on stage.
PG: A couple of people I think.
BN: Dead muso. Madison Square Garden. I’d just go ha ha I’m just gonna die and you’ve just paid a tenner to see me fuck off you
PG: I mean does anyone love you?
PM: Oh one or two
MO: I don’t believe that
PG: Same here
PM: What about you Mark. Have you thought about dying, how you’ld like to die?
MO: erm erm erm. I’d like to die on the job. That’s about it.
PM: Is this the standard Frankie Goes To Hollywood wish, dying on the job?
BN: yeah. Come and go at the same time.
MO: (laughs)

Credit: Transcribed by

Notes: Certain words are censored on each release. Fucks are reversed out on cassette versions. CD and digital versions follow their source.