Barry Stone Nukleopatra Ep4

lcome back to Nucleopatra, making a Dead or Alive album with me, Barry Stone. I'm looking back on the album I made with Pete Burns and Steve Coy in 1994, which has just celebrated its 30th anniversary. We are already on episode 4. So if you've just joined us, you need to go back and catch up. How are we all doing? Hope you're all good. Lovely to receive all your messages and read all your comments. Good to know that for many of you I've become part of your Sunday ritual. I've been going through the tracks on the album in the order they were recorded and sharing my memories of each one. I've been using my trusted Filofax to help me with dates and I'll be going through some more of the tracks a bit later in the episode. But before we do anything else, I wanted to have a little moment of appreciation for somebody who I know most of you will be really familiar with. I'm sure a lot of you are regular visitors to the Pete Burns of Dead or Alive Bright Star Records official Facebook group. That's a mouthful, isn't it? This group was set up by Steve and Carlo Ottavi in 2010, so it's been running for over 15 years. It currently has over 14,000 members. And Carlo Ottavi is instrumental in keeping this group alive, which in turn helps keep all us fans of Pete and Dead or Alive connected. I knew Carlo was a massive fan of the band and had been a friend to Pete, Lynn and Steve, but I didn't know much more than that, so I thought it'd be nice to hear from him on here as he plays such an important role. English is not Carlo's first language and he felt more comfortable in sending me a passage of text to read out, so I'm going to share that with you now. Hi Barry! Firstly, thanks so much for involving me in the celebration of Nucleopatra's 30th anniversary. Let me introduce myself. My name is Carlo Ottavi. I live in Ferrara, near Venice, Italy. I've been a Dead or Alive fan since the early months of 1985. I'm a huge collector. I started working with them in the late 90s as an admin of the forum within the Dead or Alive official website, The Right Stuff. Over the years, I often met... Pete, Steve and Lynne. We were friends. In 2010 Steve and I opened the Facebook group Pete Burns of Dead or Alive Bright Star Records official group and Steve asked me to run it for him. I've organized several events in nightclubs in Italy among which I fondly remember a Dead or Alive tribute evening in 2005. Both Pete and Steve wanted to know the songs I'd choose for the DJ setlist and they were keen for some Nucleopatra tracks to be included. Speaking often with Pete and Steve, the Nucleopatra album was very important to them and the meaning it represented, and they were very keen for it to be spread. It was also nice that Rome was mentioned in two songs, I'm a Star and International Thing. I was particularly pleased that Italy was remembered in these two songs. I really love the Nucleopatra album, especially for the lyrics. Pete is so autobiographical and possesses such a powerful, expressive statement at the highest levels, a manifesto of freedom and self-determination. I will be forever grateful to Pete and Steve for everything they have meant to my life and for how I survived, thanks to them. Carlo Ottavi Thank you Carlo for that, and on behalf of the Dead or Alive community, thank you so much for everything you do in keeping us all connected. On with today's episode and we have another guest interview and another complete Dead or Alive legend. We are joined today by Mr Dean Bright. I was so happy that Dean agreed to help me celebrate this very special anniversary. He has such a fascinating history with the band that goes all the way back to 1984 when he just graduated from St Martin School of Art. And Pete fell in love with his MA degree collection, and in particular, a certain purple dressing gown. Dean is certainly another one in the trusted circle, and his long-standing friendship with Pete, Lynn and Steve led him to joining the band, touring and promoting the Nuclear Patra album throughout the 90s. Dean told me just hearing the word Nuclear Patra being said out loud gives him shivers and flashbacks. But we started our chat back at the very beginning. and Dean told me the story of how he came to meet Dead or Alive. I studied fashion at St Martin's School of Art, as it was called then, and I was there for five years. I did a foundation course and a four-year fashion design course. John Galliano was in my class for the whole five years. We did the same courses. We were always in the same class. And so we graduated on the same day. I did my collection, as far as I was concerned, I just wanted to get it done. I wanted to move to Paris, get a job, just anything, just get a job. I've been a student for five years. On the day of the graduate collections, my collection got an enormous response, which I hadn't planned for. And within hours and days, the phone wouldn't stop ringing. And I did a photo shoot, which ended up two pages in the Mail on Sunday with top mail models with all of my collection. And that's what... Pete and Lynne had seen. They had seen that. A month or so later I did a graduate degree show exhibition at Hyper Hyper Market in Kensington High Street and I kind of volunteered to man the stall. There was mine and about five other students work on display and who should walk in but Lynne and Pete. and I kind of knew what Pete looked like. I didn't know his music, but I'd seen pictures of him. You know, the hair was up here and over there and so was Lin's. But anyway, they came in and they said they'd seen the picture in the paper. They loved it. They want to buy it all, everything. And I said, well, you can't because I'm taking it to Japan. Oh, and Pete wouldn't try anything on. He was too embarrassed. to kind of try something on in a little stall. Anyways I gave them my number and a few days later, maybe a week later, the record company called and said could they use the clothes for a video, a photo shoot actually it was, a photo shoot. So off I went, I took the entire collection to a studio in Islington and that's where I really met them because they were doing pictures. for You Spin Me Round single. So you were at that session with Peter Brown? Yeah. And that's where I first, they were more relaxed. You know, I met Steve. I met the whole band were there. So, and they said they wanted to buy everything, my entire collection. So I said, yes, but they'd have to wait until I came back from Japan. And they said, fine. So that was amazing. They bought it all. and they let me keep it they paid for it steve made sure i was paid so so you said they bought it all but they let you keep oh let you take it to japan you mean yeah they let me hold on to it because i like a few weeks later i'd been booked to take it to japan with suzanne barch who put on a big london goes to tokyo fashion show something like 20 designers from london were taken to to Tokyo to do a big... fashion show yeah yeah and so you were there for a week or something oh yeah a week of jet lag and you know nonsense yeah i think they did wear my stuff on top of the pots once yeah i think i seem to remember an oxford road show performance where people are wearing that and we should say this is obviously the purple dressing gown this is the purple dressing gown so also at the same time so the purple is part was part of my degree show I did the purple velvet for my degree show. Now there were two garments. I had five meters of that fabric. That's all I ever had. Two garments. And whilst I was in Hyper Hyper doing that exhibition the stylist from David Bowie came in. They were filming a video across the road at the Rainbow Room and they borrowed the purple. David Bowie was photographed in it. at the same time that i met pete so i mean that those two purple garments got photographed so much but there were only two so they were identical garments but there's only two kind of knee length and one was full length right he had the full length one i'd already promised the short one to my um ex-lover so he had the short one right neither of which now exist what do you mean Well Pete's one got altered, it got bunged in bags it got lost in storage um so anybody listening if you got to get in touch we want to know where the purple dressing gown is well yeah i i think it might have gone in the bin myself because um it just was i don't think it was in particularly good condition last time it was seen i remember it being very heavy i did try it on once it was very heavy oh really oh so when they came so they bought it on when they came to do the video were you aware did the gun it had to be altered or did it actually fit in like a glove i mean it was a bait i think it was too big for pete you know it was quite big because in the video it's kind of falling off his shoulders right the best uh image of pete is from the album cover the mario testino shot wearing the purple and for that it is perfect where pete's face looks like the moon you know kind of with the light shining off his face it's amazing yeah it is amazing yeah so then i didn't off they went and they made the video and spin me around didn't come out didn't get to number one and for six months yeah it's months made the video but but at some point i guess the promo because there was a lot of promo posters for both the album and the singular at the time so you were seeing your garment had the youth the mario testino pictures would plastered all over London. You know, that was another thing of stretching that those two purple garments kept appearing in public and were in the public eye at that time. It's just crazy. Yeah, must have been really exciting for you walking past these posters. Yeah, it was. I mean, I've still got little snapshots that I took in Highgate and in Waterloo and, you know, of the posters on the wall. Wow. Yeah, mad. So they kind of went off and did their thing. When was the next time you were contacted by the band? I ended up living in All Saints Road in Notting Hill, which at the time was like a frontline. If you wanted to buy drugs, you'd go to All Saints Road. Fortunately for us, there was this very cheap building where we could have little studio rooms, which I ended up living in. It became a squat. Anyhow, so... Mr Pearl and I lived there and so we'd be walking back and forth to Notting Hill and occasionally we'd see Pete and Steve and Lynn walking and we'd kind of just wave and like hi and are you and so we kind of knew they were in the area which was a bit titillating and next thing we knew we met them at Taboo we bumped into them at Taboo nightclub phone numbers were exchanged again we didn't have a telephone in the building you know we'd have to go out to the phone box so we would pest phone them saying what you're doing where are you going and then we started to meet up going out right so basically you see them out on the scene yeah so then we started partying and seeing each other out at the nightclubs yeah you know we used to go around to chepstow road to the we called it the haunted house um because we called them the Addams Family because they were always in black and all of that. So we'd be going out and we were invited to go and see Michael Jackson at Wembley and Prince at Wembley, both within like a month. Pete and they invited us, me and Pearl, to go with them. So of course we had to make outfits. So we made these satin coats. and sequined skull caps and we were dressed up to the nines and we they took us in limousines and backstage and out to parties and then i think it was just after that they did the spin the uh turn around and count to 10 video and those outfits are featured in that video so we then we had the outfits we only made them to go to see michael jackson not for the video so you do just Oh we're going out, we're making an outfit. Well yeah and also we only had like three days notice so we didn't sleep for three days making the outfits. Really? And Pearl had got these stockings where he'd sequined images of penises ejaculating this big foam all up our legs and we had ballet Louis heel shoes and dyed to match the goats. You know it was a big number. This big number made a big impression on the band and Dean and Mr Pearl were invited to be in the music video for the next Dead or Alive single, Turn Around and Count to Ten. 

[Music]
They were going to be making a video. They liked to include their friends in everything they did. They were very welcoming. once you know once that you they were comfortable with you they were really very welcoming people. Yeah. So you've said the making of this video is one of the best days of your life. Tell me about the actual day. It was just so magic because, as I said, we'd had those experiences going to Wembley, you know, the whole limos and, you know, Pete was a pop star and we were very impressed. We were living, sleeping on the floor of a squat, you know, in a basement on the road of a drug dealer's road. So we, for us, it was... really was the highlight. Glamorous. Yeah. And cars were sent and, you know, we were just treated really, really well. So I think this is a good point to bring Lynn Burns back in. Lynn's also going to reflect on shooting the video for this song, meeting Dean for the first time, and his partner in crime, Mr Pearl. I've known Dean since 1984. He designed the purple velvet gown that Pete wore on the spin me. cover and in the video. So we've known Dean that long and we've always been friends. And Dean used to have his partner Mr Pearl who made corsets and then he went on to be this incredible corsetier to the stars. Pearl went on to make corsets for Thierry Mugler, Christian Lacroix, Jean Paul Gaultier, Galliano, still makes corsets now for clients, international clients. Well he made his first corset for Pete, for the turnaround account 10 video he made two in fact one was made out of pairs of jeans cut up and reassembled as a corset and the other one was black under the bust corset which is in the turnaround video /and the first time i went with pearl we took it around to try it on pete he was of course he was amazed because his waist reduced by about five inches but about two minutes later Yeah. panic set in because it's extremely tight so the scissors had to cover he had to be cut out very quickly but he got used to that and i mean just imagine reducing your waist five inches yeah so if you do it over time you know yes that's what they used to do in the old days isn't it and mr pearl went on to reduce his waist slowly over time down to 17 inches which is as big as my neck. Wow. It's minute. It's brilliant because you can see that corset in that video. Mr Pearl and Dean had one condition, though, before they agreed to appear in the video. Pearl and I decided that we would not be in the video unless Lynn Burns did our makeup. So she was contractually obliged. But they were Pearl and Dean. I remember. And both in the video for that time. Yeah. Genius. Genius. So turn around and count to ten Before you lose the only one who really loves you Somebody who loves you just as you are Not how you might have been We started early in the morning, maybe 7.30, by the time they would make a costume. I think they were on set for about two hours and then they just collapsed. So we were like there at seven o'clock in the morning getting our slap done, because then Lynn had to be free to do peak. So we were ready very early and we peaked very early. I think they were on set for about two hours and then they just collapsed. They were over by noon. We were lucky to get that footage of them. Really? Yeah. But it was a messy shoot, you know. What can I tell you? I think by about two in the afternoon, we pulled the wigs off and said, that's enough. Yeah. Lynn reckons it was midday. Oh, yeah. It might have been 11.30, you know. It did look from the shots you used, you were very high, and a lot of energy was expelled. Oh, yes. Yes. It was the summer of love. So fans of... turn around a count to 10 will remember the fantastic 12 inch mix called the pearl and dean i love bpm mix well um this might be a i was today years old moment for some of our listeners but the pearl and dean here is not the british cinema advertising company but in fact mr pearl and our very own dean bright yeah so your name is immortalized on a classic 12 inch does life get any better no absolutely not not at that time as i say as we were sleeping on the floor in a squat. We felt we'd really hit the big time there. And Steve actually really seriously tried to buy the rights to the Pearl and Dean soundtrack from the cinema advert, but they wouldn't sell it to him. Really? What was he going to do with it? Put it on the 12 inch? On the start of the song. Wow. That would have been good. Yeah. In our minds, it was there. Hearing that track brings back so many memories. The summer of 1988 was a time I was desperate to hear something new from the band. It felt like we'd been waiting a year to hear new material. And I think I'd heard that it wasn't going to be a stock Aiken and Waterman record, so I was probably a bit apprehensive that it was all going to go wrong. But when it finally arrived, I was obsessed and played it to death. It's so full of energy, it's relentless. Pete sounds fantastic on it and the boys really made a spectacular comeback single. A real showpiece, setting the nude album up so beautifully. Shame the record company completely fucked it up. It should have been huge. I also vividly remember staying up very late one Saturday night when the single came out, waiting to see the video for Turnaround and Count to Ten, which I knew was being reviewed on a show called Night Network. I seem to remember Wendy James from Transvision Vamp not giving it a very good review. 


I don't think I actually saw the full video until years later, which goes to show you just how starved we were back then. Sometimes you had to really go out there and search for your pop. It wasn't all handed to us on a plate. definitely were the delayed gratification generation. Some more fabulous chat from Dean coming up a bit later on. Right now we're going to go back to recording the album and we're on our seventh track already. Can you believe it? I'm looking at March 21st 1994 where in my diary I have an entry that says Crisis Right Stuff. Ain't no doubt about it, you can't get to sleep without it It's the right stuff, baby, it's the right stuff Come and take my hand and turn the boy into a man I got the right stuff, hey, I got the right stuff Wanna try the right stuff My memories of recording The Right Stuff are a bit foggy but I'm pretty sure it originated from one of Steve's floppy disks Back in the day when you'd load up one of these disks the arrangement of whatever was saved would load up into your Cubase and it would be MIDI information. That's all you'd get, so no sounds, just MIDI information, which we could then use to direct the MIDI triggers to play whatever keyboards you choose. So everything on the arrangement would likely be labeled. You'd have kick, snare, hi-hat, bass, high string, whatever. And I could then go off and find sounds for the parts to play. It didn't take that long and really it was just a starting point. So with the right stuff it likely was quite basic and then as we worked on it we'd build up the track. I remember Pete being really excited about the party all night long I'm going to party all night long section. Particularly the timing of where the phrase lands on the beat which I have a vague memory might be inspired by a B-52's record. So any B-52's fans out there? will be able to help us with that one. I remember this was one I didn't understand at all. I was doing as I was told, but it all seemed a bit disjointed to me. But as with the other tracks, I trusted what the band were asking of me. And like most of Pete and Steve's ideas, it all came together really well in the end. We obviously have the recycling of the Hooked on Love lyrics in the middle. T-Green did a great job again on backing vocals. This one again is very organ-centric as many of the album's tracks are. Felix, Don't You Want Me has a lot to answer for. The writing credits include Peter Oxendale, so I'm guessing this song is another one that originated from the Fan the Flame period. Which brings us nicely onto our next track. We should be together all the time Gone Too Long, like on Happy Birthday, is a song that also made it onto the Fan The Flame Part 1 album. I feel now that Pete and Steve were really proud of these songs, and as that album was a Japan-only release, including them again on this new album could potentially expose the songs to a bigger audience, who would otherwise be totally unaware of these songs. But as well as that, From what Lynn told us in episode one. It sounds like Pete was a bit over the music business around this time. So if there were songs that were lying around that could be used again, then why bother writing new ones? I think any new ones we did get were solely down to Steve's perseverance and really pushing Pete to write new material. So we have a lot to thank Steve for. I've just listened to the original version of Gone Too Long from Fan the Flame and it does sound very light compared to what we did with it at PWL. It's mainly the drums and bass. which give the newer version a toughness. But again, we've stripped a lot of the more musical elements away to make it sound more basic. The main thing I noticed though in all this is how Pete sounds better on the new version. His vocal is just way more present in the mix. There's a lyric and melody in this song. What you gonna do when you call my name from the south of Spain? It really gives me nude vibes. Stop kicking my heart around. Anyone else get that? Gone Too Long could definitely have sat very comfortably on the Nude album, I think. Tracy Ackman again, all over this one. And my favourite Tracy bit on here is the party party bit she does in the verse. I want to hear it. Love those Tracy vocals. So we are now eight tracks into the album. And by this point in the recording, We'd all gotten well used to each other and we built up not only a good working relationship, but a really great friendship. By this point, I'd gotten over the fact that I was actually working with Pete Burns. And I think the fact that Pete now looked completely different to the Pete in the spin me video helped me separate the two. It was almost like I was working with a different artist and maybe that was how my brain dealt with the whole situation. There was a point though, I remember when Steve brought in some camcorder footage from back in the mid 80s. which showed the boys recording in the top studio at PWL with Saw. 



I'm pretty sure it was the youthquake era, but I do remember completely fangirling hard looking at the screen, seeing the Pete I'd idolised back in my teenage bedroom. I couldn't take my eyes off the TV screen, whilst the actual real living life person was standing next to me. A strange phenomenon. 
But like I said, all of us had built up a great friendship, and we were having real fun in the studio. It was just us four in that room, by the way. There was no assistant, so I had them all to myself. And when we were in that room, we were locked away from the rest of the building. I remember oftentimes I'd offer to go and make tea during a break, and Pete would say, I'll come with you, and we'd skip up the stairs chatting about nonsense. We had a shared love of the Andy Warhol superstars, Candy Darling, Jackie Curtis, Hollywood Lawn, and all the films they starred in. Pete was also a huge John Waters fan. and turned me on to all his films. In fact, Pete, Lynn and Steve would constantly quote from John Waters films, so I needed to catch up quick in order to get with the jokes. I'll Have Two Chicken Breasts Please was a favourite. We had lots of laughs. I remember on one of our tea breaks and going back down the stairs with him, and I got treated to a very special rendition at full volume of Living on the Ceiling by Blumange, which could have been a Dead or Alive record. In episode one, I mentioned a song that Julian Gingell and I wrote back in 1993 for Dead or Alive, when we heard they were going to be returning to PWL. The song was called Getting Away With Murder, and I want to tell you the rest of the story now, but here's a blast of the chorus before I do. So Julian and I wrote this with Dead or Alive in mind, but by the time I came to do a guide vocal on this song, I'd completely fallen for it and decided I want to keep it for my artist project, Belvedere Kane, which by now was building up a little momentum. I had a manager and we were meeting with labels and it was all really exciting. This was pretty much happening at the same time I was working with Pete and Steve, so I really was living my best life. And as we were getting to know each other, of course, I was sharing what I was up to. And I remember playing the material to Steve and he was really excited by it and excited for me. He wanted to know what labels I was seeing and what my manager was doing. He was really interested and supportive. At one point, even suggesting I should ditch the manager and let him do it, which I didn't do. But he did say Pete is going to love this when he hears it. And sure enough, next time Pete was in, he had me play him a few of the tracks. one of which was getting away with murder. Now, remember, the guys have no idea this song was written with them in mind. But as the track was playing and Steve liked to play things loud, Pete took Steve to the side and I could see he was very animated. And basically he was saying he wanted this song and he wanted Steve to make it happen. I think Steve knew how important this song was for me. But as Pete's manager, he also needed to keep him happy. So he was in a bind. Steve wants to know what they could do to have this song.


 At this time, Belvedere Kane was just so important to me. And this song really had become one of the key songs. So to give it away at this point really didn't seem like a good idea. So I don't know how I did it, but I kept to my guns. And I said, no, I know. What a fool. It's obviously a huge regret now. Pete should have recorded that song. But I think both he and Steve understood what Belvedere Cane meant to me at that time and there were no hard feelings. In fact, they were such huge supporters of what I was doing. Really encouraging. I started doing gigs not long after this and they were at the mall, dancing away down the front. The other amazing thing was that around this time I made an EPK video to help me get signed. It was all done on a shoestring budget and involved pulling in favours left, right and centre. But Pete told me if I wanted to borrow any outfits for the video, he'd do me up a bag of clothes. I, of course, took him up on the offer and rocked up at the house to collect the outfits, which were all amazing designer gear, mainly Vivienne Westwood. And in amongst all the outfits was that red bondage suit he'd been wearing that very first time I saw him at PWL. So that's a really great memory. Back to my chat with Dean and we left off in 1988 when I was still living at home in Ireland, staying up late to catch a glimpse of the Turnaround and Couch 10 video on Night Network and by late we're probably talking 11.30 here guys. Meanwhile Mr Pearl and Dean are here living their best lives over in that glamorous London, being picked up by limousines and taken to various showbiz parties. I asked Dean to paint a picture of what going out on the scene back then looked Apart from slinking down to Dirty Dives in Earls Court, just on a regular night for a disco, just for a dance, we would go. There was a membership club called Fred's and we knew Fred. So we would just, Pearl and I would walk in with more makeup on than Selfridges has and order a drink. And then we'd say, we're not paying, Fred's paying. So we would just, we had that kind of attitude. attitude. we will be going to taboo to the fridge on the bus and back on the night bus you know so still back in notting hill yeah heaven anywhere everywhere and i've heard pete calling it the dressy hot movement is that was that like tied in the kinky kinky kind of time yeah that all merges into one yeah from taboo onwards into kinky yeah but so you're parting it up but also working by day because you did more outfits for other pop stars well at that time i was you you could get a lot of work um making costumes for music videos you know in those days everybody made a big budget music video so you know i guess you'd have stylists calling saying oh can you make five of these by wednesday morning so you just you just do that until it was done and I did, I made some things for Holly Johnson and all sorts of, I mean, so many you forget. 


It's just a way to earn money. And then you could end up on set, helping on set. Sometimes they'd have a hundred extras. What was that big Duran Duran video? Wild Boys. Wild Boys. And practically every fashion person in... And Art Person in London was working on that. It was such a big production. What did you make for that video? I think we did some kind of bondage-y things for some dancers. Right. You know, but yeah, that's how I earned money. Yeah. In those days, just making things for videos and pop stars, singers that came along. So Dean's friendship with the band, which started in the 80s, continued into the 90s and another invite to appear in a Dead or Alive video arrived, this time as part of a large club crowd for the video we spoke with Tracy Ackerman about last episode. I asked Dean about his day on the set of the video for Your Sweetness Is Your Weakness. Yes, well, I think that jumps forwards more to Kinky Glinky era. It was all supposed to be very top secret. Yes, I think it was the Hackney Empire. They had a horse, a python, a baby tiger. I can't remember what else. About 150 extras. Yeah, a big crowd of extras. and then... they aren't there was myself and david cabaret lawrence malice was in it um a bunch of of drag queens really from the kinky galinky scene so yeah so basically the party crowd they were the ones yeah yeah which they kind of recreated in the video as if yeah yeah nightclubby yeah i spoke to tracy ackerman because she's in that video as well yeah yeah She said it was a crazy day. Yeah, it was. Steve basically directed it. Very slick. I forgot about the baby tiger and I've just watched it again and as well as the horse, the python and the baby tiger, I've also clocked a harp and a grand piano. A very low-key affair. Dean obviously got even more busy with the band for the Nucleopatra era when he joined Pete, Steve and Jay. in touring and promoting the album all over the world. So there's lots more to hear from Dean in future episodes. And in fact, we're going to have a whole episode dedicated to the shenanigans the guys got up to when they took Nucleopatra on the road. Believe me, you won't want to miss that one. In the next episode, we'll be talking to Dai Vidas. Dai photographed Pete throughout the Nucleopatra era. and her images were used on the sleeves and artwork for many of the versions of the album released around the world. Di's history with the band though goes way back, all the way back in fact to 1984, so we had a lot to talk about. Big thanks to Dean and Lynn for joining us this episode. Thanks also to Demon Music Group for allowing me to include all the music you've heard today. If you haven't already got your copy of Nucleopatra, head over to thedemonmusicgroup.co.uk and get your copy now. If you've enjoyed the podcast, please leave a review as it helps others find us. You can find me at Barry Stone Music on Instagram, Facebook and TikTok. You can also head over to barrystonemusic.co.uk to sign up for access to Nucleopatra's tune. where I'll be putting up extra bits each week after the main episode. I had a message from Thomas who requested I chat about the three cover tracks Julian and I produced for the band in the late 90s, so head over to the website now to listen to that. Do join me next time for more Nucleopatra adventures. Until then, bye for now.wel

Wordless World

[Verse]
It whispered once in shadows long
A quiet hum where voices throng
The air was thick with ancient song

[Prechorus]
I crave the hush the empty sound
Where echoes fade and none rebound

[Chorus]
I wanna see wordless world
I wanna go wordless world
Where silence speaks where thoughts unfurl
In a wordless wordless world

[Verse 2]
The stars don’t talk they only glow
A cosmic dance no need to show
The secrets lost we’ll never know

[Chorus]
I wanna see wordless world
I wanna go wordless world
Where silence speaks where thoughts unfurl
In a wordless wordless world

[Bridge]
No letters carved no tales to spin
Just endless skies and winds within
The void will hum the quiet win