ON THE SuperDeluxeEdition SOFA
MARCH 2019

PAUL SINCLAIR: First of all than you, thanks for coming -

TOYAH: Thank you

PAUL: I guess the first place to start is you relationship and your collaboration because I know it goes back quite a long way, doesn't it?

TOYAH: 42 years

PAUL: OK, so how did you first get together and how did you start working together?

SIMON: I had a manager at the time which was the same as Toyah's – this is in the 70's it has to be said and he said "I'm managing this girl who's going to be huge, you should come along and meet her" so he put us together -

TOYAH: I went along … It was – was it Richmond Road in Putney?

SIMON: It was, yeah -

TOYAH: To this flat above a piano shop and we met – we instantly got on. The thing about Simon - not only is he very talented, he's actually a really decent human being -

SIMON: Ha ha

TOYAH: And in the music business that can be quite an unusual experience. So we became friends, we wrote our first song together -

SIMON: “Sky Lullaby” -

TOYAH: Truly appalling -

SIMON: It was rubbish, yeah -

TOYAH: (laughs) But then time took us apart from each other and we got together again for The Changeling. We needed a keyboard player on The Changeling, which was produced by Steve Lillywhite in '82 and Simon walked in again and we've never been apart since because you were involved with Love Is The Law (below: Toyah, Simon and guitarist Joel Bogen at the Marquee Studios, London in the summer of 1983)

SIMON: Yeah -

TOYAH: And we've just been writing together – solidly – for about 35 years

SIMON: And it's always dead easy, just happens instantly. It's always just fun, it's just – the whole thing is kind of vaguely funny. We just walk in, sit down and do something

TOYAH: It's like a psychic connection and it always has been. Simon can just hit D on the keyboard and I'm singing away and then we've got the song. Sometimes it comes in two minutes, sometimes we allow it to take six months - 

SIMON: And then we chip away at it -

TOYAH: How many years? (laughs) It's 35 years -

SIMON: Quite a long time actually, yeah. We were both fairly busy doing other things, it has to be said but it was worth it. We just trust each other is the bottom line I think

PAUL: Simon, are you a multi-intrumentalist? I mean -

SIMON: Yeah, I play keyboards, guitars, cello. I mean anything – a bit of drums although I'm not really a drummer but with modern technology you can get away with playing a bar and make it sound like you can play drums, so … It's quite OK. Anything that's plugged I can basically make a noise with

PAUL: And one of the things my audience will be very interested in – you worked with Trevor Horn, didn't you?

SIMON: I did. I was very fortunate – I met Trevor Horn when I was 18 in a keyboard store in Denmark Street and he'd just split up with Geoff Downes and The Buggles and he said what keyboards to you use and I explained and he said have you got any songs and I played him my little demo tape and his wife at the time, Jill Sinclair, who's sadly no longer with us, phoned and said we think you've got something and we'd like you to join The Buggles, briefly, which I did, for the 2nd album and they gave me a publishing deal with perfect songs and it just turned my life upside down, basically, in an instant

PAUL: And you ended up so-writing Slave To The Rhythm, didn't you, which obviously became that crazy album?

SIMON: Yeah, that's right. It was originally – Bruce Woolley and I wrote the original song which was because Trevor phoned and said "we need a follow up to Frankie Goes To Hollywood to “Relax” " and so we wrote that and Holly (Johnson, the singer of Frankie Goes To Hollywood) came down and said he wanted to change the words but we didn't fancy it at the time (chuckles) So Bruce and I started to record it and then after that it ended up … Trevor rang up and said "I want Grace to do it". Grace Jones seemed to fit as a concept ...

PAUL: Getting onto the album then. I read somewhere that title – obviously it's got the King Crimson reference but was that your idea?

SIMON: It was. I kind of said it as joke really. I just thought it would be very funny and Robert thought so too so …

TOYAH: Well, it just massages his ego, doesn't it? (Simon laughs)

SIMON: No … but it's good. It seems highly appropriate really. She is the Queen …

TOYAH: I have nothing to say about it really. The title … It doesn't bother me. I'm an incredibly independent female and I'm incredibly feminist so it took a bit of kind of wedging the door open to get that one through. But you know, it's fine. It's fine

PAUL: And of course this album came out in 2008 originally?

TOYAH: Yeah, the original format of the album. We've since re-mastered, added seven new songs

PAUL: At the time when you originally kind of wrote those songs before this new version … What was the inspiration for the songs, what was going on in your life, how did the album come about? Because it had been a while since you'd actually -

TOYAH: No, it hadn't been a while. I have a band called The Humans in America with Bill Rieflin from R.E.M so I'd already started We Are The Humans and Sugar Rush with him. That's experimental music but Simon and I were always drawn to each other because we just have this of rock style. And we live so close to each other that it became ridiculous that we weren't writing all the time. We're literally 30 miles apart. 

So it started with a song called Latex Messiah and that came really quickly and at that period I was touring a show called Vampires Rock (below) which was about classic rock and me having to wear a lot of PVC and have vampire teeth. So it was kind of ingrained that we should be using that kind of cultural reference of these kind of rock backgrounds that we both have. 

And it came so easily and I remember taking Latex Messiah back home and Robert heard it and he said "that's the best song I've ever heard". And he became so passionate about the whole project -

SIMON: He did, yeah -

TOYAH: But after that the rest of the songs kind of happened really quickly, we had a lot fun over one summer and they just kind of ... bang bang bang bang -


PAUL: And there's quite a lot of variety, it's not all rock is there because you've got some acoustic ballads like Heal Ourselves etc. I mean was it important to have a bit of variety in terms of the songs?

SIMON: I thought if you're going to do an album then try and make it into a shape rather than just a random collection of songs so we did think about the way the tempos went and what lead into the next and it became quite a story lyrically from your point of view and it told lots of aspects of your life. Which makes sense so it gave it a kind of shape -

TOYAH: What we do we sit a room and we see what happens and the room never lets us down. So usually you go to the piano or to the guitar and I say keep that, keep that, move onto this, move onto this and we kind of cut and paste biologically, organically within the room. And then I take the track away, do the first draft of the lyric, come back and sing it to Simon and then we chip away at it. 

But that whole thing about light and shade within the style of the songs . . . Once you've done a rock song you don't really want to backtrack and do another rock song. You want to push forward and try moving it into a different genre so that's how those different elements and those kind of cultural influences keep coming back into the music

SIMON: The albums we grew up listening to, there were many more journeys originally and the creativity of the 70's artists was just fantastic. You'd sit and listen to a whole album as opposed to listening to half a stream for 12 seconds on an iPhone. It was a very different world. I used to love lying on the floor and just listening to these little journeys and taking in the songs -

TOYAH: The 70's was just amazing! Lyrically I'm always trying to invert things as well. Heal Ourselves came at a time when there was so much kind of hatred. With all the stories, we're always fed bad news, the whole time. No one ever prints good news. It doesn't make money, it doesn't terrify people. 

And then Bad Man came out of the extraordinary amount of men I know who were demonised by divorce and I thought well, these aren't bad men and they're being crippled through the divorce laws. And when we wrote Bad Man both Simon and I agreed that we wanted to write something that gave the man the pedestal back. 

So that was actually – a lot of the time when we're writing these things we're both in tears because we're quite passionate about the subject matter. But I'm always trying just to invert the lyric 
and tip it 

PAUL: And how much do you think about commerciality and whether you might have a hit or radio play a certain song. Is that in your mind at all when you're -

TOYAH: Commerciality! I go to sleep with commerciality in my mind! But what does a hit mean? I think as long as you're creative that's all that matters

SIMON: I mean having – Trevor Horn taught me a lot and he was all about focus and getting things as clean and clear as possible so commerciality does – I like the idea that people would like it. I mean you write because you want to write and stuff comes out but once it's out then I subscribe to the school of trying to make it as focused and accessible as possible and if that's commerciality I guess that's commerciality

TOYAH: And also, it's my energy as well, isn't it? I'm not a ballad singer, I'm never ever going to be like Mariah Carey or Celine Dion. What I do is high energy rock. And I think the commerciality sits very well within the persona of Toyah and that's what we end up with and we've never really tried to subdue that. There's no point trying to make me super mature

SIMON: The clothes have to fit the artist, you know (Toyah laughs)

PAUL: When the album, when you first released it . . . Did it get full release, did it struggle to find an audience?

TOYAH: (amused) What do you mean? I play to sell out audiences! My audience are a live audience. I do four shows a week right through the year. We've had pop-up record shops at every venue so I've been performing these songs since 2007. My audiences just lap them up but my audience is like a club. It's an exclusive club. 

I'm not mainstream, I'm not accepted mainstream, I manage myself, I don't have a mainstream manager. I don't have a mainstream promoter. I do absolutely everything and I do non-stop sell out shows. 

I actually think the ethos of my life is the perfection of punk because I've done it all on my own. It's back breaking and the fans just keep coming, keep coming and keep coming. I mean last week I did Halifax. I didn't realise I was doing a student union venue. I mean people were begging to get in! Just queues round the block. So these are the people who made the album possible. 

This is why we got together and we were writing. Because the audiences are there and they're big and they're coming all the time. I'm just dealing with non-stop gig bookings and we would just love someone to scoop us up and say "right, Toyah, you can just get on and sing the songs, I'll do the business for you". So you ask what was the audience in 2007? Exactly the same audience as today. The people that are just outside the venue queuing to get in 

SIMON: I think what's different though is the moment because ten years ago to be an older artist you still couldn't get arrested (?) at radio but now it's a completely different story and I think Toyah as an independent woman really hits the zeitgeist now. There's people that are 60 and 50, whatever, are still young and thinking "hang on a minute, I don't want to be old" and they still listen to the same music and that's just come out. 

It's in everything, it's in the culture now. So I think timing wise it's a better time to be listened to and you can get – you've interviewed loads of bands – there's a moment and it's very interesting -

TOYAH: I think age is concept. OK yeah, physically we get older but this whole concept of everything ebbing away it's just not real to us. I don't know – I feel just as connected now as I did 40 years ago. There's so much to do and when I'm not doing this with Simon I'm co-producing movies, I have to write things for books all the time. 

It's not slowing down at all. And I think the whole message within this album is you are still you. You don't just fade away. I think that whole concept of just fading away isn't real any more

PAUL: Can you explain a little bit about then about this approach to the new edition. It's two CD's, there's some new tracks on there and I believe every track on the album you've gone back to and you've done some work on it -

SIMON: Yeah, essentially when we did the original album I programmed all the drums so we've gone and got real drums on this which made a huge difference. Clive Edwards who's off UFO played the drums and it's just given the whole thing an energy that it needed that we didn't have the first time around. Lot of the performances are still the same, we've added some keyboards and stuff that weren't there just to widen things out a bit. 

What was quite amazing to me is when you put the real drums on and you had this real rhythm section going - all those performances game up even more energetically than they did in the originals. And the new songs are a collection of various things we've done in the last couple of years. 

Hurricane, a track we really love is brand new this year. It all sounds fresh to me. In the intervening years I used to listen to it and think this album is still alive and we're just thrilled that we get an opportunity to put it out now 

TOYAH: Things like Our Hearts Still Beat – I was in a movie called In Extremis and they needed an outro song and "I said I can do it, I can do it!" Simon and I we both recently lost our parents - well, you've still got your mum -

SIMON: Yeah, she's still around -

TOYAH: But the whole premise of Extremis is losing a child but we went to the studio . . . How many weeks did we spent crying?

SIMON: It was pretty moving actually -

TOYAH: We could not get a vocal down because we sang it together . . . We were just sobbing for about four weeks -

SIMON: Not because it was that bad you understand? (chuckles)

TOYAH: No, it was just so raw. And then Who Let The Beast Out . . . I was involved with a musical in London with Scoop Theatre based on Crime and Punishment and they used 13 of our songs and they needed an extra song within a weeks notice so Who Let The Beast Out was for that musical so everything has kind of come about through request . . .

PAUL: Dance In The Hurricane, you mentioned that Simon, that leads the new version of the album. I was very interested in that track because lyrically Toyah you pay tribute to your parents -

TOYAH: Another song that took a month to record because we're just crying all the way through it. In fact Simon, you kept the very first vocal when I burst into tears -

SIMON: I did -

TOYAH: On “I held your little soul” . . . I couldn't do it without falling on the floor. My relationship with my parents was not . . . normal. My mother was particularly brutal but I wanted to pay respect to her and that whole thing of her calling from the ether saying it's all going to be OK was really important to me but boy it was hard, wasn't it? (laughs)

SIMON: Yeah. But these are very real things around this age, you start losing your folks and it's something your child self thinks is never going to happen. But it happens and it's moving -

TOYAH: And they're still with you -

SIMON: Yeah they are -

TOYAH: They're very much with you -

SIMON: You hear them. You do hear their voices. Oh, must give dad a ring and you think oh, you can't actually . . .

PAUL: And lyrically the other thing was it celebrates this idea of being an individual, be the person you want to be and let someone else write your rules etc. I find that very interesting because I have two teenage daughters and what you find it – I don't get that same sense of people wanting to be individuals any more. People want to be the same. Everyone wants to 
be the same -

TOYAH: (sighs) We're in the world of impersonators. It's terrifying. Individuality is so important. If we don't have individuality we don't have culture to a certain extent. I think one of the most important messages in the album and in the song Sensational is that you have a right to be individual. You are beautiful no matter what age, what body shape, whether you are an ideal of beauty or the ideal of what the world calls ugly – you're still absolutely effing sensational! 

The whole idea of this album is we are unique! We are miraculous! We're floating on a rock in the middle of universe we don't know. We are utterly miraculous. And that individuality is so important in the album. Of giving of voice to those who feel they're voiceless and invisible

PAUL: How hard was it work out a new running order because you've got these new songs (Simon and Toyah laugh) Our Hearts Still Beat is an obvious one to end with -


PAUL: But it must've been tricky to slot everything in –

SIMON: It was


SIMON: Actually, yeah, but once it was decided that Hurricane should be the thing that opens the first act of In The Court Of The Crimson Queen and it sort of made sense. Keep the energy up but don't put all the slow ones at the end was what I had in my head so  . . .

TOYAH: It's also difficult because we've got a song called Legacy, which we both really really love and it's so un-Toyah. We wanted to place it further forward and we thought no, we can't do it -

SIMON: But it's definitely an ending of a side -

TOYAH: It's an phenomenal song! So we had a 
few problems like that . . .

PAUL: Are you quite excited to be releasing it on vinyl, Toyah?

TOYAH: Yeah. Very excited. I love the fact that we're doing vinyl. It's what I fell in love with music over a a child but also the whole imagery. We've been working on really specific imagery that's tied together right through the whole of the project. So we're excited that people are going to get a piece of vinyl that is spectacularly good looking. So that's very exciting. 

Vinyl I think . . . it sounds . . . it's deeper, it's richer, it's got so much more to it. And knowing then that that the double CD is coming and that's going to be quite a fantasy journey. I think we've got a 23 page booklet in it so passionately involved with that. We're very happy

SIMON: It's great

PAUL: And the art work has been updated I believe, hasn't it?

TOYAH: More than updated. It's completely new. We shot the video yesterday

SIMON: Yeah, it's looking good

TOYAH: And it's surprisingly beautiful, you know, coming from two old farts

SIMON: Make-up took a long time though

TOYAH: I think people are going to be pleasantly surprised

PAUL: Will this be the last Toyah album because there's a lot of conversation about do albums even have a place in the world? I mean Sheryl Crow came out recently and said she's probably not going to bother making another album because she can't find the people who've got the attention span to sit and listen to a whole album -

TOYAH: That's such an intelligent comment. Because she's right. We've tried taking on board younger people and . . . our attention span is really good and it's challenging. It's very challenging. I think it's cruel to give up on. You know, that people 
no longer have that . . .

SIMON: I think these things are cyclical. I think we are dealing with a generation - you even mentioned your teenagers – they're engorged with stuff so they stop thinking and there will be a reaction to that. There will be some sort of new punk. 

Something will happen to them and some of them will wake up and say "I'm not having this any more. I want to do something, start making noise" or renouncing technology so I'm sure it will come back. I do think these things do . . .

TOYAH: You ask if this is the last Toyah album? I think you and I will keep writing -

SIMON: I'm sure, yeah, yeah -

TOYAH: We do an album because we want to do an album. Not because it's financially rewarding. It's an act of communicating with the world and you know, something we feel driven to do. Will it be the last album? That I don't know. I think that's a really really poignant question. Thanks to technology there's an awful lot of stuff to do these days so are albums going to become something quaint and antiquated? Let's see

PAUL: Did you consider doing a new album because you had four tracks. You were probably half way to creating a whole new record. Did you consider doing that at any point of making the other one a bit better?

TOYAH: What happened, the turning point was – on my birthday last year I was 60 on the May the 18th and the fans put a track called Telepathic Lover at number one in the Amazon download chart and we were contacted and told that could not have radio play without an album deal. We now have the album deal and we're giving it back to the fans and we're very happy to do that. We're already itching to write the next album -

SIMON: Yeah, absolutely. But because these songs never got the exposure I felt they should've had those years ago, to actually have a chance to get them out there. They still sound so alive to me that it made sense to do that and ad the bits that we got since rather than - because it can take rather a long time to make records (laughs) By the time you've got twelve or ten good new songs -

TOYAH: I think it also takes a long time -

SIMON: When you're 70 -

TOYAH: When you're virtually the head of PRS (rights management for musical works) as well -

SIMON: There are other distractions -

TOYAH: There's huge distractions, yeah . . .

PAUL: What are your plans for the next year in terms of - you've got the new record coming out, as you said earlier you're always touring. Are you doing anything special?

TOYAH: Yeah, I've got two tours this year. The first tour kicks off in Scotland in April. I think we have almost 130 dates in this year so it's very busy and then we round it off with the autumn dates at the end of October and then I think there might be quite a big announcement for December but that's jumping the gun a bit

PAUL: I'm fascinated by your career because you've always two things on the go. You've had he acting and the music. How has worked for you? It seems to have worked very well, always having something else to do. Have you enjoyed the -

TOYAH: Yeah. I have four movies about to be green lit and if they all happen together I'm up shit greek. I'm also co-producing a movie about the albino community in Africa so that's taking up quite a lot of time connecting things together. It's going to be an interesting year

PAUL: Where does all this energy come from because you always seem to be involved in so many things. I mean what stops you from putting your feet up and just -

TOYAH: I'm not interested in putting my feet up. I love my work. I've always loved my work and I've been very much married to the work. I feel passionate as a woman. The kind of thing of saying "hello, I'm still here". I mean it's unbelievable working as a woman in this industry. It's still happily . . . umm, sexist and misogynist

I mean it's still going on. But it's what I do, it's what I've always intended to do. I am a performer and I love doing it. If I put my foot up I'd see that as not only as failure but as rejection as well. It's just not what I'm going to do 

PAUL: It's interesting you're saying about the industry because the film industry and the music industry and TV and all the rest of it - how . . . have they been any different in terms of how you're treated as a woman?

TOYAH: Hugely different. Hugely different! I can give you two examples and they're both extreme. I was sent by my first agent, who was slightly dodgy, a male agent, to audition for Russ Meyer's Vixens 2. I was 18 years old and had no idea that it was a soft porn movie. And I turned up for the meeting and wondered why I was asked to take my top off . . . and I walked out of that one. 

So that was the beginning of my career and I stuck by those principles. I didn't sleep with directors, I didn't sleep on the casting couch. I just thought no! This is wrong and within two years I was working with Katherine Hepburn. With a Hollywood icon who loved me as a woman and I loved her as a woman. And no one had to  do anything that we didn't want to do

Then after that I ended up in Quadrophenia and let's just jump forward 40 years to today where actually I'm embraced by an industry that sees me as someone of quality, someone of talent and understands that I have a burning will to make films I love and to make music I love

I mean that is the difference 40 years makes. But it also really helps being older today. I actually think it's beneficial because no one treats you the way that 18 year old girl was treated 40 years ago in auditions 

PAUL: I read a comment where you said you had this desire for fame when you were young, you wanted to be famous. What advice would you give to young people, young women today because that isn't looked upon as a positive thing any more, wanting fame for fame's sake -

TOYAH: It's about celebrity now. I would say to young people be true to yourself because we all have something utterly unique in ourselves. Don't be an imitator or an impersonator. Find your uniqueness and also I think live a creative life and realise when you're picking that phone up and pouting at it and tweeting it . . . you're an imitator. There's something . . . we have to create a culture of the future and that I can only be done by knowing who you are as an individual. Would you agree?

SIMON: I think I would actually. It's all about having something to say and not everybody has something to say and a lot of people are quite happy to just ago along with the ebb and flow of life but the sort of false celebrity has created this state which is vacuous and it's meaningless and that's why so many people are freaking out online because they don't really have anything to say 
and as you've just said . . . 

You see them on the tube, people pouting . . . I'm on the tube and you think God! With the eye brows and all that stuff . . . anyway. Don't get me started about that! But in real terms, you have to have something to say and it will out -

TOYAH: When you look at the rise of bands like 1975. I mean what they're doing is phenomenal. Their videos are staggering! And then you go back to the grunge period of the 90's . . . no one would dream of being vacuous! So I think the talent and the brilliance is out there and you just have to search for it. If you kind of look at it through celebrity it's quite hard to find but there is astonishing things going on out there. The talent is there and it's not necessarily about commercialism

PAUL: What do you think of the way the music industry is now because on the face of it there's more opportunity, it's easier to publish your own -

TOYAH: There's huge opportunity! Yeah . . .

PAUL: But on the other hand it's harder to make a career selling albums. Is that a bit of a depressing -

TOYAH: No! I mean this is what we've been doing for decades!

SIMON: Yeah . . . I think it's still evolving. There will be a new – because music industry is traditionally very slow to change. I mean streaming started and they tried to force you to buy CD's – if everyone just got with it everyone would still be paying four or five quid for CD and it would be economically impossible so it had to go through that whole period of change and streaming is just starting to pay, a bit. It's coming up, it's not all the way there but 
it's certainly up. 

And again it just comes down to boredom. I think it will be possible to make albums because will go back to wanting to be a part of something, to listen to a journey rather than just snippets. You know hamburgers get boring after a while. It's a quick fix and as I said it's a cyclical thing. So I do think there's great hope for the music business. It just has to adapt and it's slowly starting to get it together

But it has to realise the models have got to be different. You have to include the artist more. The artists can't just be employees of . . . which is what they were before. It's a different thing. And people are more are more clued up these days. They understand what they're doing so they don't want to give 90% of their royalties away. They'd like to keep a bit more, please and it's fair enough so everybody's got to find a new way of doing . . . It's coming. There's some great independents 

TOYAH: And it's immense fun -

SIMON: It is, yeah. I can be -

TOYAH: I think you kind of have to stay on top of the business side. I was saying to Simon driving here that I played Halifax the other day which was a blinding gig, drove home, worked in the office til 7 in the morning, then drove to Heathrow. It takes dedication and focus and as well as making the albums and selling the albums, you book the shows, you get the musicians to the shows, you feed the musicians, you get them hotels. It's an industry and it's not . . . it's not surface at all

There's incredible depth to this industry and I have never learned so much as working with the really big stars from Katherine Hepburn to Laurence Olivier (above with Toyah in The Ebony Tower, 1984) to Roger Daltrey . . . You see how hard they work and that's the level you don't see. So your social media is up there and then as you go lower down there's this incredible industry of dedication. And it's fun. It's absolutely precious and brilliant and that's kind of why we do it

PAUL: What ambitions do you have left, Toyah? I saw online that you're learning piano at the moment -

TOYAH: I love it! I love it! In my rucksack down there is my music theory books (laughs)

PAUL: Tell me why you've started doing that then?

TOYAH: I think I have to start of by saying that not only am I severely dyslexic but I'm dyspraxic which means that as a musician I've never been able to separate my hands or even getting a message to one hand has been quite remarkably difficult. So I started my piano lessons this year because the one thing I left school with 45 years ago was music theory. Because I have astonishing memory. I'm almost savant with my memory, I can tell you what I wore on this day ten years ago

I have that kind of memory but controlling everything is very difficult and I am now able to play piano, read the music, split my hands and it almost means more to me than all the hit singles! Because every day I sit down at the piano and play and that to me is my greatest achievement to date

I know it sounds really stupid but I wasn't allowed to have piano lessons as a child and I believe that everyone in school should have piano lessons because there is just something about the way you place your thoughts that helps you deal with the every day

PAUL: And just finally to finish off . . . You've got this great back catalogue of music. Do you plan to go back and re-issue old albums. Create box sets? Do anything like that?

TOYAH: Yeah, there's box sets planned for this year. I own half the catalogue now and Simon and I own our stuff so that makes it possible. I think for the early stuff . . . I haven't mentioned this to you but I we're going to have to go to the studio and re-record the first four albums

SIMON: OK, we can do that on Tuesday

TOYAH: Which is not a bad thing. Yeah we'll do it on Tuesday. But yes, there's a lot of plans. Because there's a huge audience out there that want our stuff. Right from 78' to today and I'm very very grateful for that and it makes our lives very fulfilled and fun 

Watch the interview here
In The Court Of The Crimson Queen:
Official Toyah


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