NUSICIANS
                    Artists collaborated with Gary Numan

   * ACKERMAN,tracy
   * BAZAR,Theresa
   * BEAUVAIS,Keith
   * BEGGS,Nick
   * BELL,Rrussell
   * BENN,Barry
   * Currie,Billy
   * DEAN,Rob
   * FILAPELLO,Connie
   * FREUD,James
   * GARDINER,Paul
   * HAINES,Denis
   * HARVEY,Paul
   * HUBBERD,Joe
   * KARN,Mick
   * LIDYARD,Jess
   * LYNCH,Sean
   * Martin,Terry
   * MASON,Roger
   * MIKE
   * MORRISSEY,Dick
   * NASH THE SLASH
   * NELSON,Bill
   * OGDEN,Cathi
   * PALLADINO,Pino
   * PAYNE,Chris
   * PARGUE,Mick
   * ROBSON,Garry
   * SHARPLEY,Cedric
   * SIMMONS,Bob
   * SLADE,Chris
   * SMITH,Mike
   * STEGGLE,Tim
   * TAYLOR,Roger
   * WEBB,John
   * WHITEHEAD,Tim

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Paul Gardiner

Bass
Gary met Paul after spotting an advertisement in "Melody Maker" placed by a
band called "The Razors", who were recruiting new members. Gary eventually
went off on his own, and was joined by Paul, who was Gary's bass player
almost from the very beginning ofhis solo career. He helped out with Tubeway
Army's first singles and continued the association right up through "Dance",
although he contributed only to a few tracks on the latter. He was
instrumental in Gary's earliest success, and was also an important friend.
However, Paul had a drug problem and this eventually led first to hisest
rangement from Gary, and then to his death by overdose in 1984.

His playing style was rather orthodox one. But his uniqueness is evident
among the fill-ins in numbers from 'The Pleasure Principle' and 'Telekon'.
His fill-ins contains tension notes and matched with Gary's rifs which
contains frashing tension notes. The rhythm section with Ced Sharpley,
constructing very heavy and mechanic but human rhythm and beat, contributed
to make Gary's sound more heavy and realize Gary's concept in sounds. To
tell the truth, I eagerly copied Paul's play in my undergraduate days,
racognizing his uniqueness.

Paul was with Gary when he invaded Japan in May 1980 for the Far East Tour.
I often wonder what Paul thought of Japan. Alas, I'll never know.
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Joe Hubbard

Bass
He joined Gary for the "Warriors" sessions, but alas I have no personal
details.

He is without doubt a very technical bassist. His soft tone and sharp sense
of rhythm matched nicely with Bill Nelson's 'flying E-bowguitar" and
Cedric's 'man-machine' percussion. He specialized in restless phrases with a
percussive tone. His performance gave Gary'ssound a plethora of subtle
nuances.
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Mick Karn

Bass and Sax
Joined Gary for the "Dance" sessions, played fretlessbass on "Slow Car To
China", "A Subway Called 'You'", "She's Got Claws", and "Boys Like Me". He
also added his sax sound to "She's Got Claws".

Mick was born Anthony Michaelids in Nicosia, Cyprus, on July 24th 1958.
After emigrating to London with his family, he created the band "Japan" with
some school friends, which had an eight year run lasting from 1974 to 1982.
Mick fitted in the "Dance" sessions during Japan's off-period after
recording their fourth album "Gentlemen Take Polaroids".

After Japan, he was a member of such groups as "Dalis Car" (with Peter
Murphy, ex of Bauhaus) and "Rain Tree Crow" (with some ex-Japan members),
but unfortunately both bands had short lifespans. He also collaborated with
many other artists, such as Bill Nelson, Bill Bruford, Midge Ure, Terry
Bozzio, David Torn, and others. Of special interest was his collaboration
with such Japanese artists as Masami Tsuchiya (who now lives in London),
Akiko Yano (Ryuichi Sakamoto's wife), and Yukihiro Takahashi (a member of
YMO and the Sadistic Mika Band). Mick has visited Japan many times, both as
a member of Japan and as a solo artist. Mick has many fans and followers
here, and of course I'm one of them. :-)

Unfortunately the relationship between Mick and Gary wasn't a happy one.
Gary says that he would have liked to have been better friends with Mick,
but alas it wasn't to be. Gary also says that another session with Mick
would be as difficult to arrange as a trip to the moon.

Mick regards the bass as the essential rhythm instrument. By adding his
ethnic influences, he's constructed a unique style. It's hard to deny that
Gary was influenced by this style, which contributed to his interest in the
fretless bass and sax, and to the addition of a unique ethnic air to these
sessions.
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Pino Palladino

Bass and Guitar
Pino joined the "I, Assassin" sessions and toured with Gary after the album
release. He played fretless bass on almost all numbers, but I'm uncertain as
to which ones feature his guitar playing.

In Japan, Pino is admired as one of the four greatest fretless bassists in
the world, along with Jaco Pastrious, Percy Jones, and Mick Karn). His fame
in Japan owes more to his sessions with Paul Young, Julia Fordam and
especially Ryuichi Sakamoto, but "I, Assassin" is also highly regarded.

Differing somewhat to the case with Mick Karn, Pino's collaboration with
Gary seemed to be a positive one. In a interview in "Bass Magazine", Pino
recollects that Gary's original offer to join the "I,Assassin" sessions
specified that he had to play the fretless bass. He quickly jumped at the
offer, even though he currently had no STRINGS for his fretless bass and had
to buy them on the way to the studio! He also says apart from wanting
specific instruments, Gary really had no definite plans for the album when
the sessions began, which made for a rather "electric" time as the album
evolved within put from everybody.

In Japan, young bass players praise his unique playing style and "erotic"
tone. Moreover, he's recognized as the inventor of slapping play on fretless
bass. Bass Magazine reports that Pino is now collaborating with Jeff Beck(!)
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