This interview was conducted at Kuepper’s Brisbane home by Donat Tahiraj in November 2007.
EK: By that stage i was essentially the label, so i booked the session which i also attended in some kind of executive producer capacity. I did think both of the songs were too long to fit on a 7 inch single so I suggested they should distill them down to their melodic essence. They decided not to do this however. Overall i remember the session being a bit strained,with a lot of tension between Milt and the studio engineer. Afterwards I had the records manufactured and gave copies to some media people that i thought would be interested, and sold as many as possible to independent stores. I also got them some support spots for the Clowns in Sydney.
DT: What was your impression of the Brisbane music scene of the early Eighties when the Clowns first played in Brisbane?
EK: Ken West organised most of the putting together of that film. There were a few people involved who’d had ties with the film school in Sydney. As for the set, Ken may have painted that, but I’m not entirely sure. George Craglietto and Jeff Perrin – who were sort of involved with doing lights for the Clowns — also had a strong involvement. German expressionistic films of the early 20th century were kind of an influence on the way we were presenting the band at the time. As far as the costumes go, the band wore what they felt like wearing.
EK: Every time there was a major shift in the line-ups – I guess there were three different forms which had line-up shifts. I’d say the first line-up which included the band going from a four-piece to a six-piece and back to a three piece at one stage. Then the five piece, which did the Mr Uddich-Schmuddich and Everything That Flies sort of stuff. And then the four-piece with the Law Of Nature sort of stuff, with either Peter Walsh as a bass player or with Paul Smith who replaced Peter after he left. Each of those three line-ups had their own sort of audience and not all of them made the transition. As to which one was more successful? That depends how you interpret these things. The second line-up was the most overt in terms of expressing a jazz influence, which I tried to stop. Where I thought the band was most successful was in terms of the band’s performance with songs like ‘Everything That Flies’ – that was powerful. It was the most successful realization of what I was after. Live, sometimes the more sort of exploratory stuff would work, other times it became too much of a formula in itself. I guess after that, I wanted to move back to a more structured form of performance, hence the Law Of Nature and Ghosts Of An Ideal Wife period. Law Of Nature was almost something in some ways that wouldn’t have been out of place if it came out directly after Prehistoric Sounds. I think there’s quite a close sonic link between those records.