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	Interviews archive Radio Undercover transcript Anastacia has a reputation for being a bit of a dance diva but the truth is she can rock. Following the global success of I'm Outta Love, Anastacia has released her debut album 'Not That Kind. She dropped by Radio Undercover to talk to Paul Cashmere _______________________________________________________________ PC> Hello once again, and welcome to radioundercover.com. We have with us today a very special guest, and I say very special because it's fantastic having someone with us who can actually make the charts without having her own line of bubblegum! Welcome Anastacia A> Hey! I want to have bubblegum! PC> Well actually it could be fun too! Congratulations on the success, it's fabulous. What's it like seeing your name on the chart? A> Gosh! I don't even know how to explain all these things that have been happening. It's like a slew of things all at once. Just Australia alone has been such a strong foundation for the career, but it's all very very overwhelming. PC> Well it's one thing I guess to see your name on the chart, but it's another thing to see your name on a chart at number one, like in New Zealand for instance! A> I'm definitely putting in my little package for my Mum so I can go back and go "Mum! Look! Australia loves me!" PC> Bring back a couple of printed Top 40 charts to hand out to friends just as proof. A> Yeah... PC> Let's go back to Mum and Dad, because Mum and Dad had a bit to do with the entertainment industry... A> More of Mum, not so much of Dad, but Mum was a huge huge portion of who I am today. She had a lot of impact, I think subconscious in fact, on me as a woman as well as a singer. She was in musical theatre, that was her full time job, so I was in a lot of theatrical surroundings. I was surrounded by a lot of people in the business and that was normal for me but when I look back on it, I was surrounded by people who were just full of life and wanted to be on stage all the time. So, my nature of being comfortable in front of people, I don't know, immediately, like you, now, I'm definitely in the comfort zone that I feel. They definitely had a huge impact on my talent. Naturally I sung because of them, but I didn't quite know that until later in life that that was what I wanted to do. PC> Define the moment that was the big break... A> Here! Right now! Talking to you! When I went on a show in '98, called The Cut, it was a show that featured unsigned artists that had their own material to perform, like rappers and singers, and it was like a star search. They were on the search for unfamous, undiscovered talent. So I did the show and from the first time I did the show, it was phenomenal. I got a tremendous response from the business which I had never gotten before and I had never been that noticed as a possibility of a career standing human being. It took off really fast and within a few months I was signed to Sony. I put the album together last year, the packaging this year and the next thing you know, it was slapped upon Australia's bum! PC> ...and the rest they say is history! What was the song you performed on that talent quest? A> I performed the second single that's going to come out to you guys soon called Not That Kind, which is also the title of the album. I performed that song, not even a minute and a half of it, but it definitely got the point across. PC> So some of the songs on the album are quite old then, by your standards? A> No actually, just two of them are songs that I've had under my belt for a minute, the rest of them were all made new for the album. I wrote nine songs in total, actually ten songs, so eight songs were actually created brand new. PC> What goes through your head when you suddenly get signed to a big label like Sony? Do you suddenly get serious about songwriting? A> Well no, it wasn't like I suddenly got serious, I just suddenly got to write with somebody! Somebody was going to write with me, and I was like cool! I didn't really care who it was at that point. I just wanted to find somebody to work with. Of course working with Sony who were very, very attached and into my project from the very beginning, I just felt it. So I thought signing with them wasn't going to be something I would be scared of, it was something I was really into, and I thought they really got it - the project as a whole - and so far it's been such an easy road. The minute I signed, it has not been a struggle. All the struggle happened way before I signed and from the minute I did that show and signed to Sony, everything has been really easy. It's been a dream! Everything has been real easy going and it's like everything is happening in the press and all these beautiful things get displayed and they call me up and tell me what's happening in France or Australia, and this is what happened when you left and this is where the charts went, and it's like great! PC> Some of those songwriters you worked with we've heard of, down this far. Sam Otters from Colour Me Badd, and I Made A Lot. A> Yeah well writing with those guys was so awesome. I wanted to write a song similar to I Will Survive and It's Raining Men. I am very inspired by the movement of what those songs have done to just the spirit of music. I wanted to write a real up and go song, with a viva loca energy but with my own energy in that. What the song has to say is completely the way that I would say it. Pretty much get out when you're not feeling right. I'm Outta Love is just not necessarily a negative song, it's more a strong and powerful song, letting men and women know that just because you're in love and not really getting what you need out of love, doesn't really mean that it has to be sad. It could be a very wonderful thing to actually leave that love, even if it's for a period of time to regroup with yourself and figure out what you want to get out of life, and if it is that, then go back to them. It's not necessarily about leaving, shove the other person out the door and good riddance, it's really just about gaining more control about what you feel and what you are. PC> I know a lot of people say this to you, because I've seen your interviews, but when people hear that song for the first time, they think you're black don't they? A> They do think I'm a little little dark girl, but I'm not! PC> You're the white girl from New York with a big voice! A> Yeah, that's definitely the way I like to describe myself, but it's a true compliment when the reaction is "We thought you were black!". Some of the best voices in the world, with that sort of quality have come from the top diva's in the universe of our time! Tina Turner, Aretha Franklin, Chaka Kahn. Those are singers that you really don't ever hear from ever again, they just stay in our history as "the ones" and to even to be part of that comparison in some ways it's tremendously empowering - a little intimidating but very flattering. I'm so grateful to be compared to people that I've never really listened to in my life, o ther than just recently, in recent times. I listened to Barbra Streisand, Elton John... pretty much just radio music, growing up. I didn't have musical collections and posters in my room, I was a very simple kid. I watched TV and roller skated most of the time. PC> Are you born with a great voice like that? A> Well I was! I don't know if everybody is, I thought everybody was, I thought everybody knew how to sing because I did. It's just something that... it's what happens when I open my mouth to go and sing. If I'm going to sing something for real, that's what usually comes out, but if I'm going to hum something then usually it doesn't come out that great, but then when I go to attack a song and sing it, it's usually with a passion, so I'm different. PC> Let's get back to name dropping. Karl Stone and Andy Rogers, who have worked with NSync, and have also worked with you. What's it like writing with somebody like that who... A> Well first of all they are so fun. So most of the time I would write a song for like five minutes with them and then we'd go and eat. They were so...we got such a kick out of it because we had this "bloop" game. Just to let everybody know, we had "bloop bloops" and "bloop bloops" mean when you're writing a song with these guys and you're having fun, and you come up with a couple of verses, or maybe a couple of lines or something, you go "bloop bloop bloop!" That means you've got more points and more of the song is your bloops and how many bloops did YOU get and how many did YOU get!? You only did two bloops in the song! That means that we're the most bloopers. It was very fun, we had a great time, and I laughed most of the time that I was working with them. PC> What about the song on the album Love Is Alive, which is an old Gary Wright song. A> You know it's funny because I have no idea what the Gary Wright song sounds like, the original version. It was presented to me through a producer named Rick Wake, which is the other producer that you haven't said, who is just a phenomenal producer who has worked with Celine and Mariah. He had this vision that I should do this song and to be honest to all these cameras here and yourself, I didn't even want to do that song but I went in there and just demo'd it. I went in there just recently, like around April this year and it was just skirted under the lining of making this album. It seems to be a favourite and people like my interpretation of what I did to the song, but it's not exactly my vision of what I consider a song that I love to do. It's not a horrible song but if there was one that I hated on my album, it would be that one. PC> Well I guess Gary Wright only ever had two big hits, and the other one was Dreamweaver. A> I knew that one! That one I knew but the other one, it was like Love Is Alive!? PC> So you've seen Wayne's World haven't you? Everyone knows it from there... A> Oh yeah! PC> Tell me about the day Michael Jackson called you. A> Actually, when Michael Jackson called, it was all leading up to the fact that when I did the show The Cut, which was the star search kind of show, I was proposed to by a lot of record companies being interested in wanting me to sign with them. In the process of all those meetings and stuff, I was meeting with MJJ, so it was inevitable to meet the presidents of all of these labels because I was starting to get to that point. Michael Jackson was one of these people that I had to meet, as well as Tommy and Bob Jamieson and the presidents of all the great record companies, so it really was a professional situation. It wasn't like "I'm a really big fan and I want to have you autograph everything that I own", it was a phone call of admiration from a performer to a performer, as a president to an artist wanting to be signed, as an artist looking at what a label has to offer, it was that kind of conversation, but what a light conversation! He was laughing, I was laughing, we were having a great time. It was so wonderful to be able to speak to him. He's so inspiring and what a genius! Forever I'll remember that I got to speak with him on the phone. If I never get to meet him or even work with him in the future, it's the beauty of being able to be recognised by something like that. PC> You stood to the side with him in the end. A> Well, I'm on his label though and him and I are both on Epic. It's not like I went too far from him. He got successful from it, so maybe I will. PC> You've met Elton John? A> Yeah, Elton John reviewed my album in a magazine called Interview, and in the process was very taken by me as an artist, so he...they set up a meeting for him and I. It was so weird for me to be able to go "Oh my god I'm going to meet Elton!" I listened to his albums as a kid and I'm wearing glasses because he did! The minute I had to wear prescription I was like "COOL! I can wear glasses, this is the most awesome thing in the world! I'm going to get a bunch of colours!" So it was all due to the fact that he used to wear glasses and be so free spirited about it that I had to wear glasses at such a young age. I was like "Okay, that's probably cool!" and I've been wearing them ever since, but we had a great meeting, we talked about possibly working together in the future and I'm still such a great fan of his, he's such a great admirer of music and always has been, and he's been such a great inspiration to a lot of people. PC> Well once again congratulations on the success of the album, right around the world, it's been fabulous, and it's been great to have you along here at radioundercover.com. A> Thank you... 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