other artist to appear on his label, although Nash was not involved in its recording. Nash's later soundtrack album for Highway 61 includes tracks by Tony Malone, the lead singer for Drastic Measures. Nash was invited by Gary Numan to tour the UK as his support act in 1980 and 1981, and subsequently played on Numan's 1981 LP Dance. He also toured Europe with The Tubes. He was signed to the Dindisc label and in 1981, he released the album Children of the Night in Europe, also released in Canada shortly after. Several British singles were also issued. These records appeared on the Dindisc / Cut-throat label in Europe and on Virgin / Dindisc / Cut-throat in Canada. Mid 1980s Returning to Toronto in spring 1981, Nash released an instrumental "mini-album" Decomposing (1981), which purported to be playable at any speed, with song timings on the label quoting three lengths, depending on whether the record is played at 33, 45, or 78 rpm. However, songs from this record also appeared on compilation albums and singles, where they always play as heard when Decomposing is played at 45 rpm. This remains Nash's only significant release that has yet to be reissued on CD. In 1981, Iggy Pop name-checked Nash during the fade-out on the song Eggs on Plate singing “Hey Nash the Slash, why did you leave your sticker on the ceiling of my forty-two dollar and fifty cent motel suite?!” A year later, Nash got a call from Iggy who invited him to be his opening act on tour. Nash's next album was And You Thought You Were Normal (1982). This included the track "Dance After Curfew" produced by Daniel Lanois prior to his association with Brian Eno. The single became a surprise club and radio hit in Poland, which was then still behind the iron curtain, where curfews and restrictions on western culture were imposed by the government of the time. A 12-inch single featuring a remixed and extended version of the song was issued in the USA on PVC Records. Nash's next project was an album of American rock classics titled American Band-ages. Nash enlisted the help of his former FM collaborators Cameron Hawkins (keyboards) and Martin Deller (drums), and the album was released in 1984. The album was aimed at the US market, but due to distribution and management problems, including a change in record labels (to