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“I was a young tape operator at a studio. Basically, a tape op is the guy who presses the buttons and things like that. In those days, you could get promoted from tape op to engineer, and one way to do that was to bring in bands on weekends to engineer on your own. If the studio boss saw you could handle things, chances were good you’d get promoted.
“So I brought in this band called Tiger Lily - they would change their name to Ultravox - and we did some demos which landed them a deal with Island Records. As luck would have it, they told the label they wanted me to produce their album.
"It wound up being a three-way production between me, the band and Brian Eno. The label said the band needed a name guy, and because they loved Roxy Music, they chose Brian. This would be my first time working with him.
“The great thing about Brian is, he comes in, does his thing and leaves - whereas I’m there all the time and micro-manage. It was a good learning experience. The album was critically acclaimed, but it didn’t have that all-important hit single. This was during the early days of punk, when attitude was everything. Ultravox came from punk, but they were more art-rock.”