This epic single took a lot of making, in many different studios. Started in the Guerilla Studio at Hampstead, the end of the lease on that property rather put a spanner in the works and it was finished at Swanyard and Good Earth, amongst others. Ultimately the Club Mix was done at the new Guerilla Studio in Crouch End.
Good Earth was Tony Visconti’s studio in Soho, a vibey subterranean place, reputedly haunted. Visconti closed it soon afterwards, citing an influx of Akai sampler-wielding types as having brought about the end. Oops!
This record was criticized at the time for being less catchy than its three predecessors, and it only made 21 on the UK chart. There are those though who appreciate it for the deep, funky, spiritual masterpiece that it is.
The temporary Guerilla Studio digs in Hampstead soon became party house central. It was one of those charming old London town homes with wonky passageways and a blue plaque on the front to denote a former occupancy by the great and good, in this case the painter John Constable. There was always a session of some kind going on, generally William Orbit or Laurie Mayer projects, but there was also a retinue of sound designers including Simon Fisher Turner and my old pal Nigel Holland, who could regularly be found attacking pig’s heads with hammers and imbibing alarming amounts of alcohol.
What with all my travels I hadn’t done so much with William for a while. He had released the first of his excellent Strange Cargo album series and had also been going from strength to strength as a remixer. His stupendous remix of the S’Express show stopper Hey Music Lover had resulted in a partnership with Mark Moore that was to produce a lot of great work, starting with this mix for the fabulous french duo Les Rita Mitsouko.
When I was in Paris in early ’86 I saw Les Rita’s Marcia Baïlavideo and was absolutely blown away. Fred Chichin and Catherine Ringer had made their debut album with german legend Conny Plank and it was superb. Their follow-up with Tony Visconti didn’t disappoint. So I made sure I was lurking around the studio when William and Mark were working on this, and in particular when Fred and Catherine came to visit. That’s me on the funky Juno 106 in this slamming remix.