Mark Doyle

The only good thing that resulted from the Jukin’ Bone management was that for a very brief period they also managed David Werner, and introduced he and I to each other just as the band was breaking up. It was one of those meetings that turned my world upside down. He was quite something – supremely confident and able to make me feel that my whole style was passé. I was already into glam-rock (Bowie had just come out and was on the same label as us, so I had been turned on to all of his records) and starting to feel like Jukin’ Bone’s style of music had seen its day, so I was very fortunate that David came along with a record deal that allowed me to work through the trauma of my band breaking up. And he was instrumental in making me aware of the importance of economy and playing for a song, something that affected my style forever.

This album was yet another example of the production really undermining the concept and intent of the record, and I was really starting to feel strongly that since I was coming up with a lot of the things that a producer is normally responsible for, and someone else was getting credit for them, maybe I might want to think about becoming a producer myself. Despite the thin sound, there are many highlights on this record, and being able to do my first string arrangements was a thrill for me, as was meeting Joe Farrell (who played bari sax on Sleepless Night.)