The 80s hitmaker and creative force behind the Buggles, the Art of Noise and many others is here to answer your questions as he starts a new tour
Dear Trevor, almost four decades on would you conclude that video really did kill the radio star?
No! Video did not kill the radio star. Maybe he had him down for a couple of minutes but he came back up again swinging and he’s still healthy.
Dear Catastrophe Waitress is unquestionably the best Belle & Sebastian album, largely due to the fantastic production. How did this seemingly unusual combination come about and were you pleased with the results?
I wouldn’t necessarily agree, but thank you. My PA in Los Angeles had a part-time job doing the dressing rooms for the Coachella festival. Her name is Marianne. And she met Belle and Sebastian because they were playing at Coachella. When she told them that she worked for me, they were interested in what I was like. I think they had no idea what somebody like me was like. And she obviously gave me a good report because the next thing was, I went to meet them in Scotland and I heard all of the songs for DCW. I had heard Belle and Sebastian quite a lot because my eldest daughter was a big fan. I loved one of their songs, Stars of Track and Field. When I met them we all seemed to like each other so we did a dummy run on the album up in Glasgow, recording the whole album in a day, straight into the computer. I wanted to get a feeling for what it would be like. I really enjoyed making that record, and I do think it came out really well – people always associate me with big whizz-bangy things, but actually that was a completely different kind of job. More like old-style record production – they liked take #15 and I liked take #9. And they’re lovely people.