“Our role in recording disco is becoming more and more important. The actual sound is uppermost now. In this respect we are, I guess, likely to be criticised but honestly I really see not much difference between our way and that of someone like Phil Spector. Both our intentions and our artists are different from rock musicians who write and play all their own material, so we cannot be taken in the same way. “Which producers do I respect? This guy Chinn of Chinnichap is good – with Nick Gilder’s ‘Hot Child In the City’ he is both commercial and sophisticated, the best balance. Also, Billy Joel’s producer, Phil Ramone, he is very special. One sound I loved though, this was Dr. Buzzard’s Original Savannah Band; they have split, but were so new, so polished, so well done. “Whom am I wanting to produce? Barbra Streisand or Diana Ross. Because they are the best. I am dreaming, of course…” And when, if at all, will the disco bubble burst? “That I just can’t say”, Moroder shrugs expansively, “my own aim now is to make extremely good disco songs with that little bit extra. But, whatever may happen, it’s really hard to believe that in five years’ time nobody will want to dance. “Maybe they are bringing back the tango or the waltz. Who is knowing? Not me.” Pause. Moroder checks his watch, realises he is half an hour late for a mixing session, lets Jill snap him downstairs in the studio before courteously absenting himself elsewhere. But let me tell you something. Meeting Moroder and finding him as straightforward and pragmatic about his work encouraged me. Enormously.