After Jazz we again felt like we had to get away to new territory, and so for the first time we went away on our own, to Munich, and by happy accident we met up with Mack. We asked the studio who they has and they said they had ‘Mack’. We didn’t really know who he was, except we knew he worked with ELO. He turned out to be a real find. He was someone who had been working with a lot of people we admired, like Zeppelin and Deep Purple. He’d done things with guitar-orientated groups. Everything we did on The Game was different from the way we’d done it before, it was a fusion of our methods and his methods. There was SOME conflict, I had a lot of disputes with him over how we should record guitars. I suppose by that time I wasn’t even thinking about it, I just wanted to record it the way I always recorded it. But Mack said ‘Look, try my way.’ Eventually we did compromise and got the best of both worlds.