The second record didn't change the world over there,’ Mr Average concedes. ‘But when we got back from America, Warners said, “OK, there's enough of a reason to do a third album.” They weren't pulling the plug. But it was make-or-break time.’ ‘The other dimension,’ adds Max Ripple, ‘is the pressure the record company puts on. If you don't get anything on the first album then you won't do a second one; if you do the second one, you either continue on your upward path or else you really have to do your last-ditch effort on the third.’

The pressing question became, Who will produce? Rob Dickins: ‘Again we started doing new demos down in TW with Alan Winstanley. But I clearly was not the producer that was going to give them a hit record. I'd had two albums’ go at it, and completely realised this myself. So we thought about who would, and Mutt Lange at the time was producing hits, interesting records. It was decided they would move forward into working with Mutt.’

Average elaborates: ‘It was, “Let's get a proper producer on board,” and that's where Mutt Lange was brought in. He'd had a significant amount of success with the Boomtown Rats. So I think Warner Brothers said, “Ah, Boomtown Rats. Deaf School.” They equated us. Mutt Lange was seen as a growing name, and therefore not as expensive as a real name, but also a safe pair of hands. And as we'd made some mark on America, he was seen as someone who'd know how to put an American twist on it.’

But a couple of other names were in contention. Clive admired the unobtrusive style of Chris Thomas, who had produced both Roxy Music and the Sex Pistols. But Roxy comparisons were something Deaf School needed to escape. (For that reason, as well as an aversion to second billing, they turned down a chance to support the band on tour.) And then there was the champion of no-frills pub rock – now a recognised punk/new wave producer, too – Nick Lowe.