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Chris started a couple of tracks, which got abandoned as singles, which I remade to be used as album tracks. On quite a large number of songs, when we'd finished the album, we had two versions of the song. I couldn't quite understand why
Malcolm kept chopping and changing between different versions of different songs. It slowly dawned on Chris and myself that Malcolm was trying to slip between two stools and not pay Chris or me. So we said, "I'll tell you what, Malcolm. Whatever's on the Sex Pistols' album, it was either done by me or Chris, and you can pay us and we'll divvy it out amongst our little selves." Which is what we did. But it did force that very strange credit, simply because the sleeve was printed long before it was finally decided which version of each individual song was on the record. If we'd known, it would have said 'produced by Bill Price' or 'produced by Chris Thomas'. That's how you ended up with that credit, 'produced by Bill Price or Chris Thomas'.
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The simple facts of the matter were that Chris was hired by
Malcolm (McLaren) to do a series of singles for the Sex Pistols. I was hired by Malcolm to do a series of album tracks with the Sex Pistols. Life got slightly complicated because I did a few album tracks that Chris remade as singles. Also,
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in Oxford Street, where he spent many years. During that time he engineered some of the major albums of the 1970s and 1980s.
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One of the final recordings he helped engineer at Decca before departing to
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He contributed to documentaries about the Clash such as
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During the media furore over the Sex Pistol's single "
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508:: 84. February 2016.
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