“Let’s not forget he was still learning how to sing as ‘Bryan Ferry.’ I know I captured a fantastic atmosphere, complete with mistakes”: Some of Roxy Music hated Virginia Plain, but its producer loved it

In 1972 Pete Sinfield left his role as King Crimson lyricist and producer. He soon found himself working on Roxy Music’s debut album, and after its success helmed the production of their first single, signature track Virginia Plain. In 2011 Sinfield (who died in 2024) told Prog why it was one of his favourite career memories.

Peter Sinfield talks about his work on the first Roxy Music album and their hit single Virginia Plain with fondness. On leaving King Crimson but retaining links with EG Management, Sinfield’s experience behind the mixing desk made him the ideal candidate for delivering Roxy’s self-titled debut in 1972.

Incidentally, the new band also had connection to Crimson – Brian Ferry had auditioned for the band but hadn’t been successful. As he left their rehearsal room, Robert Fripp had given him EG’s number and suggested that, once the singer found a group that suited him, he should give them a call.

Which is where Sinfield came in. “I can remember much more about the Roxy record than I can about the making of some King Crimson albums,” he says, “perhaps because it was the first time I was in charge. It was incredibly hard work. I didn’t have much time to enjoy it at all at the time.”

Virginia Plain was written after the album had started gaining interest. It was the first time anyone involved had set out to make a single. “I’d heard Bryan tinkering with some bits of it between rehearsals,” Sinfield says. “I insisted we record it as a single, complete with a real motorcycle – a Norton Dominator – revving up outside Command Studios, mic’d up and fed to a two-track.

“I wanted the front of the song to be like a train coming at you. But bearing in mind it was meant to be a pop record for radio, it had to be faded-in and loud at the same time – which was tricky. It was literally all hands to the faders because it was a bastard to mix. It was my idea to cut the instruments at the end and just leave the voice.”

Ferry and some others later criticised Sinfield’s production. He counters: “It’s true that later vocals do sound more professionally balanced – but let’s not forget he was still learning how to sing as ‘Bryan Ferry.’

“When they made For Your Pleasure they’d practised and done a lot of touring. So by then he’d learnt how to be ‘Bryan.’”

He adds: “It was a learning process, and perhaps he forgets that. It was all done so fast. But I know I captured a fantastic atmosphere on it, complete with mistakes and other bits that aren’t quite right.

“I’m terribly proud of it – I think it’s is one of the greatest singles of all time.”