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The college had a little sound studio with three ¼-inch tape recorders in it, and we used to do experiments with tape loops and things like that.

We’d also have guest lecturers; one was Ron Geesin, a poet and sound artist who’d just worked with Pink Floyd, and he’d just bought a synthesizer — an EMS Synthi A, basically the same thing Brian Eno used in Roxy Music but in a suitcase.

I came up with a couple of tunes, literally in my bedroom.

People think of bedroom recordings as a modern, laptop invention. There were loads of people recording in their bedroom in the mid-70s.

’ They said yes, and it was “Dreaming Of Me.”You were early to sign them…I remember, typical of the British press, that there was an article [on the next wave of supposed New Romantics].

Depeche did a gig at The Hope & Anchor in Islington: Roger Ames came down, so did Chris Briggs — all these major label A&Rs were there, all trying to sign the band.

As part of the deal, EMI requested that Daniel move all of Mute’s distribution and licensing relationships over to its mothership. It featured people like John Cleese, Graeme Garden and Graham Chapman.

He refused, keeping a vital chunk of business within the independent music network for years to come — and risking the disdain of the men holding the checks that were about to rescue his enterprise. Neither, we suspect, have Mute’s numerous other independent partners around the world. As Kenny discovers in the extensive interview below, Daniel Miller can’t help it; it’s an innate value, for better or worse, he’s had since he was a boy. One day we said: ‘Why don’t we send our scripts to John Cleese?

Above all of this, though, what [PIAS] founder Kenny Gates sees in Daniel boils down to one important word: Loyalty. Daniel Miller: I went to King Alfred’s School in North London from 4 to 18 years old. We did quite a lot of comedy at school — I’d love to write comedy for a living if I was any good at it. They were both based in Vienna, both actors, but they actually met in London. And then when I was about 12, The Beatles and the whole British boom came out; all of a sudden everyone was in a band in school. I was in a band, the worst band, but it was a lot of fun. Paul Kossoff was in my class at school — an amazing guitarist who went on to play in Free.He invited us to one of the recordings — it was the episode with the famous ‘nudge nudge’ sketch. The staff on the course supported the students, and all got fired.So by the time we turned up, it was a completely different staff and curriculum to the one we signed up to. Somehow I became a bit of a spokesman — I learnt quite a lot about politics at that time.We shared a similar vision and I said: ‘Let’s make a single.’ That really was the beginning of Mute Records as a label, as opposed to just my own thing. He was booked to play The Bridge House in Canning Town.The guy who booked it, Terry Murphy, was a real East End guy, who liked to support East End musicians; he knew Frank’s father, who was a big East End figure working in Smithfield’s market.

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