this huge soaring sound, rising upwards from the drum and the bass, like a whale's cry. Later on I dubbed up the cymbals, so you have that spiralling metallic sound. Dubwise!" Wobble told Simon Reynolds, "At the time I was a bit of a socialist. [...] I hated Thatcher, I hated everything Reagan stood for to be quite honest, you know, and at that time I just wanted that old-style, left-wing socialism." Lydon called "Chant" an "old English ditty with a string synthesizer". Drummer Richard Dudanski cited it as one of his favourites. Album closer "Radio 4" was named after the BBC radio station. "I called it 'Radio 4' because in England, you got Radio 1, 2, 3...," said Levene. "Radio 1 played pop tunes. Before that, the BBC was so boring! It took until about 1985 before we had FM radio." "Radio 4" was recorded and performed by Levene, initially with Ken Lockie from Cowboys International on drums, at Advision Studios. Levene played the bassline "as if it was Wobble playing," and played a Yamaha String Ensemble to create the layered synth sounds. "I was using this thing and I start building it up, all I'm doing is taking different sounds from this thing and layering it. When I heard it, I pulled the drums out. I got on the idea of trying to make it sound orchestrated with the long chords played shorter. To get round the other stuff, I just used what was at hand. I played bass like I imagined Wobble would play bass to it, I wanted a Wobble feel to it. But basically, it's all me – that's when I realised I can completely do everything. You just hear the drums at the end. [...] With 'Radio 4', I was just alone in the studio one night, and I was overwhelmed with the sense of space. I just took everything out of the studio, moved the drum kit out and played everything myself, reproducing this sense of cold spaciousness I felt around me." "Many people don't understand that [the album] was improvisation," Lydon recalled. "It had to be, because we'd spent most of the money on the container [see below] – and so what we had to do was quite literally sneak into studios when bands had gone home for the night. And these were pretty rough monitor mixes – no actual production." Metal