„I was making a rare appearance in London, solo – I seldom perform. And Brian Eno showed up and began to set up his recording gear. He’d asked me to do an album that he would produce for his own label at the time, Obscure. The record would be ‘Obscure 11’. With him I met Rhett Davies at the studio, and Brian asked him “What have you got that’s new?”. And Rhett produced some options that Brian then tweaked, and I thought that this was such a perfect working relationship.
I had fantasised about having that sort of connection with an engineer. But the album never happened because Brian and I had a concept disagreement. He wanted to feature my voice and disregard the music environment of the song, where the voice lived, and although he was probably right, that is not what I wanted.
Brian had decided to relocate to the US at this point, and asked if I would house his large Tannoy studio speakers. I was living in a spacious flat, part of a manor house that had been a hunting lodge belonging to Windsor Castle. The sound that those speakers produced was gorgeous and I came to rely on them for all of my acoustic decisions. Five years later I received a call that Brian wanted his speakers back! „What speakers?“ I said. The thought of being separated from them was intolerable. But now I test everything on a boombox so, Brian, if you still want your speakers – let me know!“
(Annette Peacock; you can read the whole article on the strange worlds of this woman in thequietus.com)