2021 TAIT Yearbook

26 From those humble beginnings, the business took off. “As time went on, we made a bit of a name for ourselves, but there was no plan to rule the world at that point.” The Letchworth setup was basic; the team worked from sketch pads – they had no drawing boards and they had very little machinery. “We had one cut-off saw, one Marshall TIG plant. I would do the cutting and fitting, and Charlie would do the welding,” recalls Tony. Between Tony and Charlie and their black book of contacts, the work kept coming in. The concept was simple: please the crew and the message would filter back to the production managers and designers who would use you again and again, on bigger and better projects. And, as the projects grew in scale, the challenges were amplified, but Tony assures us he was never concerned that the fledgling business might be unable to deliver. “Once you’re into a project, you know you just have to get it done. We always had a philosophy that any man-made problem has a manmade solution. That’s the way we approached everything – with that never-say-die attitude. We’d always find a way, which generally meant just putting in more hours until we got the job out the door.” The relationship with TAIT began in the early '80s with a call from Michael Tait. He was looking for some help on a Diana Ross set that was being delivered into the UK. Tony and Charlie obliged and that was followed up with another TAIT job for Paul McCartney. The relationship was reciprocal, with Brilliant making use of TAIT’s Lititz team when they had a US-bound AC/DC set that needed assembly.

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