Upon collaborating with British producer Danny Cordell on a session for Georgie Fame, Visconti relocated to London in 1968; there he produced T. Rex's second LP, Prophets, Seers & Sages, followed a year later by Bowie's Space Oddity. Although work with artists including Badfinger, the Strawbs, and Gentle Giant followed during the early years of the next decade, Bowie and T. Rex remained the two acts to whose fates Visconti was inextricably tied. For Bowie, he helmed albums including The Man Who Sold the World, Diamond Dogs, and the excellent Young Americans; for T. Rex he produced the back-to-back classics Electric Warrior and The Slider. Although frontman Marc Bolan's 1977 death brought T. Rex's career to a tragic halt, Visconti continued working with Bowie as the decade drew to a close, collaborating on the so-called "Berlin trilogy" of Low, Heroes, and Lodger. Scary Monsters (And Super Creeps), from 1980, was their last major joint venture.
As the 1980s dawned, Visconti expanded into new musical territory, producing albums for artists ranging from former Yes frontman Jon Anderson (Animation) to the post-punk band the Boomtown Rats (Mondo Bongo and V Deep) to new wavers Altered Images (Bite). As the decade progressed, he helmed the Moody Blues' 1986 comeback record The Other Side of Life, launching the hit "Your Wildest Dreams"; several other albums with the venerable group followed, and the Moodies remained his primary focus for the remainder of the decade. Although Visconti's visibility and influence were diminished by the 1990s, his past triumphs remained a formative inspiration behind any number of contemporary artists, a legacy acknowledged when ex-Stone Roses guitarist John Squire tapped him to produce 1997's Do It Yourself, the debut from Squire's new band, the Seahorses. ~ Jason Ankeny, Rovi