"We were just making a record and suddenly it just exploded all over the world and has since become a legendary record. It’s just mad! If somebody ha… - Martin Rushent

They came up and we did Sound Of The Crowd. They were under the impression that I was going to work on what they’d done so far and improve that and carry on. I said, ‘No, I’m not doing that, we’re starting again’, which was a bit of a shock for Phil. He argued about that but I said, ‘No, if I’m going to produce you, you’re going to do what I tell you to do. I will listen to your arguments and consider them, and if I still think I’m right we do it my way or it’s the highway. This is my attitude to everybody I produce, it’s a sort of democratic dictatorship!"

I’d got all this new technology and we spent a year making the album, programming all these primitive computers. [The LinnDrum] sounded so much like real drums it was difficult to tell it apart. The tempo was absolutely precise because it all ran to a digital clock and the record just was precision itself. It was also very simple. If you actually analyse what was going on at any given moment in time there may be only four or five things going on, but it does the job."

It filled me with dread – she had a reputation for being difficult. She had been headlining on the Royal Command performance the night before we were due to start. She arrived and swept through reception looking like thunder and disappeared into the studio. I thought, ‘I’m the first here, I’d better go in and introduce myself’. I walked in and I said: ‘Morning Miss Bassey, my name is Martin Rushent and I’m going to be your new engineer and co-producer’. She threw a mic stand at me. She told me to get out. She apologised afterwards, I hasten to add.