He chased us all round the studio and we had to lock ourselves into another studio to prevent him getting us. He was a big guy. He came in the follow… - Martin Rushent

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."

I programmed all the drums and synths, while he played all the guitars. The initial plan was just to demo his songs because he was out of his UA deal, so we pumped it to people like Island and Virgin and they loved it. It was signed to Island, but Simon Draper of Virgin heard it and called me to talk about their band, the Human League. They'd done demos of The Sound of the Crowd and Love Action in a Sheffield studio, but Simon didn't think they were getting the punch they needed. He loved the drums on Homosapien and asked me to do a track. So the band turned up at Genetic with their multi-track for The Sound of the Crowd. Simon had conned them and told them that I'd mix it! I said, 'We're going to start again and do it better'. There were a few grumbles, but by the time we'd finished, they were really pleased.

He was an extraordinary bloke. First of all he was very funny. He was straight but very camp. [He] came in and Visconte said, ‘Right, what are we doing?’. He said: ‘Well I haven’t got any material, I’ve just got one guitar riff’. So he played us this guitar riff. It sounded a bit like Chuck Berry to me but I didn’t say anything. He went out with the band and after two hours he said, ‘Right, got a song’. So we recorded it and took a few takes. He then said, ‘Right I’ve got a bit of a tune, just give me half an hour’. In 10 minutes he came back and said, ‘Right I’ve got the lyrics and got the tune’. So he’d written Get It On in 10 minutes basically. He went out there, sang it and in four or five takes we’d got it. There it was. The guy was absolutely astonishing."