Jon Moss

petra hayden was born in 1971 she is a singer and violinist who was part of the group's the rentals and also was famous for her acapella vocal arrangements mike smith was born in 1973 guitarist who rose to fame in the alt metal band Snot before he ended up replacing Wes Borland for a time as lead guitarist for Limp Bizkit on their album Results May Vary.

John Moss was born in 1957, drummer and percussionist for the group Culture Club during their heyday in the 80s and actually now that they're back out on tour.

Blair Cunningham was born in 1957, drummer who was part of the group Haircut 100 before becoming a session drummer for Paul McCartney and also The Pretenders.

Henry Lau was born in 1989, singer, multi-instrumentalist, and also an actor, who was big in Asia as a member of the Mando Pop subunit called Super Junior M.

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I, um, came across Jon Moss from Culture Club.

He was a friend of a friend.

I didn't really know him at the time, but we became quite good friends.

That's right.

Right.

Jon Moss was your producer.

He was, yeah.

That would be something, wouldn't it? The strange thing about that name, Sex Gang Children, I don't know where it originally comes from, but apparently it was the name that Bow Wow Wow were going to be christened by Malcolm McLaren before he changed his mind.

Similarly, and rather more weirdly, Boy George wanted to call his band Sex Gang Children until he was talked out of it by John Moss and they opted instead for Culture Club.

And I don't know why Sex Gang Children was so popular or whether it's a quote from a book or whatever.

I don't know.

The creative genesis of time occurred entirely within the high-pressure confines of the recording studio.

Recognising the deficit of potential follow-up singles on their debut LP, the core quartet, vocalist Boy George, drummer John Moss, guitarist and keyboardist Roy Hay and bassist Mikey Craig, convened with producer Steve Levine at Virgin's Townhouse Studios in London.

Rather than relying on pre-existing demos, the band constructed the track dynamically from the ground up, Musically, the song represents a meticulous amalgamation of genres, blending the glossy synth textures in an almost ABC-esque way with the structural foundations of classic American soul.

Again, almost crossing paths with the lexicon of love.

The lyrical narrative itself reflects a stark departure from standard pop self-mythologising, offering instead a sober, melancholic meditation on a fracturing relationship.

The central theme challenges the conventional aphorism that time heals all wounds or bridges all gaps, as the famous chorus laments, because time won't give me time and time makes lovers feel like they've got something real, but you and me, we know we've got nothing but time.

Behind the studio walls, the song was intimately tied to the intensely private and tumultuous romantic relationship between boy George and drummer John Moss.

This hidden intra-band romance fuelled much of the emotional weight in Culture Club's catalogue during their golden era.