Martin Rushent

Mm-hmm.

And so apparently the story is that when he was out of the studio and, uh, and, and the singers were out of the studio, the two girls, uh, Susan and Joanne were out of the studio, that the producer, Martin Rushent, and I think one other person got involved, and kind of polished the track a certain way.

And when it came back, I think, you know, the record label stepped in saying, "This is a great track," and, uh, Philip was...

He got some power, so what they agreed on is they were gonna, he had the song Don't You Want Me delegated to the last track on side two of the album.

[chuckles] Nobody's gonna argue over 5%." And this is the point.

When you get told after you've finished, and it's in the can, and you're onto the next project, see, with me, after Visage finished, meaning was recorded in Martin Rushent's studio with him sitting there watching us, and suddenly it's like Midge is producing.

Well, only 'cause how many people can you fit around this desk? You know, so Barry's sitting there, and I'm there, and Midge is where you are, and the sound engineer, which is Martin Rushent's guy, and we're putting together all the songs, and I'm going, "Oh, I want to do that," and, "Let me do that." And Barry's like, "Well, actually, I've got a gig.

I don't need to be here 'cause you have done me bass." You know, "I'll let you know if I can fit in." He goes off with Nick Cave.

John McGeoch says, "I've done the guitar solo on Blocks and Blocks.

What does that mean, Rusty? Well, it means you didn't write "Fade to Grey." And you go, "No, I didn't write 'Fade to Grey.'" Midge will sit here right now and say he wrote "Fade to Grey," and I'll say, "Midge, did, did, did, did you write 'Mind of a Toy?'" "No." "Did you write 'Blocks & Blocks?'" "No." "Did you write 'Tar?'" "No." "Did you write 'The Dancer?'" "Yeah, with you." "Well, why is it credited 75% you and 25% Egan?" 'Cause your manager said, "Rusty, you're only a drummer," which was like a red flag to a bull.

It's like saying you're only a DJ to bloody Carl Cox.

As far as I'm concerned, really, I'm only a drummer who put the band together, who got Martin Rushent's studio, who kept, found Steve Strange, who was DJing in the Blitz Club, who was playing Midge Ure Ultravox records that he'd never heard of, playing him Magazine, "The Light Pours Out on Me," he'd never heard of it, playing him all the musicians that I wanted to put into a studio for us to turn into the future sound of the '80s, the sound, Midge.