They sent a song to Roger. We’re making it a point that Roger has a certain amount of work that he does with pre-production, so he gets in touch with song writers, publishing houses, and then they come in and we sit down and we listen as we do work together or I go into the office and we listen. So Roger got this and he said "Listen to this song". I thought "Oh no Roger…It’s another one of those 'Oh no Rogers!'“ I said "It’s not right. It’s much too pop for me. It’s just not right". He says "Yes, but I have a feeling this song is something like 'Let’s Stay Together’“. I said "I don’t know how you hear that, I don’t". I got in the studio, neither did Dan Hartman. All of us felt like Oh God, here we go with that song today. And finally I said "Alright, listen we got to do it because Roger wants it done, just to see if we can get it". I said "get me a tape of 'Let’s Stay Together‘ and see if we can do it". We had one of those whizz kid keyboard players and he did a programme and it started to happen. We all started to become excited. Roger should have co-production on that one because it was his fault that we dug into it to try to make it happen because he believed in it. That’s what it takes sometimes. If someone believes in it. And I respect him enough to say "OK, if he believes in this song, I’m gonna do it"! because you never know. It’s one of my favorites now. They didn’t mind me changing it. We did change the melody. It was quite pop but we couldn’t get it to happen. It’s different when you get a demo of the record, and we couldn’t make it a record. So finally we took a little bit from old Al Green and there it was.