agreement their leader Thomas "Tom Tom 84" Washington met with Collins who asked him to sing the sections where the horns were to be placed into a tape recorder. The group recorded their parts the following day. Collins produced the album himself with assistance from Hugh Padgham, who would co-produce several of Collins and Genesis's subsequent albums in the 1980s. Initially he considered George Clinton, Maurice White, or Phil Ramone until he realised that he merely wanted someone to endorse his own ideas. Assistant recording engineer Nick Launay was hired after Collins was impressed with his work with Public Image Limited. Collins was dissatisfied with initial test cuts of the album, describing them like a Queen album, "big, British and upfront". He then listened to several albums by black musicians including ones by The Jacksons and a collection of soul artists in his own collection, and noticed a common link with technician Mike Reese who worked at a Los Angeles mastering lab. Reese prepared a cut which Collins was satisfied with. Songs The simple style of music on Face Value was reasoned by Collins as his fondness of Weather Report's simple melodies and for black music. Collins controversially included drum programming rather than just live drum instrumentation despite his reputation as a drummer. Collins said he wanted to experiment with different sounds and was inspired by the work of his former bandmate Peter Gabriel, who had used drum programming on his last album; Collins was part of these sessions. Many of the songs' arrangements were done by Collins and session arranger Thomas "Tom Tom 84" Washington. He incorporated Indian-styled violins, played by L. Shankar, for additional textures. The last recording session for Face Value was in January 1981, prior to the release of the first single, "In the Air Tonight". Atlantic CEO Ahmet Ertegun advised Collins to perform drums during the verses and opening of the song, whereas the album version does not feature live drumming until the bridge. The album features songs of different genres. While technically a rock and pop offering, the basis of many of the tracks lies in R&B with light funk influences, especially in "I'm Not Moving", for which Collins sang his backgrounds with a vocoder. "Droned" and "Hand in Hand" are progressive rock instrumentals, with the first featuring an Indian raga sound, while "Hand in Hand" features jazz elements, a black children's choir from