cuts that Todd had brought us up to do, and we shook hands with everybody", Kaylan recalled, but as they were preparing to leave, Rundgren asked them to listen to the album's planned single. After "Love My Way" played, Kaylan and Volman excitedly insisted that they be allowed to record some vocals for it. "We have got to sing on this one," Kaylan recalls thinking. "If we don't sing on this one, we're not gonna sing on the hit. This is the fucking hit!" The background vocals that Flo & Eddie ultimately contributed ended up being considered one of the highlights of their lengthy career. Rundgren also made musical contributions of his own, including the marimba on "Love My Way" and the saxophone on "No Easy Street". But his primary goal as producer was "helping the band focus their potential". His more unorthodox methods included an instance of climbing to the roof of the studio and dropping lit firecrackers near the unsuspecting band when "we were sort of playing a little sluggishly", as Tim Butler recalled. By his various means, Rundgren motivated the players to create, and by his well-known personal style of power pop-inflected "wall of sound" production, he restored the band's sonic richness – the signature Furs characteristic described approvingly in Rolling Stone as "the thick, viscous smear of guitars, drums and vocals". Music Forever Now fused the Furs' post-punk aesthetic with Rundgren's power pop engineering to dramatic effect. Its songwriting style was prototypically gothic, "firmly planted in the minor tones". "I think it was the peak of our psychedelicness", remarked Tim Butler, who also called the album his favourite of his career. Much of the album had been composed and committed to demo form before the band arrived at Rundgren's studio, but the producer felt that the first crop of tunes was insufficient. He expected a full working album worth of songs to be ready, whereas the Furs believed that their creative process had always flourished best inside a studio. He postponed recording while the Furs made additional demos. British keyboardist and future music producer Ed Buller helped to create many of the demos made before the band returned. Although never an official member of the Furs, Buller supplied much-needed musical accompaniment at this stage, and would go on to collaborate frequently with the band over the next six years. When the second batch arrived, Rundgren made