seeing him play I kind of determined he was a good enough player and entertainer and I just knew he would fit in the group", said Wilder. Temperton played Wilder tunes he had been composing: "I was very interested because we were doing a lot of cover tunes – we weren't doing a lot of original material – I was really interested." The songs provided material for 1976's Too Hot to Handle including "Boogie Nights", which broke the band in the United Kingdom and the United States, and the ballad "Always and Forever"; both tracks were million-sellers in the USA. Despite the slick American sound, Temperton's working surroundings were still far from glamorous. Alan Kirk, a Yorkshire musician with Jimmy James and the Vagabonds, who toured with Heatwave in the mid 1970s, remembered: "The Always and Forever track was written on a Wurlitzer piano at the side of a pile of pungent washing – sorry to disappoint all the romantics". And producer Barry Blue recalled: "He had a very small flat, so everything had to be done within one room and he had piles of washing, and had the T.V. on top of the organ. It was a nightmare [...] he had trams running outside [...] but he made it, he just absorbed himself in the music and Rod seemed to come up with these amazing songs." In 1977, Heatwave followed up the success of its first album with its second, Central Heating, with Barry Blue again producing, and Temperton behind the majority of the songs. It included "The Groove Line", another international hit single. In 1978, Temperton decided to concentrate on writing, and left Heatwave, though he continued to write for the band. Songs written for Michael Jackson Rod Temperton's work attracted the attention of Quincy Jones, and he asked his engineer Bruce Swedien to check out the Heatwave album. "Holy cow! I simply loved Rod's musical feeling – everything about it – Rod's arrangements, his tunes, his songs – was exceedingly hip", recalled Swedien, also calling Temperton: "the most disciplined pop music composer I've ever met. When he comes to the studio, every musical detail is written down or accounted for in Rod's mind. He never stops until he feels confident that the music we're working on is able to stand on its own." In 1979, Temperton was recruited by Quincy Jones to write for what became Michael