“I just love them. I was producing Michael Jackson in New York, and I got a tip from my friend Jason Flom at Atlantic: ‘I saw this group. It’s your department – pop. I don’t know if they’re good or bad, but they’re beautiful.’
“They came over to the Hit Factory and waited for me in the lobby. When you’re working with Michael Jackson, you can’t just walk around freely – there’s armed guards everywhere. But I’d go out to the bathroom in the lobby, and I’d see them sitting there. The second time, I kind of looked at them, and they said, ‘We’re here to see you.’
“We went upstairs to the sixth floor; they had all of their Celtic instruments with them. One girl was more beautiful than the next. They played one acoustic guitar for me, and I signed them on the spot. They were breathtaking. It was one of those golden moments.
“Working with them was fantastic because they knew who they were. Their brother Jim was a mastermind; he was like a Mini Me. He knew just what to do. He was a good songwriter, he was a good piano player, a good programmer – he did a lot of the work. He really co-produced this record without getting the credit.”