After six months of winning over audiences King had become a powerful live musical force.
CBS records newest A&R recruit, Gordon Charlton, was a keen supporter and regular attendee of the group’s shows. Convinced of the bands pop potential Charlton persuaded Columbia to sign King and the late summer of 1983 found the band demo-ing their stage set and looking for a producer to help translate their live appeal onto vinyl.
On stage King were confident that they could get a crowd moving but making records for the dance floor was something different.Groundbreaking tracks such as New Orders 'Blue Monday' and Trevor Horns Frankie Goes to Hollywood productions had marked an evolution in the sound palate of groups. As guitar bands mixed with drum machines and samplers King were looking for a technology savvy producer who understood how to make vibrant pop records aimed at the clubs. In Richard James Burgess they believed they'd found their man.
Richard Burgess was a native New Zealander and drummer who'd enjoyed chart success with the electronica leaning band Landscape. A regular on the New Romantic club scene, Richard’s programming skills with the fledgling drum and synth technologies had attracted Spandau Ballet to seek his talents for their earliest club oriented hits.
January 1984 found King and Richard Burgess in Soho's Trident Studios the location of David Bowie’s Ziggy Stardust sessions and the majority of Queens classic 70's recordings.
Over three days the group taped and mixed 'Love & Pride' along with two b-side tracks but the recording session didn’t run smoothly.