HE was a north London Jew working with a black British bassist, a blonde Essex boy on guitar and, of course, an androgynous gay Irish singer.

That multicultural starting point, which has also been credited for their success, was why Jon Moss came up with the name Culture Club for the 80s icons who would go on to sell 50 million records.

The drummer dropped out of the punk scene to join the band after stints with London, The Damned, The Stranglers and Adam and the Ants and it was at this time that names were being thrown around.

Jon said: “It was Caravan Club and then it was something unmentionable. Then I came up with Culture Club because of all the different people in the band.”

So what was it like meeting Boy George for the first time?

Jon added: “I’d seen him around. It was the punk days when everything was a bit hazy and it was a much smaller London in those days so you’d bump into people.

"But when I first met him it was in a really weird theatrical warehouse which was quite appropriate. I think people were more interested in George’s persona than his actual talent at the time. I saw that there was a lot to him but really George got around town and was known for dressing up.

“He could sing. He just needed a little encouragement let’s say. At first a lot of people knew there was something was going on but they didn’t get it because it was quite left field at the time. I remember we went into Polydor Records and George was really dressed up and nobody looked up. Nobody even blinked an eye at the record company so we thought: ‘We’re not signing with this lot’.”

But as values and tastes changed, Boy George’s flamboyant looks and Culture Club’s unique musical style began to work in their favour.

Jon said: “We found it very hard to get a deal but we became part of the zeitgeist of that time. The Face was starting up and i-D magazine was starting up and they wanted unusual and different stuff.

“I think the first issue of The Face had us on the front. There was a change in the air and were right at the forefront of it. When things change and when people’s perceptions change musically and fashion wise it happens overnight.

“It’s quite strange. It’s like it’s all there and then one day somebody discovers it and then it’s out. That’s sort of what happened to us. It was very much right time, right place.”

So after two flop singles, White Boy, and, I’m Afraid of Me, Culture Club had a UK number one with the reggae-influenced Do You Really Want to Hurt Me.

Jon, 59, added: “We were very lucky to get Top of the Pops. We only got it by chance because Shakin’ Stevens was ill at the time. Nowadays with social media and everything it’s different but in those days Top of the Pops was the thing and the main focus.

“I think for us to be on that caused a lot of shock. For some people it was quite a threatening image this ‘man-woman’ but at the same time there was this beautiful, exotic side to us. So there was a lot of interest on many levels and when it did happen it just exploded. It was fantastic stuff for the papers and magazines. George was a gift to them.”

The whole experience was a gift to Jon who had wanted to be a famous musician since he was 14.

He said: “It was what I always wanted to do and I worked towards it . So when it happened I was really pleased. I woke up every morning thinking: ‘It can’t get much better than this’.

“I wished I was taller but that was about it. The first time I realised I was famous was when I went to meet a friend at Leicester Square outside the cinema.

“She was late and I looked up and there was a big circle of people pointing at me. They said: ‘You’re him aren’t you?’ I didn’t know what to say to that...”

Culture Club, who are performing at Haydock Park in Newton on Saturday, racked up seven top 10 hits in the UK but did even better on the other side of the Atlantic with nine top 10 singles in the US.

Jon added: “They used to have the rock department and the RnB department and never the two would meet but when we first went over to America they weren’t quite sure which department was supposed to be dealing with us.

“Because it wasn’t traditional black American RnB music – but it was…but we weren’t. We did a lot to break down the musical barriers I think. George would come up with melodies, Roy was the main musical writer but what was great about the band is that we worked together to create a sound.

“Miraculously we just seemed to get on. We were really lucky that we had a really good chemistry.”

So how is the chemistry now more than 35 years on and after two splits and Jon’s famously tumultuous relationship with George?

He said: “There’s the same antagonisms, there’s the same themes. When you get older you think things are going to change but they don’t. But it’s been so long now that we know each other and we know how to avoid tensions.

“Especially with me and George, when there’s an argument and a thundercloud coming we try and walk it off. I’m much calmer than I used to be. As long as it’s not life threatening or threatening to my family or livelihood you can call me what you want, you can shout and scream at me. I really don’t mind at all.”