u/VNE47

Thought I’d share an overview of the making of Moving Pictures... Keeping it as minimally technical as I could.

August 1980: Initial writing and rehearsals at Stony Lake, Ontario, assembling lyrical and musical ideas... The Camera Eye was the first song to emerge, with Tom Sawyer and other songs to follow.

31 August: The band record demo versions of six songs (sans Vital Signs, as that was not written yet) with Terry Brown at Phase One Studios, Toronto as a quick sketch of the arrangements. A demo of "Witch Hunt" was recorded in raw and basic form, which they intended as their production number.

11 September - 1 October: Rush perform a warm-up North American concert tour, where they debut early versions of “Tom Sawyer” and “Limelight” and play the other songs in soundcheck

Early October - mid-November 1980 (estimate): Main recording took place at Le Studio in Morin Heights, QC, Canada. Like the previous album, Terry Brown was co-producer and Paul Northfield engineered. A lot of the songs were well in shape by then, with minor arrangement changes to be done.

First to be done were the basic tracks, where all three members play together as they would in a live/rehearsal situation... They’d do multiple takes, or sometimes sections of songs (like Camera Eye), and the rest would be edited together. The drums would be kept, and the other parts (guitars, bass, synths) were usually replaced and re-done... They also worked with 48-track recording for the first time: the basic rhythm tracks were on the original 24-track reel and the rest (vocals, guitar solos, and various overdubs) on the other 24-track reel, to reduce wear and tear on the original reel.

Tracks like “Tom Sawyer”, "Limelight" and “The Camera Eye” took a lot of time to nail in the studio. Especially on "Tom Sawyer" where the tempo had to sit in the right groove. While others like “Red Barchetta” and the newly-written “Vital Signs” were a relative breeze to get down on tape… They worked a lot to click tracks. "YYZ", as Neil said, required a lot of focus for each individual part, so Neil just played by himself to a click and everyone else layered their parts on top.

November/December 1980: Technical issues were encountered, which delayed the mixing process by about two weeks… This included the two 24-track tape machines not syncing properly, tapes shedding oxide, errors in the newly-installed SSL console’s computer automation plus glitches with the digital Sony 2-track processor... The Sony unit’s owner Peter Jensen had to come in and troubleshoot it, hence the inspiration for Digital Man... In the meantime, the band shoot videos for Tom Sawyer, Limelight and Vital Signs... As Terry Brown noted, these tech issues were to be expected from pushing the limits of what the recording technology could do at the time.

Early-mid December 1980: Mixing continues as usual, wrapping up after 10 weeks. Possibly with additional recordings for Witch Hunt around the time of John Lennon’s passing.

Specifically during the later era (1990s onwards), Rush had been recording their parts almost entirely separately from one another to guide tracks lifted from the demos.

But I was wondering, for the Rush experts out there, roughly when did that transition happen from recording basic tracks together to doing their individual parts separately? Including Neil. If they ever said much in interviews what influenced that particular transition or when that happened. Thank you!

A lot of stories about the making of "Money For Nothing" have been told, but here is an approximation of how the song developed into the one we know today…

The song was first presented by Mark Knopfler to the rest of the band in rehearsals for the album at Phil Manzanera’s The Gallery studios. Originally, it was described by Terry Williams & Alan Clark as having a more Led Zeppelin or Rolling Stones-type feel than what it ended up.

Of course, while at AIR Studios in Montserrat, Knopfler was still not satisfied with it, so he continued messing with the song until he came up with the iconic riff… Alan Clark recalled Mark also stumbled on the guitar sound by pure accident, so he recorded cut just the guitars to a click track – as a tempo reference – to get the song down with that guitar sound (which they could never quite recreate afterwards)… And everything else was built around this skeleton – keyboards, bass and initially Terry Williams' drums.

As is well-documented Terry Williams' drums weren’t really happening for various reasons and they had to fly in Omar Hakim to redo the drums. Terry Williams’ parts were kept in the intro and all the tom-tom fills for Money For Nothing, as per Terry himself and producer Neil Dorfsman… While Omar Hakim played the straight beat.

Neil Dorfsman did not recall any click tracks being used at all during the recordings… However, on "Money For Nothing" it would have been difficult to keep a hybrid of Terry Williams’ and Omar Hakim’s performances if both drummers weren’t playing to a uniform time reference to start with, i.e. a click track like Alan Clark recalled. Which would explain how all Terry’s tom-tom fills could be kept in the main song.

By pure chance, Omar Hakim met Sting when he came to record his vocals for Money For Nothing, soon landing the gig for his backing band in 1985… While Omar did his drum parts over 2-3 days. So the song must have been fairly complete and Omar was filling the gaps... Whilst other tracks were basically re-cut from scratch where necessary, with Omar being the right studio drummer they needed to save the project.

Another subject of disagreement is who developed the intro (including the "I Want My MTV" line with melody) and when… Either it was Mark who came up with the line – which he himself, Neil Dorfsman and John Illsley confirmed – or it was Alan Clark, who claimed to have come up with it during rehearsals, both the intro and the said line… Regardless, it became a very memorable part, aside from the main tune itself, though usually considered an arrangement, and Sting’s credit for the "Don’t Stand So Close To Me" melody lifted.

With Sting’s vocal down while he was mid-holiday, that was basically it for "Money For Nothing". The song and mix was finalised at the Power Station in February 1985, including additional fretless bass overdubs from session player Neil Jason.

Thought I'd share it here, based off numerous articles & interviews I've read.

April/May 1985: Writing and pre-production took place with David Coverdale and John Sykes at Le Rayol in south of France... They recorded jams and initial ideas to a E-mu Drumulator, capturing them to cassette, basically writing the whole album in 5-6 days. Neil Murray later joined them for initial rehearsals and assisting with arrangements. However, they were still without a drummer after Cozy Powell's departure…

Summer 1985 was spent auditioning for a new drummer, but without much luck until they found Aynsley Dunbar. Rehearsals were held in Los Angeles throughout September prior to the recording.

Early October – December 1985: Basic tracks were recorded at Little Mountain Sound in Vancouver, Canada – this included drums, keyboards, initial guitars, bass guitar and David Coverdale’s guide vocals. Mike Stone was producer and engineer on the sessions... Lots of time was spent finding the ideal guitar sound for Sykes, which then-staff engineer Bob Rock helped achieve in the end.

Sessions were also slowed down by illnesses going around within the band, including John Sykes catching strep throat. Coverdale started encountering vocal troubles towards the end of these sessions.

January 1986: John Sykes flies back to England to attend a funeral for former bandmate/bandleader Phil Lynott, who passed away on 4^(th) January, temporarily pausing the sessions…

February 1986: Sessions continue at Phase One Studios in Toronto, where John Sykes re-cuts the rhythm guitars on the album with Mike Stone producing… Coverdale attempted to record lead vocals, but continued to face difficulty singing and was sounding very nasal & out of tune.

In March 1986, he was officially diagnosed with a sinus infection due to a deviated septum… Thinking it would clear up, he booked sessions at Compass Point Studios in Bahamas for two weeks, all for the infection to return while he was there. This led to him having throat surgery in April, leaving him unable to sing for a few months. With no final vocals in place, the album was put on ice… Even after recovering from surgery, Coverdale experienced a mental block to singing, with his confidence still shaken.

April 1986: The album officially runs over budget, and the payroll is stopped for the other members. Coverdale himself encouraged them to find other work in the meantime... John Sykes stayed around hoping to finish his guitar parts, while Neil Murray and Aynsley were not required and were supposedly encouraged to find other work in the meantime while still obligated to Whitesnake.

Coverdale’s recovery from surgery was a low point for him, and he recalled feeling unsupported by the other bandmembers, particularly Sykes. Contrary to this, however, Sykes maintained he was loyal to Coverdale and stayed around to help finish the album, even when the wages stopped – relying on the goodwill of a girlfriend in Los Angeles to keep afloat – turning down other gigs in the process. Murray also maintained he was still in touch and talking with Coverdale.

Nonetheless, seeds of discomfort were sown, particularly towards John Sykes and Mike Stone. Stone became frustrated after the long and dragged-out production, refusing to carry on the album until he had vocals to work with… Allegedly, he also suggested bringing in another singer, much to Coverdale’s annoyance. Although Sykes was still intent on working with Stone.

As for Sykes, Coverdale really admired John Sykes’ cockiness, arrogance and uncompromising artistic vision, which helped a lot when writing in France... But that progressed to a point where Coverdale saw Sykes' personality as a threat to his leadership… Coverdale cited the reason being personality differences, but it eventually boiled down to who was the leader.

August-September 1986: Having fully recovered and with some vocal training under his belt, Coverdale properly began recording vocals for the album with producer Keith Olsen at Goodnight L.A. Studios… He attempted three run-throughs of “Still Of The Night” first, which they ended up keeping. Eventually, all the vocal parts were completed within two weeks.

October-November 1986: With Coverdale’s vocals completed, Coverdale sent for Sykes to finish his guitar parts (including solos), which he did at The Townhouse studios in London, England with Mike Stone producing... Coverdale could not come to the UK for tax reasons, and Stone was not keen on flying to America, so this was the result… Supposedly, Sykes was disappointed some of his guitar parts were erased on tape to make room for Coverdale’s vocals, so he had to re-do them. Neil Murray also took the opportunity to re-do a few bass parts in London during this time.

So far, Coverdale had placated Sykes by letting him work with Mike Stone as he wanted, to complete his guitar parts as he pleased… However, there was still disagreement between Coverdale & Sykes over which producer was going to finish the album. This was initially going to be Stone, but he was not willing to continue his involvement... Nor was Coverdale on good terms with him or willing to fly to England for that purpose. So it landed to Keith Olsen to finish and mix the album, and Coverdale could finally take control over how he wanted the album to turn out. Sykes was ultimately sidelined from the completion.

December 1986: Tapes for the album were returned to New York for final overdubs mixing with Keith Olsen, again at Goodnight L.A. Studios...

9 December 1986: Dutch guitarist Adrian Vandenberg arrives in Los Angeles, where he recorded his guitar solo for the album version of “Here I Go Again” – presumably replacing John’s original solo – and discussing the possibility of joining Whitesnake. The same session, however, John Sykes also came by to the studio to confront Coverdale about him being fired and a shouting match ensued which Vandenberg overheard.

Evidently, things were falling apart and the ground was shifting within Whitesnake. Coverdale was silently letting go of the whole band as they finished the record without telling them... By January 1987, Coverdale re-recorded "Here I Go Again" as a 'radio mix' with session musicians at A&R John Kalodner's request. By February 1987, a new line-up was reassembled in Los Angeles for the video of "Still of The Night", which Coverdale chose to continue with.

Does anyone have the link to the video interview from Whitesnake TV channel with the interview? thank you!

I’ve listened to the album released recently, and I have this to say… Overall, it is a very underwhelming collection of songs and a very scant offering of vault material compared to previous releases by the old estate. They really knew how to handle stuff and curate thorough SDE releases, while this is really just throwing together a bunch of vault tracks and making some cohesive-sounding “timeless record”.

The songs are great on their own, don’t get me wrong, but the whole thing is so haphazardly put together and these gems deserve better outlets than the way they appear on Timeless. I would say it’s a lot worse than Originals, which has its fair share of issues despite having a proper cohesive theme of being songs Prince gave to other artists.

Overall, it feels like this album is an attempt to showcase how Prince would have wanted the tracks to sound now if he was still alive… And the real cohesive thing about it is the new mixing by Chris James, whose modern mixing approach was to make it all sound “timeless”... But this seriously falls short on “I Am You”, “Tick, Tick, Bang”, “Heaven” & “I Wonder”. They just don’t sound right – all those fancy reverbs, effects and ambiences. I’d like it to sound more dry, punchy and upfront, as they were meant to sound at that time and how Prince would have envisioned originally… “I Am You” sounds too ahead of its time, almost anachronistic (recorded c. March 1977). They should have used original mixes where available, but that approach only really works sonically for SDE’s and defeats the cohesive mixing thread on Timeless.

Not to mention the whole discussion about “Calabama” from 2003 having horns added posthumously in 2026, which the Estate did not come clean about until the cat was already out of the bag thanks to Greg Boyer… Which is what the estate thinks Prince would have wanted the song to sound now. The Estate did say that Prince put a synth part first for the ‘horns’, and expected Prince would have replaced it with real horns anyway, since he was all about using proper musicians in the 2000’s… Which is understandable. But all this would have been very different had the Estate been honest and upfront about it from the start in the liner notes.

As a fan, I’m all about preservation, like many. I want to hear how Prince heard and created those tracks at the time of recording. Regardless how unfinished or unmixed they are. Even in unfinished form, Prince’s material is still solid and has potential, as I can attest from listening to all the bootlegged stuff from over the years… You’d never think those were unfinished or an early version until a different version with overdubs comes along on the SDE’s or new vault releases – particularly “Coco Boys”, “Purple Music”, “I Wonder” and “Tick, Tick, Bang”. It is those surprises that I look forward to, but it really falls to the hands of this new Estate…

I have never felt so much distaste towards this money-grab commercial machine of the new Estate – all these musicals, merchandise, film features of Prince’s material… It goes against everything Prince stood for. And with this release, my hopes are even more down the drain for this new estate. And this early on… Appealing to new fans, which is fine, but at the expense of the core of Prince’s fandom who are very protective of Prince’s music and rightfully so. I doubt the new Estate will listen… Prince isn’t here to tell us how he would like things to happen with his vault material, and all we can do is speculate. He would not approve of messing with his stuff beyond his grave. Best thing is to leave things as they are.

Thought I'd share this interview. Wonder if there are more in-depth interviews around 1985 or so.

Thought I'd share this, with some extra bits of info from studio notes and other internet sources/interviews.

April 2-6, 1990: Sessions at Smart Studios, Madison with Butch Vig producing. Eight songs were recorded, including "Immodium" ("Breed" working title), "In Bloom", "Stay Away", "Lithium" and "Polly"... Songs that were written and performed live over the last 3-4 months, with Chad Channing as drummer.

Original plans were to release an EP, but this idea was soon abandoned and the band would instead use the tracks as demos to ship for a new record deal, eventually landing one with Geffen Records.

By September 1990, Dave Grohl had joined the band as their drummer, after Dan Peters‘ brief stint and Chad Channing’s firing.

late April 1991: Final rehearsals take place ahead of the recording sessions, finalising some of the arrangements at Butch Vig's suggestions.

2 - 24 May 1991: Recording sessions take place at Sound City Studios in Los Angeles, CA with Butch Vig co-producing & engineering.

Basic tracks were cut in Studio A for basically all the songs, taking around 5-6 days... Each song usually took two, three or four takes to nail. “Lithium” would be done to a click track at Butch Vig’s request, using an Alesis drum machine although Dave wasn’t pleasedyy. For "Something In The Way", however, they encountered some difficulty recording as a full band...

They soon moved to Studio B at Sound City, where overdubs were completed - bass, guitars and vocals. "Something In The Way" was completed there, where they cut Kurt’s acoustic guitar & vocals and cut bass & drums to that, repeatedly punching in to match the timing. More time was spent on the guitar and vocal overdubs, Kurt still writing lyrics by that stage…

24 - 28 May 1991: Initial mixing took place at Devonshire Studios in North Hollywood... Some last-minute guitar & vocals were also done. They’d fully mixed 3-4 songs, but did not feel satisfied with them. The rest wound up being left as rough mixes... They were relatively burned out from the recording, and felt it was best to bring in a fresh pair of ears.

July 1991: mixing completed by Andy Wallace at Scream Studios in Studio City, California, with some overseeing from the band & Butch Vig. Wallace's approach was applying more EQ, and using samples to drive reverb sounds on the kick & snare without replacing the original sounds. Kurt had chosen Wallace as he liked his work with Slayer, though he later felt the record had too much polish for his liking once Nevermind became so successful…

26-27 July 1991: The album is officially completed, with final masters made and B-sides ready.

Autumn 1983: Following touring for The Hurting, the band work on "The Way You Are" for a single release… Additional songs were also written at this time during rehearsals, including "Mothers Talk", "Head Over Heels" (evolving out of a motif in "Broken" a.k.a. "We Are Broken") and "The Working Hour".

December 1983: The band do a UK tour to coincide with the release of "The Way You Are", where they road-test the aforementioned songs, alongside the B-side track "Broken". "Head Over Heels" is performed bookended by "Broken" as an interlude, and this arrangement remained on the album. Even the coda for "Broken" performed at Hammersmith Odeon was kept.

January-February 1984: Sessions take place for "Mothers' Talk" with producer Jeremy Green for a potential single release. However, the record company rejected it as it sounded too electronic & synth-oriented like "The Way You Are", which was deemed a commercial flop by the band's standards.

Eventually, Chris Hughes is brought back into the fold as producer, who could help bring the organic guitar-oriented sound the band were after. However, it became clear that they did not have enough songs to make a complete record. Thus, Roland took a break to write and develop more song ideas, out of which came "Shout", "Everybody Wants To Rule The World" and "I Believe". Although "Everybody" would be held over for some time due to Roland’s reluctance... Ian Stanley would also write "Listen".

April 1984 (estimate): Recording for the album officially begins, largely at Ian Stanley's house with Chris Hughes producing and Dave Bascombe engineering… The recording took seven months to complete, working largely on arrangements and developing the songs further from their initial form.

Of the seven months, "Mothers' Talk" and "Shout" both took 2-3 months to develop and flesh out into their final form, being released as singles in August and November 1984, respectively. "Everybody Wants To Rule The World" took 5 days by stark contrast, as the very last track to be recorded, once Chris Hughes had convinced him of its potential…

October-November 1984: Mixing took place for over one month at Union Studios, Munich. The final lead vocals on "Everybody Wants To Rule The World" were completed there.

late November 1984: The album is officially complete, and so tour preparation & rehearsals begins for the album

25 February 1985: Songs From The Big Chair is officially released on Mercury records

Posted this on forums not long ago, thought I would re-share it here for your reference as an overview of the process.

Late 1983-Mid 1984: Early versions of "Liberian Girl" and "Dirty Diana" were developed during the Victory sessions, but Michael kept them for his own solo project.

February 1985 (estimate): Sessions take place for the Captain EO movie after We Are The World & Victory tour. "Another Part of Me" was recorded at Westlake Studio A, as was "We Are Here To Change The World" although possibly written earlier. Michael worked with John Barnes and engineer Matt Forger, both of whom would form the ‘B-team’

Spring 1985: Michael officially begins writing & pre-production on the Bad album in earnest:
“Al Capone” (later “Smooth Criminal”) and “Dirty Diana” were among the first songs worked on during this early period at Westlake Studio C with Forger and Barnes…

By May/June 1985, Hayvenhurst was officially upgraded and operational. Around August, Michael would be filming for Captain EO. Engineer/musician Bill Bottrell joined the 'B-team' in October 1985, becoming an integral part of the team whilst Matt Forger was focusing on Captain EO. Likewise with Synclavier operator Chris Currell, who joined in early 1986…

Over the next year and a half, Michael continued writing and recording songs for the album. He would communicate his musical ideas, and Barnes or Bottrell would help realise them using cutting-edge tools of the day like the Linn 9000 drum machine, plus Synclavier and Fairlight CMI computers. There was also a great deal of experimentation with finding new sounds, something Michael continued to push for future albums. The main focus was getting the songs as they were, Hayvenhurst offering the relaxed, creative environment.

4 August 1986: Recording officially commenced with Quincy Jones and the 'A-team’ at Westlake Studio D... Michael had already narrowed down the songs for the project from around 60 songs/ideas to 9, including “Streetwalker”. 
Basically, Quincy and the ‘A-team’ were re-creating the demos from scratch with proper studio musicians and getting them to album master quality, which was difficult at times due to Michael preferring the demos and felt they had more punch… Like on the demos, they worked primarily on the Synclavier with Chris Currell retained from the B-team.
Only “Another Part of Me”, however, kept the original 1985 recording made for the Captain EO film with minor updates.

At the same time, Michael continued to work with the ‘B-team’ back at Hayvenhurst - mostly Bottrell and Barnes. Attempts to bring them to Westlake not sit well with Quincy, who saw them as a threat to his role as producer… Things came to a head when Michael allegedly took the tapes for “Speed Demon” to Hayvenhurst for Bottrell to re-work behind Quincy’s back in December 1986. Inevitably, Bottrell was fired from the project the following month and the ‘B-team’ was dissolved. Currell, meanwhile, stayed as a Synclavier operator, Quincy feeling less intimidated by him.

February 1987: Halfway through recording, Quincy sought material from other songwriters for the Bad project to complement Michael’s songs… From this came “Man In The Mirror” and “Just Good Friends”.

June-9 July 1987: Final tense months before the Bad album was finally completed, which saw the A-team running two studios (C&D) full-time at Westlake, involving engineer Humberto Gatica like on Thriller... The last few weeks saw a toss between using “Streetwalker” and “Another Part of Me” on the album, with the latter winning…

Not to mention that the singles - Bad, Smooth Criminal, Dirty Diana etc. - had new mixes done ahead of their respective releases, and were inserted on the main album master for new pressings each time up until January 1988.

In honour of the release day of Hysteria, I thought I’d reupload /w some updates and additional info.

February-August 1984: writing and pre-production took place in Dublin with 4-track recorders, having hardly written anything while touring for Pyromania…. With some help from Mutt Lange, who was almost like a sixth member of the band. However, Mutt needed a break after constant work in the studio, so he bowed out and the band needed to find another producer…

11 August-late October 1984: The 'infamous' Jim Steinman sessions at Wisseloord Studios in Holland... Has been well documented this didn't work out because they had very different ideas on how to produce the record… The songs were cut live in the studio, when the band were used to doing their instrument parts individually which they felt was best… Basically, Jim wouldn't adapt, the band wouldn't compromise, and so they parted ways.

Early-mid November 1984: Sessions continue with the band producing themselves and David Thoener engineering, lasting a few weeks until Thanksgiving. They basically tried to salvage the Steinman recordings, re-doing guitars to beef up the sound… The drums from the Steinman sessions were drum samples, with Thoener saying Rick was eager to replace them but obviously never got around to it given what happened eventually.

late November 1984: Engineer Nigel Green joins the sessions, becoming a mainstay throughout the project as assistant producer… Even then, they were still trying to salvage from the Steinman recordings at Wisseloord.

31st December 1984: Rick Allen had his accident on the A57 outside Sheffield, in which he sadly lost his left arm, much to the band’s shock.

Early 1985: Recording continued at Wisseloord while Rick was in hospital recovering, despite the uncertain atmosphere looming… Rick eventually joined them after six weeks, and developed a custom-made Simmons SDS-7 drum kit /w left foot triggers which he got to practice with on his own in Wisseloord Studio 4. And continued to refine his technique while the sessions carried on over the next two years.

Also, by early 1985, they finally decided to scrap the eight backing tracks recorded with Steinman and recut the songs - primarily vocals and guitars - to a LinnDrum machine, but sessions were slow without Mutt's leadership and guidance...

mid-June - late July 1985: Lead vocal sessions at Studio Des Dames in Paris, with some band rehearsals. Mutt Lange finally joins in as producer after a much-needed rest. Only the vocals for "Animal" and "Run Riot" were completed at this time... Mutt also felt the material so far needed improvement, which sounded like a Pyromania II at this point, thus fully committing as producer much to the band's relief.

August 1985 - July 1986: Recording continues at Windmill Lane Studio 2, a cheap jingle studio in Dublin, where the bulk of the finished album was completed. They almost entirely started from scratch, re-writing and updating the songs under Mutt’s direction… A few new songs were written as well - "Hysteria", "Rocket", "Love And Affection" & the final song "Love Bites". While “Animal” had the music rearranged under the Paris lead vocal… The songs still featured a LinnDrum, a guide synth bass, guitars and some vocals.

August 1986: Break for the Monsters of Rock mini-tour, for some relief from the studio (only a week of lead vocal recordings for Joe at some point between shows)

September 1986 - January 1987: Final phase of recording at Wisseloord Studios in the Netherlands. There, they primarily added bass guitar and drums to the existing songs, alongside lead vocal work from Joe. Rick Allen programmed the drums on a Fairlight CMI computer, albeit manually with his Simmons kit hooked up to it... However, a couple of hiccups happened: Joe caught mumps in late November, then Mutt Lange had his own car accident which took a few weeks to recover from…

By early January, “Pour Some Sugar On Me” came about during a vocal session, with only Joe and Mutt being around. They put together a quick demo, and before long they had one more song… Phil, Sav and Steve would help develop it further, and there was the song in 10 days.

Late January 1987: Joe completes vocals for "Armageddon It" and (newly-written) "Pour Some Sugar On Me" at Windmill Lane II over 8 days... These were the final vocals recorded for Hysteria.

February - May 1987: Final production and mixing at Mutt Lange's private studio in Hindhead, Surrey... All the 24-track tapes were transferred & compiled, then the bulk of the Fairlight CMI programming was done by Phil Nicholas at Mutt’s studio including drums, bass parts, sound FX and keyboards. Mike Shipley and Nigel Green mixed the album with Mutt, running the Fairlight live in sync with tape so parts could be changed on the fly if needed.

Meanwhile, the band took a much-needed break and finished off 5 songs for B-side material. As well as coming up with additional song ideas including one by Phil & Steve which became “Stand Up (Kick Love Into Motion)”.