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“In the 80's, the band had a reputation for spending a lot of time making records, but that’s just the way they are. I tried to speed things up and got the record done in six months – not much of an achievement, but it was fast for them.
“We recorded in Roland’s studio, Neptune Kitchen. It was a very important album for him because it was the first one he made without Curt Smith. There was a lot of pressure on him. Actually, this was an important record for me, as well, because Roland was one of the first artists who responded to my input musically. I’d come to the studio in the morning and throw a couple of ideas up, hoping he might like them, and he’d come in and say, ‘That’s really great. We should work on that.’
“I played a lot of drums on the record, too. There was some editing involved, because I can’t claim to be the greatest drummer in the world. But I’m on there, and I played some guitars, as well. It was a great opportunity for me to add something musically to what I was producing.
“Roland is very into star signs. Before we started working on the record, he mapped out a composite start chart of us both, and he read it and said that he thought we would get along very well together, which we did. But he also said that he saw a lot of success coming my way very soon, and some money, too. I was like, ‘Oh, well, thank you!’ We figured it would be from the Tears For Fears project.
“During the six months we spent working on the album, I would buy a copy of Billboard every week, and I noticed that this little unknown Seattle band I’d recently mixed, Pearl Jam, were creeping up the charts, and they eventually got to the number two spot. I thought, ‘Maybe that’s the success Roland sees.’”