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“Time Machine was put to bed, it's on its way out, and I got an odd call to see if I wanted to play with Deep Purple, which I said yes to. During the period where I'm getting ready to do two months with Purple – it was June and July of '94 – I'm thinking that I need to get the other record going, whatever that might be.
"I think the Benelux countries hadn't released The Beautiful Guitar yet, which was just a compilation of my ballads for those countries. And I really still felt like the song Time was an important piece of music from the Surfing record that I never could finish.
“I got together with producer Eric Valentine and gave him the tapes, and I think I gave a set of tapes to [drummer] Jeff Campitelli, too. I said, ‘I'm going on this Deep Purple tour. You guys just play with this independently and do whatever you want with it. When I’ll come back, maybe when I hear what you do it'll inspire me to see if it can work as one of the songs for this new record."
“When I came back, I was totally blown away with what Eric had done. We made plans to do the next record, which was going to be called Crystal Planet – there was a little bit of flipping going on with record titles.
“We recorded the first version of Cool #9 and we did Look My Way – just the vocals and drums, I think, maybe. We tried a version of Killer Bee Bop that never went anywhere, and then we had the song Time. Now, that one got finished! Unbelievable-sounding mix. Eric just did an incredible job. He was so in love with what Cuniberti had recorded way back in '87, the original tapes that had come from the Surfing sessions.
“For Time, all we had to do was come up with an arrangement for the ending because the rhythm guitars were there. Eric wound up playing a medium tempo 6/4 behind my 4/4 guitar. It's a crazy moment in the song, but it was inspired. Then I wrote a new melodic solo for the end, but that whole thing broke down because Eric really liked to work very slowly at the time. I just couldn’t deal with that, so I moved on and got back together with John Cuniberti.
“We finished what we thought was Luminous Flesh Giants, Cool #9, Look My Way, and we did some basic tracks, melody and a solo for the song Home. I think we did the beginning of Slow Down Blues.
“Then, once again, I just didn't think it was an album – this sort of echoes what had happened with The Extremist. I took a long period off and then got together with Andy's brother, Glyn Johns. He decided to get rid of a bunch of stuff, keep a bunch of stuff, and at the same time he threw me in the studio with a whole bunch of different musicians with an entirely different way of working. That's what really produced the final product.
“Some of the songs are hybrids of performances that go back to the Valentine sessions or the Cuniberti sessions, and some of them are completely brand new, just live in the studio, like S.M.F. or Moroccan Sunset and Killer Bee Bop. It turned out to just be a crazy record.
“Of course, the album got released the week that Relativity fell apart, bought out by Sony. Oh, boy, what a crazy period that was.”