This song featured my PPG on the principal synth part.  There was something about this particular sound, either the structure of the wavetables or the way the stereo patch robbed voices, that meant you never quite knew how it was going to sound when you played the part.  That was part of the fun!

The label had major reservations about me putting an instrumental on the record.  (Due to their reluctance I wound up engineering everything myself, the first time I realized I was OK doing that!)  But in the end they relented and as it turned out the song actually wound up getting quite a bit of airplay.  During the late 1980s, among other things, I wrote, played and performed on a number of Yellowjackets albums and I thought it would be good precedent to at least have one instrumental to keep those options open.  But I also liked very much the effect of taking a break from the vocals midway and clearing the palate.

This was a very easy track to put together, with not that much going on, a lot of it my synths and a Linn Drum.  Lew Soloff played the trumpet part at the end of a long afternoon contending with the more demanding "Who Becomes The Slave" and "The Three Levels of Nigeria" tracks, and this was obviously a breeze for him.  My old friend Casey Scheurell came over one afternoon to hang and play tablas and cymbals.  Rob Mounsey, very late in the recording process, observed that this song and "Letting The Jungle In" had no nylon string guitars on them, and he suggested I try adding one to see if it fit.  After Casey left I wound up setting up a mic and adding guitars, more or less first takes, on both songs, and thought the additional element in both songs was really great.  I many times heard this song played on the radio and always enjoyed that something so off-the-cuff could wind up floating around the airwaves.