As with many other songs on the album, this production was based on tracks I had cut years earlier...this particular one at the old Record Plant in 1984. Jerry Marotta played beautifully on this, as did Lou Soloff. The haunting main synth was my trusty PPG, with the DX7 providing the more percussive counter-parts. Rob Mounsey had the great idea of using a bass marimba to replace a sound I was using that wasn’t nearly as indigenous. I recorded Gabriela Molinari on her haunting background vocal parts at Estudio Panda in Buenos Aires at 5 am, on the heels of recording Dino Saluzzi on “Eyes Of A Child,” eventually released on This Perfect Day.
When I first moved to LA I began hanging with some of the Brazilian musicians living there and soon came to be great friends with Octavio Bailly, who I often recorded with as well. Octavio played bass on “Who Becomes The Slave” (although some of it definitely sounds like Jimmy Haslip, who is also credited). Octavio, who was a member of various legendary Brazilian groups in the 1960s (Bossa Rio with Sergio Mendes, Bossa Tres with Leny Andrade, and one of my very favorite groups from that era, Tamba Trio, with Luis Eca and Helcio Milito), once mentioned to me that told he played a live gig in with Antonio Carlos Jobim sometime in the late 1950s in which Jobim played a new song of his never before performed called “Garota de Ipanema.