Sony wanted at least two hits from the CD - appropriate for mainstream rock radio formats. Like it or not, they were confronted with 'the industry' now and its demand for profit.It was tough finding a balance between the creative and the commercial. Although not necessarily mutually exclusive, the band felt loath to compromise their sound for the sake of record company demands.The scratchy guitar sound had to stay, the band insisted. Simple is better, insisted Mick, and he talked long and hard with the American producer to find some agreement. He was under as much pressure, too, to produce a saleable product, both because of his reputation and his percentage of the gross.Sony's A and R man would sit in with them during the initial sessions and Mick hoped he'd be able to please him enough to get rid of him as soon as possible.Phoenix had a 95 channel mixer, sequencers, loopers and all the latest gadgetry to play with. The green room featured sofa's, a plasma TV and a bar with sea. We talked about it for a while, and Tami suggested that I put it on the moon where it could be easily seen by anyone with a strong enough telescope.That sort of joke really appealed to me. I could TP anything anywhere, if I had seen the place before hand. We had an immediate change of plans. We set out for the moon without further delay. The obvious place for the rock seemed to be in the Mare Vaporum, which is in the middle of the full moon, and that was the place we headed for.We found an area relatively free of craters, so that was what we chose. Once we picked out the place and I marked it as a gate, we TKed back to Earth. We waited until there was a minimal guard stationed at the holy rock before acting. I stunned the guards and TPed them to the guardhouse before enclosing the entire structure housing the rock in a TK shield to protect it. Once that was done, I TPed the mass to the moon, leaving behind a glaring empty space. In this empty space, I left dozens of copies of our.
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