O.k. James, you asked for it- get your reading glasses on- this is long...here's Eric:
"I met Diane Warren at a party sometime in the late 80's and we really "hit it off." We found we had a lot in common and i really liked her quirky personality. She and I would talk on the phone and she'd play me songs she was working on and ask me if I thought they "sucked." Most of them were very, very good. Sometimes I'd tell her I wasn't crazy about the verse but I liked the chorus. She'd say "Yeah, I thought so, too" and then she'd go write another verse.
One evening she played "My Heart Stops" over the phone. I love Diane's voice. It's very cool and raspy, and not too perfect, basically everything I like in a singer. When she asked me what I
thought of the song I asked her if I could have it., and she said "Why don't you come out here and demo it with me?" So, I did.
I flew to L.A. and we went into the studio with Guy Roche who, at that time, was Diane's full time demo engineer/producer. We spent one afternoon on it. Guy and I arranged it, programmed the drums and bass, played the piano and keyboards, I sang it and Diane sang background vocals. By the time we left the studio it sounded like a smash hit record. Diane was excited and we sent it off to Clive for a listen. It was "rough" but it had "the magic."
Clive called the next day and said he loved it and had played it over the phone for friends and for people at the label. He thought it was a "hit." BUT.....now we had to turn that rough demo into a RECORD. When Guy and I mixed it, Guy was just running the drums directly from the computer, he hadn't actually RECORDED them. So, we had SOME of the demo on tape, but some was not. And Clive felt that the vocal was too rough and needed to be "more polished." When we discussed who would produce it, I told him I wanted to work with Guy Roche, and that we would co-produce. He was OK with that, so we booked some studio time and picked another song of Diane's that Clive liked and I liked called "Boardwalk Baby." Diane told me she had been inspired to write it after hearing "Make Me Lose Control."
We booked my buddy Steve Lukather to play guitar, and Mark Williams ( son of John Williams, the great film composer ) to play drums, and Diane and I re-sang our vocals and we added another girl on background vocals. Guy and I mixed both tunes, and I've got to tell you, they were REALLY good. We sent them off to Clive and waited to hear what he thought.
Clive didn't like them. I think they were too "rock" for him. He called me and said "I'd love to hear what these would sound like with a REAL producer." We were shocked. And bummed out.
Clive wanted me to work with a young guy named Ric Wake, who had just had some success producing Taylor Dayne and Mariah Carey. I listened to Taylor's record and I really didn't "get it." I wasn't crazy about the guitar sounds or the drum sounds, and besides, it was a dance record. I didn't think Ric Wake was the right guy for me. But Clive insisted, so I went off to long Island to work with Ric.
Well, actually that's not quite true. First Clive picked a number of other songs he thought would be good for me ( having listened to, and passed on, my stuff, like "Top Down Summer" and a bunch of other songs that ended up on the "Winter Dreams" album).
A couple of the songs were decent songs, but not right for me. There was another one that Diane had written with Bryan Adams called "Feels Like Forever" that was a pretty good song. In any case, Clive sent them over to Ric, and Ric went about cutting the tracks in his studio. When he had the basic tracks done, I flew to Long Island to do the vocals.
When I got there, Ric played me the tracks and I did not like them. I thought the drums on "My Heart Stops" sounded "ponderous." I didn't care for the guitar sounds or solos. I thought "Feels Like Forever" was too fast ( Clive thought the demo Bryan had done was too slow ).
It was cold, rainy and bleak outside. My hotel was like some weird convention center. I felt like I was in an asylum. I believe Johnny Walker and I became good friends when I returned from the studio each night. I was not happy.
I sang my vocals and went home. Ric mixed the tracks and sent them to Clive. I think we recorded four tracks altogether. Clive didn't like any of them. Ric tweaked them some more. Clive still didn't like them. Neither did I.
Ric was a swell guy, but the match-up just didn't work.
Clive and I discussed what should be done. I suggested finding a producer who was old enough to remember The Beatles. I explained that Ric was so young we didn't have any reference points. He had become aware of music somewhere toward the end of Led Zeppelin. He really hadn't listened to the Beatles at all. Clive then suggested a producer who had just finished Roger McGuinn's new album for Arista, David Cole. I asked him how old David Cole was and if he knew who The Beatles were. Clive siad "Oh, don't be such a 'veteran'!" I flew back to L.A. and met David Cole. I listened to the McGuinn album and I said OK.
David and I then began re-cutting "My Heart Stops' again, from scratch. I suggested we approach it like a Tom Petty record, which David agreed with. We also cut "I Wanna Take Forever Tonight", which Andy Goldmark and I had finished and Clive like the demo.
We spent a month in the studio working on "My Heart Stops IV".
When we finished, we had made a more polished sounding record. David submitted it to Clive.
Clive called me and said " I think I actually prefer the sort of 'Springsteen' version of the demo, to this new sort of 'Archies' version you've done with David. David went back into the studio and desperately tried to resurrect the demo. He really was a trooper. He worked very, very hard and was almost frantic to come up with something Clive would like. We were using a computerized board, so David did something like 40 different mixes. One would have a little more snare, one would have a little more tambourine, one would more reverb on the vocal, one would have less. By the time he was done, I think David had been driven to the brink of insanity. he didn't even know what he was listening to anymore.
In the end, I think we went back to the demo and tried to find the original drum program that Guy hadn't put on tape. That became the single.
We had spent 100,000 dollars (recoupable against my future royalties)six months in various studios, with three different producers, on two coasts chasing the demo, and come back to the original demo.
Clive decided to release it without an album. That's basically a vote of "no-confidence." There's no reason to do that if you don't have an album to back it up. Radio programmers understand these things. There was very little promotion, the record was released and died in a couple of weeks. And that was that.
I had pretty much lost any interest in making another record for Arista, and Clive had now lost any interest in making a record with me. We both just walked away."