Production and Marketing
Cherry Pie was released on September 11, 1990 through CBS Records. Like its predecessor, Dirty Rotten Filthy Stinking Rich, it was recorded at The Enterprise in Burbank, California.
It is widely rumored that Erik Turner and Joey Allen had not played a note on the album and that all guitar work had been performed by ex-Streets guitarist and session musician Mike Slamer. The rumor has never been verified, although Slamer's wife confirmed in 1998 that her husband played guitar on the record. The album's liner notes refer to Turner's function as "G-string" and Allen's as "Bong Riffs", adding that "Erik & Joey would like to thank Mike Slamer & Tommy Girvin for their Wielding G string Inspirations". Producer Beau Hill stated in a 2012 interview that Slamer did in fact play on the album. Beau had said to the band that the "songs are really great, but I think we’re a little weak in the solo department and so I like to bring somebody in". Beau also stated that "everybody in the band signed off on it and everything was done above ground".
Slamer was joined by numerous other guest performers; the record also features contributions from Jani Lane's brother Erik Oswald, guitarist C. C. DeVille from Poison, guitarist and bassist Bruno Ravel and drummer Steve West from Danger Danger, and singer Fiona.
The album carried a parental advisory sticker in the United States, due to the final track entitled "Ode to Tipper Gore", which consisted of a collection of swear words cut from the band's live performances. A "clean" version of the album also existed, with the final track removed, and an audible "bleep" of a curse in a previous song.
Canadian cable-TV music network, MuchMusic, refused to air the "Cherry Pie" video on the grounds that it was "offensively sexist".
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Famous quotes containing the words production and and/or production:
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)