The first challenge was getting the band settled into the studio environment. Drummer Tommy Taylor, bassist Andy Salman and synthesiser player Rob Meurer were tight with Cross but had limited experience with large commercial studios. The band needed a few days to adjust, but once the rhythm bed came together, the foundations of the track were locked in. One of the key changes from the demo was the adoption of a constant four on the floor bass drum, which immediately gave the track its forward motion.
Cross’s guitar parts were central to the arrangement. Omartian encouraged him to handle the solo himself, and the final take became one of the most praised moments on the record. The basic harmonic structure was reinforced by four instruments playing identical chord lines: Omartian on acoustic piano and Rhodes, Cross on guitar and another additional acoustic guitar.
Vocals were treated with care from the beginning. Lead vocals were recorded through an AKG 414, with four or five takes captured and then comped. Cross’s pitch accuracy made the process unusually precise, as his phrasing and inflections were nearly identical between performances. The call and response idea in the release section led Omartian to bring in Michael McDonald, who added both the answer lines and additional harmonies. McDonald’s arrival at the studio became a memorable moment, as Cross was openly excited to have him on the track.
Percussion sessions added further texture. Victor Feldman contributed percussion, while Lenny Castro supplied the distinctive conga groove that runs through the track. Once the rhythm and vocal structure were completed, the team brought in a full horn section consisting of Lew McCreary, Jackie Kelso, Don Roberts and Chuck Findley. Their parts mirrored the vocal harmonies to create a combined timbre rather than a separate brass feature. Strings were also recorded, with violinist Assa Drori leading a twenty eight piece section to enrich the arrangement.
The mix was handled by engineer and mixer Chet Himes, who had come from Austin and understood the band’s natural dynamic. With two Ampex machines available, the sessions made full use of the available tracks. Automation was basic given the period, so much of the balance was set manually. Late in the process Himes and Cross experimented with atmospheric touches and introduced the wind effect that opens the song. This came from an analogue sound effects library. It was transferred to tape through trial and error until the timing felt right, sitting low enough in the mix to remain subtle.
The project nearly stalled during planning stages. The label was hesitant because punk, new wave and artists like Blondie and The Cars were dominating the market in 1979. Warner’s promotion department questioned whether radio would support such polished, melodic material and initially considered delaying the release. Once the album finally reached the public, Ride Like the Wind gained rapid momentum, helped by its distinctive rhythm, expansive production and Cross’s clear vocal style. The collaboration between Cross and Omartian continued well beyond the album, although Omartian later reflected that the unique chemistry of Cross’s original Austin band was something special that was never fully recaptured.
The track remains one of the strongest examples of late seventies studio craftsmanship, bringing together a Harrison desk, Ampex machines, Cross’s own band and Los Angeles session players to create a polished and energetic recording that still stands out within the wider catalogue of late 70s and early 80s rock.