of Silence (Axed My Baby for a Nickel) was released the following year, continuing in much the same vein as Visions of Excess and with appearances by many of the same personnel. It included covers of two songs written by Little Feat's Lowell George, both sung by Syd Straw. The record also featured prominent guest appearances by Peter Blegvad, Matthew Sweet, Don Dixon, Peter Holsapple and T-Bone Burnett. A Dead Horse (1989) carried on in the sound of its predecessors slightly, but some of the songs crossed into a darker, more ambient and ethereal sound that dominated the Palomino records of the 1990s. Syd Straw had moved on and was no longer in the band, with most of the vocals now handled by Amanda Kramer, formerly of the dance music group Information Society. Fier later was a guest on Straw's first solo record, Surprise. 1990–1995 Drunk with Passion marked the first album not on Celluloid Records, taking cues from some of the darker sounds heard on A Dead Horse and using more processed and electronic sounds, giving some of its songs an ethereal feel. This album is arguably more influenced by its guest appearances than are any of the previous albums. Guests included Hüsker Dü's Bob Mould (who formed the band Sugar the following year), Richard Thompson, and Michael Stipe, who provided (along with a forceful solo by Thompson) one of the band's finer moments, the opening track "Alive and Living Now". Nicky Skopelitis also became more of a cornerstone of the band, contributing to the bulk of Drunk with Passion'''s songs along with Fier and Kramer. In 1992, Fier released his first solo record, Dreamspeed, which is partially a reworking of the Palomino's next album, This Is How It Feels.This Is How It Feels, released on Restless Records in 1993, continued the ambient sound of Drunk with Passion, but also incorporated elements of club and trance music. It also marked the introduction of new lead vocalist Lori Carson, who co-wrote nine of the CD's tracks with Anton Fier. Bill Laswell also returned to contribute on this record, and his production work on this and on the following record, Pure, heavily influenced Laswell's own remix work of the late 1990s, as seen on the CDs Emerald Ather and City of Light. The album also contains the first cover song since Blast of Silence, an ethereal, drum-machine-laced re-interpretation of Jackson Browne's