ɪn ɐdˈɪʃən tə hɪz ˈɑːŋɡoʊɪŋ wˈɜːk wɪð kjˈuːæ, mˈiːd wˈɜːkt stˈɛdili wɪð fˈɪl kˈiːɡi ˌɔn hɪz lˈeɪt nˈaɪntiːnhˈʌndɹɪd ˈeɪɾi z ænd ˈɜːli nˈaɪntiːnhˈʌndɹɪd nˈaɪnti z ˈælbəmz sˈʌndeɪz tʃˈaɪld nˈaɪntiːnhˈʌndɹɪd ˈeɪɾi ˈeɪt, fˈaɪnd mˌiː ɪn ðiːz fˈiːldz nˈaɪntiːnhˈʌndɹɪd nˈaɪnti ænd kɹˈɪmsən ænd blˈuː nˈaɪntiːnhˈʌndɹɪd nˈaɪnti θɹˈiː; stˈiːv tˈeɪlɚɹ ˌɔn aɪ pɹɪdˈɪkt nˈaɪntiːnhˈʌndɹɪd nˈaɪnti nˈaɪntiːnhˈʌndɹɪd ˈeɪɾi sˈɛvən ænd skwˈɪnt nˈaɪntiːnhˈʌndɹɪd nˈaɪnti θɹˈiː; æz wˈɛl æz wɪð ɹˈændi stˈoʊnhɪl, ænd dˈeɪv pˈɜːkɪnz.
In addition to his ongoing work with Cua, Mead worked steadily with Phil Keaggy on his late 1980s and early 1990s albums Sunday's Child (1988), Find Me in These Fields (1990) and Crimson and Blue (1993); Steve Taylor on I Predict 1990 (1987) and Squint (1993); as well as with Randy Stonehill, and Dave Perkins.