“I don’t know what got into my head: I decided to slow the pace of doing things in the studio, so we’d spend a day and a half getting a drum sound. After about two weeks, we had some basic tracks, maybe a couple of overdubs, but nowhere near the finished album.
“That’s when we got a phone call that Jerry Moss – the M of A&M Records – was in town and wanted to come by and hear the album. I tried to tell them that we weren’t ready, but that was it: Jerry’s coming. I quickly got some rough mixes together.
“Jerry came in, sat down in front of desk at Trident, and we played him what we had. At the end of it, he got up, shook our hands, said ‘Thank you’ and left. I thought, That’s it, we’re done, he’s pulling the plug. We almost didn’t turn up the next day, but I’m glad we did. We got a phone call – ‘Jerry loved it. Whatever you need – time, money, whatever – just let us know. Keep up the good work.’
“I got very creative with sounds on this album. I didn’t want to use typical percussion instruments, so we’d bang on sofas, cardboard boxes – at one point, I was down on my hands and knees, trying to find the right spot on the wood floor for the perfect sound. This was before computers, so we had to make our own sounds. It all came out quite good.”