Kevin Cronin

And the engineer is a guy named Paul Grupp, passed away recently.

I love Paul.

But we're like, sure, John Boylan.

And so John came in, and I loved it because it gave Gary and I the total freedom to mold the music and to choose what we were going to do.

And John was sitting back there, and if we ever had a question or if we ever had a...

ran into a blind canyon, we could always ask him, and he was always there.

About a month into the album, I was listening to some playbacks and I'm like, this is not right.

It's not right.

We need to go back into rehearsal.

I don't remember what was not right about it, but it just wasn't feeling right.

You just know.

So I went to John Boylan, I took him aside, and we had become friendly over the past month.

And I said, John, how crazy would it be if I asked you if we could start this, if we could leave the studio, we were at Sound City, leave the studio, go back into rehearsal, come back and start over again.

And he looked at me and he said, do it.

And that...

I mean, you have no idea how good that made me feel, because I was afraid to say that to anybody.

But when I had his imprimatur on it, I was like, okay, he must have been hearing the same thing.

So we went out, went back into rehearsal for about three and a half weeks, and...

worked on the arrangements, and we set up in Gary's living room.

He was the only one who had a big enough house that we could... And we turned his house into our clubhouse.