associated with a record label. The group then spent the year touring, during which they received offers from labels that ultimately amounted to nothing. Among these offers was one from Triple Crown Records, who were apprehensive as they had just signed Brand New, and Drive-Thru Records, whose co-owner Richard Reines had mistaken Nolan for Lacey. Eventually, the band's friend Michele Logo was in a car with Victory Records sales and A&R representative Angel Juarbe. She had the band's demo playing during the journey, before Juarbe inquired who it was. He sent a copy to Victory founder Tony Brummel, who asked to see a live performance. Within two weeks of seeing them live, a contract was written up, and the band signed to Victory in December 2001. Production Although other labels expressed interest in Taking Back Sunday, Victory Records encouraged them to make an album. Tell All Your Friends was recorded over a period of two weeks in December 2001 at Big Blue Meenie Recording Studio in New Jersey with producer Sal Villanueva. The band arrived without a drum set, presuming that the studio would have one. Engineer Tim Gilles said, "No major studio in America has their own [drum] set. You've gotta be fucking kidding me". The group spent each day driving from Long Island to Jersey City; as all of the members had day jobs, they had to request time off to record. Cooper collectively recorded his bass parts in four hours, spread over half a day. Villanueva would come up with ideas and suggest them to the band. Towards the end of tracking around Christmas, Lazzara became sick and lost his voice for two days. It resulted in the band having to miss one to two weeks of recording time. The sessions concluded in early January 2002, and ended up costing $10,000. Villanueva had contributed guitar work and co-mixed the recordings with Gilles (under the alias Rumblefish). When the band heard the final mixes, they realized that the studio staff had altered the recordings, namely sounds had been manipulated and the guitar tones differed from how they were recorded. The piano intro to "The Blue Channel", which was initially slow, was sped up to match the tempo of the rest of the song, which was four times faster. Cooper said that the band was unhappy with these choices, and mentioned that the intro to "Great Romances of the