that were favourites among U2, including early Roxy Music albums and the Sex Pistols's Never Mind the Bollocks, Here's the Sex Pistols. U2 began working with Thomas on the album How to Dismantle an Atomic Bomb in February 2003. During the sessions, U2 experimented with different melodies and rhythm ideas for "Full Metal Jacket". Bono's original set of lyrics was inspired by Leonard Peltier, a Native American rights activist who was controversially convicted of killing two Federal Bureau of Investigation agents. Bono did not believe Peltier deserved to be imprisoned, and he took a "new-journalism approach" to writing the lyrics. The song was subsequently retitled "Native Son", and after extensive experimentation on it, the band recorded and mixed a version of the song to completion with Thomas. The group were so excited by the song, they sent it to Interscope Records, which was equally excited by it. However, Bono called the decision a mistake and said the song ultimately "wasn't as good as [they] thought". After working for nine months with Thomas, U2 had recorded an album's worth of material, but they were dissatisfied with the quality of it and decided to delay the release. As a result, they hired producer Steve Lillywhite to replace Thomas in January 2004. Lillywhite urged the band to record in the larger space at Hanover Quay Studio to encourage better performances. While Bono was away for the week, the band re-recorded the backing track for "Native Son". When Bono returned, Lillywhite asked him to record a guide vocal, but 30 seconds into a take, Bono stopped, as he became uncomfortable with the thought of singing the lyrics to a large crowd in a live setting. He said: "The lyrics were about something I care deeply about, but the song didn't vibrate. It didn't change the room temperature." The song subsequently was deconstructed and the lyrics were changed around, with various iterations of the song being called "Shark Soup" and "Viva la Ramone". At one point, Bono wrote a completely new set of lyrics in Spanish, remnants of which would survive in the completed version of the song. Eventually, the song transformed into "Vertigo", but the group were still considering several possible variations of the chorus. At the suggestion of some outsiders, the band chose the "Hello, hello" version. Lillywhite also double tracked Bono's vocals in the chorus to give them more impact. The Edge