stuff. And what was interesting is, that was what a lot of people in bands now are listening to anyway. So in a funny way, it made us completely contemporary." Looking for a harder-hitting rock sound than that of their previous record, All That You Can't Leave Behind, U2 began recording How to Dismantle an Atomic Bomb in February 2003 with producer Chris Thomas. After nine months of work, the band had completed an album's worth of songs. In October, they met in Dublin to review their work. Bono and guitarist the Edge believed it was good enough to release; Bono said, "All we needed was the assent of the politburo and the record would have been out for Christmas." Bassist Adam Clayton and drummer Larry Mullen Jr., however, disagreed with their bandmates and voted against releasing the record. Mullen said that the songs "had no magic", while Clayton said, "When it comes to signing off on a project, you ask questions like, 'Have we got a first single to open the campaign?' Frankly, we were missing more than just a first single." Clayton and Mullen also had a nagging feeling that All That You Can't Leave Behind had been overpraised when it only produced one hit—"Beautiful Day". Clayton thought that if U2's goal was to continue to be the world's biggest band, they needed three or four hits from their album that could attract new fans. The group brought in their long-time producer Steve Lillywhite to mediate the disagreement. After they played him the album, Lillywhite assessed that it felt like "it had the weight of the world on its shoulders. It certainly wasn't any fun." After lengthy discussions, Bono and the Edge were convinced that the album needed more work. Bono thought their songs were good but admitted "good won't bring you to tears or make you want to leave your house and tour for a year". The group subsequently dismissed Thomas and enlisted Lillywhite to take over as the album's producer in Dublin in January 2004. Lillywhite, along with his assistant Jacknife Lee, spent six months with the band reworking songs and encouraging better performances. Several other producers received credits on the album, including Daniel Lanois, Brian Eno, Flood, Carl Glanville, and Nellee Hooper; Bono acknowledged that the involvement of multiple producers affected the record's "sonic cohesion". A demo version of the album (guitarist the Edge's copy)