it the full monty, arms flailing, legs pumping, willing his mates on the other side of the big plate glass window to pull out all the stops". Although de Whalley had sat in on recording sessions before, he said that he was "no producer" and lacked the necessary technical and diplomatic skills. One of the toughest challenges he faced in the session with U2 was recording a suitable take of each song, as Mullen and Clayton were struggling to keep time. He said, "without the fuss and fury of a live show to hide behind, their tempos were not to be trusted". While adequate takes of "Stories for Boys" and "Boy/Girl" were eventually captured, the band had particular difficulty with "Out of Control". During a 24-bar section nearly two-thirds of the way into the song, the instrumentation was supposed to drop out for a "simple bass-drum figure" before building back up again. Mullen repeatedly lost his timing during this section, causing his bandmates to re-enter the song improperly. De Whalley insisted that the band record take after take until they got it right, as he thought it was their best song and needed to be coherent on record. This caused friction in the studio, particularly with Mullen. Bono was in disbelief that there was any issue with the rhythm section, telling de Whalley: "But Larry has lessons from one of the best drummers in Dublin! How can he be out of time?" Eventually, they completed a usable take of "Out of Control". De Whalley realised in retrospect that Clayton "operates on a slightly different sense of timing from virtually any other musician", which combined with Mullen's over-ambition, contributed to the band's rhythm issues. The group reconvened at the studio on Sunday, 5 August, to mix the tracks. De Whalley recalled McGuinness passing him joints throughout the mixing: "Whether his plan was to help me pull down great ideas out of the ether or to get me so out of it I'd let him and the rest of the band call the shots, I don't know." The team agreed that the songs should sound "as tough as possible". De Whalley and the engineer, Bill, were aiming to emulate the musical style of the Ruts, a popular band at the time who had released "very rhythmically coherent post-punk records with a very tightly controlled driving guitar sound". In an attempt to copy