department, before the label made any decisions on whether to sign the act. McGuinness told de Whalley that he could secure a two-day session at Windmill Lane Studios, Dublin's most prestigious studio, at the same cost. De Whalley proposed to his boss that they record U2 in Dublin while the business affairs department worked out a deal to sign them to CBS Ireland. Winwood agreed to the idea, with the provision that "if it was a complete disaster", they could release the demo as a single in Ireland to capitalize on the band's popularity there and recoup the label's travel expenses without making a commitment to the band. De Whalley was appointed to produce the session. U2 ultimately signed a five-year deal with CBS Ireland for their native country only; De Whalley suspected it was for a very small royalty rate, but by then McGuinness's priority was to secure a record release to jumpstart the band's career. News of the recording session made Hayden feel like they "were getting somewhere at last". After attending another one of the group's concerts at the Community Centre in Howth, de Whalley gained "a much better handle on what U2 were all about". He met with the band members at the Clayton family house to discuss which songs they would record, after which they decided on three: the new track "Boy/Girl", and fan favourites from the group's live set, "Stories for Boys" and "Out of Control". Recording Three was recorded and mixed from 4–5 August 1979, during the weekend before Ireland's August Bank Holiday. De Whalley returned to Dublin that weekend and attended one of the band's now legendary Saturday afternoon concerts at Dandelion Market on 4 August, before heading to Windmill Lane Studios with them that evening for the recording session; it was the first of what would be many recordings there by the band during their career. The sessions lasted from 6 p.m. to midnight each day. The equipment for Clayton, Mullen, and guitarist the Edge was set up in the main studio room, while Bono's microphone was set up in the control room. This was done so Bono could record a guide vocal part that his bandmates could hear in their headphones that would not spill into their respective backing tracks. De Whalley said, "you wouldn't have known they were guide vocals by the way Bono went for them – giving