Rod: That was around the time that Daisy and Billy started recording their vocals together. On most of the tracks, they were in the booth at the same time, singing into the same mike, harmonizing in real time together.
Eddie: Billy and Daisy on the same mike in one of those small booths … I mean, we’d all kill to be stuck up that close to Daisy.
Artie Snyder: It would have been a lot easier for me to have them in two different booths so I could isolate their vocals. Them singing into the same mike made my job about ten times harder.
If Daisy had an area where she was soft, I couldn’t overdub it without losing Billy’s. It made cutting back and forth between takes almost impossible.
We’d have to record over and over and over again to get a take where they both sounded good at the same time. The band would go home for the night and Daisy and Billy and Teddy and I would still be there, burning the midnight oil. It really limited how polished I could make the tracks. I actually was pretty pissed off. But Teddy wasn’t backing me up.
Rod: I thought Teddy made the right call. Because it showed on the track. You could feel they were breathing the same air as they sang. It was … I mean, there’s no other word for it. It was intimate.
Billy: You know, when you have music that has all the knots sanded down and the scratches buffed out … where’s the emotion in that?
Rod: I heard this secondhand, from Teddy. So I can’t vouch for how true it is. But there was a night when Billy and Daisy pulled an all-nighter doing overdubs on “This Could Get Ugly.”
Teddy said during one of the takes, late at night, Billy didn’t take his eyes off Daisy for the whole take. And they finished and Billy caught Teddy watching. And Billy immediately stopped—tried to pretend he hadn’t been looking at all.
Daisy: Just how honest do we have to get here? I know I told you I’d tell you everything but how much “everything” do you really want to know?