So after we did like two or three songs, he goes, “Well, you know, we got such a good thing going on, let’s just do the whole record together.”  I was like “Sure man, that’s fine. Let’s do it.” Even though I was working on this other project (with Persons UnKnown).  I’d just take a week out of a month, and I’d go up and finish a song and then come back. It turned out to be a good thing. But I’d never written that way before. This was like, taking an idea of a groove and trying to come up with a song. Using the music first. Before I’d always have the storyline first and then the music came after the story. It was hard, but it was interesting to me and it turned out really well.

Alligator was a song that everyone loved when we played it live, but Kelly thought it was a stupid song. In my Night Ranger days, we were trying to be a little tougher, more political, and that was more of a fun song. It was a true story actually of a girl that liked to bite from New Orleans. I’d met her in Georgia and I turned it around so that I was the alligator, cause I wanted to be the aggressor in the song. That was the first song Brad and I wrote together actually. He’d come down to my house, it was like 4 in the morning and we were drunk and everyone was in bed, and he came up with this slingy guitar lick. I thought it was really cool, kinda funky, reminded me of New Orleans. Alligators are down there and so then the story of the girl came back and I sang a melody. Later I drove up to San Francisco, to one of our sessions, and in the car on the way up, I wrote all the lyrics. That song actually almost ended up becoming a state song for Florida. We played a couple of important shows there in Tallahassee, where the state college is, and they loved the song. It had energy and alligator in it and you know, Florida and alligators go hand in hand.  Ending up not playing it cause it wasn’t picked for the record. But Brad always liked the song, and I think it’s great. It’s got all these vocal breakdowns -- it’s like a classic.