Shane had been a little surprised by Trish asking him to be their manager, but was touched she trusted him enough of him to ask. He agreed to it, but said he would only do it "until you find someone better", as he was hesitant to leave his record company position.

His first task was to sift through the offers the record companies left the girls that night and determine who they should sign with. He knew the basics of these contracts well, having read through them as a record company executive, but now he had to think about the best interests of the artist rather than the record company. After looking them over, and weighing what each one offered in terms of money and creative freedom, he picked the one he felt benefitted them the most, made some calls, then drove out to tell them the news.

After he arrived at Trish and Vickie's house where they were staying until they heard back from him, he knocked on the door and Trish yelled, "It's open! Come on in!" Once inside, he found the four of them sitting on the floor, playing on acoustic instruments. Trish said, "Hey, Shane. What brings you all the way out here?"

He answered, "You have a winner! It took a while to look over the offers and let an attorney friend of mine read the fine print, but of the offers you got, I think the one you should go with is the one from Titan Records."

Lita remarked, "Hey! That's the label the Omegas signed to just before I got forced out. I wonder how they'll feel about having me on the same label."

Molly said, "Randy Savage had his own record label, but his distribution was through Titan."

Shane looked at all four of them and said, "Anyway, … we're all going to do a press release about you signing with them later this week. After that, they want a record from you as soon as possible, and get you out on the road in time for the summer touring season. They're arranging time for you at Power Plant Studios in Atlanta."

"Atlanta?", Vickie asked as she turned around and moved her bongo drums off her lap. "Why not here? LA has lots of studios."

Shane told her, "I asked about that. They said they wanted you away from any distractions so you can focus. Like I said, they want an album from you ASAP. Also, there's one other thing before the press release."

Trish asked, "What's that?"

Shane said, "They think The Siren Effect is, as they put it, 'too alternative', and asked if you'd have a problem with calling yourselves just The Sirens."

Lita said, "I don't have a problem with it. Anyone else?" Her three bandmates all said, "No."

Lita then asked, "So, Shane … what made you decide Titan was the company to go with?"

He answered, "The money they offered was good, while still allowing you creative freedom. Besides, I have faith with the top management there."

Molly asked, "What makes you say that?"

Shane replied, "The CEO is my father."

Trish immediately stood up and asked, "Your father is VINCE McMahon, the head of Titan Media?"

Lita raised her hand and asked, "OK. Stupid question time. If Vince McMahon is your father, why aren't you working for Titan?"

Shane answered, "That's a good question and simply, I just wanted to forge my own path. I didn't want to be just 'The Big Guy's Son'. I wanted to be respected for my own accomplishments, not for my family tree. Anyway, the press conference announcing your signing will be this Wednesday, and you're expected to be in Atlanta by the weekend to start recording, so get yourselves ready."

The press conference went smoothly, with Vince McMahon himself announcing their signing, followed by questions and answers. After that, it was time to get ready to head east. As Molly was still nervous about flying due to having been in a plane crash, she volunteered to drive the rental truck with their gear in it, with Trish electing to travel with her to trade off driving with her. Lita and Vickie flew out to Atlanta Friday afternoon, with all of them arriving at the hotel they were staying late Friday evening.

After getting some much-needed sleep, they headed to the Power Plant with their gear. On arrival, they were directed to the back to load in, and told they'd be in Studio C. After they parked the truck, Trish went in the back door to survey the load-in path while the others began unloading.

When Trish got to Studio C, she saw two men setting up microphones in the room and said, "I was told this was where we were going to be recording."

A fat, hairy, bearded man with missing teeth said, "Oh, you must be Trish." He then offered his hand to her and introduced himself. "Mick Foley. I'm going to be your producer." Gesturing to the other man, he said, "This is my engineer and co-producer, Shane Douglas."

Shane offered his hand to her and said, "Nice to meet you. We're really looking forward to working with you. Where are the others?"

Trish said, "They're unloading the truck. Is there anyone who could give us a hand? Some of this stuff is kind of heavy."

Mick answered, "Most bands have roadies to do the heavy lifting for them. Seeing as you're new and don't have any, I guess we can give you a hand."

Vickie walked in, carrying cases with her drums in them and asked, "Where should I put these?"

Shane said, "Right over there" and pointed towards a thick sheet of plywood lying on the floor.

Vickie looked down at it and asked, "What's the deal with the wood on the ground? Lita had that at her place, too."

Mick explained, "The carpeting deadens sound. You don't want that. You want it to reverberate."

Vickie accepted the reasoning and said, "OK …" then put her drum cases down to go get the next load.

Meanwhile, Molly came in, wheeling her bass amplifier. Mick pointed to a corner of the room and said, "Put it over there", then he, Shane and Trish headed out to the truck. On the way, they passed Lita wheeling her guitar amp in.

Once everything was in the studio, Mick and Shane guided them as to where they wanted them to set up their gear. As Trish didn't have an instrument to set up, she returned the rental truck and took a cab back to the studio. Once back inside, the others had set up their gear. Shane had just finished setting up the mics for Vickie's drums and was moving something that looked like a little plastic wall in front of them when Trish asked, "What's that?"

Shane answered, "It's a sound baffle. It keeps the sound here and prevents it from being picked up by the other microphones. You want each instrument to be kept separate so they don't bleed into each other. Makes it much easier to mix everything later on."

Trish commented, "Never knew that. In Diva Delight, they always had all the instrumental tracks already recorded. Vickie, Torrie and I just added our vocals to them."

Meanwhile, Mick set up baffles by Lita and Molly's amps. Once that was done, he said, "Today, we're mainly just going to make sure everything sounds right. If we get that done, we'll try to get some actual recording later on. Sound good?" and gave a thumbs-up. They all nodded in agreement.

Making sure everything was set up right took time. It took almost an hour of tweaking before they were happy with the sound from Vickie's drums. From there, it was Molly's bass, her keyboards, Lita's guitar and finally, Trish's vocal microphone. Once they had everything the way they wanted it, Mick came out of the control booth and asked, "You girls ready to go, or you need to refresh yourselves first?"

Vickie had been lying on the floor half-asleep. She sat up and asked, "What took so long?"

Mick explained, "Making a record has a different set of rules than playing live in front of an audience. A concert only exists for that night. The record will live forever, so you want to get everything just right."

Vickie stood up, stretched her arms out for a few seconds and said, "Give me a couple of minutes to warm up, then let's roll."

Mick said, "That's the spirit. Anyway, this is the game plan. I listened to your demo, and I picked the 15 songs I think are the best. We're just going to go right down the line – do three takes of each, then move on to the next one. There will be a 30-second break between each take so I can give you feedback and if you need to take a drink of water or whatever."

Molly asked, "Why only three? Randy Savage would often do 30 or 40 until he was satisfied."

Mick explained, "Because you don't want to beat a song to death by doing it too many times. The more takes you do, the more spontaneous energy you lose."

Lita spoke up and said, "That's the way the Omegas were for our first few albums – get it down and move on."

Mick nodded and said, "Also, we're just going to do the core instruments first – drums, bass, guitar, lead vocals. Once we have those, we can add any backing vocals or keyboards later on."

Once the girls were warmed up and ready to go, Mick went back into the control booth. The girls put their headphones on, Shane prepared to roll tape and Mick told them which song to do first. For the next three hours, they did just what he said they would – three takes of each song, then move on to the next one, with Mick giving them suggestions between takes. After going through each song three times, Mick said they had done enough for the day and told them to come back the next day at 11AM.

For the next four and a half days, they fell into a routine – arrive at the studio, warm up for 10 to 15 minutes, then go to work recording. After going through the list of songs, the girls would take a meal break. Any takes that were decided to be 'the one', Mick and Shane would make a safety copy onto another reel of tape. When they would return, the girls picked up where they left off. As the list got shorter, they would go through the list more times if there was time.

Halfway through the fifth day, Mick proudly announced, "That's it. We've got the basic tracks. Trish, Lita, Vickie – you're all free to go until tomorrow, when we'll do the backing vocals. Molly, take a break and then we'll work on getting your keyboard parts down. Since it's only 4 or 5 songs that need them, we should be able to crank them all out in one session." Having spent three years working for a notorious perfectionist like Randy Savage, Molly was able to record her keyboard parts quickly and be back at the hotel to join the others relaxing before midnight.

The next day, they arrived at the recording studio and found someone talking to the receptionist. He turned around, saw the four women and said, "There you are. Oh, I'm Jerry Brisco from Titan Records. We wanted to get some pictures of you at work on the record, then I want to listen to what you've been working on."

Trish said, "Oh, great. We're almost done. We're just getting ready to add backing vocals today" and motioned him towards the studio they were using. When they walked in, Mick and Shane came out of the control booth to greet Jerry and told him about what they'd been working on. After that, Jerry moved into the control booth while the photographer he brought with him took pictures as the girls pretended to play through a few songs.

From there, it was back to work. The four of them warmed up their vocal chords and when they were ready, they signaled Mick that they were ready to record. Jerry sat and listened during the session, and liked what he heard very much. He made some notes and the end of the session, he told them how much he liked what they were doing and would tell his bosses at Titan Records the same thing.

That evening, they did a final session to complete the backing vocals on each song. After the last song, Mick came out of the control booth to tell them, "That's it. We got it. Your parts are done. It's now in our hands. We'll call you when we finish the final mixdown on everything. Should take about two weeks."

With their work on the record completed, the four bandmates headed to the bar at their hotel to celebrate the completion of their first album as a group.

[A/N: A producer's official job is to manage the sessions and keep the artists productive. They can also be an extra set of ears to help an artist fulfill their vision and can sometimes play a big role in the creation of the music itself. Producers also have different philosophies of how to work, and I hope to explore some of those later on in this story.

Mick Foley's career is well-documented so I won't go into too much here, but he has always been a supporter of the Divas so I wanted him to appear here. Shane Douglas also had a long career in the wrestling business, and he appears as Mick's co-producer as the two trained together with Dominic DeNucci in their early days.

When Vince McMahon first bought the WWF from his father in the early 80's, the parent company he used was Titan Sports, thus Titan Records/Media. In this story, Vince is a multimedia mogul along the lines of Rupert Murdoch or Richard Branson.]