Tryouts were held, and the drumming position was secured by Joe Poliseno, who was very talented, “high energy, could have been a jazz drummer” but sometimes “too clever.”  At times, Joe had to be told to “pull back.”

       The Fast would often play Boston, sometimes sleeping on the floor of Roger Miller, of Mission Of Burma.  Playing Boston’s The Rat is where The Fast met Ric Ocasek of The Cars, who “connected” with Miki, and ended up taking the band to Electric Ladyland Studios, to record tracks.  Lou doesn’t think any other tracks exist other than the ones that eventually appeared on The Fast’s debut, The Fast For Sale.  All Lou really remembers about the recording session was that Ric was searching for a “clean off the floor kind of recording.  I remember at the time going, this is our big break, we’re in Electric Ladyland Studio, can’t we like, really doll up the sound a little bit, and embellish?”  Ric was looking for “that bare bones sound.”  However, Lou was really happy to work with Ric, since the whole band looked up to The Cars as “cool.”

       Referring to the Ric Ocasek dope smoking story in the Paul Zone interview, Lou states that when he was in the band, there was never a “drug thing” going on with the band.  “Maybe a little speed here and there, with Miki,” and Paul “smoked dope in those days,” but Lou didn’t like pot because it made him “paranoid!”

        The Fast captured some bizarre images for the cover of Fast For Sale, including Paul in a tub of live crabs, and Lou standing next to Jill Monroe, a transsexual porno actress, who was a “pal” of Paul’s.  Lou recalls seeing Paul and Jill doing “the routine from Grease” imitating John Travolta and Olivia Newton John!  Jill Monroe was part of The Fast’s “circle” and made a return appearance on cover for the single, Cars Crash.

        Unfortunately, the band never saw money for Fast for Sale.  Despite the high profile production, the debut Fast LP was sold mainly at shows, where, according to Lou, the intoxication of the crowd was an asset.  Consignment sale arrangements were made through what Lou calls “groovy record stores.”  Towns like Toronto, Ann Arbor, were frequent stops on The Fast’s itinerary, so it was not a problem to return to certain stores to check up on sales.  The main purpose of the LP was to get the music out there, hoping to get “picked up” by a major label.