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It's 1995 and the band's been wondering what to do next. An aborted session with Keith Cleversley yields nothing apart from the fact that the musical differences between Girard and Rutili have come to a head. The former leaves the band. Joined by Massarella-guilted out of the auto industry by hawking nothing but lemons--and guitarist Neil Rosario--best-known for his work in Dolomite, and also a galvanizing force behind the surge of Asian-American identity politics in Chicago's indie rock community--Red Red Meat returned to Idful Music with Brad Wood at the helm. You hold the astonishing results, henceforth known as Bunny Gets Paid, in your hands. Rutili says the title reminds him of a gangster movie. Rutili recalls, "We went in with seven songs and came out with eleven; usually we go in with more ideas than we end up using. 
It's never been this improvised before. We were trying to make an album that was a cross between Rumours by Fleetwood Mac and A Tribute to Jack Johnson by Miles Davis. The last record was about wanting something. This record is about having something and wondering what to do with it. I guess the first record was about being under someone's control."
It's the loosest recording the band has made. "There's a lot more room to move around within each song, whereas the older stuff was much more rigid," explains Rutili. "When I bring in a song it's usually not that good until other people fuck around with it, and there was a lot of fucking around this time." The album demonstrates that Red Red Meat aren't interested in carefully mapped-out journeys. They get high on the search. Incessant touring is imminent, with Hurley moving to guitar, Massarella on board as Tito Puente, and nice 
guy Matt Fields (ex-God & Texas, current Great Danes) playing bass. The band has somehow managed to turn themselves into the blinding element of a snowstorm. Don't ask how, just get your face whipped in the fury.
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