Stewart recorded a version with the other three members playing the song in the studio on traditional instruments – Creme on guitar, Gouldman on bass and Godley on drums – but Godley and Creme disliked the song, particularly Godley, as Stewart later recalled: "He said, 'It's crap', and I said, 'Oh right, OK, have you got anything constructive to add to that? Can you suggest anything?' He said, 'No. It's not working, man. It's just crap, right? Chuck it.' And we did. We threw it away and we even erased it, so there's no tape of that bossa nova version." Having abandoned "I'm Not in Love", Stewart and Gouldman turned their attention to the track "Une Nuit A Paris", which Godley and Creme had been working on and which would later become the opening track on "The Original Soundtrack" album. However, Stewart noticed that members of staff in the band's Strawberry Studios were still singing the melody of "I'm Not in Love", and this convinced him to ask the other members of the group to consider reviving the song. Godley was still sceptical, but came up with a radical idea, telling Stewart, "I tell you what, the only way that song is gonna work is if we totally fuck it up and we do it like nobody has ever recorded a thing before. Let's not use instruments. Let's try to do it all with voices." Although taken aback by the suggestion, Stewart and the others agreed to try Godley's idea and create "a wall of sound" of vocals that would form the focal point of the record. Stewart spent three weeks recording Gouldman, Godley and Creme singing "ahhh" 16 times for each note of the chromatic scale, building up a "choir" of 48 voices for each note of the scale. The main problem facing the band was how to keep the vocal notes going for an infinite length of time, but Creme suggested that they could get around this issue by using tape loops. Stewart created loops of about 12 feet in length by feeding the loop at one end through the tape heads of the stereo recorder in the studio, and at the other end through a capstan roller fixed to the top of a microphone stand, and tensioned the tape. By creating long loops the 'blip' caused by the splice in each tape loop could be drowned out by the rest of the backing track, providing that the splices in each loop did not coincide with each other.