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“I did this at Eldorado. It's funny because I actually lied at the time: I put an ad in the paper and said that we had a Lexicon 224 digital reverb, which we didn’t. I got a call from somebody who said that Brian Eno wanted to come by and see the unit, and so I had to call some folks at Village Recorders to borrow one of theirs, which we eventually ended up buying.
“Brian came over, and I showed him the machine. He had a bunch of tapes with him, which was the beginning of the album. He played me some of the stuff, asked me what I thought, and I told him I thought it was great. He left, and then Nadia, the studio manager, told me that Brian had booked nine weeks with us.
“At this point, I’d been recording for about three years. David Byrne and Brian Eno opened my eyes up to the creative process. Those two guys were so musical and intelligent. I had so much fun with them – it was probably the happiest time in my life.
“The equipment was pretty rudimentary – there was no MIDI – so all of the loops were made by hand. We’d record 24 tracks and mix them down to two tracks, make a loop of that and then put that onto two tracks of another 24 track. We just kept going like that.
“The two of them were fountains of ideas. Being around them was unlike anything I’d ever experienced before. I was really excited to be working with them, and I think my enthusiasm was inspiring to them. They had worked with other people who used to get bored, so I was kind of a change of pace.”