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“In the studio, even when songs are unfinished, I know when they’re good, and let me tell you, this new record of David’s is the shit. The tracks were all in different stages. As a matter of fact, we cut three new ones with me, [drummer] Sterling [Campbell], David and [producer] Tony Visconti on bass. I overdubbed maybe another five tracks that were already done but needed guitar. They had Gerry [Leonard]’s atmospheric stuff, but they needed some of my crunch. So I that’s what I did, all of it in five or six days.
“With David Bowie, we don’t nitpick. We knock around some ideas, and we get it done. As soon as it feels good, we record it. So we always get a lot of work done in a short period of time, and it’s always really good work. It was great to reconnect, and it was great to see David looking and sounding so good.
“It’s a Bowie record, so I hear a lot of things coming from David’s recordings from before and his influences – a little bit looking back and a little bit looking forward. So there’s some stuff on there that he really hasn’t done before, but it’s also touching on elements of things from the past.
“I think it’s kind of beautiful that, up until now, only really David and Tony have heard the record. It was a really special experience working with David again, and I think people are going to be knocked out.”