Mark Mothersbaugh

You know, you get all the settings and everything.

And then they go, okay.

their level he never did that he never did that but then you get they go okay let's record it onto the two-track stereo that will be the the master recording so they start the tapes and we'd all be standing there you know you stare straight ahead because there's two stereo speakers and i remember reaching up and going like this on the bowie and the eno tracks and

And on the side, I'd see Enos go like that and look at me and I'd just pretend I didn't see him.

And we'd record the song and he didn't know how to deal with it.

He just like, we just said, okay, that was it.

And we all shake hands and high five.

Yeah.

I kept all of the 24-track masters and we were transferring them.

I had forgotten there were all these tracks.

I'm looking at this beautiful Brian Eno handwriting because it was before automation.

It's like he did all the EQ settings and all the effects settings and everything in this beautiful.

Then I'm looking, it said things like Brian's vocals.

David Bowie's vocal... David's vocals, David's guitar part.

And I'm like, what's that stuff?

And so...

I kind of got the message to him through a mutual friend that, would you want to take the tapes back and mix them the way you were going to mix them?

And he just kind of said, no.

That was it.

It was two letters, yeah.