Bowie PDF Book from JFK247

acism in his personal dealings. But he didn’t
apologise.
Tony Visconti had first learned that David was
starting a new album of his own when he’d been
called by David and a man he introduced as his
newest collaborator: Brian Eno. ‘They said to me,
“What are you going to bring to the table?” says
Visconti. ‘It was the first time I’d heard that phrase,
which put me on the spot, so I had to think fast.’
Famously, Visconti responded that he had
discovered a new digital delay unit, the Eventide
Harmoniser, that could delay a sound, and change
its pitch, independently of each other. His succinct
explanation of the novel unit was that ‘it fucks with the
fabric of time’. And he was in.
One other prospective collaborator never made
the session. David had wanted to recruit Michael
Rother from Neu! for the new album, which had the
working title of New Music Night and Day. David
asked a member of his staff to call the guitarist.
Rother said yes; yet somehow German-speaking
RCA staff sabotaged the collaboration, telling him
Rother had declined.
When the sessions convened early in September
at the Château D’Hérouville, all of the musicians
were unsure as to what they’d encounter. Roy Young,
Britain’s best-known boogie woogie pianist, had
received a phone call from David at the Speakeasy.
It was the second time David had called – Roy had
been unable to make the Station to Station sessions
– and while David was effusive, Young had no idea