the time, Mace was a 40-year-old concert pianist who was also head of the classical music department at Mercury Records. During this time, Bowie terminated his contract with Pitt and met his future manager Tony Defries, who assisted Bowie in the termination. Recording moved to Trident Studios in London on 21April and continued there for the rest of April until mid-May. On 4May, the band recorded "Running Gun Blues" and "Saviour Machine", the latter of which was originally the working title for the title track, before Bowie reworked the song into a different melody to form the final version of "Saviour Machine". Recording and mixing was moved back to Advision on 12May and completed ten days later. Bowie recorded his vocal for the title track on the final day. As Bowie was preoccupied with his new wife Angie at the time, as well as his managerial issues, the music was largely arranged by Ronson and Visconti. Ronson used the sessions to learn about many production and arrangement techniques from Visconti. Although Bowie is officially credited as the composer of all music on The Man Who Sold the World, author Peter Doggett quoted Visconti as saying that "the songs were written by all four of us. We'd jam in a basement, and Bowie would just say whether he liked them or not." In Doggett's narrative, "The band (sometimes with Bowie contributing guitar, sometimes not) would record an instrumental track, which might or might not be based upon an original Bowie idea. Then, at the last possible moment, Bowie would reluctantly uncurl himself from the sofa on which he was lounging with his wife, and dash off a set of lyrics." Conversely, Bowie was quoted in a 1998 interview as saying, "I really did object to the impression that I did not write the songs on The Man Who Sold the World. You only have to check out the chord changes. No-one writes chord changes like that." "The Width of a Circle" and "The Supermen", for example, were already in existence before the sessions began. Music and lyrics The Man Who Sold the World was a departure from the largely acoustic and folk rock sound of Space Oddity. According to music critic Greg Kot, it marked Bowie's change of direction into hard rock. Stephen Thomas Erlewine of AllMusic described the album as "almost all hard blues rock or psychedelic folk rock", while