seen as a precursor to post-rock and post-punk, influencing artists such as Joy Division and the Human League, while Lodgers use of world music is credited for inspiring artists such as Talking Heads and Paul Simon. Though considered artistically significant, the trilogy had proven less successful commercially. Lodgers commercial performance was hindered by artists who were influenced by the earlier Berlin releases, such as Gary Numan. Numan, a huge fan of Bowie's, was disparaged by Bowie's fanbase as a mere copycat. Bowie himself criticised Numan, which led to a long-running feud between the two artists. According to biographer David Buckley, Numan's fame indirectly led to Bowie taking a more commercial direction for his next record. Recording and production In February 1980, Bowie travelled to the Power Station in New York City to begin recording his next album. Returning from the "Berlin Trilogy" was Visconti, who was immediately told by Bowie that this was going to be a more commercial record than his previous releases. Eno did not return, having ended his collaboration with Bowie after Lodger, stating he felt the "Berlin Trilogy" had "petered out" by that record. The core lineup of Dennis Davis, Carlos Alomar and George Murray returned for the sessions; this would be the fifth and final Bowie album to feature this lineup, who had been together since Station to Station (1976). Only Alomar would continue working with Bowie hereafter. Adrian Belew, who played on Lodger, told Buckley he received advanced payment to play on the sessions and was surprised to find the record made without him. In lieu of Belew, King Crimson guitarist Robert Fripp, who played on "Heroes", was brought back, along with newcomer Chuck Hammer, whom Bowie hired after hearing him play with Lou Reed in London the year before. According to NME editors Roy Carr and Charles Shaar Murray, Hammer added multiple textural layers deploying guitar synth and Fripp brought back the same distinctive sound he lent "Heroes". Returning from the Station to Station sessions was pianist Roy Bittan, who was recording Bruce Springsteen's The River (1980) concurrently in the same studio. Initial sessions at the Power Station took place over two and a half weeks, with an additional week used for overdubs. During this time, only "It's No Game (No. 2)" was completed in its entirety. The remaining tracks were solely instrumental. During the sessions, Alomar suggested recording a cover of Tom