notes." Both Slick and Maslin praised Bowie's "on-the-spot approach". Slick found no rehearsals advantageous, resulting in a cleaner performance. Because of his heavy cocaine use, Bowie recalled remembering "only flashes" of the album's production, not even the studio, later admitting, "I know it was in LA because I've read it was". Buckley says that Bowie's only memory of the sessions was "standing with Earl Slick in the studio and asking him to play a Chuck Berry riff in the same key throughout the opening of 'Station to Station'." The singer was not alone in his use of cocaine during the sessions; Alomar said, "if there's a line of coke which is going to keep you awake till 8 a.m. so that you can do your guitar part, you do the line of coke ... the coke use is driven by the inspiration". Like Bowie, Slick had only vague memories of the recording: "That album's a little fuzzy—for the obvious reasons! We were in the studio and it was nuts—a lot of hours, a lot of late nights." Pegg says there were several 24 hour non-stop sessions; one day, work began at 7 a.m. ending at 9 a.m. the next day. According to Spitz, at one point Bowie moved a bed into the studio. One day, recording moved to the nearby Record Plant Studios because Cherokee was already booked and Bowie did not want to lose momentum during the session. Maslin recalled: "[Bowie] liked to work four days or so, very strenuous hours, and then take a few days off to rest and get charged up for another sprint." Cherokee co-owner Bruce Robb told Spitz: "I'd come in the following day and they were all still working from the night before. I'd leave and they were still working." Mixing When mixing Station to Station, Maslin found using the 24-track mixing consoles a challenge, but they allowed flexibility. Richard Cromelin of Circus writes that having a large number of tracks allowed Maslin to "waste" a channel on one sound effect which could then be "tampered with", leaving other tracks for use by double-tracked instruments and vocals. Bowie admitted to giving the record a commercial edge: "I compromised in the mixing. I wanted to do a dead mix ... All the way through, no echo ... I gave in and added that extra commercial touch. I wish I hadn't." Speaking to Creem magazine