never worked with before, so that I couldn't predict how they were going to play." Long-time collaborator Carlos Alomar, who had worked with Bowie since the mid-1970s and would continue to work with Bowie into the mid-1990s, was originally scheduled to contribute, but claimed he was offered an "embarrassing" fee and declined. In 1984, Alomar clarified he did not play on Let's Dance because he was only given two weeks' notice and was already booked with other work. With Alomar gone, Rodgers took his place on rhythm guitar. The producer also recruited his regular Chic collaborators: keyboardist Robert Sabino, percussionist Sammy Figueroa and backing vocalists Frank and George Simms. The remaining musicians included drummer Omar Hakim (whom Bowie called "a fascinating drummer with impeccable timing"); bassist Carmine Rojas; trumpeter Mac Gollehon; and saxophonists Stan Harrison, Robert Aaron and Steve Elson. Near the end of the sessions, Rodgers hired Chic drummer Tony Thompson and bassist Bernard Edwards for additional work; he was reluctant to hire them earlier due to their past drug use. Due to their arrival time, Thompson and Edwards' contributions were limited, appearing on only three tracks and one track, respectively. Edwards recorded his part for "Without You" in 13 minutes, with Rodgers later writing in his memoir, "I was never more proud of him in my life and it happened on the last day of basic recording." For the first time ever, Bowie himself played no instruments on the album, stating at the time: "I don't play a damned thing. This was a singer's album." He recorded all of his vocals in two days. At the 1982 Montreux Jazz Festival in Switzerland, Bowie saw Stevie Ray Vaughan play guitar. At the time, Vaughan was an unknown 28-year-old blues guitarist from Texas; his debut album with his band Double Trouble was still unreleased. After Vaughan's performance, Bowie was so impressed that he tracked him down months later to get him to play lead guitar on the album. Rodgers was initially unimpressed with Vaughan, believing he sounded like American blues guitarist Albert King. Bowie however felt Vaughan was different, saying "he's got a whole other thing going on." Vaughan recorded his guitar overdubs towards the end of the sessions. According to author Paul Trynka, he used an old Fender Stratocaster plugged into an old Fender amplifier, "all the tone coming from the player". In a contemporary interview, Vaughan described the