surprised collaborator Carlos Alomar, who said "it was the first time in the eleven years that I've been with the damn man that he's brought in anything". Along with Alomar, most of the personnel from Let's Dance and the tour returned for the record, alongside newcomers Mark Pender, Curtis King and Guy St Onge. Pegg writes Onge's contributions on marimba provide the album with "its most distinctive instrumental identity". The saxophone section, in line with the tour's brochure, was dubbed "the Borneo Horns". Like Let's Dance, but unlike most previous Bowie albums, Bowie played no instruments, and he delegated almost all responsibility for the music played to his musicians, only occasionally offering critical input. He confessed at the time: "I very much left everybody else to it. I just came in with the songs and the ideas and how they should be played and then watched them put it all together. It was great!" Iggy Pop spent a good deal of time in the studio during the sessions, saying, "I worked extensively on that album. There's a lot more work there than is reflected in just the simple co-writing credit for two songs and some of the old stuff." Discussing the collaboration, Bowie said: "We worked very much the way we did on Lust for Life and The Idiot. I often gave him a few anchor images that I wanted him to play off and he would take them away and start free-associating and I would then put that together in a way I could sing." Their collaborations resulted in "Tumble and Twirl" and "Dancing with the Big Boys", which was written and recorded in eight hours as they egged each other on. In what was described as an "exhilarating rush", Bowie and Pop "went in [to the studio] with a few bottles of beer and would virtually bellow out anything that came into their heads," said Padgham. "And I just recorded it all." According to Padgham, the two wrote many songs that did not make the final record. He described these tracks as "more left-field" and "less poppy". The album features a guest appearance from singer Tina Turner, who sings a duet with Bowie on the title track. During recording, Bowie and Turner sang face-to-face, although Bowie went back and re-recorded the first verse after deciding to sing his part in a higher octave. Turner had just released her