“To the best of my recollection it was done in a day. I don’t think it was two days. On a very, very old board, I mean this board was old! An Elvis type of board, old-tech, low-tech, in a poorly lit, cheap old studio with very little time. To David’s credit, he listened with his ear to each thing and talked it out with me, I gave him what I thought it should have, he put that in its perspective, added some touches. He’s always liked the most recent technology, so there was something called a Time Cube you could feed a signal into — it looked like a bong, a big plastic tube with a couple of bends in it — and when the sound came out the other end, it sort of shot at you like an echo effect. He used that on the guitar in “Gimme Danger”, a beautiful guitar echo overload that’s absolutely beautiful; and on the drums in “Your Pretty Face Is Going To Hell”. His concept was, “You’re so primitive, your drummer should sound like he’s beating a log!” It’s not a bad job that he did…I’m very proud of the eccentric, odd little record that came out.”
— Iggy Pop
“…the most absurd situation I encountered when I was recording was the first time I worked with Iggy Pop. He wanted me to mix Raw Power, so he brought the 24-track tape in, and he put it up. He had the band on one track, lead guitar on another and him on a third. Out of 24 tracks there were just three tracks that were used. He said ‘see what you can do with this’. I said, ‘Jim, there’s nothing to mix’. So we just pushed the vocal up and down a lot. On at least four or five songs that was the situation, including “Search and Destroy.” That’s got such a peculiar sound because all we did was occasionally bring the lead guitar up and take it out.”
Paul Greer 