“DeFries just out and out flat refused to put [Raw Power] out. He said, 'OK, we're gonna put it out, go away somewhere.' They shuffled me off to Los Angeles, where I didn't want to go, a real bad place to send me. They told me by phone later, 'We're not releasing it like that, David will remix it.' To which I said OK, because the other choice was I wasn't going to get my album out. I think DeFries told me that CBS refused to release it like that, I don't know. Who knows what the real story was? David and I and one of his bodyguards/gofers at the time, Stewie, went to Western Studios in Hollywood. 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. Somebody's since put out something on Bomp, Rough Power, which were some of my original mixes, but I think what David and I came up with at these sessions was better than that. So I think he helped the thing. I'm very proud of the eccentric, odd little record that came out.
In retrospect, I think the little touches Bowie put on the mix helped and I think some of the things MainMan did helped, and more than anything else, what the whole experience did was to get me out of Detroit and onto a world stage. And also I learned a helluva lot being over there in England and I started thinking differently. It led to a very ambitious piece of work, and that's fine. But the fact was that neither Bowie's mix nor my previous mix could do justice to the power of the band or even to the legibility of the vocal…I feel that now I have the wherewithall, the position, and the expertise at my disposal to give this thing its due sonically, and I didn't have that before. So it's kind of like I'm finishing that off. I don't think you can beat David's mix, it's very creative. But this is just a simple, straight band mix of a powerful band. I feel like there's a closure on it and that's a nice thing.”
Iggy Pop, Raw Power liner notes, 1997