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To me, the best things about it were the events that happened to Bowie, Stevie Ray, and Iggy Pop as they were better noticed, pretty much making it beyond being criticized by me. Although it's a fine album to my ears, especially as it's hits were good for the radio of the time (The opening of the title track is quite iconic of the first MTV Generation), a number of people who experienced legendary and innovate works like Heroes and Station to Station who are into the more innovative sides of Bowie possibly view the album as a bit of a lame out. Still, looking at things from a performer's point of view, you're on a new label who's taking a mega-chance (Bowie was certainly not that much of a household name in The States) and knowing it's make it or break it time, you have to pull out your Entertainer card and play it for all that it was worth. Being seriously smart, Bowie at least earns a bit of respect for actually pulling it off even it the results were not as challenging or edgy as his best work, and thankfully things did go to a point where he kept some kind of name through a series of lesser albums (and Tin Machine) enough for those wishing to have an artistic comeback have their wishes fulfilled in the Late 90's. Not a bad after-effect for a OK album.

Tonight (highlights - Loving the Alien >>>>>>>>>>>>>>>>> Blue Jean) and Never Let Me Down (highlight - NLMD), however are the 80's albums that saw him still in the spotlight but with lesser returns and deserved criticism with many copies winding up in Goodwills and used record stores later bought up by those wanting to complete their album collections or possibly curious about how neutered New Pop Music in The Late 80's got without diving into the real litter (at least the voice was there)...then there was Tin Machine, but the concept for at least the first album was a bit amusing. Things would get better, with the occasional highlight, until the full comeback with his Late 90's albums.