of The Man Who Sold the World, the "pop feel" of Hunky Dory, the "dissonance and angst" of Aladdin Sane, the "compelling percussion" of Young Americans, and the "youthful mysticism" of "Wild Eyed Boy from Freecloud" (1969), concluding "it shows Bowie pulling out on the most challenging leg of his winding journey". Ben Edmonds' did not find the LP one of Bowie's best works in Phonograph Record, instead believed that Station to Station is merely a "stopping place" where he can reflect and plan his next musical journey, "which his followers always expect him to make". However, he noted the album's overall cohesiveness and praised the backing band, calling them Bowie's finest since the Spiders from Mars. Station to Station was voted the 13th best album of 1976 in the Pazz & Jop, an annual poll of American critics nationwide, published by The Village Voice. Reviewing the record for the newspaper, Robert Christgau expressed some reservations about the length of the songs and the detached quality of Bowie's vocals, but deemed "TVC 15" his "favorite piece of rock and roll in a very long time" and wrote, "spaceyness has always been his shtick, and anybody who can merge Lou Reed, disco, and Dr. John ... deserves to keep doing it for five minutes and 29 seconds". He ranked it as the year's fourth best in his ballot for the poll. Aftermath With the Station to Station sessions completed in December 1975, Bowie started work on a soundtrack for The Man Who Fell to Earth with Paul Buckmaster, whom Bowie worked with for Space Oddity (1969), as his collaborator. Bowie expected to be wholly responsible for the film's music but found that "when I'd finished five or six pieces, I was then told that if I would care to submit my music along with some other people's ... and I just said 'Shit, you're not getting any of it'. I was so furious, I'd put so much work into it." Notwithstanding, Maslin argued Bowie was "burned out" and could not complete the work in any case. The singer eventually collapsed, admitting later, "There were pieces of me laying all over the floor". When Bowie presented his material for the film to Roeg, the director decided it was unsuitable. He preferred a more folksy sound, although John Phillips (the chosen composer for the soundtrack) described Bowie's contributions as "haunting and beautiful". In