as Culture Club's "Karma Chameleon" (1983). Furthermore, he contests that "Here Comes the Night" foreshadowed the soul oriented directions of Young Americans (1975) and Station to Station (1976), while "See Emily Play" evokes the avant-garde experimentations of the artist's late 1970s Berlin Trilogy. Some biographers have analysed the album as an experiment in nostalgia, which Doggett states "was already emerging as one of the dominant themes of the early seventies". Furthermore, Pegg writes that "it remains perhaps glam rock's most cogent expression of its own inherent nostalgia, an affectionate reminder of the process that had led to the charts of 1973." Meanwhile, Buckley states that the album "began an era of pop archeology" and that it "came at a time of uncertainty, a time when many cast backward glances as pop entered its first retroactive phase". In the Spin Alternative Record Guide, critic Rob Sheffield agreed, characterising the album's "Swinging London oldies" as "atrophied nostalgia". In 2013, in a ranking of Bowie's albums up to that point, Gabriela Claymore of Stereogum placed Pin Ups at number 18 (out of 25), calling it "The only one of Bowie's '70s records you can safely call 'inessential'. She felt it was out of place coming off of Aladdin Sane, but nevertheless stated, "For what it is, it's quite good". Following Bowie's death in 2016, Bryan Wawzenek of Ultimate Classic Rock ranked all of his 26 studio albums from worst to best, placing Pin Ups at number 21. He praised the song choices as "excellent", describing "Sorrow" as the highlight. However, he found that Bowie went "way, way, way over the top" on every other track. He concluded by stating: "In spite of all the effort, Pin Ups remains a slight affair." In the context of Bowie's entire career, Eder views Pin Ups as an artistic statement, in that it represented a "swan song" for the Spiders from Mars and an "interlude" between the first and second phases of his international career, with his next album Diamond Dogs being the end of his glam rock era: "It's not a bad bridge between the two, and it has endured across the decades." Despite mixed reactions overall, some publications have praised Pin Ups as a covers album, calling it one of the finest in the genre. Pierre Perrone of The Independent and the writers of NME would classify Pin Ups as one of the best cover