to the crowd that was captured on film and published in NME. Bowie claimed that the photographer simply caught him in mid-wave, a contention backed by a young Gary Numan who was among the crowd that day: "Think about it. If a photographer takes a whole motor-driven film of someone doing a wave, you will get a Nazi salute at the end of each arm-sweep. All you need is some dickhead at a music paper or whatever to make an issue out it ...". Influence and legacy Station to Station was a milestone in Bowie's transition to his late 1970s Berlin Trilogy. Pegg calls it the "precise halfway point on the journey from Young Americans to Low". Bowie himself said, "As far as the music goes, Low and its siblings were a direct follow-on from the title track [of Station to Station]". For the Berlin Trilogy, Bowie collaborated with Tony Visconti and former Roxy Music keyboardist and conceptualist Brian Eno. Eno similarly felt that Low was "very much a continuation" of Station to Station, which he called "one of the great records of all time" in 1999. In an interview with Q magazine in 1997, Bowie considered Station to Station a "great, damn good" album, but "extremely dark". Because of his disconnected state during its recording, he heard it as "a piece of work by an entirely different person". The album has been described as "enormously influential on post-punk". Carr and Murray wrote in 1981: "If Low was Gary Numan's Bowie album, then Station to Station was Magazine's." Ian Mathers of Stylus magazine opined in 2004 that "just as few had anticipated Bowie's approach, few copied it ... for the most part this is an orphaned, abandoned style". Ten years later, NPR's Jem Aswad described the album as "pioneering ice-funk" that "paved the way not only for thousands of artists who were influenced by it, but also for the brilliant wave of experimentation that followed over the next five years: Low, "Heroes" (both 1977), Lodger (1979) and Scary Monsters (and Super Creeps) (1980)". Bowie's biographers have described Station to Station as one of his greatest records. In his book Strange Fascination, David Buckley calls it a "masterpiece of invention" that "some critics would argue, perhaps unfashionably, is his finest record". He finds Bowie's vocal performance on "Wild Is the Wind" one of the best of his career. Paul Trynka was