recording sessions: "Bowie is real easy to work with. He knows what he's doing in the studio and he doesn't mess around... He'd give his opinion on the stuff he liked and the stuff that needed work. Almost everything was cut in one or two takes. I think there was only one thing that needed three takes." According to Vaughan's biographers Joe Patoski and Bill Crawford, Vaughan played on six of the album's eight songs. In the biography Strange Fascination, Buckley found Vaughan to be a "bizarre" choice for lead guitarist, as at the time, he was "about as far away from Robert Fripp and Adrian Belew as you could get". Bowie and Rodgers praised Vaughan's work on the album, with the latter becoming one of Vaughan's closest friends after the sessions. After the sessions concluded, Bowie went on holiday in Mexico, before returning to New York to finish post-production work and close his deal with EMI America at the end of January 1983. Upon closure, Bowie delivered Let's Dance to the label and departed for Australia to film music videos for the first two singles. Songs Commentators characterise the songs on Let's Dance as post-disco, dance, dance-rock, new wave and dance-pop. Consequence of Sound calls the record "the sound in favour of pure disco, dance, and funk with Bowie coming down to earth" and that Bowie built upon the post-punk and new wave sound of its predecessor. Author James E. Perone notes the blues-edge inflicted by Vaughan, praising his contributions on "Modern Love", "China Girl" and "Without You". In an interview with Details magazine in 1991, Bowie described the album as "a rediscovery of white-English-ex-art-school-student-meets-black-American-funk, a refocusing of Young Americans (1975)". Artist Tanja Stark sees the commercial tempo of the album masking the lyrical continuity of Bowie's ongoing narratives of spiritual struggle and death anxieties. Side one The opening track, "Modern Love", is an uptempo pop song that features a call-and-response structure inspired by Little Richard. AllMusic's Dave Thompson calls it "[a] high-energy, effervescent rocker" that "epitomises all that was good about Bowie's 1983 reinvention as a willing superstar". Pegg praises the music but calls the lyrics "superficial" compared to Bowie's previous work, as does Perone, who comments "some of the lyrics are clearer than others". O'Leary compares the lyrics to a flowchart, moving from "modern love" to "church on time" to "God and man". "China Girl" was written