of music hall numbers, the lyrics follow a group of innocent children who have not experienced the corruptions of adulthood. Similar to "The Supermen", the song references the works of Nietzsche and has been described by Buckley and Pegg as an underrated gem. Side two The lyrics of "Running Gun Blues" discuss gun-toting assassins and Vietnam War commentary, specifically the Mỹ Lai massacre of 1968. Although the lyrics reflect the themes of Space Oddity, the music reflects the predominant hard rock style of The Man Who Sold the World and points to Bowie's future musical direction. Similar to the previous track, "Saviour Machine" is rooted in blues rock and hard rock. The lyrics explore the concept of computers overtaking the human race; Bowie's metallic-like vocal performance enhances the scenario. Like the majority of the tracks, "She Shook Me Cold" was mostly created by Ronson, Visconti and Woodmansey without Bowie's input. Spitz compares the song's blues style to Led Zeppelin, while O'Leary and Pegg write that Ronson was attempting to emulate Cream's Jack Bruce. The lyrics explores a sexual conquest that is similar to "You Shook Me" (then-recently covered by Jeff Beck) and Robert Johnson's "Love in Vain". The album's title track has been described by multiple reviewers as "haunting". Musically, it is based around a "circular" guitar riff from Ronson. The lyrics are cryptic and evocative, being inspired by numerous poems, including "Antigonish" (1899) by William Hughes Mearns. The narrator has an encounter with a kind of doppelgänger, as suggested in the second chorus where "I never lost control" is replaced with "We never lost control". Bowie's vocals are heavily "phased" throughout and contain none of the, in Doggett's words, "metallic theatrics" that are found on the rest of the album. The song also features güiro percussion, which Pegg describes as "sinister". "The Supermen" prominently reflects the themes of Nietzsche, particularly his theory of Übermensch, or "Supermen". Like other tracks on the album, the song is predominantly hard rock. It was described by Bowie in 1973 as a "period piece", and later "pre-fascist". Cover artwork The original 1970 US release of The Man Who Sold the World employed a cartoon-like cover drawing by Bowie's friend Michael J. Weller, featuring a cowboy in front of Cane Hill asylum. Weller, whose friend was a patient there, suggested the idea after Bowie had asked him to create a design that would capture the