Aladdin Sane, Pin Ups (both 1973) and Diamond Dogs (1974) were at the top position longer, Let's Dance remained on the chart for over a year. The album peaked at number four on the US Billboard Top LPs & Tape chart on 24 June 1983, and remained on the chart for 69 weeks. EMI declared Let's Dance to be their fastest-selling record since the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967). Bowie's old label RCA issued a collection of Bowie's back catalogue as a way to cash in on its success. All of Bowie's albums he released between 1969 and 1974: Space Oddity, The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Aladdin Sane, Pin Ups and Diamond Dogs, as well as Low and "Heroes" (both 1977), all began to chart again. By July, Bowie had ten albums in the UK top 100. This feat made Bowie the artist with the second highest number of individual album-weeks of all time – with 198, behind the rock band Dire Straits, who achieved 217 individual album-weeks in 1986. Let's Dance has sold 10.7 million copies worldwide, making it Bowie's best-selling album. Critical reception Despite the album's major commercial success, it received mixed reviews from music critics, with opinions varying on the artistic content. In Musician magazine, David Fricke called it "Bowie at his best". In a piece on Bowie for Time in July 1983, Jay Cocks described the album as "unabashedly commercial, melodically alliterative and lyrically smart at the same time". Robert Christgau felt that it had a "perfunctory professional surface", and that other than the "interesting" "Modern Love", Let's Dance was "pleasantly pointless". While Steve Bush of Smash Hits found it overall dull, Debra Rae Cohen of The New York Times deemed it Bowie's "most artless" record yet, but one whose familiar dance music is "almost timeless in its appeal". Tucker felt Let's Dance sounded great, with an intelligent simplicity and a "surface beauty", but that as a whole it was "thin and niggling", other than "Modern Love," "Without You" and "Shake It", which offered "some of the most daring songwriting of Bowie's career". Several critics commented on the music. Writing for Record magazine, Carol Cooper called the album "the Young Americans of the '80s" and enjoyed Rodgers' involvement, writing that his presence allows Bowie to shine through. However,