by Bowie and Iggy Pop in 1976, first appearing on Pop's 1977 debut solo album The Idiot, which Bowie himself co-wrote and produced. Buckley calls Bowie's version an "ultra-cool reading" of Pop's original. For his version, Bowie added backing vocals while Rodgers composed the guitar riff. O'Leary writes that Bowie's vocal is more "playful" than Pop's, with the music itself exhibiting "Asian" qualities. BBC Online reviewer David Quantick acknowledged the effect of Rodgers' production on the song, arguing that "nobody but Rodgers could have taken a song like 'China Girl', with its paranoid references to 'visions of swastikas', and turned it into a sweet, romantic hit single". Pegg calls Bowie's rendition "a tremendously effective slice of hardcore pop", commenting that the lyrics reflect the album's overarching themes of "cultural identity" and "desperate love". Pegg considers the title track to be one of Bowie's finest 1980s recordings and one of the "all-time great pop songs." It was described by Ed Power in the Irish Examiner as "a decent chunk of funk-rock"; Perone finds that it represents the contemporary dance craze of the 1980s. It opens with a group of singers getting louder and louder before it explodes into a massive climax. O'Leary and Pegg compare the intro to the Beatles' version of "Twist and Shout" (1963). The seven-minute album version features different instrumental solos than the shorter single version. The lyrics instruct the listener to "put on your red shoes" and dance under the "serious moonlight". "Without You" harkens back to Bowie's 1960s recordings, reflecting 1960s-style pop. Pegg considers it a "throwaway love song" and the album's low point, disregarding both the music and lyrics. O'Leary similarly criticises Bowie's vocal performance, done in a "fragile falsetto". On the other hand, Ken Tucker of Rolling Stone wrote that "Without You" featured some of the most daring songwriting of Bowie's career and complimented his vocal performance. Side two Biographers found "Ricochet" the only track reminiscent of the experimental nature of Bowie's late-1970s recordings. Perone finds it out of place with the rest of the album and suggests the artist was entering an artistic low point. Pegg writes that it has an R&B and swing-style repetitive backing vocal. Describing the track in 1987, Bowie stated: "I thought it was a great song, and the beat wasn't quite right. It didn't roll the way it should have, the syncopation was wrong. It had an ungainly