Equalled", seen as a direct reference to the new wave acts Bowie had inspired over the years. The album was a major commercial success, peaking at No. 1 on the UK Albums Chart, his first since Diamond Dogs (1974), and remained on the chart for 32 weeks, his longest since Aladdin Sane (1973). The album restored Bowie's commercial standing in the US, peaking at No. 12 on the Billboard Top LPs & Tape chart and remained on the chart for 27 weeks. Buckley writes that with Scary Monsters, Bowie achieved "the perfect balance" of creativity and mainstream success. The second single, "Fashion", was released in edited form on 24 October 1980, with "Scream Like a Baby" as the B-side. The single was another commercial success, peaking at No. 5 in the UK and No. 70 in the US. Like the first single, it was promoted by a music video again directed by Mallet. The video depicts Bowie and his backing musicians as "gum-chewing tough guys", interspersed with shots of dancers rehearsing and New Romantic followers. Like "Ashes to Ashes", the video was highly praised, with Record Mirror voting both as the best music videos of 1980. The title track was released as the third single, again in edited form, on 2 January 1981, backed by "Because You're Young". The single continued Bowie's commercial success in the UK, peaking at No. 20. The fourth and final single, "Up the Hill Backwards", was released in March 1981, with the non-album Japanese single "Crystal Japan" as the B-side. It peaked at No. 32 in the UK, performing the worst out of all the singles. Critical reception Scary Monsters received universal praise from music critics. Record Mirror awarded it a rating of seven stars out of five; the same publication voted Bowie the best male singer of 1980, as did the Daily Mirror. Melody Maker called it "an eerily impressive stride into the '80s", while Billboard correctly predicted that it "should be the most accessible and commercially successful Bowie LP in years". The Guardian Robin Denselow agreed, describing Scary Monsters as being "full of accessible, highly original melodies that are increasingly inaccessible". Debra Rae Cohen of Rolling Stone found the record to be a "clarification" of Bowie's collaborations with Eno and similar in vein to Aladdin Sane, further finding Bowie "settling old scores" throughout Scary Monsters. Fellow critic Dave Marsh considered it one of