style of both "Golden Years" and "Stay" are built on the funk and soul of Young Americans but with a harsher, grinding edge. Bowie said the "Golden Years" was written for, and rejected by, American singer Elvis Presley, while Angie Bowie claimed it was penned for her. According to Pegg, the song lacks the "steelier musical landscape" of the rest of the album. Author James Perone argues "Stay" represents a merger of hard rock and blue-eyed funk. "TVC 15", the album's most upbeat track, has been compared to the music of the English rock band the Yardbirds. "Wild Is the Wind" contains funky elements in its electric guitar playing, while the rhythm section and acoustic guitar add a jazz flavour. AllMusic's Donald A. Guarisco likens the music of "Word on a Wing" to gospel and soul; Perone compares it to the sound of American musician Roy Orbison. Both tracks have been categorised as hymns and ballads. Lyrics and themes While living in his cocaine-induced, paranoid state, Bowie did not sleep for days, often reading books one after the other. During a run-in with Jimmy Page in February 1975, Page discussed the works of the English occultist Aleister Crowley with him. Bowie, whose tracks "Oh! You Pretty Things" and "Quicksand" from 1971's Hunky Dory had exhibited occult influences, immersed himself in Crowley's works. He revisited concepts seen in Hunky Dory and The Man Who Sold the Worlds "The Supermen" (1970) such as German philosopher Friedrich Nietzsche's theory of Übermensch, or "Superman", and studied new concepts such as Nazi fascination with Holy Grail mythology and the Kabbalah. Bowie would use all these ideas throughout Station to Station, with Pegg describing the album's theme as a clash of "occultism and Christianity". The title track introduces Bowie's new persona—the Thin White Duke—who became the mouthpiece for Station to Station and often during the next six months, for Bowie himself. The character, inspired by Thomas Jerome Newton, dressed impeccably in a white shirt, black trousers and waistcoat. Carr and Murray described him as a hollow man who sang songs of romance with an agonised intensity, yet felt nothing, "ice masquerading as fire", exuberantly "throwing darts in lovers' eyes." Commentators have labelled the persona "a mad aristocrat", "an amoral zombie", and "an emotionless Aryan superman". For Bowie himself, the Duke was "a nasty character indeed". Despite the noise of a train in the opening moments, Bowie