Top LPs & Tape chart, remaining on the chart for 32 weeks. It became Bowie's highest-charting album in the US until The Next Day, which reached number two in 2013. Station to Station was certified gold by the Recording Industry Association of America on 26 February 1976. In the UK, it charted for seventeen weeks, peaking at number five, the last time one of Bowie's studio albums charted lower in his home country than in America. Elsewhere, the album peaked in the top three in Canada, France and the Netherlands, and the top ten in Australia, Japan, Norway and New Zealand. The title track was released in France as a 7-inch promotional single in January 1976. It featured a shortened version of the track, lasting just over three-and-a-half minutes, with "TVC 15" as the B-side. "TVC 15" was released in edited form as the second single from the album on 30 April 1976, backed by the Diamond Dogs track "We Are the Dead". Its release coincided with the European leg of the Isolar tour. It peaked at number 33 in the UK. "Stay" was first issued, in its full-length form, as the B-side of the "Suffragette City" single in the summer of 1976 to promote the Changesonebowie compilation. An edited version was subsequently released in July as an A-side in the US and other territories, backed by "Word on a Wing". It failed to chart. The song, however, did not appear on the compilation. (Changesonebowie was itself packaged as a uniform edition to Station to Station, featuring a black-and-white cover and similar lettering). In November 1981, as Bowie's relationship with RCA was winding down, "Wild Is the Wind" was issued as a single to promote the Changestwobowie compilation. The full-length version of "Golden Years" backed the UK single. Accompanied by a new music video shot specifically for the release, it peaked at number 24 in the UK and charted for ten weeks. Critical reception Station to Station received positive reviews from music critics on its release. Paul Trynka says overall, critics acknowledged that Bowie was exploring new territories. Ian MacDonald noted Bowie's musical growth in Britain's Street Life magazine, recognising it as one of his finest albums up to that point. He believed it was the first album he'd released where it felt he had total control. Writing for NME, Charles Murray praised the music throughout the record, but was