critical of Bowie's vocal performance, particularly on "Word on a Wing" and "Wild Is the Wind". Another reviewer for NME found the album "a strange and confusing musical whirlpool where nothing is what it seems", ultimately calling it "one of the most significant albums released in the last five years". The magazine named it the second greatest album of the year, behind Bob Dylan's Desire. John Ingham of Sounds magazine gave immense praise to the album, naming "Golden Years", "TVC 15" and "Stay" some of Bowie's best songs up to that point and overall "a great record of our time". Musically, he viewed it as a cross between The Man Who Sold the World and Young Americans. Some reviewers found the lyrics' meaning difficult to comprehend, with Ingham citing "TVC 15" as an example. However, he felt it was part of the LP's charm. In America, Billboard felt Bowie had "found his musical niche" with songs like "Fame" and "Golden Years" but that "the 10-minute title cut drags". Rolling Stone writer Teri Moris applauded the album's 'rockier' moments but discerned a move away from the genre, finding it "the thoughtfully professional effort of a style-conscious artist whose ability to write and perform demanding rock & roll exists comfortably alongside his fascination for diverse forms ... while there's little doubt about his skill, one wonders how long he'll continue wrestling with rock at all". Critic Dave Marsh was extremely negative, calling it "the most significant advance in LP filler since Lou Reed's Metal Machine Music [1975]". Considering "Word on a Wing" the "only complete success" on the LP, he panned the tracks as overlong, unexciting and uninteresting, further arguing that "it's rather appalling that the best thing [Bowie] can think of doing with his talent currently is fool around." Rock critic Lester Bangs, who gave Bowie's work negative assessments throughout the 1970s, praised Station to Station in Creem magazine, noting the presence of "a wail and throb that won't let up" and "a beautiful, swelling, intensely romantic melancholy", calling it his "(first) masterpiece". In Circus, Cromelin, noting that Bowie was "never one to maintain continuity in his work or in his life", declared that Station to Station "offers cryptic, expressionistic glimpses that let us feel the contours and palpitations of the masquer's soul but never fully reveal his face". Cromelin also found allusions to earlier Bowie efforts, such as the "density"