heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen". He viewed its music and Bowie's "paranoid futuristic tales" as "bizarre", adding that: "Musically, there isn't much time for innovation ...but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." In a review upon the album's reissue, a writer for Q called it "a robust, sexually charged affair", while a Mojo columnist wrote, "A robust set that spins with dizzying disorientation ... Bowie's armoury was being hastily assembled, though it was never deployed with such thrilling abandon again." Douglas Wolk of Pitchfork called the album the "dark horse" of Bowie's catalogue. Comparing The Man Who Sold the World to its predecessor, he praised the arrangements as tougher and "more effective", and complimented his artistic growth. The album has since been cited as inspiring the goth rock, dark wave and science fiction elements of work by artists such as Siouxsie and the Banshees, the Cure, Gary Numan, John Foxx and Nine Inch Nails. It has been claimed that glam rock began with the release of The Man Who Sold the World, though this is also attributed to Bolan's appearance on the UK television programme Top of the Pops in March 1971 wearing glitter. In his journal, Kurt Cobain of Nirvana listed it at number 45 on his top 50 favourite albums list. The title track provided an unlikely hit for Scottish pop singer Lulu, which was produced by Bowie and Ronson, and would be covered by many artists over the years, including Richard Barone in 1987, and Nirvana in 1993 for their live album MTV Unplugged in New York. Reissues The Man Who Sold the World was first released on CD by RCA in 1984. The album was reissued by Rykodisc/EMI in 1990 with bonus tracks, including a 1971 rerecording of "Holy Holy" that had originally been issued as a B-side in 1974. "Holy Holy" was incorrectly described in the liner notes as the original single version recorded in 1970. Bowie vetoed inclusion of the earlier recording, and the single remained its only official release until 2015, when it was included on Re:Call 1, part of the Five Years (1969–1973) compilation. Additionally, the liner notes incorrectly listed the personnel for "Lightning Frightening" as those who played with Bowie during the Space Oddity period, when in fact the