she felt all the tracks were "rather modest". More positively, NMEs Charles Shaar Murray gave unanimous praise to the album, calling it "some of the strongest, simplest and least complicated music that Bowie has ever made." Further describing it as "warm, strong, inspiring and useful," he approved of Vaughan's contributions, saying he gives the songs a more "traditional" feel. John Walker of Trouser Press hailed it as a record that "simply bleaches the competition", one that represents "the closest Bowie has come to capturing pure energy". Offering further praise, Billboard deemed it "Bowie's most accessible music in years", Cash Box hailed it as his "most danceable album to date", and Commonweal called it "some of the most exciting R&B-based dance music in years." NME later placed Let's Dance at number 13 in its end-of-the-year list. Tour To support Let's Dance, Bowie embarked on his first concert tour in five years, the Serious Moonlight Tour, which ran from 18 May to 8 December 1983. Taking its title from a lyric in the title track, rehearsals began in the spring of 1983, with Alomar back as bandleader. The majority of the Let's Dance musicians returned, with the exception of Vaughan, who was present for rehearsals but let go by Bowie just days before the European leg was scheduled to begin. His dismissal was attributed to his alcohol and drug use, his request that his band Double Trouble be the supporting act, which Bowie denied, and his alleged displeasure to Bowie miming his guitar solo in the "Let's Dance" video. Vaughan's replacement was Diamond Dogs Tour (1974) and Station to Station (1976) guitarist Earl Slick. The tour's set pieces were created by the Diamond Dogs Tour artist Mark Ravitz. The set, Bowie's most elaborate yet, featured structures such as large columns, overhanging lintels and a giant right hand pointed upwards. Compared to prior tours, Serious Moonlight emphasised lights rather than props. Alomar later told Buckley that it was his favourite Bowie tour, mainly because "it was the first tour where we did all the hits". Discussing the setlist, Pegg states it was "unashamedly a greatest hits package aimed at acquainting the new mass audience with Bowie's back catalogue". Buckley describes the setlist as "relatively mainstream pop-rock", with none of the "quirks" of the late '70s tours. Many of the arrangements were redone with horns to make every song sound fresh. Serious Moonlight was