different styles he wrote with over the preceding years, and further stated the sound and style was reminiscent of Scary Monsters and less like its immediate predecessors, calling it "an eclectic hybrid of long-standing influences and personal nostalgia." At the time, a writer for the Canadian Press considered the record "a basic serving of high-energy, guitar rock", representing a departure from his "adventurous" late 1970s works and the "R&B-flavoured" Let's Dance. Biographer Paul Trynka says the record contains mostly "conventional music, lyrics and sounds". Side one The opening track, "Day-In Day-Out", offers the artist's commentary on the treatment of the homeless in Los Angeles. Author James E. Perone states that the song is a good example of Bowie's experimentation with the R&B genre. "Time Will Crawl" was inspired by the Chernobyl disaster and the idea that someone from one's own neighborhood could be responsible for the end of the world. Compared to Prince's "1999", Bowie said his vocals on the song were indebted to Neil Young, and noted that the variety of voices he used on the album were a nod to the musicians who had influenced him in the past. Bowie called "Beat of Your Drum" a Lolita song, a "reflection on young girls... 'Christ, she's only 14 years old, but jail's worth it!'" Biographer Nicholas Pegg, who called the song one of the album's better tracks, noted that it could be called a "direct ancestor", both lyrically and musically, to Tin Machine's "You Belong in Rock n' Roll" (1991). Perone finds it resembles the contemporary techno craze, while further exhibiting punk rock influences. The title track is about Bowie's long-time personal assistant, Coco Schwab. The song's direct reference to her acts as a counterpoint to the rest of the songs, which the artist felt were mostly allegorical. Bowie attributed his vocal performance to John Lennon. One reviewer later called it one of Bowie's "most underrated songs". "Zeroes", which Rolling Stones Steve Pond called the most heartening and successful track on the album, is a nostalgia trip. Bowie explained: "I wanted to put in every 60s cliche I could think of! 'Stopping and preaching and letting love in,' all those things. I hope there's a humorous undertone to it. But the subtext is definitely that the trappings of rock are not what they're made out to be." Musically, the track features a sitar reminiscent of George Harrison's work with