Keep Forgettin'", originally made famous by Chuck Jackson. Side one Bowie described "Loving the Alien" as a very personal bit of writing that he did not feel fitted in with the rest of the album because it is such a dark song amidst lighter fare. He said, "Alien' came about because of my feeling that so much history is wrong – as is being rediscovered all the time – and that we base so much on the wrong knowledge that we've gleaned." Alomar thought the song "had to do with Major Tom", a claim Bowie rejected. The lyrics are religion-based and politically charged. While Pegg believes it to be a terrific song, he finds it weighed down by "over-elaborate production". Bowie later admitted that the demo was superior. Bowie's reworking of "Don't Look Down" is influenced by reggae music. He had attempted it in many different ways, including jazz rock, march and ska, but felt none of them worked. O'Leary criticises Bowie's version, finding that it strips the "power" of Pop's original. Buckley on the other hand, finds it "super-cool". Bowie's rendition of "God Only Knows" incorporates strings and saxophone, while he sings his vocal in a croon. Although Bowie was defensive of his recording in an interview with Charles Shaar Murray in 1984, both Pegg and O'Leary consider Bowie's rendition as "the worst recording he ever made". Buckley equally calls it one of two "nadirs" on the record and a "bathetic interpretation". For the title track, Bowie eliminated Pop's original spoken word introduction, calling it an "idiosyncratic thing of [Pop's] that it seemed not part of my vocabulary." Bowie's rendition, sung as a duet with Tina Turner, is reggae-influenced. Her vocals are placed low in the mix, which O'Leary believes gives her "no entry point". Despite mostly being held in low regard, Kurt Loder of Rolling Stone at the time praised Bowie's version, calling it "one of the most vibrantly beautiful tracks he's ever recorded". Side two "Neighborhood Threat" features a heavier guitar sound than Pop's original, although Pegg says that Bowie's version lacks the original's "doom-laden percussion and wall-of-sound atmospherics". It stands out as a track Bowie wished he had not done, with him later calling it "disastrous". "That's one I wish I'd never touched, or at least touched it differently. It went totally wrong. It sounded so tight and compromised, and it was such a gas doing