"Real Cool World" Spritely and still sounds fresh. I like David's eerily moody voice laced over the dance track. Certainly a precursor to the Earthling sound if not a tame one. The single edit tightens things up nicely into a more palatable track. 3/5
Was not that impressed with his Freddie Mercury tribute concert, though it was good to see him with Ronson before his sad passing. Teaming up with Nile Rodgers again. A complete loss of the credibility he had regained with Tin Machine.
... nice elektro-sound. Also like his singing und the bridge. But can't really stand the refrain and it's cheap guitarriffs. A little bit boring too. 2,5/3
I have to kind of agree. For a good cause certainly, but these do seem to be tedious and virtue-signalling at times. An being a cynic, I'd always like to see the numbers going to charity after "expenses" are paid... I have no idea here, so I'm not accusing.
Tomorrow we will begin the discussion of David’s eighteenth full-length studio album, Black Tie White Noise. It was recorded from April to November, 1992, and was released on April 5, 1993. You're welcome to post your initial album thoughts as David moves past the Tin Machine era. Pegg, Nicholas. The Complete David Bowie (Revised and Updated 2016 Edition) . Titan. Kindle Edition. Track List 1. “The Wedding” – 5:04 2. “You’ve Been Around” – 4:45 3. “I Feel Free” – 4:52 4. “Black Tie White Noise” – 4:52 5. “Jump They Say” – 4:22 6. “Nite Flights – 4:30 7. “Pallas Athena” – 4:40 8. “Miracle Goodnight” – 4:14 9. “Don’t Let Me Down & Down” – 4:55 10. “Looking For Lester” – 5:36 11. “I Know It’s Gonna Happen Someday” – 4:14 12. “The Wedding Song” – 4:29 Primary Personnel David Bowie – vocals, guitar, saxophone, dog alto Nile Rodgers – guitar Poogie Bell, Sterling Campbell – drums Barry Campbell, John Regan – bass Richard Hilton, Dave Richards, Philippe Saisse, Richard Tee – keyboards Michael Reisman – harp, tubular bells, string arrangement Gerardo Velez – percussion Fonzi Thornton, Tawatha Agee, Curtis King, Jr., Dennis Collins, Brenda White-King, Maryl Epps – backing vocals Additional song-specific credits to be posted with daily song entries. David Bowie, Nile Rodgers – producers Jon Goldberger, Mike Greene, Dale Schalow, Michael Thompson – engineers Ratings AllMusic – 2.5/5 Blender – 2/5 Encyclopedia Of Popular Music – 3/5 Pitchfork – 6.8/10 Rolling Stone – 1/5 Spin – 1/10 Uncut – 1.5/5
Here is the bonus material we’ll be covering at the conclusion of the album: April 29 – “Lucy Can’t Dance” (reissue bonus track) April 30 – “Like A Rolling Stone” (Bob Dylan cover with Mick Ronson, from Ronson’s album Heaven And Hull) May 1 – “Colour Me” (with Mick Ronson, from Ronson’s album Heaven And Hull) We will begin discussion of The Buddha Of Suburbia on Thursday, May 2.
Black Tie White Noise (preliminary) From the start this one has always felt like a fake Bowie album or something. The vocal effects, the cheesy sax sound, the programmed feel, production felt dated straight away. Since Nile Rodgers produced the Let's Dance album, despite the immense commerical success, Bowie's work had gone downhill in terms of artistic value, creativity, songwriting ... progressively. Tin Machine back to basics was needed for a reset, getting the mojo back and some credibility. Then the first thing he does for his next solo album is hire Nile Rodgers This time apparently the goal wasn't to score hits, 'cause that didn't happen. The album cover - despite returning to a portrait - also feels dated with the split toning. Tracks are so far apart: the wedding tracks, the covers, instrumentals, guest musicians like Lester 'Sixpack' Bowie, Ronson not getting much of a spotlight, it feels gimmicky. A handful of fine songs though. All of it doesn't add up to a coherent Bowie album. And in hindsight I don't see the point of getting Nile for the job if one cannot hear it. He never talks about this one either. I hardly ever play this one, but know it well enough. Let's get it over with ASAP
Black Tie White Noise I kinda liked at the time. A flatmate had it on cassette and it kind of brought me back into fold after my first time seeing Bowie live had been a bit of a let-down. Bought the 3cd version years later, but can't actually recall playing it.
Black Tie White Noise (prelim) Having been too young in the 70s and just plain uninterested in the 80s this album was the first Bowie release I was aware of and bought at release time. Having recently been on a major Bowie trip devouring his classic albums I was excited, willing it to be good, if only for him never to return to Tin Machine. Initially the signs were promising. A good lead single brought him back to the Top 10 accompanied by a clever promotional campaign aligning him with the new generation of British bands influenced by the glam of the 70s. It ended up being a UK No 1 album no less (but then so were Tonight and PinUps) and after a few listens I knew it wasn't anywhere near his best work. But it was better than a lot of his 80s stuff and led to a commercial and critical renaissance that has never really relented. Bowie was back.
Real Cool World I remember wading through the seemingly endless remixes when this came out. I concluded that was time I would never get back. On the occasional times I have played it since it just reminds me of that day one experience and I can't get over it. if I could I might give it a better score 2/5
It appears I might be going against the tide, but I love BTWN! That might partly be because it played a part in my discovery of Bowie. The documentary for the album was screened on TV and I recorded it. The fact that the songs weren't immediate made me invest in it more. I particularly noted when he was talking about the start of You've Been Around when he says you don't know if it's a melody or a drone. I have always seen BTWN as the start of the 2nd half of his career. It was clear to me that this was the point where he changed his process of working to (as he put it) a 'self referential' approach where he used his previous albums and styles like a tool box or painting palette. The sense of a new beginning is emphasised by the start of the album with The Wedding. So even though he would go onto make better albums after this I really enjoy this album as the first step in creating a 2nd body of work that relates to, but is separate to the 1st body of work.
Another voice in support of BTWN lol. I think it's half a good album, Jump They Say, You've Been Around, Pallas Athena, Nite Flights and the Wedding instrumental are quality. Miracle Goodnight is nice enough, the rest falls off IMO. But it's a vast improvement over NLMD. And agree that it signals an emerging new approach and confidence to his art on the better tracks. The production is fallen out of time, but I don't mind it. Rodgers knows how to make things clean and sharp and IMO that really helps the stronger songs. Also the stories about Bowie systematically stripping everything catchy out of the songs and driving Rodgers up the wall with it are funny.
Black Tie White Noise is the big leap towards a return to form. In my opinion, a form that would mostly stand tall and stable for the rest of his career until his death (particularly Outside, Heathen and Blackstar). It has its moments but there's about a 50/50 split between the good and the throwaway tracks. ''Jump They Say'' is by far the highlight of the album.
You could in many ways create a “Berlin Universe” of projects that only reference that period. Tin Machines two studio and one live album mirrors Iggy “Berlin”period that was also two studio and one live album. and similarly-both live albums featured David Bowie and the Sales Brother, also the last track on both live albums was recorded in Chicago? (It needs verification)Interestingly on iggy’s live album TV Eye the intro to Nightclubbing starts with Iggy shouting “Oy Vey” with Bowie on backing Vocals. Although U2’s Berlin/Hansa album Achtung Baby also ties into the Uniiverse because of Eno role.
George Michael’s vocals were off the chart. I watched the Wham Netflix documentary last week - he’s extremely relevant as far as I’m concerned.
Black Tie White Noise prelim Disclaimer, I don't like any dance/Eurodance music from the 80s or 90s. It's trash to me. Even when Bowie did it. Especially. Fun for getting s*itfaced with old buddies perhaps. I'm figuring the process went like this: David: I'm out of inspiration, Iman. All tapped out. But I have to deliver an album! Iman: David, love. Can't you write some music for our wedding reception? Nothing disturbing please. Like, instrumental lounge music. Muzak? David: Great idea! I can use that on the album. And fart in my dog alto over it - that'll impress the critics. And pad it out with some covers. That'll suffice. And I can get Nile Rodgers to actually make the album. People will think it's Let's Dance 2! Score. Nile'll hire some studio cats, including the guy who couldn't keep time on bongos with Hendrix at Woodstock. So I can spend all my time with you dear? Iman: Mmm, David. David: Hey Iman, I actually wrote a good song! And then we jammed on old Sly Stone tunes and cobbled together a song about that mess in L.A. I have a super-hot New Jack Swing guy on it. A.L Sure. Black and white in harmony, like. Iman: R U Sure, David? David: Yep, album done. I also got to humiliate two of my ex guitar players by asking them to play and almost mixing them out. That'll teach them. Iman: Er, sweet David...
Yes, you really epitomised it for me here. It was still early years in my Bowie obsession and I wasn't comparing it to Low or Station to Station. It existed in and of itself, with a belting first single and a cool as fck video and a big marketing campaign. And tonnes of mixes of course! I loved it then and love it now. Think it will take quite a few kicks, track by track, as we go along - there are some real bruisers on here, who like tvc15 & don't dig ashes to ashes - but we will come out the other side, together, like we did after the horrors of tonight and nlmd and hunt's drumming!
