Black Tie White Noise (2021 Remaster) David Bowie
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- 1The Wedding (2021 Remaster)05:07
- 2You've Been Around (2021 Remaster)04:43
- 3I Feel Free (2021 Remaster)04:52
- 4Black Tie White Noise (2021 Remaster)04:53
- 5Jump They Say (2021 Remaster)04:23
- 6Nite Flights (2021 Remaster)04:37
- 7Pallas Athena (2021 Remaster)04:40
- 8Miracle Goodnight (2021 Remaster)04:12
- 9Don't Let Me Down & Down (2021 Remaster)04:54
- 10Looking For Lester (2021 Remaster)05:37
- 11I Know It's Gonna Happen Someday (2021 Remaster)04:07
- 12The Wedding Song (2021 Remaster)04:30
Info zu Black Tie White Noise (2021 Remaster)
Black Tie White Noise is the 18th studio album by English musician David Bowie, released on 5 April 1993 by Savage Records in the US and Arista Records in the UK. The album was conceived following the disbandment of Bowie's rock band Tin Machine and his marriage to Somalian model Iman. Recorded from throughout 1992 between studios in Montreux, Los Angeles and New York City, production was handled by Bowie and Nile Rodgers, who previously co-produced 1983's Let's Dance. The two expressed enjoyment in the project initially, although Rodgers voiced dissatisfaction in later decades. The record features numerous guest appearances, including pianist Mike Garson and guitarist Mick Ronson, who had not worked with Bowie since the mid-1970s.
"I personally think my work in the ’90s has been the best that I could possibly do. It’s proved to have a lot of life and it’s got some strong devotees. From Black Tie…, I think I’ve not put out a shoddy piece of work. I’m very proud of it all. Especially things like The Buddha Of Suburbia, which went – pffft – under the radar. Maybe Buddha was an indication that I’d be going back into more experimental stuff, like Outside, again." (David Bowie, Uncut, October 1999)
"Black Tie White Noise was the beginning of David Bowie's return from the wilderness of post-Let's Dance, the first indication that he was regaining his creative spark. To say as much suggests that it's a bit of a lost classic, when it's rather a sporadically intriguing transitional album, finding Bowie balancing the commercial dance-rock of Let's Dance with artier inclinations from his Berlin period, all the while trying to draw on the past by working with former Spider from Mars guitarist Mick Ronson, collaborating with Let's Dance producer Nile Rodgers, and even covering inspiration Scott Walker's "Nite Flights." On top of that, the record was inspired by his recent marriage to supermodel Iman -- the record is bookended with "The Wedding" and "The Wedding Song" -- and then tied up and presented as a sophisticated modern urban soul record, one that draws from uptown soul (including, rather bafflingly, a duet with Al B. Sure!) and state-of-the-art dance-club techno, while adding splashy touches like solos from avant jazz trumpeter Lester Bowie and a nod to modern alt-rock via a nifty cover of Morrissey's "I Know It's Gonna Happen Someday." That's a lot of stuff for one record to handle, so it shouldn't come as a great surprise that the album doesn't always work, but its stylish restlessness comes as a great relief, particularly when compared to the hermetically sealed previous solo Bowie record, 1987's Never Let Me Down. Black Tie White Noise displays greater musical ambition than any record he'd made since Scary Monsters, and while much of the record feels like unrealized ideas, there are songs where it all gels, like on the paranoid jumble of "Jump They Say," the aforementioned covers, the impassioned "You've Been Around," and the self-consciously smooth title track. Moments like these are the first in a long time to feel classically Bowie, and they point ahead toward the more interesting records he made in the second half of the '90s, but they are encased in a production that not only sounds dated years later, but sounded dated upon its release in the spring of 1993, two years into the thick of alternative rock. At that point, the club-centric, mainstream-courting Black Tie White Noise seemed as an anachronism during the guitar-heavy grunge-n-industrial glory days -- something Bowie tacitly acknowledged with its 1995 successor, Outside, which was every bit as gloomy as a Nine Inch Nails record -- but separated from the vagaries of fashion, it's an interesting first step in Bowie's creative revival." (Stephen Thomas Erlewine, AMG)
David Bowie, vocals, guitar, saxophone
Nile Rodgers, guitar
Mick Ronson, guitar
Reeves Gabrels, guitar
Wild T Springer, guitar
Barry Campbell, bass
John Regan, bass
Mike Garson, piano
Richard Hilton, keyboards
Dave Richards, keyboards
Philippe Saisse, keyboards
Richard Tee, keyboards
Poogie Bell, drums
Sterling Campbell, drums
Gerado Velez, percussion
Michael Reisman, harp, tubular bells
Lester Bowie, trumpet
Al B Sure!, backing vocals
Fonzi Thorton, backing vocals
Tawatha Agee, backing vocals
Curtis King Jr, backing vocals
Dennis Collins, backing vocals
Brenda White-King, backing vocals
Maryl Epps, backing vocals
Frank Simms, backing vocals
George Simms, backing vocals
David Spinner, backing vocals
Lamya Al-Mughiery, backing vocals
Connie Petruk, backing vocals
Produced by David Bowie, Nile Rodgers
The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music-hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn't content to continue to churn out glitter rock. By the mid-'70s, he developed an effete, sophisticated version of Philly soul that he dubbed 'plastic soul,' which eventually morphed into the eerie avant-pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the '80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early '90s. Even when he was out of fashion in the '80s and '90s, it was clear that Bowie was one of the most influential musicians in rock, for better and for worse. Each one of his phases in the '70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers ever had such lasting impact.
David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie that year. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969.
Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring 'Space Oddity.' The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael 'Woody' Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed the album in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.
Following its release, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He began calling himself Ziggy Stardust, and his backing band -- Ronson, Woodmansey, and bassist Trevor Bolder -- were the Spiders from Mars. The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and it helped him become the only glam rocker to carve out a niche in America. Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released 'Space Oddity' -- which was now also the title of the re-released Man of Words, Man of Music -- reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, but he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track.
Given the amount of work Bowie packed into 1972 and 1973, it wasn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs. The album was released to generally poor reviews in 1974, yet it generated the hit single 'Rebel Rebel,' and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new 'plastic soul.' Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and recostumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour.
Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in 'Fame,' a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, yet was also a huge hit, generating the Top Ten single 'Golden Years.' The album inaugurated Bowie's persona of the elegant 'Thin White Duke,' and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno.
Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just a Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. During 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos -- 'DJ,' 'Fashion,' 'Ashes to Ashes' -- became staples on early MTV.
Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, 'Under Pressure,' and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to stylish, innovative videos for 'Let's Dance' and 'China Girl,' which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.
Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit 'Blue Jean,' it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas' 'Dancing in the Street' with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies -- Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.
Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful. Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and his drummer brother Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite the poor reviews, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored.
Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his now-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. For 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He continued on with Visconti for Reality in 2003, which was once again warmly received.
Bowie supported Reality with a lengthy tour but it came to a halt in the summer of 2004 when he received an emergency angioplasty while in Hamburg, Germany. Following this health scare, Bowie quietly retreated from the public eye. Over the next few years, he popped up at the occasional charity concert or gala event and he sometimes sang in the studio for other artists (notably he appeared on Scarlett Johansson's Tom Waits tribute Anywhere I Lay My Head in 2008). Archival releases appeared but no new recordings did until he suddenly ended his unofficial retirement on his 66th birthday on January 8, 2013, releasing a new single called 'Where Are We Now?' and announcing the arrival of a new album. Entitled The Next Day and once again produced by Visconti, that album was released in March of 2013.
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