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
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
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
"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
record, 1987's
Never Let Me Down
.
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
, 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
seemed as an anachronism during the guitar-heavy
grunge
-n-
industrial
glory days -- something
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
's creative revival. ~ Stephen Thomas Erlewine