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# "Don't Let Me Down & Down" (4:55)

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# "Don't Let Me Down & Down" Down"[[note]]Originally by Tarha and Martine Valmont.[[/note]] (4:55)


The album received lukewarm critical reception at its release and was fairly divisive among fans, both for its continuation of Bowie's pop-oriented sound that had previously marked his DorkAge in 1984-1987; it still remains divisive to this day. Despite this, it was nonetheless the album that ultimately ended the DorkAge triggered by the follow-ups to ''Let's Dance'' and started his CareerResurrection that would continue until his death in 2016. Specifically, the album is credited with restoring Bowie's commerical standing among audiences, being his first album to reach No. 1 on the UK Albums chart since ''Music/{{Tonight}}'' in 1984, though in the US it would peak at a more modest No. 39 on the Billboard 200, signifying Bowie's return to mere cult popularity in America after having previously maintained a good mainstream standing since ''Music/YoungAmericans'' in 1975. Whatever one's opinion of the album, its commercial success most certainly paved the way for Bowie to continue rebuilding his artistic standing throughout the remainder of the 90's; in [[https://www.bbc.co.uk/music/reviews/m29p/ a 2011 retrospective review]] of the album, BBC journalist David Quantik stated that "as a statement of the next stage of Bowie's career, it was perfect."

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The album received lukewarm critical reception at its release and was fairly divisive among fans, both for its continuation of Bowie's pop-oriented sound that had previously marked his DorkAge creative nadir in 1984-1987; it still remains divisive to this day. Despite this, it was nonetheless the album that ultimately ended the DorkAge triggered by the follow-ups to ''Let's Dance'' and started his CareerResurrection that would continue until his death in 2016. Specifically, the album is credited with restoring Bowie's commerical standing among audiences, being his first album to reach No. 1 on the UK Albums chart since ''Music/{{Tonight}}'' in 1984, though in the US it would peak at a more modest No. 39 on the Billboard 200, signifying Bowie's return to mere cult popularity in America after having previously maintained a good mainstream standing since ''Music/YoungAmericans'' in 1975. Whatever one's opinion of the album, its commercial success most certainly paved the way for Bowie to continue rebuilding his artistic standing throughout the remainder of the 90's; in [[https://www.bbc.co.uk/music/reviews/m29p/ a 2011 retrospective review]] of the album, BBC journalist David Quantik stated that "as a statement of the next stage of Bowie's career, it was perfect."


[[caption-width-right:350:''"When comes the shaking man/A nation in his eyes..."'']]

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[[caption-width-right:350:''"When comes the shaking man/A man, a nation in his eyes..."'']]



The poor reception of the albums ''Music/{{Tonight}}'' and ''Music/NeverLetMeDown'', combined with the relative failure of his side-project Tin Machine, saw Bowie's critical standing at a low point. Prior to the release of this album, he met, and later married, the model Iman Abdulmajid. Their wedded bliss was reflected in the songs "The Wedding" and "The Wedding Song".

The album reunited him with producer [[Music/{{Chic}} Nile Rodgers]] (who helped produced ''Music/LetsDance'') and his [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars Ziggy]]-era guitarist Mick Ronson, who would later pass away from liver cancer that same year.

Despite the album receiving lukewarm critical reception at its release, it was nonetheless the album that ultimately ended the DorkAge triggered by the follow-ups to ''Let's Dance'' and started his CareerResurrection that would continue until his death in 2016.

to:

The poor reception of the albums ''Music/{{Tonight}}'' and ''Music/NeverLetMeDown'', combined with the relative critical and commercial failure of his side-project Tin Machine, saw Bowie's critical standing at a low point.point, with fans and critics alike having come to view Bowie as having lost his relevancy after decades of leading the zeitgeist in popular music. Prior to the release of this album, he met, and later married, the model Iman Abdulmajid. Their wedded bliss was reflected in the songs "The Wedding" and "The Wedding Song".

The album reunited him with producer [[Music/{{Chic}} Nile Rodgers]] (who helped produced ''Music/LetsDance'') and his [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars Ziggy]]-era guitarist Mick Ronson, who would later pass away from liver cancer that same year.

year. Despite featuring the same producer as ''Let's Dance'' and a similarly slick, pop-friendly sound (as well as coming out just in time for its [[MilestoneCelebration tenth anniversary]], Bowie denied claims that the album receiving was a third attempt at doing a follow-up to his 1983 megahit, stating that if they had intended to make a ''Let's Dance II'', they would've done so back when it was still relevant. That said, the album acts as a decent SpiritualSuccessor to the album that first catapulted Bowie into international superstardom, and combined with the artistic renaissance that followed, it acts as an apt casting off of the legacy of Bowie's 80's period, briefly bringing back the suit-clad, pop-peddling SharpDressedMan for one final album before definitively closing the door on it.

The album received
lukewarm critical reception at its release, release and was fairly divisive among fans, both for its continuation of Bowie's pop-oriented sound that had previously marked his DorkAge in 1984-1987; it still remains divisive to this day. Despite this, it was nonetheless the album that ultimately ended the DorkAge triggered by the follow-ups to ''Let's Dance'' and started his CareerResurrection that would continue until his death in 2016.
2016. Specifically, the album is credited with restoring Bowie's commerical standing among audiences, being his first album to reach No. 1 on the UK Albums chart since ''Music/{{Tonight}}'' in 1984, though in the US it would peak at a more modest No. 39 on the Billboard 200, signifying Bowie's return to mere cult popularity in America after having previously maintained a good mainstream standing since ''Music/YoungAmericans'' in 1975. Whatever one's opinion of the album, its commercial success most certainly paved the way for Bowie to continue rebuilding his artistic standing throughout the remainder of the 90's; in [[https://www.bbc.co.uk/music/reviews/m29p/ a 2011 retrospective review]] of the album, BBC journalist David Quantik stated that "as a statement of the next stage of Bowie's career, it was perfect."



** Another shot near the end of the video for "Jump They Say" mimics the infamous [[https://api.time.com/wp-content/uploads/2014/10/140318-1947-suicide-robert-wiles.jpg?quality=85&w=427 photo]] of Evelyn [=McHale's=] 1947 suicide, tying in with the song's subject matter of Bowie's half-brother's own death in 1985.

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** Another shot near the end of the video for "Jump They Say" mimics the infamous [[https://api.time.com/wp-content/uploads/2014/10/140318-1947-suicide-robert-wiles.jpg?quality=85&w=427 photo]] of Evelyn [=McHale's=] 1947 suicide, tying in with the song's subject matter of Bowie's half-brother's own death suicide in 1985.

Added DiffLines:

** Another shot near the end of the video for "Jump They Say" mimics the infamous [[https://api.time.com/wp-content/uploads/2014/10/140318-1947-suicide-robert-wiles.jpg?quality=85&w=427 photo]] of Evelyn [=McHale's=] 1947 suicide, tying in with the song's subject matter of Bowie's half-brother's own death in 1985.


* ColorMotifs: White appears to be one for this album. The album cover makes considerable use of whitish tones, the disc label and interior tray art are predominantly white, the back cover and liner notes feature heavy white portions, and the jewel case tray is clear, exposing the white background behind it.

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* ColorMotifs: White appears to be one for this album. The album cover makes considerable use of whitish tones, the disc label and interior tray art are predominantly white, the back cover and liner notes feature heavy white portions, and the jewel case case's disc tray is clear, clear (a rarity in 1993; all-transparent jewel cases wouldn't become standard for another two years), exposing the white background behind it.


* ColorMotifs: White appears to be one for this album. The album cover makes considerable use of whitish tones, the disc label and interior tray art are predominantly white, the back cover and liner notes feature heavy white portions, and the jewel case tray is clear, exposing the white background behind it.



* SharpDressedMan: In all the music videos from this era.

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* SharpDressedMan: In all the music videos and live performances from this era.


* InTheStyleOf: Bowie's cover of "I Know It's Gonna Happen Someday" was deliberately performed to match the style of its original artist, Music/{{Morrisey}}, who in turn based the song on ''Bowie''[='s=] vocal style. Bowie noted the circularity of this in an interview.

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* InTheStyleOf: Bowie's cover of "I Know It's Gonna Happen Someday" was deliberately performed to match the style of its original artist, Music/{{Morrisey}}, Music/{{Morrissey}}, who in turn based the song on ''Bowie''[='s=] vocal style. Bowie noted the circularity of this in an interview.

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* InTheStyleOf: Bowie's cover of "I Know It's Gonna Happen Someday" was deliberately performed to match the style of its original artist, Music/{{Morrisey}}, who in turn based the song on ''Bowie''[='s=] vocal style. Bowie noted the circularity of this in an interview.


# "[[Music/{{Cream}} I Feel Free]]" (4:52)

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# "[[Music/{{Cream}} I "I Feel Free]]" Free"[[note]]Originally by Music/{{Cream}}.[[/note]] (4:52)



# "[[Music/ScottWalker Nite Flights]]" (4:30)

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# "[[Music/ScottWalker Nite Flights]]" "Nite Flights"[[note]]Originally by Music/ScottWalker.[[/note]] (4:30)



# "[[Music/{{Morrissey}} I Know It's Gonna Happen Someday]]" (4:14)

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# "[[Music/{{Morrissey}} I "I Know It's Gonna Happen Someday]]" Someday"[[note]] Originally by Music/{{Morrissey}}.[[/note]] (4:14)


The singles produced by this album included the UK Top 10 hit "Jump They Say", as well as the TitleTrack and "Miracle Goodnight".


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The singles produced by this album included comprised of the UK Top 10 hit "Jump They Say", as well as the TitleTrack and "Miracle Goodnight".



* NewSoundAlbum: Compared to the pop rock sound of [[Music/NeverLetMeDown his last solo album]] and the hard rock/proto-{{grunge}} sound of his Tin Machine duology, ''Black Tie White Noise'' is more a blend of art rock, acid jazz, and electronic music; Bowie himself stated that his goal with the album was to create "a new kind of melodic form of house."

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* NewSoundAlbum: Compared to the pop rock sound of [[Music/NeverLetMeDown his last solo album]] and the hard rock/proto-{{grunge}} sound of his Tin Machine duology, ''Black Tie White Noise'' is more a blend of art rock, acid jazz, and electronic music; Bowie himself stated that his goal with the album was to create "a new kind of melodic form of house.[[HouseMusic house]]."

Added DiffLines:

* NewSoundAlbum: Compared to the pop rock sound of [[Music/NeverLetMeDown his last solo album]] and the hard rock/proto-{{grunge}} sound of his Tin Machine duology, ''Black Tie White Noise'' is more a blend of art rock, acid jazz, and electronic music; Bowie himself stated that his goal with the album was to create "a new kind of melodic form of house."

Added DiffLines:

* BookEnds: "The Wedding" and "The Wedding Song" are variations of one another, and respectively serve as the first and final tracks on the album.

Added DiffLines:

* LighterAndSofter: In comparison to both ''Music/NeverLetMeDown'' and the two Tin Machine studio albums, ''Black Tie White Noise'' is poppier and less dour in its subject matter (partly due to Bowie coming fresh off the heels of his wedding with Iman, partly due to being produced by [[Music/{{Chic}} Nile Rodgers]], who had previously produced ''Music/LetsDance''). That said, the TitleTrack and "Jump They Say" still demonstrate Bowie's willingness to cover less-than-optimistic topics in his work.


[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/black_tie_white_noise.jpg]]

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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/black_tie_white_noise.jpg]] org/pmwiki/pub/images/david_bowie_black_tie_white_noise.jpg]]

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