Black Tie White Noise (song)

The track was inspired by Bowie's stay in Los Angeles in April 1992, when the city saw race riots in reaction to the Rodney King incident.[2] It is the epitome of its parent album's feelings towards conformity and corporations, with Benetton and the saccharine charity single "We Are the World" among the targets. Bowie would later explain that the track was concerned with the black community's own identity, and how it didn't need to be absorbed into the white community.

It is among the most jazz- and soul-influenced tracks on the album, highlighted by the key vocal of Al B. Sure!, although Lenny Kravitz was reportedly Bowie's first choice for the duet. Essentially a rhythm and blues tune, the song ultimately reinforced the feeling of Bowie's tendency as a chameleon of musical styles.

Released as the album's second single, "Black Tie White Noise" was a top 40 hit in Britain and subsequently reached No. 36 in the UK chart[3] and No. 74 in Australia.[4]

Dave Simpson from Melody Maker commented, "This isn't bad. Nice cosmopolitan New York rhythm section, vague hints of Low-era sax. Hmmm. Apparently it's inspired by the LA riots, or rather David's view of them from the rooftop of his mansion."[5] Alan Jones from Music Week wrote, "This oddly churning but attractive track is a little too slow for current dancefloor tastes. Not as instant as many of Bowie's bigger hits, it will need a lot to push it into the top end of the chart. A moderate hit."[6] Parry Gettelman from Orlando Sentinel felt it's "one of the better ones" on the album, adding, "The groove is faux-funky, and the melody is undercooked, but Bowie's trumpet injects flavor, and the lyrics have something to say about race relations in America: "Getting my facts from a Benetton ad/ looking through African eyes/ lit by the glare of an L.A. fire/ I've got a face, not just my race." Bowie's cool, detached voice is nicely partnered by that of soul singer Al B. Sure!, and Bowie sneaks in a Marvin Gaye allusion."[7] James Hamilton from the RM Dance Update described it as a "gloomy slow roller".[8] Leesa Daniels from Smash Hits gave it five out of five, declaring it as "fabulous", "funky and soulful – and you could listen to it again and again and never get bored. Genius."[9]

A music video for this piece was produced by Mark Romanek, featuring a montage of African-American youth playing in urban Los Angeles, while intercut with scenes of Bowie in a blue suit with his saxophone and Al B. Sure! singing. The music video attempted to capture Bowie's image behind the song: multiple ethnic groups coexisting with their own identities, and not attempting to absorb one another.

Tracks #1-3 re-produced, re-arranged and mixed by Marc 'Funkyman' Paley, Raul 'DJ EFX' Recinos & Jeremy 'DJ Digit' Cowan
Track # 2 remix and additional production by John Waddell
Track # 4 remix and additional production by Al B. Sure & Timar

• Producers:
  • Nile Rodgers
• Musicians:
  • David Bowie – vocals
  • Al B. Sure! – vocals
  • Nile Rodgers – guitar
  • Barry Campbell – bass
  • Sterling Campbell – drums
  • Richard Hilton – keyboards
  • Lester Bowie – trumpet
  • Reeves Gabrels – guitar on "You've Been Around"

• On the bonus disc following the 10th anniversary edition of Black Tie White Noise the remixes "3rd Floor US Radio Mix" and "Here Come Da Jazz" appeared.

• The Rockridge Synthesiser Orchestra – Plays David Bowie Classic Trax

• Black Tie White Noise Limited Edition DVD, 2004
• Pegg, Nicholas, The Complete David Bowie, Reynolds & Hearn Ltd, 2000, ISBN 1-903111-14-5