David Bowie - Black Tie White Noise flac album

There are Two versions of this, one with just Morrissey Credited and the other with Morrissey/Nevin on the back cover next to I know it's gonna happen someday.I've added a picture with the Morrissey/Nervin edition

This additional credit was added on later pressings due to Mark Nevin wrongly not also credited on this cover by Bowie. I think it’s about a 50/50 split on which album has this additional credit, but it’s certainly added on later batches as all promo copies omit the credit.

Excellent Pantha101!!So, why isn't this mentioned up in the Notes for this version? or amn't I seeing it and missed it somehow?!

Outside has been reissued on vinyl. Earthling has been reissued on vinyl. So has Hours, so has Heathen, so has Reality......explain why this album has yet to see a vinyl issue in its COMPLETE form, spread out over two records with wide, deep, loud, bass-heavy grooves.

GarionOrb It seems all of Bowie's albums are being reissued on vinyl though, at a rate of about 3 or 4 albums per year. Last year we got Low, Heroes, Lodger, and Scary Monsters. This year's box set includes Let's Dance, Tonight, and Never Let Me Down. Next year, I'm betting we get Tin Machine I & II, Black Tie White Noise, and Buddha of Suburbia. Patience, my friend. Hmmm, never thought about that. I wonder who would get the licence to do it, given the chronological order in which Parlophone is putting out the box sets. Parlo has the rights to all the 80's material which they just reissued, whereas Sony probably still owns the 1993 stuff and on - meaning BTWN and BoS. Regardless, I'd be ecstatic if whichever label - even if it's not Parlophone - ends up reissuing BTWN on vinyl in keeping with the chronological order and pace at which the Bowie catalogue is currently being reissued. It would be cool to spread the whole album over 2 discs and then put maybe "Lucy Can't Dance" at the end of side 4.... even though it's a bonus track I feel like it's very much part of the DNA of this hugely underrated album.

It seems all of Bowie's albums are being reissued on vinyl though, at a rate of about 3 or 4 albums per year. Last year we got Low, Heroes, Lodger, and Scary Monsters. This year's box set includes Let's Dance, Tonight, and Never Let Me Down. Next year, I'm betting we get Tin Machine I & II, Black Tie White Noise, and Buddha of Suburbia. Patience, my friend.

bbark01 It has to be a legal rights issue. I was very lucky to get copies of Outside, Earthling, and Hours, Heathen and Reality when they were issued by Friday Music and Music On Vinyl, and I bet they would have continued if they were able to get the licencing rights for Buddha of Suburbia and Black Tie/White Noise. His death seems to have put a stop to those reissues very quickly. I even wonder how many copies of Outside (released at the tail end of 2015) managed to get out into circulation, usually Friday Music would do a limited run on colored vinyl, at the same time Music on Vinyl would do a color run then switch to black. In this case they only Friday Music did the white vinyl of the full album. I emailed Friday Music to ask how many copies of Outside, on White, were pressed and released. They replied with "We have recently had a full reform in the company and all the files etc etc were taken by the former CEO so we don't know, sorry" Which I thought was pretty pathetic. Surely Friday Music could have put numbers on the sleeves or on the sticker. I am just glad I got one before the prices went silly. It sounds fantastic, far far better than the CD.

It has to be a legal rights issue. I was very lucky to get copies of Outside, Earthling, and Hours, Heathen and Reality when they were issued by Friday Music and Music On Vinyl, and I bet they would have continued if they were able to get the licencing rights for Buddha of Suburbia and Black Tie/White Noise. His death seems to have put a stop to those reissues very quickly. I even wonder how many copies of Outside (released at the tail end of 2015) managed to get out into circulation, usually Friday Music would do a limited run on colored vinyl, at the same time Music on Vinyl would do a color run then switch to black. In this case they only Friday Music did the white vinyl of the full album.

I completely disagree with the 'Classic Rock" style under Styles. Classic how? Like Boston or J. Geils? And 'Abstract'? What does that even mean? How about Experimental?

yeah i was also thrown off when i saw those. this album is in the straight up contemporary/ smooth jazz/ electronica vein (and of course dance-pop), with maybe the illbient or new jack swing descriptors. I agree--experimental would suit it better than abstract.

This is Singapore version, it also includes track 2-6 Don't Let Me Down & Down [Indonesian Vocal] in Indonesian title is Jangan Susahkan Hatiku.

Canadian version is identical to this US version, the place of manufacture information is the sole discrepancy.

yeah, I would say so too: this is the same. One of the two entries should be deleted.

I've just spotted a mastering fault around 48" into track 9 [this edition: 74321 13697 2 Europe 1993, Matrix / Run-out: SONOPRESS G-8492 / 4321136972 A]. The sound drops out of the right channel momentarily. Has anyone else noted this? Is it the same on other editions?I've checked the disc visually and also with Nero ScanDisc and it appears to still be in tip-top condition so I don't think it's physical damage.I've only had the CD since around 1995. How come it's taken me this long to spot this?EDIT: I have now checked a contemporary US copy and it has the same "drop-out" [edition: 74785-50212-2, Matrix / Run-out: 74785502122 DISC MFG., INC (H5) W.O.28871-2V]EDIT: The contemporary Japanese edition (BVCA-612) has the same flaw [Matrix/Run-out: BVCA-612- 1P15 V].

Is this npot the same as:http://www.discogs.com/David-Bowie-Black-Tie-White-Noise/release/1348247

First track on this is "You've Been Around", on the other version it's "The Wedding".

this is definitely the turning point leading into bowie's highly under-rated 90s output. he seems to have correctly intuited that a shift in culture was occurring, but he managed to simultaneously move directly towards (forwards) where it was moving and directly away from (backwards) where it was at the same time. in a certain respect, the disc manages to come off as something he would have done in 1997 pasted directly on top of something he would have done in 1983, which makes it stick out like a sore thumb in 1993. most of the reviews i've read try to rationalize why the disc didn't sell. who cares, really? however, if you want a reason, it probably has nothing to do with the artist or the quality of the disc and everything to do with the fact that everybody was listening to backwards guitar solos in 1993, except perhaps the guys playing the backwards guitar solos themselves. this strange retro-futuristic disc, and i mean in terms contemporary to 1993 as the disc comes off today as being characteristic of the poppier side of "electronica", was just not on people's radar...i'd bet a sack of apples that clint mansell was listening to pallas athena when he wrote the requiem for a dream theme, but only on the condition that an independent witness can be verified (like bowie cares or needs the money).lyrically, the disc explores themes that are typical to bowie so i'm not going to really get into that; enough has been written about that and while you won't find much on this disc that he hadn't said previously, he says it here as well as he says it anywhere else. the title track commits a bit of a faux pas in connecting african music to a statement about racism and while it comes off as good intentioned it also comes off as very cheesy, which is something that can perhaps be extrapolated to the rest of the disc.whatever can be said of the disc, which is not highly regarded, the fact that it succeeds cannot be taken away from it. what that means is that whether or not one likes the production or songwriting decisions, one cannot deny that they converged into a very well polished product, which is something one expects from bowie but is not something that one always receives; this disc ranks near the top of the list insofar as measuring how much effort was put into constructing it. every track is heavily multitracked and meticulously mixed, including a fairly diverse level of instrumentation (even if a lot of it is synthesizer based). so, it's hard to complain. what else can you ask of the guy besides an honest effort?my dissent simply comes from my lack of interest in the genres of funk, disco and soul, although i do not deny the high points of the disc, particularly the tenth track. there are some points where he almost sways me, and that's something in itself, but i can only recommend this wholeheartedly to the 80s fan base and cautiously to the 90s fan base.

This is a fair assessment of this work - although I would quibble with you over the merits of the title track. I actually find it meritous and strangely timely in 2018 fractious America. I still love this project and return to this frequently. Thanks.

Thank you. This is a fine album, and very few Art Ensemble of Chicago fans know of Lester Bowie's participation.

Excellent review, thank you! I love this album and since he passed? So so much more!