it was supported by a Romanek-directed music video, featuring both Bowie and Al B. Sure! and displaying, in Pegg's words, "a deft bricolage of images against the backdrop of an urban ghetto." "Miracle Goodnight", backed by "Looking for Lester", was issued as the third and final single in October 1993, charting at number 40 in the UK. Pegg argues it would have been a bigger hit had it been the lead single. "Nite Flights" was intended as the fourth single, but was cancelled by Arista Records following the performances of the two previous singles. Meanwhile, "Pallas Athena" was remixed by numerous DJs and anonymously became a popular club track in London and New York. Critical reception Black Tie White Noise received generally favourable reviews from music critics on release. Some reviewers considered it Bowie's finest since Scary Monsters. Biographer Christopher Sandford states it was praised for its experimentation but criticised for an overall lack of cohesion. David Sinclair of Q magazine argued Black Tie "picks up where Scary Monsters left off" and "if any collection of songs could reinstate [Bowie's] godhead status, then this is it." He primarily criticised the lack of "obvious" hit singles, but felt the record was full of "imagination and charm" and deemed Bowie's saxophone performances some of his best to date. A reviewer for Billboard was also positive, describing it as a whole "trail-blazing and brilliant", further noting "inspired covers" and echoes of Let's Dance, Scary Monsters and Ziggy Stardust (1972). Meanwhile, Rolling Stones Paul Evans hailed it "one of the smartest records of a very smart career", finding references to the artist's previous works as well as new innovations that "point the way to future risk, to brave changes yet to come". Richard Cromelin of the Los Angeles Times considered it Bowie's "most committed-sounding music in years". Other reviewers were more negative. A reviewer for Vox magazine found the radio-friendly singles calculated and Bowie's saxophone playing inferior to his musical contributions on "Heroes" (1977), but felt its "bent, ethnic-sounding notes create the album's most atmospheric moments". Dave Thompson found it lacked innovation in The Rocket. Meanwhile, Entertainment Weekly Ken Tucker described Black Tie as a "stultifying yet annoying" record save for "Miracle Goodnight" and "I Know It's Gonna Happen Someday". Veteran critic Robert Christgau said in The Village Voice that the music was Bowie's "most arresting" because of its dance beats and electronic textures,