A happy contrast to the leaden “Black Tie White Noise,” the follow-up single “Miracle Goodnight” is the cleverest and most moving of Bowie’s wedding songs, a minimalist production on an often dense and cluttered record.īuilt on a dual-synthesizer riff (allegedly inspired by a frog chorus Bowie had once heard in Bali) that provides the scaffolding for the verses/choruses and the two spoken asides, 1 “Miracle” never extends too far outward in sound, with its accompaniment reduced to the synthesizer hook, a few secondary synthesizer colors (like the long-held notes that sing overhead in the second verse), sets of electronic and live bass/drums and a few low-mixed traces of saxophone.