Most Helpful Customer Reviews
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
A guilty pleasure ... Or, one of the most rockin albums ever!, 1 Sep 2006
Tin Machine was the album that turned my perception of music on its head. Up until then, I was an undescerning teen, who couldn't tell the difference between Money For Nothing, and Money for Old Rope. For that reason alone, this slice of flawed genius is very special to me.
There are some fantastic tracks - starting with Heaven's In Here; Reeves Gabrels and Hunt Sales make an opening statement on behalf of the album that is sustained throughout, and kicks Bowie into life again. The outro solo is an awesome blend of raw, punky viciousness, and absolute virtuosity. Having played guitar for twenty years, I am still impressed: I have never gotten close, although I have tried. There are some songs that don't pass muster: Crack City is flabby, Prisoner of Love is lyrically ham-fisted, and I've never gotten my head around Working Class Hero - a fine centiment, but why? It spoils the Plastic Ono Band album, and it spoils this one, too.
Lyrically, this is not Bowie's best moment, although I have always found him hit and miss. This is an album of performances, including Tim Palmer, who, as producer, gets some of the best skins sounds on track, in my opinion. The way everything is layered, so dense, yet so clear, is one of the key elements.
So, the best moments; Heaven's in Here's raucous intent and wild solo, Tin Machine - wacky bagpipe guitar overdub, and a great lyric, I Can't Read's weary insanity, the luscious Amazing, which is the most complete track, and even one I simply had to cover in a former band, even though the audience never got it! I love Bus Stop, for the cheeky lyrics and music that complements them perfectly, and Baby Can Dance, which was always an on-off one for me, but has such a great, lurching relationship between drums and guitar, which sums up the whole album's intent, that some of the wan lyrics can be forgiven.
I want to give this five stars, but can't. It's flawed, certainly; but one that should be cosied up to by everyone, and treasured as a very special - and pre-emptive - moment in Bowie's and rock's history.
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6 of 7 people found the following review helpful:
5.0 out of 5 stars
The most underrated Bowie ever, 13 Sep 2004
Bought this album when it came out 15 years ago-and (probably because I was on another planet) thought it was mediocre and subsequently dismissed it as boring, never listening to it again.Have just put it on - WHAT HAVE I BEEN MISSING!!?? This stuff is brilliant and way ahead of its time.
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5 of 6 people found the following review helpful:
5.0 out of 5 stars
Turns out they do rock after all., 9 Aug 2005
Bowie kicked off his new suited rock-man persona by going down to his record label, playing his new album and watching the big men in suits squirm. Bowie's output for the past 5 years had been inconsistent and sometimes insipid. This is where it changed.Some fans liked the change, some fans even liked the music. However, if it wasn't for Bowie's unbelievable musical history, he would have lost a lot of fans during Tin Machine. Firstly, the band is fantastic. Hunt and Tony Sales were Iggy Pop's band during the 70's, and Bowie met them whilst collaborating with Iggy on "Lust For Life". They provide a fantastic rhythm section. To complete the band, Bowie invites his new friend, Reeves Gabrel to have a go at lead guitar. So strong is Reeves as a guitarist, that he would remain with Bowie for 10 years. Bowie ends up on rhythm guitar and lead vocals, and at the front of a great band. Fortunately, there was great music to go with the band. The best tracks on Tin Machine are "Heaven's In Here", "Prisoner of Love" and "I Can't Read". When the band is playing, you can actually feel the energy, and that is so important. Not once does the music feel flat, even at its weakest moments ("Crack City", for example). Shame it didn't work out.
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