Why was/is Tin Machine so hated?

I liked the 1st one, even though I can't think of a memorable tune off it. I think he tried to be as uncommercial as possible. Intentional or not? Like Lennon's early solos. It seemed like he was rebelling against his previous popularity. He was always trying to reinvent himself. He must’ve run out of ideas by this time?

 

I wouldn't say he was running out of ideas. Perhaps he was sensing the shift in music back to a more hard, electric sound. As far as a memorable tune, his remake of Lennon's Working Class Hero was just great!

 

I always liked I Can't Read the best from the 1st one. The version on the live CD isn't bad either.

 

Reeves is quoted in the current Mojo mag stating that several labels are interested in putting together a Tin Machine box set, and that the band have around 8 or so unreleased tracks.

 

I didn't know there was rampant Tin Machine hatred.
Or are we using the 2010's definition of "hate" which simply means, "indifferent to"?

 

As usual, Bowie was ahead of his time...people were not ready for this music.
Both albums are great, but the edge goes to the first one for me. Heaven's In Here, Prisoner of Love, Amazing...all fantastic Bowie tracks. It took me years, but i think I own all the live tracks, b-sides and alt versions at this point.

The live album and BBC sessions EP are essential as well.

I also got to see them twice on the second tour...killer shows!!

 

The tour book from the II era is filled with horrible reviews...kind of their FU to the press by reprinting them.

 

Time for a deluxe Tin Machine package they were great

 

I love the first album. Got it for my birthday 1989 on cassette tape so we've been together a long time. I still play this album regularly. Just played it this week, in fact. This and Outside are Bowie's two greatest achievements since Scary Monsters.

 

He did. Reeves also reveals in the Mojo feature that after the Glass Spider debacle (savage reviews, lukewarm audiences, rape allegations etc) DB hired a corporate image consultant because he was at a loss how to reset his career, and the person told him he needed to do something which was such a departure it would destroy everything that went before. "That made me feel a little weird...and bad," says Gabrels.

How utterly corporate. Not to mention calculating.

 

I only have the live version from the 7" EP (same version?).

I'd like it more if he didn't feel he had to squeeze-cheese a strange "country music accent" on top of the cracker music. Sounds to me like a copy of a copy of a copy (Bowie doing 20 years-old Mick), with further generations behind that. Like kids doing impressions of comedians doing impressions.

It would have been more interesting if he hadn't hidden behind that affectation.

 

If only his "corporate image consultants" would advise him to reissue his complete catalog in audiophile quality.

 

But hiding behind affectation is the definition of his entire career. David Bowie is a construct, not a real person at all.

 

Steve "Lips" Kudlow from Anvil played guitar with a dildo

 

That's true; I took that as a given. But the Thin White Duke actually seemed to understand something about R&B. I think my response is fundamentally: If he doesn't care, why should I?

 

Bowie's never really let truth or integrity stand in the way of a good career move, or quote.

 

The first record is too long but there's still a fantastic full length in there (plus a few crap songs). The second record is awful, with one, maybe two good songs. I think if the second album had been decent they might've gotten over the hump; instead, it just confirmed people's knee jerk reaction to the first record.

That said, the band in general missed the mark--as I understand it, it was intended to capture Bowie's take on the vibe of bands like Dinosaur Jr., Sonic Youth and the Pixies. Reeves was simply too good, and instead of channeling Ron Asheton and Neil Young, he sounded like Steve Vai being told to play like SY after hearing several :30 second clips so, even with Nirvana et al on the ascent around them (i.e., bands that loved The Stooges and NY), TM didn't fit in. -E

 

Well....when I heard the second album last year - for the first time since 1992 - I was surprised how good it is and played it on a regular basis.

 

This is why I prefer the vinyl version. It drops the two cuts that, for me, are the least interesting ("Run" & "Sacrifice Yourself"). Since this was 1989 and vinyl was still prominent (barely) I tend to tell myself that this is the album proper and the extra songs found on cassette and CD are merely "bonuses".

Further proof that LP length is just right. Even his latest album, "The Next Day", could stand to lose two tracks ("Boss of Me" & "Dancing Out In Space").

Tim Machine II certainly didn't have the same magic. There were some good tracks but an awful lot of blah. And I don't think I've ever made it through the entire live album. Oy vey indeed.

 

The second album takes awhile to grow on you, but it's a good one.

The whole Reeves, Mojo article is really interesting.

 

Is the Reeves thing in this month's issue? I'll have to go fetch it.

 

One Shot is clearly the winner...but other tracks stand out too; Betty Wrong is great, If There Is Something, Shopping For Girls and you Belong In Rock N Roll (even if the single version is better) are solid too.

I think Amlapura really drags it down, and should have been replaced with the full version of Hammerhead (b-side of You Belong in RNR)

 

I here I was going to say "Amlapura" was the best track on the record!

 

Amlapura is lovely. I visited the village (in Bali) last year and chanced upon the actual palace that Bowie referenced as the 'shining jewel'. It's pretty stunning.