Is there an issue? Send a MessageReason:
None
Added DiffLines:
Furthermore, despite rumors that Bowie experienced CreatorBacklash towards his stint in the band, he would constantly reiterate in the years after Tin Machine's disbanding that he quite enjoyed the project, considering it the outlet that both let him rediscover his love for music (after nearly retiring out of ArtistDisillusionment in the wake of ''Music/NeverLetMeDown'' and the Glass Spider tour's overwhelmingly negative reception) and allowed him to finally break free of the pop rock pigeonhole ''Let's Dance'' carved from him back in 1983. As a testament to his fond memories of Tin Machine, Bowie would re-record "I Can't Read" for the 1997 film adaptation of ''Film/TheIceStorm'', releasing this version as a single that same year to promote the film, with another re-recording of the same song being made around the same time for an early draft of ''Music/{{Earthling}}''. This other take ultimately went unused, but later resurfaced on the posthumous ''Is It Any Wonder?'' EP in 2020.
Is there an issue? Send a MessageReason:
None
Changed line(s) 4,7 (click to see context) from:
''Tin Machine'', released in 1989, is the eponymous debut studio album by the supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more Music/{{Pixies}}esque hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with Creator/EMIAmericaRecords and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with Creator/EMIAmericaRecords and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
to:
''Tin Machine'', released in 1989, is the eponymous debut studio album by the British-American AlternativeRock supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more Music/{{Pixies}}esque hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums withCreator/EMIAmericaRecords and, Creator/EMIAmericaRecords; while it still peaked at No. 3 on the UK Albums chart, No. 10 on ''Magazine/RollingStone''[='s=] College Albums chart, and No. 20 on the same magazine's broader albums chart, it sold too low to be certified in any region and missed the Billboard charts altogether. Additionally, the album, like Tin Machine themselves, later became the subject of scorn among both fans and critics. critics, who became increasingly apprehensive of the idea of Bowie being reduced to just a band member and came to view this album's intentionally simplistic lyricism as juvenile. Bowie himself would also start to agree more with these sentiments, which contributed to their short lifespan (disbanding in 1992) and resulted in their second and final album, the aptly-titled ''Tin Machine II'', being much more elaborate in production and Bowie-esque from a musical and lyrical standpoint.
Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce and distribute the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and2000's, 2000's though, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} as a mainstream force in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with
Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce and distribute the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and
Changed line(s) 10,11 (click to see context) from:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, this wiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page (and will do the same for ''Tin Machine II'' if/when a page gets made for that), while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
to:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to.to; Bowie's status as the FaceOfTheBand only complicates this, despite his own attempts to avert it. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, this wiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page (and will do the same for ''Tin Machine II'' if/when a page gets made for that), while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
Is there an issue? Send a MessageReason:
None
Changed line(s) 54 (click to see context) from:
* SelfTitledAlbum: The third in Bowie's career, after [[Music/DavidBowie1967 his 1967 debut album]] and the follow-up which eventually became known as ''Music/SpaceOddity''.
to:
* SelfTitledAlbum: The third in Bowie's career, after [[Music/DavidBowie1967 his 1967 debut album]] and the follow-up which eventually became known as ''Music/SpaceOddity''. In this case though, it's not titled after Bowie himself, but rather Tin Machine as a whole.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10,11 (click to see context) from:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, this wiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page, while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
to:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, this wiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page, page (and will do the same for ''Tin Machine II'' if/when a page gets made for that), while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ProtestSong: "Under the God" is an open railing against social and institutional racism, white supremacy, and government enabling of right-wing extremism.
Is there an issue? Send a MessageReason:
None
Changed line(s) 6,7 (click to see context) from:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with Creator/{{EMI}} and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
to:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with Creator/{{EMI}} Creator/EMIAmericaRecords and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 20 (click to see context) from:
# [[Music/JohnLennonPlasticOnoBand "Working Class Hero"[[note]]Originally by Music/JohnLennon.[[/note]] (4:38)
to:
# [[Music/JohnLennonPlasticOnoBand "Working Class Hero"[[note]]Originally Hero"]][[note]]Originally by Music/JohnLennon.[[/note]] (4:38)
Is there an issue? Send a MessageReason:
None
Changed line(s) 20 (click to see context) from:
# [[Music/JohnLennon "Working Class Hero"]] (4:38)
to:
# [[Music/JohnLennon [[Music/JohnLennonPlasticOnoBand "Working Class Hero"]] Hero"[[note]]Originally by Music/JohnLennon.[[/note]] (4:38)
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* SpiritualSuccessor: Bowie himself considered this album one to ''Music/ScaryMonstersAndSuperCreeps'', being a similar blend of hard rock and art rock with lyrical themes of sociopolitical protest. Additionally, while ''Scary Monsters'' is typically classified as a PostPunk record, ''Tin Machine'' falls in-line with post-punk's daughter genre, AlternativeRock.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10,11 (click to see context) from:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, ThisVeryWiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page, while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
to:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline. As a bit of a compromise, ThisVeryWiki this wiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page, while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10,11 (click to see context) from:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline.
to:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline.
timeline. As a bit of a compromise, ThisVeryWiki includes the album among Bowie's solo works on the [[Creator/DavidBowie "Creator"]] page, while the [[Music/DavidBowie "Music"]] page places it and ''Tin Machine II'' in a separate category.
Is there an issue? Send a MessageReason:
None
Changed line(s) 24,25 (click to see context) from:
# "Run" (3:20)[[note]]Exclusive to CD releases.[[/note]]
# "Sacrifice Yourself" (2:08)[[note]]Exclusive to CD releases. [[/note]]
# "Sacrifice Yourself" (2:08)[[note]]Exclusive to CD releases. [[/note]]
to:
# "Run" (3:20)[[note]]Exclusive to CD releases.[[/note]]
(3:20)*
# "Sacrifice Yourself"(2:08)[[note]]Exclusive to CD releases. [[/note]](2:08)*
# "Sacrifice Yourself"
Added DiffLines:
[-*Exclusive to CD releases.-]
Is there an issue? Send a MessageReason:
None
Changed line(s) 43 (click to see context) from:
* FaceOnTheCover: All four band members appear on the cover, arranged differently depending on the format of release. From left to right, [[https://img.discogs.com/GceryxVMFAw9sxQmehrcSSEc7Vs=/fit-in/600x588/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-389990-1459163159-2230.jpeg.jpg the CD cover]] features David Bowie, Hunt Sales, Tony Sales, and Reeves Gabrels; [[https://img.discogs.com/5tRbL_oNO4bTJFbaq0-KqithkH0=/fit-in/564x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3522074-1333760090.jpeg.jpg the LP and digital covers]] feature Tony Sales, Reeves Gabrels, David Bowie, and Hunt Sales; [[https://img.discogs.com/dF82fLafaIeoMfZ9nKXJRqhdvyM=/fit-in/383x591/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11109008-1509999571-2554.jpeg.jpg the cassette cover]] features Hunt Sales, Tony Sales, Reeves Gabrels, and David Bowie. All four variations of the cover image were photographed by Masayoshi Sukita, who previously shot the cover photos for Music/IggyPop's ''Music/TheIdiot'' and Bowie's own ''Music/HeroesDavidBowieAlbum''.
to:
* FaceOnTheCover: All four band members appear on the cover, arranged differently depending on the format of release. From left to right, [[https://img.discogs.com/GceryxVMFAw9sxQmehrcSSEc7Vs=/fit-in/600x588/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-389990-1459163159-2230.jpeg.jpg the CD cover]] features David Bowie, Hunt Tony Sales, Tony Hunt Sales, and Reeves Gabrels; [[https://img.discogs.com/5tRbL_oNO4bTJFbaq0-KqithkH0=/fit-in/564x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3522074-1333760090.jpeg.jpg the LP and digital covers]] feature Tony Hunt Sales, Reeves Gabrels, David Bowie, and Hunt Tony Sales; [[https://img.discogs.com/dF82fLafaIeoMfZ9nKXJRqhdvyM=/fit-in/383x591/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11109008-1509999571-2554.jpeg.jpg the cassette cover]] features Hunt Tony Sales, Tony Hunt Sales, Reeves Gabrels, and David Bowie. All four variations of the cover image were photographed by Masayoshi Sukita, who previously shot the cover photos for Music/IggyPop's ''Music/TheIdiot'' and Bowie's own ''Music/HeroesDavidBowieAlbum''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 4,5 (click to see context) from:
''Tin Machine'', released in 1989, is the eponymous debut studio album by the supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
to:
''Tin Machine'', released in 1989, is the eponymous debut studio album by the supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more Music/{{Pixies}}esque hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
Changed line(s) 47 (click to see context) from:
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''. Bowie himself considered it a continuation of the style developed on ''Music/ScaryMonstersAndSuperCreeps''.
to:
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''. ''Music/NeverLetMeDown''; Bowie himself considered it a continuation of the style developed on ''Music/ScaryMonstersAndSuperCreeps''.''Music/ScaryMonstersAndSuperCreeps''. Much of the album's sound seems to be inspired by the Music/{{Pixies}}, a band Bowie admired and considered one of the most compelling of the 1980's. Tin Machine would later cover the Pixies' "Debaser" in live performances, and Bowie himself would perform a solo cover of "Cactus" on his 2002 album ''Music/{{Heathen}}''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 51 (click to see context) from:
* SelfTitledAlbum
to:
* SelfTitledAlbumSelfTitledAlbum: The third in Bowie's career, after [[Music/DavidBowie1967 his 1967 debut album]] and the follow-up which eventually became known as ''Music/SpaceOddity''.
* SharpDressedMan: The cover photo has the band members wearing matching suits.
* SharpDressedMan: The cover photo has the band members wearing matching suits.
Is there an issue? Send a MessageReason:
None
Changed line(s) 31 (click to see context) from:
* UsefulNotes/{{Agnosticism}}: The narrator of "Bus Stop" describes himself as "a young man at odds with the Bible."
to:
* UsefulNotes/{{Agnosticism}}: The narrator of "Bus Stop" describes himself as "a young man at odds with the Bible.Literature/TheBible."
Changed line(s) 64 (click to see context) from:
''But you're still [[PrecisionFStrike fucking]] peasants [[TheReasonYouSuckSpeech as far as I can see]]''
to:
''But you're still [[PrecisionFStrike fucking]] peasants [[TheReasonYouSuckSpeech as far as I can see]]''see]]''
----
----
Is there an issue? Send a MessageReason:
None
Changed line(s) 2 (click to see context) from:
[[caption-width-right:350:''"Fascist flare is fashion cool. Well you're dead-- you just ain't buried yet."'']]
to:
Changed line(s) 5,6 (click to see context) from:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
to:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI Creator/{{EMI}} and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 35 (click to see context) from:
* CallBack: "Sacrifice Yourself" features the line "wham, bam, thank you Charlie," harking back to the famed outburst of "wham-bam thank you ma'am" from [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars "Suffragette City"]].
to:
* CallBack: CallBack:
** "Sacrifice Yourself" features the line "wham, bam, thank you Charlie," harking back to the famed outburst of "wham-bam thank you ma'am" from [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars "SuffragetteCity"]].City"]].
** "Baby Can Dance" features the phrase "I'm a shadow man," apparently referring to the ''[[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars Ziggy Stardust]]'' outtake "Shadow Man".
** "Sacrifice Yourself" features the line "wham, bam, thank you Charlie," harking back to the famed outburst of "wham-bam thank you ma'am" from [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars "Suffragette
** "Baby Can Dance" features the phrase "I'm a shadow man," apparently referring to the ''[[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars Ziggy Stardust]]'' outtake "Shadow Man".
Is there an issue? Send a MessageReason:
None
Changed line(s) 2 (click to see context) from:
[[caption-width-right:350:''"Fascist flare is fashion cool. Well you're dead, you just ain't buried-- yet."'']]
to:
[[caption-width-right:350:''"Fascist flare is fashion cool. Well you're dead, dead-- you just ain't buried-- buried yet."'']]
Is there an issue? Send a MessageReason:
None
Changed line(s) 58 (click to see context) from:
* WorkingClassHero: Inevitable, given that a cover of the [[TropeNamer trope-naming]] song appears on this album.
to:
* WorkingClassHero: Inevitable, given that a cover of Ironically, the [[TropeNamer trope-naming]] {{Trope Namer|s}}, the song appears on this album.[[Music/JohnLennonPlasticOnoBand "Working Class Hero"]] (originally by Music/JohnLennon), is a subversion in which the working class are duped into feeling like heroes by those with power:
--> ''[[BreadAndCircuses Keep you doped with religion and sex and TV]]''\\
''And you think you're so clever and classless and free''\\
''But you're still [[PrecisionFStrike fucking]] peasants [[TheReasonYouSuckSpeech as far as I can see]]''
--> ''[[BreadAndCircuses Keep you doped with religion and sex and TV]]''\\
''And you think you're so clever and classless and free''\\
''But you're still [[PrecisionFStrike fucking]] peasants [[TheReasonYouSuckSpeech as far as I can see]]''
Is there an issue? Send a MessageReason:
None
Changed line(s) 57 (click to see context) from:
* WhiteVoidRoom: The band is photographed in one on the album cover.
to:
* WhiteVoidRoom: The band is photographed in one on the album cover.cover.
* WorkingClassHero: Inevitable, given that a cover of the [[TropeNamer trope-naming]] song appears on this album.
* WorkingClassHero: Inevitable, given that a cover of the [[TropeNamer trope-naming]] song appears on this album.
Is there an issue? Send a MessageReason:
None
Changed line(s) 2 (click to see context) from:
[[caption-width-right:350:Fascist flare is fashion cool. Well you're dead, you just ain't buried-- yet.]]
to:
Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''.
to:
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''. Bowie himself considered it a continuation of the style developed on ''Music/ScaryMonstersAndSuperCreeps''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 5,6 (click to see context) from:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on grunge, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
to:
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on grunge, the latter genre, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 9,10 (click to see context) from:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline.
to:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works.works, credited under Bowie's name. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
Where this album ranks in Bowie's discography is... complicated. Contractually, it was a David Bowie album, and as such is included in the 1999 reissue campaign of the man's solo works. However, the members of Tin Machine considered themselves and the material they put out as a separate entity from Bowie's solo material. Additionally, fans will gladly classify ''Tin Machine'' as either a Bowie project or a Tin Machine-exclusive project depending on who you talk to. As such, it's hard to definitively say whether or not ''Tin Machine'' is its own thing or a part of the David Bowie release timeline.
Is there an issue? Send a MessageReason:
None
* UsefulNotes/{{Agnosticism}}: The narrator of "Bus Stop" describes himself as "a young man at odds with the Bible."
Changed line(s) 29 (click to see context) from:
* BeliefMakesYouStupid: Well, more "fanatic devotion to religion makes you stupid" in the case of "Bus Stop".
to:
* BeliefMakesYouStupid: Well, more "fanatic devotion to religion makes you stupid" in the case of "Bus Stop". The song isn't outright dismissive of religion, with the narrator stating that "I don't pretend faith never works," but it does make a point to criticize how blinding religious fanaticism can be when left uncontrolled.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* AcceptableReligiousTargets: InUniverse; "Bus Stop" is an unsubtle criticism of religious fanaticism.
* AcidRefluxNightmare: The narrator of "Bus Stop" speculates that his friend's vision of God may be the result of "some blue cheese or the meal we ate down the road."
* AcidRefluxNightmare: The narrator of "Bus Stop" speculates that his friend's vision of God may be the result of "some blue cheese or the meal we ate down the road."
Added DiffLines:
* BeliefMakesYouStupid: Well, more "fanatic devotion to religion makes you stupid" in the case of "Bus Stop".
Added DiffLines:
* BreatherEpisode: "Amazing" a relatively laid-back love song situated right between the musically intense, lyrically political "Under the God" and the minor-key, thumping, and downright nihilistic "Working Class Hero".
Added DiffLines:
* PrecisionFStrike: Bowie makes a number of these throughout the album, a direct contrast to the (mostly) clean lyrics of his prior output.
Added DiffLines:
** "Bus Stop" is an open critique of religious zealotry.
Added DiffLines:
* UpdatedRerelease: The 1995 CD reissue by Creator/VirginRecords adds in a "live country version" of "Bus Stop" as a bonus track.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/tin_machine.jpg]]
[[caption-width-right:350:Fascist flare is fashion cool. Well you're dead, you just ain't buried-- yet.]]
''Tin Machine'', released in 1989, is the eponymous debut studio album by the supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on grunge, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
''Tin Machine'' produced three singles: "Under the God", "Tin Machine", and "Prisoner of Love". Additionally, [[https://www.youtube.com/watch?v=3H0hS1lxq4I a 13-minute promotional video]] directed by Julian Temple was produced, featuring live performances of (in order) "Pretty Thing", "Tin Machine", "Prisoner of Love", "Crack City", "Bus Stop", "Video Crime", "I Can't Read", and "Working Class Hero" at the Ritz in UsefulNotes/NewYorkCity; Temple had previously directed ''Jazzin' for Blue Jean'' and the music videos for "Absolute Beginners" and "Day-In Day-Out". The video was not commercially released until May 22, 2019, when Creator/ParlophoneRecords uploaded it to Bowie's official Website/YouTube video [[MilestoneCelebration to commemorate the album's thirtieth anniversary.]]
!!Tracklist:
# "Heaven's in Here" (6:01)
# "Tin Machine" (3:34)
# "Prisoner of Love" (4:50)
# "Crack City" (4:36)
# "I Can't Read" (4:54)
# "Under the God" (4:06)
# "Amazing" (3:06)
# [[Music/JohnLennon "Working Class Hero"]] (4:38)
# "Bus Stop" (1:41)
# "Pretty Thing" (4:39)
# "Video Crime" (3:52)
# "Run" (3:20)[[note]]Exclusive to CD releases.[[/note]]
# "Sacrifice Yourself" (2:08)[[note]]Exclusive to CD releases. [[/note]]
# "Baby Can Dance" (4:57)
!!''I've seen the best tropes of my generation laid out in cemeteries and crematories'':
* AllLowercaseLetters: The album and liner notes almost exclusively feature this, with only the copyright information and catalog number being given proper capitalization.
* {{Bowdlerize}}: The liner notes censor all heavy swearing, with every offensive work being reduced to the first letter and a series of dashes.
* CallBack: "Sacrifice Yourself" features the line "wham, bam, thank you Charlie," harking back to the famed outburst of "wham-bam thank you ma'am" from [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars "Suffragette City"]].
* CoverVersion: "Working Class Hero", originally written and performed by former [[Music/TheBeatles Beatle]] Music/JohnLennon.
* DarkerAndEdgier: Both lyrically and musically, this album is much dourer in tone than ''Music/NeverLetMeDown'' (which already touched upon some pretty dark subjects).
* DrugsAreBad: The general message of "Crack City", partly rooted in Bowie's own past as a cocaine addict throughout the first half of the 1970's.
* EpicRocking: "Heaven's in Here" clocks in at 6:01.
* FaceOnTheCover: All four band members appear on the cover, arranged differently depending on the format of release. From left to right, [[https://img.discogs.com/GceryxVMFAw9sxQmehrcSSEc7Vs=/fit-in/600x588/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-389990-1459163159-2230.jpeg.jpg the CD cover]] features David Bowie, Hunt Sales, Tony Sales, and Reeves Gabrels; [[https://img.discogs.com/5tRbL_oNO4bTJFbaq0-KqithkH0=/fit-in/564x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3522074-1333760090.jpeg.jpg the LP and digital covers]] feature Tony Sales, Reeves Gabrels, David Bowie, and Hunt Sales; [[https://img.discogs.com/dF82fLafaIeoMfZ9nKXJRqhdvyM=/fit-in/383x591/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11109008-1509999571-2554.jpeg.jpg the cassette cover]] features Hunt Sales, Tony Sales, Reeves Gabrels, and David Bowie. All four variations of the cover image were photographed by Masayoshi Sukita, who previously shot the cover photos for Music/IggyPop's ''Music/TheIdiot'' and Bowie's own ''Music/HeroesDavidBowieAlbum''.
* IAmTheBand: [[DefiedTrope Defied]]; along with ''Tin Machine II'', this album was produced with the band operating as a democratic unit, rather than the usual routine of letting Bowie take charge of everything.
* LongestSongGoesLast: [[InvertedTrope Inverted]]; the 6:01 "Heaven's in Here" ''opens'' the album rather than closing it.
* MinisculeRocking: "Bus Stop" clocks in at just 1:41; at the time, it beat out [[Music/LowDavidBowieAlbum "Breaking Glass"]] from 12 years prior for the position of Bowie's shortest song (later being beat out by both Nathan Alder segues in ''[[Music/{{Outside}} 1. Outside]]'', with the second of the two now being Bowie's ''actual'' shortest track, at just 28 seconds).
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''.
* PerformanceVideo: The 13-minute promotional video is this; said video would later be cannibalized for the album singles' music videos.
* RearrangeTheSong: "I Can't Read" would later be re-recorded as a solo Bowie song for the 1997 film ''The Ice Storm'', performed as a more downtempo dirge.
* ShoutOut: "Sacrifice Yourself" mentions being "married to a [[Franchise/StarTrek Klingon]]."
* TakeThat:
** "Under the God" is very openly one towards neo-Nazis, white supremacists, and right-wingers, a sharp contrast to Bowie's apolitical reputation.
** "Video Crimes" takes jabs at the then-growing sensationalism of news media.
* TitleTrack: "Tin Machine" is one not only for the album, but also the band; the band in fact named themselves after the song, as it was a good fit for their rawer, harder sound.
* UsefulNotes/TheVietnamWar: Alluded to in "Sacrifice Yourself".
* WhiteVoidRoom: The band is photographed in one on the album cover.
[[caption-width-right:350:Fascist flare is fashion cool. Well you're dead, you just ain't buried-- yet.]]
''Tin Machine'', released in 1989, is the eponymous debut studio album by the supergroup Tin Machine, formed the year prior to help frontman Music/DavidBowie break out of his critical and artistic slump post-''Music/LetsDance''. Produced with a deliberately raw and improvisational style with little overdubbing, the album exerts a more hard rock-oriented sound that sharply contrasts most of the rest of Bowie's 80's output; guitarist Reeves Gabrels described it as the band "screaming to the world" and "a project that would put an end to rock 'n' roll." The album is also much more openly socially-conscious than Bowie's prior oeuvre, with "Under the God" scathingly criticizing social and institutional racism, neo-Nazism, and white supremacy.
The album was released to rave critical reviews, but sold nowhere near as much as Bowie's prior albums with EMI and, like Tin Machine themselves, later became the subject of scorn among both fans and critics. Because of the album's relative failure compared to Bowie's previous 80's albums, EMI grew threateningly apprehensive of Tin Machine, motivating Bowie to ditch the label in 1990; he would still license international distribution of his 90's solo albums to EMI subsidiary Creator/VirginRecords until 2001, and let them produce the 1999 remasters of his albums between ''Music/SpaceOddity'' and this one. Despite the constant drubbing throughout the 90's and 2000's, both Tin Machine and ''Tin Machine'' have started to become VindicatedByHistory in recent years, with music analysts noting how the album and its follow-up, in true Bowie fashion, predicted the rise of AlternativeRock and especially {{grunge}} in the 1990's. As a testament to its influence on grunge, co-producer Tim Palmer recalled to Tin Machine guitarist Reeves Gabrels that he caught the members of Music/PearlJam listening to "Heaven's in Here" during the mixing for ''[[Music/TenPearlJamAlbum Ten]]''.
''Tin Machine'' produced three singles: "Under the God", "Tin Machine", and "Prisoner of Love". Additionally, [[https://www.youtube.com/watch?v=3H0hS1lxq4I a 13-minute promotional video]] directed by Julian Temple was produced, featuring live performances of (in order) "Pretty Thing", "Tin Machine", "Prisoner of Love", "Crack City", "Bus Stop", "Video Crime", "I Can't Read", and "Working Class Hero" at the Ritz in UsefulNotes/NewYorkCity; Temple had previously directed ''Jazzin' for Blue Jean'' and the music videos for "Absolute Beginners" and "Day-In Day-Out". The video was not commercially released until May 22, 2019, when Creator/ParlophoneRecords uploaded it to Bowie's official Website/YouTube video [[MilestoneCelebration to commemorate the album's thirtieth anniversary.]]
!!Tracklist:
# "Heaven's in Here" (6:01)
# "Tin Machine" (3:34)
# "Prisoner of Love" (4:50)
# "Crack City" (4:36)
# "I Can't Read" (4:54)
# "Under the God" (4:06)
# "Amazing" (3:06)
# [[Music/JohnLennon "Working Class Hero"]] (4:38)
# "Bus Stop" (1:41)
# "Pretty Thing" (4:39)
# "Video Crime" (3:52)
# "Run" (3:20)[[note]]Exclusive to CD releases.[[/note]]
# "Sacrifice Yourself" (2:08)[[note]]Exclusive to CD releases. [[/note]]
# "Baby Can Dance" (4:57)
!!''I've seen the best tropes of my generation laid out in cemeteries and crematories'':
* AllLowercaseLetters: The album and liner notes almost exclusively feature this, with only the copyright information and catalog number being given proper capitalization.
* {{Bowdlerize}}: The liner notes censor all heavy swearing, with every offensive work being reduced to the first letter and a series of dashes.
* CallBack: "Sacrifice Yourself" features the line "wham, bam, thank you Charlie," harking back to the famed outburst of "wham-bam thank you ma'am" from [[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars "Suffragette City"]].
* CoverVersion: "Working Class Hero", originally written and performed by former [[Music/TheBeatles Beatle]] Music/JohnLennon.
* DarkerAndEdgier: Both lyrically and musically, this album is much dourer in tone than ''Music/NeverLetMeDown'' (which already touched upon some pretty dark subjects).
* DrugsAreBad: The general message of "Crack City", partly rooted in Bowie's own past as a cocaine addict throughout the first half of the 1970's.
* EpicRocking: "Heaven's in Here" clocks in at 6:01.
* FaceOnTheCover: All four band members appear on the cover, arranged differently depending on the format of release. From left to right, [[https://img.discogs.com/GceryxVMFAw9sxQmehrcSSEc7Vs=/fit-in/600x588/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-389990-1459163159-2230.jpeg.jpg the CD cover]] features David Bowie, Hunt Sales, Tony Sales, and Reeves Gabrels; [[https://img.discogs.com/5tRbL_oNO4bTJFbaq0-KqithkH0=/fit-in/564x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3522074-1333760090.jpeg.jpg the LP and digital covers]] feature Tony Sales, Reeves Gabrels, David Bowie, and Hunt Sales; [[https://img.discogs.com/dF82fLafaIeoMfZ9nKXJRqhdvyM=/fit-in/383x591/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-11109008-1509999571-2554.jpeg.jpg the cassette cover]] features Hunt Sales, Tony Sales, Reeves Gabrels, and David Bowie. All four variations of the cover image were photographed by Masayoshi Sukita, who previously shot the cover photos for Music/IggyPop's ''Music/TheIdiot'' and Bowie's own ''Music/HeroesDavidBowieAlbum''.
* IAmTheBand: [[DefiedTrope Defied]]; along with ''Tin Machine II'', this album was produced with the band operating as a democratic unit, rather than the usual routine of letting Bowie take charge of everything.
* LongestSongGoesLast: [[InvertedTrope Inverted]]; the 6:01 "Heaven's in Here" ''opens'' the album rather than closing it.
* MinisculeRocking: "Bus Stop" clocks in at just 1:41; at the time, it beat out [[Music/LowDavidBowieAlbum "Breaking Glass"]] from 12 years prior for the position of Bowie's shortest song (later being beat out by both Nathan Alder segues in ''[[Music/{{Outside}} 1. Outside]]'', with the second of the two now being Bowie's ''actual'' shortest track, at just 28 seconds).
* NewSoundAlbum: Hard rock cum proto-{{grunge}}, a deliberate contrast to the pop-rock of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown''.
* PerformanceVideo: The 13-minute promotional video is this; said video would later be cannibalized for the album singles' music videos.
* RearrangeTheSong: "I Can't Read" would later be re-recorded as a solo Bowie song for the 1997 film ''The Ice Storm'', performed as a more downtempo dirge.
* ShoutOut: "Sacrifice Yourself" mentions being "married to a [[Franchise/StarTrek Klingon]]."
* TakeThat:
** "Under the God" is very openly one towards neo-Nazis, white supremacists, and right-wingers, a sharp contrast to Bowie's apolitical reputation.
** "Video Crimes" takes jabs at the then-growing sensationalism of news media.
* TitleTrack: "Tin Machine" is one not only for the album, but also the band; the band in fact named themselves after the song, as it was a good fit for their rawer, harder sound.
* UsefulNotes/TheVietnamWar: Alluded to in "Sacrifice Yourself".
* WhiteVoidRoom: The band is photographed in one on the album cover.
