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* 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''.

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* 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''.


''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.

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''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.



* 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''.

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* 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}}''.


* SelfTitledAlbum

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* 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.


* 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."



''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]]''
----


[[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 flair is fashion cool. Well you're dead-- you just ain't buried yet."'']]"'']]



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]]''.


* 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 "Suffragette City"]].City"]].
** "Baby Can Dance" features the phrase "I'm a shadow man," apparently referring to the ''[[Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars Ziggy Stardust]]'' outtake "Shadow Man".


[[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."'']]


* 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]]''


* 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.


[[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 [[caption-width-right:350:''"Fascist flare is fashion cool. Well you're dead, you just ain't buried-- yet.]]"'']]


* 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''.

Added DiffLines:

* SelfTitledAlbum


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]]''.


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.

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.

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