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[[WMG:[[center:[-Music/DavidBowie '''[[YMMV/DavidBowie Main YMMV Page]]'''\\
''YMMV/{{David Bowie|1967}}'' | ''YMMV/SpaceOddity'' | ''YMMV/TheManWhoSoldTheWorld'' | ''YMMV/HunkyDory''\\
''YMMV/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars'' | ''YMMV/AladdinSane'' | ''YMMV/PinUps'' | ''YMMV/DiamondDogs'' | ''YMMV/{{Young Americans|1975}}''\\
''YMMV/StationToStation'' | ''YMMV/{{Low|DavidBowieAlbum}}'' | ''[[YMMV/HeroesDavidBowieAlbum "Heroes"]]'' | ''YMMV/{{Lodger}}'' | ''YMMV/ScaryMonstersAndSuperCreeps'' | ''YMMV/LetsDance'' | ''YMMV/{{Tonight}}'' | ''YMMV/NeverLetMeDown''\\
'''''Tin Machine''''' | ''YMMV/BlackTieWhiteNoise'' | ''YMMV/TheBuddhaOfSuburbia'' | ''YMMV/{{Outside}}'' | ''YMMV/{{Earthling}}'' | ''[[YMMV/HoursDavidBowieAlbum 'hours...']]'' | ''YMMV/TheNextDay'' | ''YMMV/BlackstarAlbum''\\
''YMMV/{{Changesonebowie}}''-]]]]]
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''YMMV/{{David Bowie|1967}}'' | ''YMMV/SpaceOddity'' | ''YMMV/TheManWhoSoldTheWorld'' | ''YMMV/HunkyDory''\\
''YMMV/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars'' | ''YMMV/AladdinSane'' | ''YMMV/PinUps'' | ''YMMV/DiamondDogs'' | ''YMMV/{{Young Americans|1975}}''\\
''YMMV/StationToStation'' | ''YMMV/{{Low|DavidBowieAlbum}}'' | ''[[YMMV/HeroesDavidBowieAlbum "Heroes"]]'' | ''YMMV/{{Lodger}}'' | ''YMMV/ScaryMonstersAndSuperCreeps'' | ''YMMV/LetsDance'' | ''YMMV/{{Tonight}}'' | ''YMMV/NeverLetMeDown''\\
'''''Tin Machine''''' | ''YMMV/BlackTieWhiteNoise'' | ''YMMV/TheBuddhaOfSuburbia'' | ''YMMV/{{Outside}}'' | ''YMMV/{{Earthling}}'' | ''[[YMMV/HoursDavidBowieAlbum 'hours...']]'' | ''YMMV/TheNextDay'' | ''YMMV/BlackstarAlbum''\\
''YMMV/{{Changesonebowie}}''-]]]]]
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* ContestedSequel: Like almost everything Bowie did in the '80s, ''Tin Machine'' is an album that often splits hairs with fans, critics, and analysts. While most will agree that it's an improvement over ''Music/NeverLetMeDown'', that's where the consensus ends. Some praise it as a refreshing change of pace that broke Bowie out of his creative slump and adeptly predicted the {{grunge}} boom of the early '90s. Others, meanwhile, criticize it as half-baked and sophomoric, especially given the band's admission that the music and lyrics were first drafts.
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YMMV can't be played with.
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* VindicatedByHistory: [[ZigZaggedTrope Zig-zagged]]; the album was initially released to ''very'' mixed reviews, but failed to match the commercial success of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown'' (which it was a direct antithesis to), and was constantly ragged on by fans and critics in the decades after its release. However, it's began to see renewed appraisal over the years for its more authentic tone (compared to the perceived artificiality of Bowie's pop period) and for its anticipation of the early 90's {{grunge}} boom.
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* VindicatedByHistory: [[ZigZaggedTrope Zig-zagged]]; the album was initially released to rave reviews, but failed to match the commercial success of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown'' (which it was a direct antithesis to), and was constantly ragged on by fans and critics in the decades after its release. However, it's began to see renewed appraisal over the years for its more authentic tone (compared to the perceived artificiality of Bowie's pop period) and for its anticipation of the early 90's {{grunge}} boom.
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* VindicatedByHistory: [[ZigZaggedTrope Zig-zagged]]; the album was initially released to rave ''very'' mixed reviews, but failed to match the commercial success of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown'' (which it was a direct antithesis to), and was constantly ragged on by fans and critics in the decades after its release. However, it's began to see renewed appraisal over the years for its more authentic tone (compared to the perceived artificiality of Bowie's pop period) and for its anticipation of the early 90's {{grunge}} boom.
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Some Anvils Need To Be Dropped got cut.
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* SomeAnvilsNeedToBeDropped: Despite being more on-the-nose than a zit, the politically-charged songs' messages are very much worth taking into consideration. Most notable is the case of "Under the God", whose critique of social and institutional racism ought not to be cast aside.
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* ValuesResonance: With the rise of the alt-right in the second half of TheNewTens and specifically the "Unite the Right" white supremacist rally in 2017, "Under the God" and its explicit condemnation of neo-Nazism, white supremacy, and government enabling of far-right extremism become more relevant now than ever before.
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* ValuesResonance: With the rise of the alt-right in the second half of TheNewTens and specifically the "Unite the Right" white supremacist rally in 2017, "Under the God" and its explicit condemnation of neo-Nazism, white supremacy, and government enabling of far-right extremism has become more relevant now than ever before.
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* ValuesResonance: With the rise of the alt-right in the second half of TheNewTens and specifically the "Unite the Right" white supremacist rally in 2017, "Under the God" and its explicit condemnation of neo-Nazism, white supremacy, and government enabling of far-right extremism become more relevant now than ever before.
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* {{Anvilicious}}: A common criticism of the album is how un-subtle it is with the messages on its songs.
* SomeAnvilsNeedToBeDropped: Despite being more on-the-nose than a zit, the politically-charged songs' messages are very much worth taking into consideration. Most notable is the case of "Under the God", whose critique of social and institutional racism ought not to be cast aside.
* SomeAnvilsNeedToBeDropped: Despite being more on-the-nose than a zit, the politically-charged songs' messages are very much worth taking into consideration. Most notable is the case of "Under the God", whose critique of social and institutional racism ought not to be cast aside.
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* VindicatedByHistory: [[ZigZaggedTrope Zig-zagged]]; the album was initially released to rave reviews, but failed to match the commercial success of ''Music/LetsDance'', ''Music/{{Tonight}}'', and ''Music/NeverLetMeDown'' (which it was a direct antithesis to), and was constantly ragged on by fans and critics in the decades after its release. However, it's began to see renewed appraisal over the years for its more authentic tone (compared to the perceived artificiality of Bowie's pop period) and for its anticipation of the early 90's {{grunge}} boom.
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* SuspiciouslySimilarSong: The song "Tin Machine" has a very similar EpicRiff to Music/TheYardbirds' "Over Under Sideways Down".
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