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{{Infobox Album <!-- See Wikipedia:WikiProject_Albums -->
{{Use British English|date=January 2014}}
| Name = Tin Machine II
{{Use dmy dates|date=January 2014}}
| Type = studio
{{Infobox album
| Artist = [[Tin Machine]]
| Cover = Tin-machine2.jpg
| name = Tin Machine II
| Released = {{start date|1991|9|2}}
| type = studio
| artist = [[Tin Machine]]
| Recorded = [[Sydney, Australia|Sydney]] {{start date|1989|10}} – {{end date|1989|12}}; [[Los Angeles, California|Los Angeles]], {{start date|1991|3}}
| cover = Tin-machine2.jpg
| Genre = [[Rock and roll|Rock]], [[Hard rock]]
| alt = The British cover, showing four Greek Koroi statues and the name of the band
| Length = 49:07
| Label = Victory Music
| caption = The unedited British cover
| released = {{start date|df=yes|1991|9|2}}
| Producer = Tin Machine and [[Tim Palmer]], [[Hugh Padgham]]
| recorded = 1989–1990; March 1991
| Reviews =
| studio =
*[[Allmusic]] {{Rating|3|5}} [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:bmh9keft7q7c link]
*[[Studios 301]] ([[Sydney]])
*''[[Blender (magazine)|Blender]]'' {{Rating|1|5}} [http://www.blender.com/guide/back-catalogue/53982/tin-machine-ii.html link]
*[[A&M Studios|A&M]] ([[Hollywood, Los Angeles|Hollywood]])
| Last album = ''[[Tin Machine (album)|Tin Machine]]''<br />(1989)
| genre =
| This album = '''''Tin Machine II'''''<br />(1991)
* [[Hard rock]]
| Next album = ''[[Tin Machine Live: Oy Vey, Baby]]''<br />(1992)
* [[art rock]]
| Misc = {{Extra chronology 2
* [[blues]]
| Artist = [[David Bowie]]
| Type = album
| length = {{duration|m=49|s=07}}
| label = Victory
| Last album = ''[[Sound + Vision (box set)|Sound + Vision]]'' <br/> (1989)
| producer =
| This album = '''''Tin Machine II''''' <br/> (1991)
* Tin Machine
| Next album = ''[[Tin Machine Live: Oy Vey, Baby]]''<br />(1992)
* [[Tim Palmer (record producer)|Tim Palmer]]
}}
* [[Hugh Padgham]]
| prev_title = [[Tin Machine (album)|Tin Machine]]
| prev_year = 1989
| next_title = [[Tin Machine Live: Oy Vey, Baby]]
| next_year = 1992
| misc = {{Singles
| name = Tin Machine II
| type = Studio album
| single1 = [[You Belong in Rock n' Roll]]
| single1date = 19 August 1991
| single2 = [[Baby Universal]]
| single2date = October 1991
| single3 = [[One Shot (Tin Machine song)|One Shot]]
| single3date = November 1991
}}
{{Extra album cover
| header = US album cover
| type = Album
| cover = Tin Machine 2 Censored Album Cover.jpg
| border =
| alt =
| caption = The American cover, with the Kouroi's penises airbrushed out
}}
}}
}}


'''''Tin Machine II''''' is the second and final studio album by the Anglo-American rock group [[Tin Machine]], released on 2{{nbsp}}September 1991 through Victory Music. The band, composed of [[David Bowie]], [[Reeves Gabrels]] on guitar and brothers [[Tony Fox Sales|Tony Fox]] and [[Hunt Sales]] on bass and drums, respectively, recorded it in [[Sydney]], Australia in late 1989 at the conclusion of the [[Tin Machine Tour]]. After Bowie completed his solo [[Sound+Vision Tour]] in late 1990, recording resumed in Los Angeles, California until March 1991. The production was handled by Tin Machine and [[Tim Palmer (record producer)|Tim Palmer]], who produced their [[Tin Machine (album)|debut studio album]] (1989), with additional production by [[Hugh Padgham]] on "[[One Shot (Tin Machine song)|One Shot]]". While the album musically retains a [[hard rock]] sound, the songs are more melodic compared to its predecessor, with lyrics focusing on love.
'''''Tin Machine II''''' is an album by [[Tin Machine]], originally released by Victory Music in 1991.


The cover artwork features four Greek [[Kouros|Kouroi]] and was controversial in the US due to the statues' genitalia. ''Tin Machine II'' received mostly mixed reviews from music critics, with many highlighting individual tracks but considering the project as a whole mediocre. Some recognised it as an improvement over ''Tin Machine''. Supported by three [[Single (music)|singles]], the album peaked at number 23 in the UK and number 126 in the US. The band's accompanying [[It's My Life Tour]] received mixed reviews; a [[live album]] from the tour, ''[[Tin Machine Live: Oy Vey, Baby]]'', was released in 1992. At the tour's completion, Tin Machine disbanded and Bowie resumed his solo career, releasing his eighteenth studio album, ''[[Black Tie White Noise]]'' (1993). Gabrels remained Bowie's collaborator for the rest of the 1990s. Bowie's biographers have given ''Tin Machine II'' mixed reactions, with most recognising it as inconsistent in quality and panning two tracks sung by Hunt Sales. The album was [[reissue]]d for the first time in 2020 on both [[Phonograph record|vinyl]] and [[Compact disc|CD]].
==Recording==
The band reconvened following their [[Tin Machine Tour|1989 tour]], recording several tracks in [[Australia]] before taking a rest while [[David Bowie]] conducted his solo [[Sound+Vision Tour]] and filmed ''[[The Linguini Incident]]''. The group split from [[EMI]], which refused to market another [[Tin Machine]] album. For Bowie's part he was fed up with the label trying to force him into producing another commercial smash like ''[[Let's Dance (David Bowie song)|Let's Dance]]''.{{Fact|date=November 2007}}


==Background==
The group signed to Victory Music and added three further tracks in [[Los Angeles, California|Los Angeles]], with [[Hugh Padgham]] (producer of Bowie's 1984 album ''[[Tonight (David Bowie album)|Tonight]]'') overseeing the song "One Shot". The album was issued in September 1991. [[Hunt Sales]] took lead [[Singer|vocals]] on two tracks: [[Stateside (song)|"Stateside"]] and "Sorry".
Tin Machine was formed in 1988 by [[David Bowie]], who was at an artistic low point and looking to revitalise his career.{{sfn|Pegg|2016|pp=411–415}} The completed lineup included American guitarist [[Reeves Gabrels]] and brothers [[Tony Fox Sales|Tony Fox]] and [[Hunt Sales]] on bass and drums, respectively;<ref name="RS Harris">{{cite magazine |last1=Harris |first1=Keith |title=Inside David Bowie's Challenging, Noisy Side Project Tin Machine |url=https://www.rollingstone.com/music/music-news/inside-david-bowies-challenging-noisy-side-project-tin-machine-52775/ |magazine=[[Rolling Stone]] |access-date=12 October 2021 |archive-url=https://web.archive.org/web/20210117124321/https://www.rollingstone.com/music/music-news/inside-david-bowies-challenging-noisy-side-project-tin-machine-52775/ |archive-date=17 January 2021 |date=23 May 2016 |url-status=live}}</ref> [[Kevin Armstrong (guitarist)|Kevin Armstrong]] acted as an additional guitarist. The band recorded their [[Tin Machine (album)|eponymous debut album]] in late 1988 with producer [[Tim Palmer (record producer)|Tim Palmer]].{{sfn|Pegg|2016|pp=411–415}} Despite a clash in personalities between the Sales brothers and Gabrels,{{sfn|Buckley|2005|pp=386–389}}{{sfn|O'Leary|2019|loc=chap. 7}} the sessions were extremely productive, with over 35 songs recorded in six weeks.<ref>{{cite journal |last=Clarke |first=Tina |title=If I only had a band |journal=[[Music Express (magazine)|Music Express]] |volume=13 |issue=138 |date=July 1989 |pages=8–11}}</ref><ref>{{cite magazine |last=Derringer |first=Liz |title=Tin Machine – Bowie's Latest Vehicle |newspaper=The Music Paper |location=Manhasset, New York |volume=22 |issue=1 |date=August 1989 |pages=16–17}}</ref> The album's tracks were recorded raw and live with few [[Overdubbing|overdubs]] to capture the energy of Tin Machine,<ref>{{cite journal |last=Passantino |first=Rosemary |title=''Tin Machine'' Album Review |journal=[[Spin (magazine)|Spin]] |volume=5 |issue=4 |date=July 1989 |pages=110–111}}</ref> resulting in a [[hard rock]] sound with lyrics discussing world issues and love.{{sfn|Perone|2007|pp=99–103}}<ref>{{cite journal |first=Jon |last=Pareles |author-link=Jon Pareles |url=https://www.nytimes.com/1989/06/04/arts/recordings-and-now-the-no-frills-david-bowie.html |title=Recordings; And Now, The No-Frills David Bowie |journal=[[The New York Times]] |date=4 June 1989 |access-date=28 October 2013 |archive-date=13 November 2013 |archive-url=https://web.archive.org/web/20131113222020/http://www.nytimes.com/1989/06/04/arts/recordings-and-now-the-no-frills-david-bowie.html |url-status=live}}</ref>


The band were responded to with mixed reviews from critics. When promoting ''Tin Machine'', Bowie made it clear to interviewers that the band were a democratic unit, with biographer [[Nicholas Pegg]] calling it the mindset of "anyone wanting to interview David would get the rest of the band as well". This move would be written off by critics as a publicity stunt by an artist who is unsure of what he wants to do next.{{sfn|Pegg|2016|pp=411–415}}{{sfn|Sandford|1997|pp=276–277}}{{sfn|Buckley|2005|p=392}} Released in May 1989,<ref name="UCR">{{cite web |last1=Asregadoo |first1=Ted |title=The History of David Bowie and Tin Machine |url=https://ultimateclassicrock.com/david-bowie-tin-machine/ |website=[[Ultimate Classic Rock]] |access-date=15 October 2021 |archive-url=https://web.archive.org/web/20211014023852/https://ultimateclassicrock.com/david-bowie-tin-machine/ |archive-date=14 October 2021 |date=22 May 2015 |url-status=live}}</ref> ''Tin Machine'' was met with mixed reviews and sold well at first but declined quickly.{{sfn|Sandford|1997|pp=275–276}}{{sfn|Pegg|2016|pp=411–415}} Some reviewers later noted that Tin Machine were exploring styles of [[grunge]] and [[alternative rock]] before those styles became popular.{{sfn|Perone|2007|pp=99–103}}<ref>{{cite web |first=Mark |last=Allender |url=https://www.allmusic.com/album/tin-machine-mw0000200035 |title=''Tin Machine'' – Tin Machine |publisher=[[AllMusic]] |access-date=12 January 2016 |archive-date=17 January 2016 |archive-url=https://web.archive.org/web/20160117221037/http://www.allmusic.com/album/tin-machine-mw0000200035 |url-status=live}}</ref> Like the album, the band's supporting [[Tin Machine Tour]] received mixed reviews. At the conclusion of the tour, Tin Machine took a break before reconvening in Australia in late 1989 to begin recording their next album.{{sfn|Pegg|2016|pp=588–589}}
==Release==
Less successful than the band's debut album ''[[Tin Machine (album)|Tin Machine]]'', ''Tin Machine II'' peaked at #23 in the [[United Kingdom|UK]] and #126 in the [[USA]]. It received generally poor reviews on release, although they achieved success on the [[Modern Rock Tracks|Modern Rock]] chart in the USA, where "Baby Universal" reached #21, and "One Shot" became an even bigger hit, reaching #3. The album is still considered more of a mixed achievement than its predecessor, with many believing "Amlapura", "Baby Universal" and "Goodbye Mr. Ed" to be among Bowie's best recordings from the era while some, especially the Hunt Sales-led tracks, are viewed as the nadir of his output.{{Fact|date=November 2007}}


==Recording and production==
For the [[USA|American]] release of the album, the cover was airbrushed to remove the genitalia of the [[Kouros|Kouroi]] statues.
Recording for ''Tin Machine II'' began in September 1989 in [[Sydney]], Australia,{{sfn|Thompson|2006|loc=chap. 3}} where the band spent three weeks recording new material.{{sfn|Sandford|1997|p=280}} They maintained the lineup of ''Tin Machine'', with Armstrong as an additional guitarist. Tin Machine played an impromptu show at a small Sydney venue on 4 November 1989 before taking a rest in January 1990 as Bowie conducted his solo [[Sound+Vision Tour]] and filmed a role in ''[[The Linguini Incident]]'' (1991).{{sfn|Pegg|2016|pp=415–417}}{{sfn|Sandford|1997|p=282}} The tour concluded in September 1990,{{sfn|Pegg|2016|loc=The Sound+Vision Tour}} after which Bowie announced his split with [[EMI]].<ref name="UCR" /> According to Pegg, EMI were continuously expecting another success equivalent of ''[[Let's Dance (David Bowie album)|Let's Dance]]'' (1983) and became fed up with Bowie's uncommercial work as part of Tin Machine to the point where they refused to market another Tin Machine record, leading Bowie to depart.{{sfn|Pegg|2016|pp=415–417}} At the time, EMI were undertaking a [[reissue]] campaign with the American label [[Rykodisc]] of Bowie's back catalogue,{{sfn|Spitz|2009|p=347}} which remained unaffected by the split.{{sfn|Pegg|2016|pp=415–417}}


In March 1991, Tin Machine signed with Victory Music, a newly formed record label created by the [[JVC]] corporation, with worldwide distribution by [[London Recordings|London Records]] and [[PolyGram]]. The same month, the band reconvened at [[A&M Studios]] in Los Angeles to record three new tracks.{{sfn|Pegg|2016|pp=415–417}} The label requested a radio-friendly hit so [[Hugh Padgham]], Bowie's co-producer for ''[[Tonight (David Bowie album)|Tonight]]'' (1984), was hired to oversee work on the song "[[One Shot (Tin Machine song)|One Shot]]".<ref name=Creem91Review /> Padgham told biographer David Buckley that he was not a fan of Tin Machine's prior work, stating it "sounded like a mad bunch of people". Upon working with them, he praised Gabrels' guitar contributions but called the Sales brothers "basically mad". [[Tim Palmer (record producer)|Tim Palmer]], who produced their debut album, was brought back to produce and [[Audio mixing (recorded music)|mix]] ''Tin Machine II''.{{sfn|O'Leary|2019|loc=chap. 7}}{{sfn|Pegg|2016|pp=415–417}}{{sfn|Buckley|2005|pp=408–410}}
==Unreleased==
{{References|section|date=July 2008}}
Several unreleased tracks from the ''Tin Machine II'' sessions have been leaked. New songs to have surfaced include "It's Tough, but It's Okay", which was taken off the album at the last minute ( "It's Tough, but It's Okay" has two sets of lyrics) and two instrumentals titled "Exodus" and "Rock Instrumental". A number of blues songs, presumed to be covers, also surfaced.


Some tracks originated from the sessions for ''Tin Machine''. Bowie and Gabrels had begun working on "Shopping for Girls" in August 1988 before the sessions began,{{sfn|O'Leary|2019|loc=chap. 7}} while "[[If There Is Something]]", a [[Roxy Music]] cover, was the second song the band recorded after "[[Heaven's in Here]]". Bowie stated: "We were so exhausted that we didn't have it in us to write another song, so we used an old song to show how we as a band would approach someone else's material."{{sfn|O'Leary|2019|loc=chap. 7}} The song was then shelved and placed on ''Tin Machine II'',<ref name=Creem91 /> with Bowie saying "we pulled it out to see how it sounded. We really got off on it."{{sfn|O'Leary|2019|loc=chap. 7}}
Outtakes from the studio sessions of ''Tin Machine II'' included different versions of the album songs as well as instrumental cuts. Alternate takes of "Needles on the Beach" and "Hammerhead" were also recorded.


==Track listing==
==Music and lyrics==
Gabrels considered the music of ''Tin Machine II'' to be "as aggressive as [its predecessor]", but found the songs more melodic. He told ''[[Rolling Stone]]'' in 1991: "Last time, we were screaming at the world. This time, I think, they're all love songs in a strange kind of way."<ref>{{cite magazine |title=Rock 'n Roll notes |magazine=Rolling Stone |year=1991}}</ref> Author James Perone agreed, calling the tracks more accessible than the debut, featuring more conventional [[hard rock]] sounds and less "incessant gloom".{{sfn|Perone|2007|pp=103–106}} Nevertheless, [[Dave Thompson (author)|Dave Thompson]] felt the band continued their "loud and rambunctious" sound, while the lyrics were "forthright and confrontational".{{sfn|Thompson|2006|loc=chap. 3}} Bill Wyman of ''[[Entertainment Weekly]]'' noted the presence of [[blues]], hard rock, [[art rock]] and schmaltz,<ref name="EWReview" /> a sentiment echoed by ''[[The Economist]]''.<ref>{{cite news |url=https://www.economist.com/blogs/graphicdetail/2016/01/bye-bye-spaceboy |title=David Bowie's genre-hopping career |newspaper=[[The Economist]] |date=12 January 2016 | access-date=10 March 2017 | archive-date=18 October 2021 | archive-url=https://web.archive.org/web/20211018015158/https://www.economist.com/graphic-detail/2016/01/12/david-bowies-genre-hopping-career | url-status=live}}</ref> Perone finds certain tracks reminiscent of Bowie's prior work. He compares "[[You Belong in Rock n' Roll]]" to his work with [[the Spiders from Mars]] and the music of "Amlapura" to the [[folk rock]] on Bowie's 1969 album ''[[David Bowie (1969 album)|Space Oddity]]'', although notes that the lyrics, which describe "images of dead children", are a lot darker than the material of that era.{{sfn|Perone|2007|pp=103–106}}
# "[[Baby Universal]]" ([[David Bowie]], [[Reeves Gabrels]]) – 3:18
# "One Shot" (Bowie, Gabrels) – 5:11
# "[[You Belong in Rock 'n' Roll]]" (Bowie, Gabrels) – 4:07
# "[[If There Is Something]]" ([[Bryan Ferry]]) – 4:45
# "Amlapura" (Bowie, Gabrels) – 3:46
# "Betty Wrong" (Bowie, Gabrels) – 3:48
# "You Can't Talk" (Bowie, Gabrels) – 3:09
# "Stateside" (Bowie, [[Hunt Sales]]) – 5:38
# "Shopping for Girls" (Bowie, Gabrels) – 3:44
# "A Big Hurt" (Bowie) – 3:40
# "Sorry" (Sales) – 3:29
# "Goodbye Mr. Ed" (Bowie, H. Sales, [[Tony Sales]]) – 3:24
# "Hammerhead" (Bowie, H. Sales) – 0:57


Gabrels used greater experimentation on guitar for ''Tin Machine II'', including the use of a [[Slicer (guitar effect)|vibrator]] on some tracks.{{sfn|O'Leary|2019|loc=chap. 7}}{{sfn|Pegg|2016|pp=415–417}} He later stated that at the time, he was deeply into [[Nine Inch Nails]]' album ''[[Pretty Hate Machine]]'' (1989) and was looking for an [[Industrial music|industrial]] edge to his own guitar work for the album. Ultimately (after recording track after track of guitar noise), he found a "shard of guitar noise" that he liked and used it on "Shopping for Girls",<ref name=GuitarPlayer97>{{cite magazine |title=Changes 2.1 |first=Joe |last=Gore |magazine=[[Guitar Player]] |date=June 1997 |pages=45–58}}</ref> a song about [[child prostitution]] in Thailand.<ref name=Musician91>{{cite magazine |last=Resnicoff |first=Matt |title=Tin Machine's Progression of Perversions |magazine=[[Musician (magazine)|Musician]] |issue=155 |date=September 1991 |pages=46–52, 94–95}}</ref> Buckley notes that as a way to show the band to be a "democratic unit",{{sfn|Buckley|2005|pp=408–410}} Hunt Sales took lead vocals on two tracks, "Stateside" and "Sorry",<ref name=Creem91Review /> the latter of which he wrote by himself.{{sfn|O'Leary|2019|loc=chap. 7}} "Goodbye Mr. Ed" is lyrically a farewell to the title character of the television series ''[[Mister Ed]]'', who was a talking horse. Perone compares the song's musical style to the 1970s work of [[the Jam]] and the 1960s work of [[the Who]].{{sfn|Perone|2007|pp=103–106}} Jon Pareles of ''[[The New York Times]]'' found the lyrics mostly focus on love, signalling out "[[Baby Universal]]" and "Betty Wrong" as clear examples.<ref name="NYTreview" />
"Hammerhead", a short instrumental, was an unlisted track. A longer vocal version was issued as the [[A-side and B-side|B-side]] for the single release of "You Belong in Rock 'n' Roll".

==Release and promotion==
[[File:Kouros anavissos.jpg|thumb|upright=0.6|Bowie vocally opposed the US release's censorship of the album cover's [[Kouros|Kouroi]].]]
The cover artwork was created by [[Edward Bell (artist)|Edward Bell]], who previously created the artwork for Bowie's 1980 album ''[[Scary Monsters (and Super Creeps)]]''. It depicts four [[Kouros|Kouroi]]—Greek statues dating to the sixth century BC—that represent individuals who lack identity, which Pegg believes encapsulates the "ethos" of Tin Machine. The British cover showed the statues' genitalia, but for the American release of ''Tin Machine II'', the genitalia were airbrushed out.{{sfn|Pegg|2016|pp=415–417}}<ref name=Creem91>{{Cite journal |last=di Perna |first=Alan |title=Ballad of the Tin Men |journal=Creem |volume=2 |issue=1 |year=1991 |pages=50–59}}</ref> Bowie commented, "Only in America ... [...] Even Canada has the original cover!"<ref name=RM91>{{cite news |title=Beaming Bowie excited about the current direction of his life, music |first=Patrick |last=MacDonald |work=[[The Seattle Times]] |date=20 December 1991}}</ref> He teased the idea of allowing American album-buyers to send away to Victory Music for the genitalia that were struck from their version of the cover, but the label balked. He said: "then [the fans] could paste them back on. But the label freaked out at the idea. Sending genitals through the mail is a serious offense."<ref name=Creem91 /> The back cover was a rear-view of the front cover with a torn photo of Sales' shoulders overlaid, which Pegg describes as similar to ''Scary Monsters''.{{sfn|Pegg|2016|pp=415–417}}

''Tin Machine II'' was released through Victory Music and London Records on 2{{nbsp}}September 1991 on different [[Phonograph record|LP]] and [[Compact disc|CD]] formats,{{efn|Buckley gives the release date as 3{{nbsp}}September 1991.{{sfn|Buckley|2005|pp=408–410}}}}{{sfn|O'Leary|2019|loc=chap. 7}} with the catalogue numbers 828{{nbsp}}2721 and 828{{nbsp}}2722, respectively.{{sfn|O'Leary|2019|loc=Partial Discography}} Its release coincided with Rykodisc's reissue of Bowie's [[Berlin Trilogy]].{{sfn|Pegg|2016|pp=415–417}} The album peaked at number 23 on the [[UK Albums Chart]],{{sfn|Trynka|2011|p=492}} becoming Bowie's first album in nearly 20 years to not hit the UK top 20.{{sfn|Buckley|2005|pp=408–410}} It fared far worse in the US, peaking at number 126 on the [[Billboard 200|''Billboard'' Top Pop Albums]] chart.{{sfn|Trynka|2011|p=492}} Like its predecessor, ''Tin Machine II'' was supported by three [[Single (music)|singles]]. The first, "You Belong in Rock n' Roll" backed by "Amlapura (Indonesian version)", was released on 19{{nbsp}}August and peaked at number 33 on the [[UK Singles Chart]].{{sfn|O'Leary|2019|loc=chap. 7}} The second, "Baby Universal" backed by an extended version of "You Belong in Rock n' Roll", followed in October, which peaked at number 48 in the UK.{{sfn|Pegg|2016|pp=783–784}} The third and final single, "One Shot" backed by "Hammerhead", was issued the next month in other territories besides Britain.{{sfn|Pegg|2016|pp=203–204}}{{sfn|Buckley|2005|pp=408–410}}

Tin Machine supported the album with a seven-month tour called the [[It's My Life Tour]], which started in October 1991 and concluded in February 1992. They recorded one show for fans on 1{{nbsp}}September 1991 at the Los Angeles airport which was taped for broadcast in the US as part of the ''[[In Concert (American TV series)|ABC In Concert]]'' series, aired on 6{{nbsp}}September.{{sfn|Pegg|2016|pp=594–595}} The setlist for the tour included most of ''Tin Machine'' and all of ''Tin Machine II'', with covers including the [[Pixies (band)|Pixies]]' "[[Debaser]]" (1989), [[Neil Young]]'s "[[I've Been Waiting for You (Neil Young song)|I've Been Waiting for You]]" (1968) and [[the Moody Blues]]' "[[Go Now]]" (1964). Reviews for the shows were mixed, with some complaining over the lack of Bowie's older hits. Following the release of the [[live album]] ''[[Tin Machine Live: Oy Vey, Baby]]'' in 1992, Tin Machine disbanded.{{sfn|Pegg|2016|pp=594–595}} Bowie married supermodel [[Iman (model)|Iman]] in 1992 and resumed his solo career with ''[[Black Tie White Noise]]'' (1993); Gabrels remained his collaborator for the rest of the decade.{{sfn|O'Leary|2019|loc=chap. 7}}

==Critical reception==
{{Album ratings
| rev1 = [[AllMusic]]
| rev1Score = {{Rating|3|5}}<ref name="AllMusicReview">{{cite web |first=Mark |last=Allender |url=https://www.allmusic.com/album/tin-machine-ii-mw0000269234 |title=''Tin Machine II'' – Tin Machine |publisher=AllMusic |access-date=18 October 2021 |archive-date=2 September 2021 |archive-url=https://web.archive.org/web/20210902151248/https://www.allmusic.com/album/tin-machine-ii-mw0000269234 |url-status=live}}</ref>
| rev2 = ''[[Entertainment Weekly]]''
| rev2score = C<ref name="EWReview">{{cite magazine |last=Wyman |first=Bill |title=''Tin Machine II'' Review |url=http://www.ew.com/ew/article/0,,315383,00.html |magazine=[[Entertainment Weekly]] |date=6 September 1991 |access-date=8 January 2013 |archive-date=6 July 2014 |archive-url=https://web.archive.org/web/20140706074110/http://www.ew.com/ew/article/0,,315383,00.html |url-status=dead}}</ref>
| rev3 = ''[[Encyclopedia of Popular Music]]''
| rev3Score = {{Rating|2|5}}<ref name="Larkin">{{cite book|last1=Larkin|first1=Colin|title=Virgin Encyclopedia of Popular Music|date=1997|publisher=Virgin Books|location=London|isbn=1-85227 745 9|page=170|chapter=Bowie, David}}</ref>
| rev4 = ''[[Martin C. Strong|The Great Rock Discography]]''
| rev4Score = 3/10<ref name="Strong">{{cite book |last1=Strong |first1=Martin C. |title=The Great Rock Discography |date=2006 |publisher=Canongate Books |location=Edinburgh |isbn=1-84195-827-1 |chapter=David Bowie |pages=121}}</ref>
| rev5 = ''[[MusicHound|MusicHound Rock: The Essential Album Guide]]''
| rev5score = "woof!"<ref>{{cite book |editor-last1=Graff |editor-first1=Gary |editor-last2=Durchholz |editor-first2=Daniel |title=MusicHound Rock: The Essential Album Guide |publisher=[[Visible Ink Press]] |location=Farmington Hills, Michigan |year=1999 |isbn=978-1-57859-061-2 |page=[https://archive.org/details/isbn_9781578590612/page/151 151]|url-access=registration |url=https://archive.org/details/isbn_9781578590612/page/151}}</ref>
| rev6 = ''[[Q (magazine)|Q]]''
| rev6Score = {{Rating|3|5}}<ref name=QReview>{{cite news |first=Adrian |last=Deevoy |title=''Tin Machine II'' Album Review |work=[[Q (magazine)|Q]] |date=October 1991 |page=105}}</ref>
| rev7 = ''[[Select (magazine)|Select]]''
| rev7Score = 1/5<ref>{{cite journal |first=David |last=Cavanagh |title=Tin Machine ''Tin Machine II'' |journal=[[Select (magazine)|Select]] |date=October 1991 |page=72}}</ref>
| rev8 = ''[[Spin Alternative Record Guide]]''
| rev8score = 1/10{{sfn|Sheffield|1995|p=55}}
}}

''Tin Machine II'' was met with mixed reviews from music critics on release.{{sfn|Pegg|2016|pp=415–417}} Adrian Deevoy of ''[[Q (magazine)|Q]]'', in a review that asked "Are Tin Machine Crap?" on the cover, felt that the album does not "quite match up to their wonderfully overwrought but sadly under bought debut", while praising individual tracks such as "If There Was Something", "You Belong in Rock 'n' Roll" and "Shopping for Girls".<ref name=QReview /> In a more favourable review, Max Bell of ''[[Vox (magazine)|Vox]]'' called the majority of the tracks "passable bordering on dull", concluding that it is "better than could have been expected".<ref>{{cite magazine |last=Bell |first=Max |title=Tin Machine: ''Tin Machine 2'' |url=https://www.rocksbackpages.com/Library/Article/tin-machine-itin-machine-2i- |magazine=[[Vox (magazine)|Vox]] |date=October 1991 |access-date=18 October 2021 |archive-url=https://web.archive.org/web/20150906000702/https://www.rocksbackpages.com/Library/Article/tin-machine-itin-machine-2i- |archive-date=6 September 2015 |url-status=live |via=Rock's Backpages {{subscription required}}}}</ref> Wyman similarly called the album mediocre overall but praised certain tracks including "Goodbye Mr. Ed" and "You Belong in Rock n' Roll". He also recognised ''Tin Machine II'' as the "truer" collaboration for the band due to the more varied songwriting.<ref name="EWReview" />

Nevertheless, the album did receive some positive reviews. In ''[[Creem]]'', Steve Appleford found ''Tin Machine II'' "a return to raw form" and called it "the best music Bowie's released since 1980's ''Scary Monsters''".<ref name=Creem91Review>{{cite journal |last=Appleford |first=Steve |title=Tin Machine II Review |journal=[[Creem]] |year=1991 |volume=2 |issue=1 |page=59}}</ref> A reviewer for ''[[NME]]'' gave the album a thumbs up, while a ''[[Billboard (magazine)|Billboard]]'' writer approved of Padgham's work on "One Shot".{{sfn|Pegg|2016|pp=415–417}} Pareles praised the album, particularly Gabrels' guitar work, which he described as "two parts [[Robert Fripp]], one part [[Eddie Van Halen]] and one part speeding ambulance".<ref name="NYTreview">{{cite web |first=Jon |last=Pareles |url=https://www.nytimes.com/1991/09/01/arts/recordings-view-david-bowie-makes-news-with-noise.html |title=Recordings View; David Bowie Makes News With Noise |newspaper=The New York Times |date=1 September 1991 |access-date=29 October 2013 |archive-date=25 May 2015 |archive-url=https://web.archive.org/web/20150525221852/http://www.nytimes.com/1991/09/01/arts/recordings-view-david-bowie-makes-news-with-noise.html |url-status=live}}</ref> In the late 1990s, some critics have suggested that the album was "unjustly" harshly reviewed at the time of its release.<ref name=Pulse97>{{cite magazine |last=Sprague |first=David |title=After a decade of missteps, David Bowie reinvents himself again ... and this time he's on target |magazine=[[Pulse! (magazine)|Pulse!]] |issue=156 |date=February 1997 |pages=34–37, 72–73}}</ref><ref name=Live97>{{cite news |last=Pond |first=Steve |title=Beyond Bowie |magazine=Live |date=March 1997 |pages=38–41, 93}}</ref> This was echoed by Tony Horkins of ''International Musician'' magazine, who initially hypothesised that "maybe, like the rest of Bowie's career, it'll all make a lot more sense in a few years time".{{sfn|Pegg|2016|pp=415–417}}

Indeed, in 2010 and again in 2015, ''[[Uncut (magazine)|Uncut]]'' placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling it "extraordinary".<ref>{{cite web |website=[[NME]] |title=Uncut's 50 Greatest Lost Albums |url=http://www.nme.com/photos/uncuts-50-greatest-lost-albums/170781/1/1|date=14 April 2010|access-date=8 January 2013|archive-date=3 April 2013|archive-url=https://web.archive.org/web/20130403011204/http://www.nme.com/photos/uncuts-50-greatest-lost-albums/170781/1/1|url-status=live}}</ref><ref>{{cite web |title=Uncut's greatest lost albums |url=https://www.uncut.co.uk/features/uncuts-greatest-lost-albums-67830/ |website=[[Uncut (magazine)|Uncut]] |access-date=19 July 2020 |date=17 April 2015 |archive-date=19 July 2020 |archive-url=https://web.archive.org/web/20200719210014/https://www.uncut.co.uk/features/uncuts-greatest-lost-albums-67830/ |url-status=live}}</ref> In a retrospective review for [[AllMusic]], Mark Allender considered ''Tin Machine II'' a "well-conceived and well-executed" album, lamenting that it had perhaps been released before radio listeners were ready to listen. He noted the improved production from their debut and highlighted "Amlapura", "Goodbye Mr. Ed", "Baby Universal" and "You Belong in Rock 'n' Roll" as standouts.<ref name="AllMusicReview" /> Nevertheless, Ted Asregadoo of ''[[Ultimate Classic Rock]]'' found the album has "none of the anger, the immediacy, or the power of the debut album".<ref name="UCR" /> In 2006, ''Q'' ranked ''Tin Machine II'' tenth in their list of the 50 worst albums ever.<ref>{{cite journal|date=May 2006|title=The 50 Worst Albums Ever!|journal=[[Q (magazine)|Q]]|publisher=[[Bauer Media Group]]|issue=238}}</ref>

==Legacy==
Bowie's biographers have given ''Tin Machine II'' mixed reactions. Pegg calls the record overall "mediocre", stating that it contains both improvements on ''Tin Machine'' and moments that are "simply unspeakable".{{sfn|Pegg|2016|pp=415–417}} He states that the album features "more balanced and polished" production than their debut and greater instrumentation, calling Bowie's saxophone playing on the record some of his best in years. Furthermore, Pegg highlights the likes of "Baby Universal", "Shopping for Girls" and "Goodbye Mr. Ed" as great tracks but pans the Hunt-sung tracks as some of the "most frighteningly bad songs ever to find their way into the Bowie canon".{{sfn|Pegg|2016|pp=415–417}} Buckley agrees, finding the record to be a mixed bags of both good and bad tracks, praising "Shopping for Girls" and "Goodbye Mr. Ed" while panning "Stateside" and "Sorry".{{sfn|Buckley|2005|pp=408–410}} Paul Trynka also denounces the Hunt-sung tracks and similarly says that the album prevails "the same virtues and drawbacks" as the debut, but "each of them magnified".{{sfn|Trynka|2011|p=492}}

In 2020, the Bowie estate announced that the album would be reissued for the first time since its original release on 17{{nbsp}}July via label Music on Vinyl, on both vinyl and CD.<ref>{{cite web |url=https://www.davidbowie.com/blog/2020/6/5/tin-machine-ii-due-on-mov-next-month |title=Tin Machine II due on MOV next month |website=David Bowie Official Website |date=5 June 2020 | access-date=5 June 2020 | archive-date=5 June 2020 | archive-url=https://web.archive.org/web/20200605153558/https://www.davidbowie.com/blog/2020/6/5/tin-machine-ii-due-on-mov-next-month | url-status=live}}</ref> However, Gabrels immediately stated after the initial announcement that neither he nor Palmer knew anything about the re-release.<ref>{{cite web |last=Gabrels |first=Reeves |author-link=Reeves Gabrels |url=https://twitter.com/reevesgabrels/status/1269016982302724097 |title=This news of a reissue of Tin Machine II comes as a complete surprise to me... |date=5 June 2020 | access-date=5 June 2020 | archive-date=5 June 2020 | archive-url=https://web.archive.org/web/20200605215040/https://twitter.com/reevesgabrels/status/1269016982302724097 | url-status=live|via=[[Twitter]]}}</ref>

==Track listing==
{{Tracklist
| headline = ''Tin Machine II'' track listing
| title1 = [[Baby Universal]]
| writer1 = [[David Bowie]], [[Reeves Gabrels]]
| length1 = 3:18
| title2 = [[One Shot (Tin Machine song)|One Shot]]
| writer2 = Bowie, Gabrels, [[Hunt Sales]], [[Tony Fox Sales]]
| length2 = 5:11
| title3 = [[You Belong in Rock n' Roll]]
| writer3 = Bowie, Gabrels
| length3 = 4:07
| title4 = [[If There Is Something]]
| writer4 = [[Bryan Ferry]]
| length4 = 4:45
| title5 = Amlapura
| writer5 = Bowie, Gabrels
| length5 = 3:46
| title6 = Betty Wrong
| writer6 = Bowie, Gabrels
| length6 = 3:48
| title7 = You Can't Talk
| writer7 = Bowie, Gabrels, H. Sales, T. Sales
| length7 = 3:09
| title8 = Stateside
| writer8 = Bowie, H. Sales
| length8 = 5:38
| title9 = Shopping for Girls
| length9 = 3:44
| writer9 = Bowie, Gabrels
| title10 = A Big Hurt
| writer10 = Bowie
| length10 = 3:40
| title11 = Sorry
| writer11 = H. Sales
| length11 = 3:29
| title12 = Goodbye Mr. Ed
| writer12 = Bowie, H. Sales, T. Sales
| length12 = 3:24
| title13 = Hammerhead
| note13 = instrumental) ([[hidden track]]
| writer13 = Bowie, H. Sales
| length13 = 0:57
}}


==Personnel==
==Personnel==
According to the liner notes and biographer [[Nicholas Pegg]].{{sfn|Pegg|2016|pp=411–415}}<ref name="liner notes LP">{{Cite AV media notes |title=Tin Machine II |author=Tin Machine |year=1989 |publisher=London |location=UK |type=LP liner notes |id=828 2721}}</ref>
* [[David Bowie]] – [[singing|vocals]], [[guitar]], [[piano]], [[saxophone]]
* [[Reeves Gabrels]] – [[lead guitar]], [[Backing vocalist|backing vocals]], [[Vibrator (music)|vibrators]], [[Organ (music)|organ]]
* [[Hunt Sales]] – [[drum]]s, [[Percussion instrument|percussion]], vocals
* [[Tony Sales]] – [[Bass guitar|bass]], backing vocals
* [[Kevin Armstrong]] – [[rhythm guitar]] on "If There I Something", piano on "Shopping for Girls"
* [[Tim Palmer]] – percussion, additional piano


'''Tin Machine'''
==References==
*[[David Bowie]] – lead (1–7, 9, 10, 12) and backing (8, 11) vocals, rhythm guitar, piano, [[saxophone]]
* [[Nicholas Pegg|Pegg, Nicholas]], ''The Complete David Bowie'', Reynolds & Hearn Ltd, 2004, ISBN 1-903111-73-0
*[[Reeves Gabrels]] – guitar, backing vocals, [[Slicer (guitar effect)|vibrators]], [[Organ (music)|organ]]
*[[Tony Fox Sales]] – bass, backing vocals
*[[Hunt Sales]] – drums, percussion, backing and lead (8, 11) vocals

'''Additional musicians'''
*[[Kevin Armstrong (guitarist)|Kevin Armstrong]] – rhythm guitar (4), piano (9)
*[[Tim Palmer (record producer)|Tim Palmer]] – additional piano and percussion


'''Production'''
*Tin Machine – [[Record producer|producers]], [[Audio mixing (recorded music)|mixing]]
*Tim Palmer – producer, mixing
*[[Hugh Padgham]] – production, engineering and mixing on "One Shot"
*Guy Gray, Simon Vinestock, Justin Shirley-Smith, Eric Schilling, Ruggie Simkins, Chuck Ferry – engineering
*Reiner Design Consultants, Inc. – design
*[[Edward Bell (artist)|Edward Bell]] – illustration
*Sally Hershberger – [[photography]]


==Charts==
==Charts==
{| class="wikitable sortable plainrowheaders" style="text-align:center"
'''Album'''
|+Chart performance for ''Tin Machine II''
{| class="wikitable" border="1" cellspacing="2" cellpadding="2"
! scope="col"|Chart (1991)
!align="left"|Year
! scope="col"|Peak<br/>Position
!align="left"|Chart
!align="left"|Position
|-
|-
! scope="row"| Australian Albums ([[ARIA Charts|ARIA]])<ref>{{cite web|url= https://www.bubblingdownunder.com/2022/10/week-commencing-7-october-1991.html| title=Bubbling Down Under Week Commencing 7 October 1991|website=Bubbling Down Under|access-date=8 October 2022}}</ref>
|align="left"|1991
| 139
|align="left"|Norway's album Charts
|align="left"|14
|-
|-
{{album chart|Austria|25|album=Tin Machine II|artist=Tin Machine|access-date=22 July 2020|rowheader=true}}
|-
{{album chart|Netherlands|33|album=Tin Machine II|artist=Tin Machine|access-date=22 July 2020|rowheader=true}}
|-
{{album chart|Germany4|56|album=Tin Machine II|artist=Tin Machine|id=9409|access-date=22 July 2020|rowheader=true}}
|-
{{album chart|Norway|14|album=Tin Machine II|artist=Tin Machine|access-date=22 July 2020|rowheader=true}}
|-
{{album chart|Sweden|19|album=Tin Machine II|artist=Tin Machine|access-date=22 July 2020|rowheader=true}}
|-
! scope="row"| UK Albums ([[Official Charts Company|OCC]])<ref name="UKchart">{{cite web |url=http://www.officialcharts.com/artist/_/tin%20machine/ |title=Official Charts: Tin Machine |publisher=[[Official Charts Company]]| access-date=23 May 2013| archive-date=13 March 2013| archive-url=https://web.archive.org/web/20130313072245/http://www.officialcharts.com/artist/_/tin%20machine/| url-status=live}}</ref>
| 23
|-
! scope="row"| US [[Billboard 200|Top Pop Albums]] (''Billboard''){{sfn|Trynka|2011|p=492}}
| 126
|}
|}

==Notes==
{{Notelist}}

==References==
{{Reflist}}

===Sources===
{{Refbegin|30em}}
*{{cite book |last=Buckley |first=David |year=2005 |orig-year=1999 |title=Strange Fascination – David Bowie: The Definitive Story |location=London |publisher=[[Virgin Books]] |isbn=978-0-75351-002-5}}
*{{cite book |last=O'Leary |first=Chris |year=2019 |title=Ashes to Ashes: The Songs of David Bowie 1976–2016 |location=London |publisher=[[Repeater Books|Repeater]] |isbn=978-1-91224-830-8}}
*{{cite book |last=Pegg |first=Nicholas |author-link=Nicholas Pegg |title=The Complete David Bowie |url=https://books.google.com/books?id=LqFkDQAAQBAJ |publisher=[[Titan Books]] |location=London |year=2016 |isbn=978-1-78565-365-0 |edition=Revised and Updated }}
*{{cite book |last=Perone |first=James E. |url=https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57 |title=The Words and Music of David Bowie |location=[[Westport, Connecticut]] |publisher=[[Greenwood Publishing Group]] |date=2007 |isbn=978-0-27599-245-3 }}
*{{cite book |last=Sandford |first=Christopher |author-link=Christopher Sandford (biographer) |title=Bowie: Loving the Alien |location=London |publisher=[[WarnerMedia|Time Warner]] |year=1997 |orig-year=1996 |isbn=978-0-306-80854-8 |url=https://archive.org/details/bowielovingalien00sand }}
*{{cite book|last=Sheffield|first=Rob|author-link=Rob Sheffield|title=Spin Alternative Record Guide|title-link=Spin Alternative Record Guide|editor1-last=Weisbard|editor1-first=Eric|editor1-link=Eric Weisbard|editor2-last=Marks|editor2-first=Craig|publisher=[[Vintage Books]]|year=1995|isbn=978-0-679-75574-6|chapter=David Bowie|pages=55–57}}
*{{cite book |last=Spitz |first=Marc |author-link=Marc Spitz |title=[[Bowie: A Biography]] |publisher=[[Crown Publishing Group]] |location=New York City |year=2009 |isbn=978-0-307-71699-6}}
*{{cite book |last=Thompson |first=Dave |author-link=Dave Thompson (author) |title=Hallo Spaceboy: The Rebirth of David Bowie |location=Toronto |publisher=[[ECW Press]] |url=https://books.google.com/books?id=ISBN9781550227338 |year=2006 |isbn=978-1-55022-733-8 }}{{Dead link|date=August 2024 |bot=InternetArchiveBot |fix-attempted=yes }}
*{{cite book |last=Trynka |first=Paul |author-link=Paul Trynka |year=2011 |title=David Bowie – Starman: The Definitive Biography |location=New York City |publisher=[[Little, Brown and Company]] |isbn=978-0-31603-225-4}}
{{Refend|30em}}

==External links==
* {{Discogs master|type=album|55473|name=Tin Machine II}}


{{David Bowie}}
{{David Bowie}}


{{Authority control}}
[[Category:David Bowie albums]]

{{DEFAULTSORT:Tin Machine Ii}}
[[Category:1991 albums]]
[[Category:1991 albums]]
[[Category:Albums produced by Hugh Padgham]]
[[Category:Albums produced by David Bowie]]
[[Category:Albums produced by Reeves Gabrels]]
[[Category:Albums produced by Tim Palmer]]
[[Category:Albums produced by Tim Palmer]]
[[Category:Tin Machine albums]]

[[Category:Obscenity controversies in music]]
[[fr:Tin Machine II]]
[[Category:London Records albums]]
[[ja:ティン・マシーンII]]
[[Category:Art rock albums by English artists]]
[[no:Tin Machine II]]
[[Category:Art rock albums by American artists]]
[[sv:Tin Machine II]]
[[Category:Blues albums by English artists]]
[[Category:Blues albums by American artists]]

Latest revision as of 03:05, 20 December 2024

Tin Machine II
The British cover, showing four Greek Koroi statues and the name of the band
The unedited British cover
Studio album by
Tin Machine
Released2 September 1991 (1991-09-02)
Recorded1989–1990; March 1991
Studio
Genre
Length49:07
LabelVictory
Producer
Tin Machine chronology
Tin Machine
(1989) 		Tin Machine II
(1991) 		Tin Machine Live: Oy Vey, Baby
(1992)
Singles from Tin Machine II
  1. "You Belong in Rock n' Roll"
    Released: 19 August 1991
  2. "Baby Universal"
    Released: October 1991
  3. "One Shot"
    Released: November 1991
US album cover
The American cover, with the Kouroi's penises airbrushed out

Tin Machine II is the second and final studio album by the Anglo-American rock group Tin Machine, released on 2 September 1991 through Victory Music. The band, composed of David Bowie, Reeves Gabrels on guitar and brothers Tony Fox and Hunt Sales on bass and drums, respectively, recorded it in Sydney, Australia in late 1989 at the conclusion of the Tin Machine Tour. After Bowie completed his solo Sound+Vision Tour in late 1990, recording resumed in Los Angeles, California until March 1991. The production was handled by Tin Machine and Tim Palmer, who produced their debut studio album (1989), with additional production by Hugh Padgham on "One Shot". While the album musically retains a hard rock sound, the songs are more melodic compared to its predecessor, with lyrics focusing on love.

The cover artwork features four Greek Kouroi and was controversial in the US due to the statues' genitalia. Tin Machine II received mostly mixed reviews from music critics, with many highlighting individual tracks but considering the project as a whole mediocre. Some recognised it as an improvement over Tin Machine. Supported by three singles, the album peaked at number 23 in the UK and number 126 in the US. The band's accompanying It's My Life Tour received mixed reviews; a live album from the tour, Tin Machine Live: Oy Vey, Baby, was released in 1992. At the tour's completion, Tin Machine disbanded and Bowie resumed his solo career, releasing his eighteenth studio album, Black Tie White Noise (1993). Gabrels remained Bowie's collaborator for the rest of the 1990s. Bowie's biographers have given Tin Machine II mixed reactions, with most recognising it as inconsistent in quality and panning two tracks sung by Hunt Sales. The album was reissued for the first time in 2020 on both vinyl and CD.

Background

[edit]

Tin Machine was formed in 1988 by David Bowie, who was at an artistic low point and looking to revitalise his career.[1] The completed lineup included American guitarist Reeves Gabrels and brothers Tony Fox and Hunt Sales on bass and drums, respectively;[2] Kevin Armstrong acted as an additional guitarist. The band recorded their eponymous debut album in late 1988 with producer Tim Palmer.[1] Despite a clash in personalities between the Sales brothers and Gabrels,[3][4] the sessions were extremely productive, with over 35 songs recorded in six weeks.[5][6] The album's tracks were recorded raw and live with few overdubs to capture the energy of Tin Machine,[7] resulting in a hard rock sound with lyrics discussing world issues and love.[8][9]

The band were responded to with mixed reviews from critics. When promoting Tin Machine, Bowie made it clear to interviewers that the band were a democratic unit, with biographer Nicholas Pegg calling it the mindset of "anyone wanting to interview David would get the rest of the band as well". This move would be written off by critics as a publicity stunt by an artist who is unsure of what he wants to do next.[1][10][11] Released in May 1989,[12] Tin Machine was met with mixed reviews and sold well at first but declined quickly.[13][1] Some reviewers later noted that Tin Machine were exploring styles of grunge and alternative rock before those styles became popular.[8][14] Like the album, the band's supporting Tin Machine Tour received mixed reviews. At the conclusion of the tour, Tin Machine took a break before reconvening in Australia in late 1989 to begin recording their next album.[15]

Recording and production

[edit]

Recording for Tin Machine II began in September 1989 in Sydney, Australia,[16] where the band spent three weeks recording new material.[17] They maintained the lineup of Tin Machine, with Armstrong as an additional guitarist. Tin Machine played an impromptu show at a small Sydney venue on 4 November 1989 before taking a rest in January 1990 as Bowie conducted his solo Sound+Vision Tour and filmed a role in The Linguini Incident (1991).[18][19] The tour concluded in September 1990,[20] after which Bowie announced his split with EMI.[12] According to Pegg, EMI were continuously expecting another success equivalent of Let's Dance (1983) and became fed up with Bowie's uncommercial work as part of Tin Machine to the point where they refused to market another Tin Machine record, leading Bowie to depart.[18] At the time, EMI were undertaking a reissue campaign with the American label Rykodisc of Bowie's back catalogue,[21] which remained unaffected by the split.[18]

In March 1991, Tin Machine signed with Victory Music, a newly formed record label created by the JVC corporation, with worldwide distribution by London Records and PolyGram. The same month, the band reconvened at A&M Studios in Los Angeles to record three new tracks.[18] The label requested a radio-friendly hit so Hugh Padgham, Bowie's co-producer for Tonight (1984), was hired to oversee work on the song "One Shot".[22] Padgham told biographer David Buckley that he was not a fan of Tin Machine's prior work, stating it "sounded like a mad bunch of people". Upon working with them, he praised Gabrels' guitar contributions but called the Sales brothers "basically mad". Tim Palmer, who produced their debut album, was brought back to produce and mix Tin Machine II.[4][18][23]

Some tracks originated from the sessions for Tin Machine. Bowie and Gabrels had begun working on "Shopping for Girls" in August 1988 before the sessions began,[4] while "If There Is Something", a Roxy Music cover, was the second song the band recorded after "Heaven's in Here". Bowie stated: "We were so exhausted that we didn't have it in us to write another song, so we used an old song to show how we as a band would approach someone else's material."[4] The song was then shelved and placed on Tin Machine II,[24] with Bowie saying "we pulled it out to see how it sounded. We really got off on it."[4]

Music and lyrics

[edit]

Gabrels considered the music of Tin Machine II to be "as aggressive as [its predecessor]", but found the songs more melodic. He told Rolling Stone in 1991: "Last time, we were screaming at the world. This time, I think, they're all love songs in a strange kind of way."[25] Author James Perone agreed, calling the tracks more accessible than the debut, featuring more conventional hard rock sounds and less "incessant gloom".[26] Nevertheless, Dave Thompson felt the band continued their "loud and rambunctious" sound, while the lyrics were "forthright and confrontational".[16] Bill Wyman of Entertainment Weekly noted the presence of blues, hard rock, art rock and schmaltz,[27] a sentiment echoed by The Economist.[28] Perone finds certain tracks reminiscent of Bowie's prior work. He compares "You Belong in Rock n' Roll" to his work with the Spiders from Mars and the music of "Amlapura" to the folk rock on Bowie's 1969 album Space Oddity, although notes that the lyrics, which describe "images of dead children", are a lot darker than the material of that era.[26]

Gabrels used greater experimentation on guitar for Tin Machine II, including the use of a vibrator on some tracks.[4][18] He later stated that at the time, he was deeply into Nine Inch Nails' album Pretty Hate Machine (1989) and was looking for an industrial edge to his own guitar work for the album. Ultimately (after recording track after track of guitar noise), he found a "shard of guitar noise" that he liked and used it on "Shopping for Girls",[29] a song about child prostitution in Thailand.[30] Buckley notes that as a way to show the band to be a "democratic unit",[23] Hunt Sales took lead vocals on two tracks, "Stateside" and "Sorry",[22] the latter of which he wrote by himself.[4] "Goodbye Mr. Ed" is lyrically a farewell to the title character of the television series Mister Ed, who was a talking horse. Perone compares the song's musical style to the 1970s work of the Jam and the 1960s work of the Who.[26] Jon Pareles of The New York Times found the lyrics mostly focus on love, signalling out "Baby Universal" and "Betty Wrong" as clear examples.[31]

Release and promotion

[edit]
Bowie vocally opposed the US release's censorship of the album cover's Kouroi.

The cover artwork was created by Edward Bell, who previously created the artwork for Bowie's 1980 album Scary Monsters (and Super Creeps). It depicts four Kouroi—Greek statues dating to the sixth century BC—that represent individuals who lack identity, which Pegg believes encapsulates the "ethos" of Tin Machine. The British cover showed the statues' genitalia, but for the American release of Tin Machine II, the genitalia were airbrushed out.[18][24] Bowie commented, "Only in America ... [...] Even Canada has the original cover!"[32] He teased the idea of allowing American album-buyers to send away to Victory Music for the genitalia that were struck from their version of the cover, but the label balked. He said: "then [the fans] could paste them back on. But the label freaked out at the idea. Sending genitals through the mail is a serious offense."[24] The back cover was a rear-view of the front cover with a torn photo of Sales' shoulders overlaid, which Pegg describes as similar to Scary Monsters.[18]

Tin Machine II was released through Victory Music and London Records on 2 September 1991 on different LP and CD formats,[a][4] with the catalogue numbers 828 2721 and 828 2722, respectively.[33] Its release coincided with Rykodisc's reissue of Bowie's Berlin Trilogy.[18] The album peaked at number 23 on the UK Albums Chart,[34] becoming Bowie's first album in nearly 20 years to not hit the UK top 20.[23] It fared far worse in the US, peaking at number 126 on the Billboard Top Pop Albums chart.[34] Like its predecessor, Tin Machine II was supported by three singles. The first, "You Belong in Rock n' Roll" backed by "Amlapura (Indonesian version)", was released on 19 August and peaked at number 33 on the UK Singles Chart.[4] The second, "Baby Universal" backed by an extended version of "You Belong in Rock n' Roll", followed in October, which peaked at number 48 in the UK.[35] The third and final single, "One Shot" backed by "Hammerhead", was issued the next month in other territories besides Britain.[36][23]

Tin Machine supported the album with a seven-month tour called the It's My Life Tour, which started in October 1991 and concluded in February 1992. They recorded one show for fans on 1 September 1991 at the Los Angeles airport which was taped for broadcast in the US as part of the ABC In Concert series, aired on 6 September.[37] The setlist for the tour included most of Tin Machine and all of Tin Machine II, with covers including the Pixies' "Debaser" (1989), Neil Young's "I've Been Waiting for You" (1968) and the Moody Blues' "Go Now" (1964). Reviews for the shows were mixed, with some complaining over the lack of Bowie's older hits. Following the release of the live album Tin Machine Live: Oy Vey, Baby in 1992, Tin Machine disbanded.[37] Bowie married supermodel Iman in 1992 and resumed his solo career with Black Tie White Noise (1993); Gabrels remained his collaborator for the rest of the decade.[4]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusic[38]
Entertainment WeeklyC[27]
Encyclopedia of Popular Music[39]
The Great Rock Discography3/10[40]
MusicHound Rock: The Essential Album Guide"woof!"[41]
Q[42]
Select1/5[43]
Spin Alternative Record Guide1/10[44]

Tin Machine II was met with mixed reviews from music critics on release.[18] Adrian Deevoy of Q, in a review that asked "Are Tin Machine Crap?" on the cover, felt that the album does not "quite match up to their wonderfully overwrought but sadly under bought debut", while praising individual tracks such as "If There Was Something", "You Belong in Rock 'n' Roll" and "Shopping for Girls".[42] In a more favourable review, Max Bell of Vox called the majority of the tracks "passable bordering on dull", concluding that it is "better than could have been expected".[45] Wyman similarly called the album mediocre overall but praised certain tracks including "Goodbye Mr. Ed" and "You Belong in Rock n' Roll". He also recognised Tin Machine II as the "truer" collaboration for the band due to the more varied songwriting.[27]

Nevertheless, the album did receive some positive reviews. In Creem, Steve Appleford found Tin Machine II "a return to raw form" and called it "the best music Bowie's released since 1980's Scary Monsters".[22] A reviewer for NME gave the album a thumbs up, while a Billboard writer approved of Padgham's work on "One Shot".[18] Pareles praised the album, particularly Gabrels' guitar work, which he described as "two parts Robert Fripp, one part Eddie Van Halen and one part speeding ambulance".[31] In the late 1990s, some critics have suggested that the album was "unjustly" harshly reviewed at the time of its release.[46][47] This was echoed by Tony Horkins of International Musician magazine, who initially hypothesised that "maybe, like the rest of Bowie's career, it'll all make a lot more sense in a few years time".[18]

Indeed, in 2010 and again in 2015, Uncut placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling it "extraordinary".[48][49] In a retrospective review for AllMusic, Mark Allender considered Tin Machine II a "well-conceived and well-executed" album, lamenting that it had perhaps been released before radio listeners were ready to listen. He noted the improved production from their debut and highlighted "Amlapura", "Goodbye Mr. Ed", "Baby Universal" and "You Belong in Rock 'n' Roll" as standouts.[38] Nevertheless, Ted Asregadoo of Ultimate Classic Rock found the album has "none of the anger, the immediacy, or the power of the debut album".[12] In 2006, Q ranked Tin Machine II tenth in their list of the 50 worst albums ever.[50]

Legacy

[edit]

Bowie's biographers have given Tin Machine II mixed reactions. Pegg calls the record overall "mediocre", stating that it contains both improvements on Tin Machine and moments that are "simply unspeakable".[18] He states that the album features "more balanced and polished" production than their debut and greater instrumentation, calling Bowie's saxophone playing on the record some of his best in years. Furthermore, Pegg highlights the likes of "Baby Universal", "Shopping for Girls" and "Goodbye Mr. Ed" as great tracks but pans the Hunt-sung tracks as some of the "most frighteningly bad songs ever to find their way into the Bowie canon".[18] Buckley agrees, finding the record to be a mixed bags of both good and bad tracks, praising "Shopping for Girls" and "Goodbye Mr. Ed" while panning "Stateside" and "Sorry".[23] Paul Trynka also denounces the Hunt-sung tracks and similarly says that the album prevails "the same virtues and drawbacks" as the debut, but "each of them magnified".[34]

In 2020, the Bowie estate announced that the album would be reissued for the first time since its original release on 17 July via label Music on Vinyl, on both vinyl and CD.[51] However, Gabrels immediately stated after the initial announcement that neither he nor Palmer knew anything about the re-release.[52]

Track listing

[edit]
Tin Machine II track listing
No.TitleWriter(s)Length
1."Baby Universal"David Bowie, Reeves Gabrels3:18
2."One Shot"Bowie, Gabrels, Hunt Sales, Tony Fox Sales5:11
3."You Belong in Rock n' Roll"Bowie, Gabrels4:07
4."If There Is Something"Bryan Ferry4:45
5."Amlapura"Bowie, Gabrels3:46
6."Betty Wrong"Bowie, Gabrels3:48
7."You Can't Talk"Bowie, Gabrels, H. Sales, T. Sales3:09
8."Stateside"Bowie, H. Sales5:38
9."Shopping for Girls"Bowie, Gabrels3:44
10."A Big Hurt"Bowie3:40
11."Sorry"H. Sales3:29
12."Goodbye Mr. Ed"Bowie, H. Sales, T. Sales3:24
13."Hammerhead" (instrumental) (hidden track)Bowie, H. Sales0:57

Personnel

[edit]

According to the liner notes and biographer Nicholas Pegg.[1][53]

Tin Machine

Additional musicians

Production

  • Tin Machine – producers, mixing
  • Tim Palmer – producer, mixing
  • Hugh Padgham – production, engineering and mixing on "One Shot"
  • Guy Gray, Simon Vinestock, Justin Shirley-Smith, Eric Schilling, Ruggie Simkins, Chuck Ferry – engineering
  • Reiner Design Consultants, Inc. – design
  • Edward Bell – illustration
  • Sally Hershberger – photography

Charts

[edit]
Chart performance for Tin Machine II
Chart (1991) Peak
Position
Australian Albums (ARIA)[54] 139
Austrian Albums (Ö3 Austria)[55] 25
Dutch Albums (Album Top 100)[56] 33
German Albums (Offizielle Top 100)[57] 56
Norwegian Albums (VG-lista)[58] 14
Swedish Albums (Sverigetopplistan)[59] 19
UK Albums (OCC)[60] 23
US Top Pop Albums (Billboard)[34] 126

Notes

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  1. ^ Buckley gives the release date as 3 September 1991.[23]

References

[edit]
  1. ^ a b c d e Pegg 2016, pp. 411–415.
  2. ^ Harris, Keith (23 May 2016). "Inside David Bowie's Challenging, Noisy Side Project Tin Machine". Rolling Stone. Archived from the original on 17 January 2021. Retrieved 12 October 2021.
  3. ^ Buckley 2005, pp. 386–389.
  4. ^ a b c d e f g h i j O'Leary 2019, chap. 7.
  5. ^ Clarke, Tina (July 1989). "If I only had a band". Music Express. 13 (138): 8–11.
  6. ^ Derringer, Liz (August 1989). "Tin Machine – Bowie's Latest Vehicle". The Music Paper. Vol. 22, no. 1. Manhasset, New York. pp. 16–17.
  7. ^ Passantino, Rosemary (July 1989). "Tin Machine Album Review". Spin. 5 (4): 110–111.
  8. ^ a b Perone 2007, pp. 99–103.
  9. ^ Pareles, Jon (4 June 1989). "Recordings; And Now, The No-Frills David Bowie". The New York Times. Archived from the original on 13 November 2013. Retrieved 28 October 2013.
  10. ^ Sandford 1997, pp. 276–277.
  11. ^ Buckley 2005, p. 392.
  12. ^ a b c Asregadoo, Ted (22 May 2015). "The History of David Bowie and Tin Machine". Ultimate Classic Rock. Archived from the original on 14 October 2021. Retrieved 15 October 2021.
  13. ^ Sandford 1997, pp. 275–276.
  14. ^ Allender, Mark. "Tin Machine – Tin Machine". AllMusic. Archived from the original on 17 January 2016. Retrieved 12 January 2016.
  15. ^ Pegg 2016, pp. 588–589.
  16. ^ a b Thompson 2006, chap. 3.
  17. ^ Sandford 1997, p. 280.
  18. ^ a b c d e f g h i j k l m n Pegg 2016, pp. 415–417.
  19. ^ Sandford 1997, p. 282.
  20. ^ Pegg 2016, The Sound+Vision Tour.
  21. ^ Spitz 2009, p. 347.
  22. ^ a b c Appleford, Steve (1991). "Tin Machine II Review". Creem. 2 (1): 59.
  23. ^ a b c d e f Buckley 2005, pp. 408–410.
  24. ^ a b c di Perna, Alan (1991). "Ballad of the Tin Men". Creem. 2 (1): 50–59.
  25. ^ "Rock 'n Roll notes". Rolling Stone. 1991.
  26. ^ a b c Perone 2007, pp. 103–106.
  27. ^ a b c Wyman, Bill (6 September 1991). "Tin Machine II Review". Entertainment Weekly. Archived from the original on 6 July 2014. Retrieved 8 January 2013.
  28. ^ "David Bowie's genre-hopping career". The Economist. 12 January 2016. Archived from the original on 18 October 2021. Retrieved 10 March 2017.
  29. ^ Gore, Joe (June 1997). "Changes 2.1". Guitar Player. pp. 45–58.
  30. ^ Resnicoff, Matt (September 1991). "Tin Machine's Progression of Perversions". Musician. No. 155. pp. 46–52, 94–95.
  31. ^ a b Pareles, Jon (1 September 1991). "Recordings View; David Bowie Makes News With Noise". The New York Times. Archived from the original on 25 May 2015. Retrieved 29 October 2013.
  32. ^ MacDonald, Patrick (20 December 1991). "Beaming Bowie excited about the current direction of his life, music". The Seattle Times.
  33. ^ O'Leary 2019, Partial Discography.
  34. ^ a b c d Trynka 2011, p. 492.
  35. ^ Pegg 2016, pp. 783–784.
  36. ^ Pegg 2016, pp. 203–204.
  37. ^ a b Pegg 2016, pp. 594–595.
  38. ^ a b Allender, Mark. "Tin Machine II – Tin Machine". AllMusic. Archived from the original on 2 September 2021. Retrieved 18 October 2021.
  39. ^ Larkin, Colin (1997). "Bowie, David". Virgin Encyclopedia of Popular Music. London: Virgin Books. p. 170. ISBN 1-85227 745 9.
  40. ^ Strong, Martin C. (2006). "David Bowie". The Great Rock Discography. Edinburgh: Canongate Books. p. 121. ISBN 1-84195-827-1.
  41. ^ Graff, Gary; Durchholz, Daniel, eds. (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, Michigan: Visible Ink Press. p. 151. ISBN 978-1-57859-061-2.
  42. ^ a b Deevoy, Adrian (October 1991). "Tin Machine II Album Review". Q. p. 105.
  43. ^ Cavanagh, David (October 1991). "Tin Machine Tin Machine II". Select: 72.
  44. ^ Sheffield 1995, p. 55.
  45. ^ Bell, Max (October 1991). "Tin Machine: Tin Machine 2". Vox. Archived from the original on 6 September 2015. Retrieved 18 October 2021 – via Rock's Backpages (subscription required).
  46. ^ Sprague, David (February 1997). "After a decade of missteps, David Bowie reinvents himself again ... and this time he's on target". Pulse!. No. 156. pp. 34–37, 72–73.
  47. ^ Pond, Steve (March 1997). "Beyond Bowie". Live. pp. 38–41, 93.
  48. ^ "Uncut's 50 Greatest Lost Albums". NME. 14 April 2010. Archived from the original on 3 April 2013. Retrieved 8 January 2013.
  49. ^ "Uncut's greatest lost albums". Uncut. 17 April 2015. Archived from the original on 19 July 2020. Retrieved 19 July 2020.
  50. ^ "The 50 Worst Albums Ever!". Q (238). Bauer Media Group. May 2006.
  51. ^ "Tin Machine II due on MOV next month". David Bowie Official Website. 5 June 2020. Archived from the original on 5 June 2020. Retrieved 5 June 2020.
  52. ^ Gabrels, Reeves (5 June 2020). "This news of a reissue of Tin Machine II comes as a complete surprise to me..." Archived from the original on 5 June 2020. Retrieved 5 June 2020 – via Twitter.
  53. ^ Tin Machine (1989). Tin Machine II (LP liner notes). UK: London. 828 2721.
  54. ^ "Bubbling Down Under Week Commencing 7 October 1991". Bubbling Down Under. Retrieved 8 October 2022.
  55. ^ "Austriancharts.at – Tin Machine – Tin Machine II" (in German). Hung Medien. Retrieved 22 July 2020.
  56. ^ "Dutchcharts.nl – Tin Machine – Tin Machine II" (in Dutch). Hung Medien. Retrieved 22 July 2020.
  57. ^ "Offiziellecharts.de – Tin Machine – Tin Machine II" (in German). GfK Entertainment Charts. Retrieved 22 July 2020.
  58. ^ "Norwegiancharts.com – Tin Machine – Tin Machine II". Hung Medien. Retrieved 22 July 2020.
  59. ^ "Swedishcharts.com – Tin Machine – Tin Machine II". Hung Medien. Retrieved 22 July 2020.
  60. ^ "Official Charts: Tin Machine". Official Charts Company. Archived from the original on 13 March 2013. Retrieved 23 May 2013.

Sources

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