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Tin Machine II
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<h2 id="background">Background</h2> <p>Tin Machine was formed in 1988 by <a href="/facts/David_Bowie/7nMplAnf">David Bowie</a>, who was at an artistic low point and looking to revitalise his career.<a class="footnote-ref" id="fnref:1" href="#fn:1"><sup>1</sup></a> The completed lineup included American guitarist <a href="/facts/Reeves_Gabrels/LdREuNbf">Reeves Gabrels</a> and brothers <a href="/facts/Tony_Fox_Sales/uFd3FBSA">Tony Fox</a> and <a href="/facts/Hunt_Sales/PY5hCwml">Hunt Sales</a> on bass and drums, respectively;<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a> <a href="/facts/Kevin_Armstrong_(guitarist)/zRN7a2a8">Kevin Armstrong</a> acted as an additional guitarist. The band recorded their <a href="/facts/Tin_Machine_(album)/vCskVj1I">eponymous debut album</a> in late 1988 with producer <a href="/facts/Tim_Palmer_(record_producer)/j8fEde5s">Tim Palmer</a>.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> Despite a clash in personalities between the Sales brothers and Gabrels,<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a><a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> the sessions were extremely productive, with over 35 songs recorded in six weeks.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a><a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> The album's tracks were recorded raw and live with few <a href="/facts/Overdubbing/9BmXfGuK">overdubs</a> to capture the energy of Tin Machine,<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> resulting in a <a href="/facts/Hard_rock/yC1FkQcC">hard rock</a> sound with lyrics discussing world issues and love.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a><a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>The band were responded to with mixed reviews from critics. When promoting <i>Tin Machine</i>, Bowie made it clear to interviewers that the band were a democratic unit, with biographer <a href="/facts/Nicholas_Pegg/j4BcHRUx">Nicholas Pegg</a> 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.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a><a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a><a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> Released in May 1989,<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> <i>Tin Machine</i> was met with mixed reviews and sold well at first but declined quickly.<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a><a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> Some reviewers later noted that Tin Machine were exploring styles of <a href="/facts/Grunge/X7CbpRLF">grunge</a> and <a href="/facts/Alternative_rock/7xRALNsG">alternative rock</a> before those styles became popular.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a><a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> Like the album, the band's supporting <a href="/facts/Tin_Machine_Tour/AVxVpVyc">Tin Machine Tour</a> 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.<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> </p> <h2 id="recording-and-production">Recording and production</h2> <p>Recording for <i>Tin Machine II</i> began in September 1989 in <a href="/facts/Sydney/8TegRcwB">Sydney</a>, Australia,<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> where the band spent three weeks recording new material.<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> They maintained the lineup of <i>Tin Machine</i>, 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 <a href="/facts/Sound%252BVision_Tour/uAsbzevS">Sound+Vision Tour</a> and filmed a role in <i><a href="/facts/The_Linguini_Incident/wpW211a2">The Linguini Incident</a></i> (1991).<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a><a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> The tour concluded in September 1990,[22] after which Bowie announced his split with <a href="/facts/EMI/MxDTCNeq">EMI</a>.<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> According to Pegg, EMI were continuously expecting another success equivalent of <i><a href="/facts/Let%2527s_Dance_(David_Bowie_album)/aqufG7T9">Let's Dance</a></i> (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.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a> At the time, EMI were undertaking a <a href="/facts/Reissue/X0tvXuYe">reissue</a> campaign with the American label <a href="/facts/Rykodisc/FfXF6NAM">Rykodisc</a> of Bowie's back catalogue,<a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> which remained unaffected by the split.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> </p><p>In March 1991, Tin Machine signed with Victory Music, a newly formed record label created by the <a href="/facts/JVC/6n2rTgzw">JVC</a> corporation, with worldwide distribution by <a href="/facts/London_Recordings/QWn34YXE">London Records</a> and <a href="/facts/PolyGram/Sue5Vv2s">PolyGram</a>. The same month, the band reconvened at <a href="/facts/A%2526M_Studios/UUdm1CSW">A&M Studios</a> in Los Angeles to record three new tracks.<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> The label requested a radio-friendly hit so <a href="/facts/Hugh_Padgham/4Yu8sewS">Hugh Padgham</a>, Bowie's co-producer for <i><a href="/facts/Tonight_(David_Bowie_album)/5qa68ndb">Tonight</a></i> (1984), was hired to oversee work on the song "<a href="/facts/One_Shot_(Tin_Machine_song)/qX5Wn9DT">One Shot</a>".<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a> 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". <a href="/facts/Tim_Palmer_(record_producer)/j8fEde5s">Tim Palmer</a>, who produced their debut album, was brought back to produce and <a href="/facts/Audio_mixing_(recorded_music)/zDG6EgcS">mix</a> <i>Tin Machine II</i>.<a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a><a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a><a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a> </p><p>Some tracks originated from the sessions for <i>Tin Machine</i>. Bowie and Gabrels had begun working on "Shopping for Girls" in August 1988 before the sessions began,<a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> while "<a href="/facts/If_There_Is_Something/FatrvdFj">If There Is Something</a>", a <a href="/facts/Roxy_Music/J4MUrFQN">Roxy Music</a> cover, was the second song the band recorded after "<a href="/facts/Heaven%2527s_in_Here/VQxsnD6W">Heaven's in Here</a>". 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."<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a> The song was then shelved and placed on <i>Tin Machine II</i>,<a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a> with Bowie saying "we pulled it out to see how it sounded. We really got off on it."<a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a> </p> <h2 id="music-and-lyrics">Music and lyrics</h2> <p>Gabrels considered the music of <i>Tin Machine II</i> to be "as aggressive as [its predecessor]", but found the songs more melodic. He told <i><a href="/facts/Rolling_Stone/HhCFoJ9F">Rolling Stone</a></i> 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."<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a> Author James Perone agreed, calling the tracks more accessible than the debut, featuring more conventional <a href="/facts/Hard_rock/yC1FkQcC">hard rock</a> sounds and less "incessant gloom".<a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a> Nevertheless, <a href="/facts/Dave_Thompson_(author)/xXsCJlbt">Dave Thompson</a> felt the band continued their "loud and rambunctious" sound, while the lyrics were "forthright and confrontational".<a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a> Bill Wyman of <i><a href="/facts/Entertainment_Weekly/BhADudJx">Entertainment Weekly</a></i> noted the presence of <a href="/facts/Blues/f2WSr9QQ">blues</a>, hard rock, <a href="/facts/Art_rock/naFrxL3T">art rock</a> and schmaltz,<a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a> a sentiment echoed by <i><a href="/facts/The_Economist/KNjzFCVU">The Economist</a></i>.<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> Perone finds certain tracks reminiscent of Bowie's prior work. He compares "<a href="/facts/You_Belong_in_Rock_n%2527_Roll/NIlbF1mM">You Belong in Rock n' Roll</a>" to his work with <a href="/facts/The_Spiders_from_Mars/p0pJ0qzU">the Spiders from Mars</a> and the music of "Amlapura" to the <a href="/facts/Folk_rock/Q9zErsfh">folk rock</a> on Bowie's 1969 album <i><a href="/facts/David_Bowie_(1969_album)/1V8J80DL">Space Oddity</a></i>, although notes that the lyrics, which describe "images of dead children", are a lot darker than the material of that era.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a> </p><p>Gabrels used greater experimentation on guitar for <i>Tin Machine II</i>, including the use of a <a href="/facts/Slicer_(guitar_effect)/u3JXwkqc">vibrator</a> on some tracks.<a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a><a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a> He later stated that at the time, he was deeply into <a href="/facts/Nine_Inch_Nails/8KMe39qN">Nine Inch Nails</a>' album <i><a href="/facts/Pretty_Hate_Machine/uFKJ3qhN">Pretty Hate Machine</a></i> (1989) and was looking for an <a href="/facts/Industrial_music/Ua77gRPB">industrial</a> 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",<a class="footnote-ref" id="fnref:45" href="#fn:45"><sup>45</sup></a> a song about <a href="/facts/Child_prostitution/wU6pQxQa">child prostitution</a> in Thailand.<a class="footnote-ref" id="fnref:46" href="#fn:46"><sup>46</sup></a> Buckley notes that as a way to show the band to be a "democratic unit",<a class="footnote-ref" id="fnref:47" href="#fn:47"><sup>47</sup></a> Hunt Sales took lead vocals on two tracks, "Stateside" and "Sorry",<a class="footnote-ref" id="fnref:48" href="#fn:48"><sup>48</sup></a> the latter of which he wrote by himself.<a class="footnote-ref" id="fnref:49" href="#fn:49"><sup>49</sup></a> "Goodbye Mr. Ed" is lyrically a farewell to the title character of the television series <i><a href="/facts/Mister_Ed/qyW0971J">Mister Ed</a></i>, who was a talking horse. Perone compares the song's musical style to the 1970s work of <a href="/facts/The_Jam/BAnX36un">the Jam</a> and the 1960s work of <a href="/facts/The_Who/Pnc4Rbnd">the Who</a>.<a class="footnote-ref" id="fnref:50" href="#fn:50"><sup>50</sup></a> Jon Pareles of <i><a href="/facts/The_New_York_Times/T9marWVX">The New York Times</a></i> found the lyrics mostly focus on love, signalling out "<a href="/facts/Baby_Universal/f0usCYSC">Baby Universal</a>" and "Betty Wrong" as clear examples.<a class="footnote-ref" id="fnref:51" href="#fn:51"><sup>51</sup></a> </p> <h2 id="release-and-promotion">Release and promotion</h2> <p>The cover artwork was created by <a href="/facts/Edward_Bell_(artist)/a5vjHAhJ">Edward Bell</a>, who previously created the artwork for Bowie's 1980 album <i><a href="/facts/Scary_Monsters_(and_Super_Creeps)/kU5zBhnD">Scary Monsters (and Super Creeps)</a></i>. It depicts four <a href="/facts/Kouros/QMoRJ1Yg">Kouroi</a>—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 <i>Tin Machine II</i>, the genitalia were airbrushed out.<a class="footnote-ref" id="fnref:52" href="#fn:52"><sup>52</sup></a><a class="footnote-ref" id="fnref:53" href="#fn:53"><sup>53</sup></a> Bowie commented, "Only in America ... [...] Even Canada has the original cover!"<a class="footnote-ref" id="fnref:54" href="#fn:54"><sup>54</sup></a> 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."<a class="footnote-ref" id="fnref:55" href="#fn:55"><sup>55</sup></a> 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 <i>Scary Monsters</i>.<a class="footnote-ref" id="fnref:56" href="#fn:56"><sup>56</sup></a> </p><p><i>Tin Machine II</i> was released through Victory Music and London Records on 2 September 1991 on different <a href="/facts/Phonograph_record/ccuFV9Af">LP</a> and <a href="/facts/Compact_disc/g51GRloc">CD</a> formats,<a class="footnote-ref" id="fnref:57" href="#fn:57"><sup>57</sup></a><a class="footnote-ref" id="fnref:58" href="#fn:58"><sup>58</sup></a> with the catalogue numbers 828 2721 and 828 2722, respectively.<a class="footnote-ref" id="fnref:59" href="#fn:59"><sup>59</sup></a> Its release coincided with Rykodisc's reissue of Bowie's <a href="/facts/Berlin_Trilogy/aUpyE7u6">Berlin Trilogy</a>.<a class="footnote-ref" id="fnref:60" href="#fn:60"><sup>60</sup></a> The album peaked at number 23 on the <a href="/facts/UK_Albums_Chart/h1hyzP13">UK Albums Chart</a>,<a class="footnote-ref" id="fnref:61" href="#fn:61"><sup>61</sup></a> becoming Bowie's first album in nearly 20 years to not hit the UK top 20.<a class="footnote-ref" id="fnref:62" href="#fn:62"><sup>62</sup></a> It fared far worse in the US, peaking at number 126 on the <a href="/facts/Billboard_200/XtbnoFSM"><i>Billboard</i> Top Pop Albums</a> chart.<a class="footnote-ref" id="fnref:63" href="#fn:63"><sup>63</sup></a> Like its predecessor, <i>Tin Machine II</i> was supported by three <a href="/facts/Single_(music)/xkeLPy2P">singles</a>. The first, "You Belong in Rock n' Roll" backed by "Amlapura (Indonesian version)", was released on 12 August and peaked at number 33 on the <a href="/facts/UK_Singles_Chart/s2yyGUlD">UK Singles Chart</a>.<a class="footnote-ref" id="fnref:64" href="#fn:64"><sup>64</sup></a> 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.<a class="footnote-ref" id="fnref:65" href="#fn:65"><sup>65</sup></a> The third and final single, "One Shot" backed by "Hammerhead", was issued the next month in other territories besides Britain.<a class="footnote-ref" id="fnref:66" href="#fn:66"><sup>66</sup></a><a class="footnote-ref" id="fnref:67" href="#fn:67"><sup>67</sup></a> </p><p>Tin Machine supported the album with a seven-month tour called the <a href="/facts/It%2527s_My_Life_Tour/quP90IMA">It's My Life Tour</a>, 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 <i><a href="/facts/In_Concert_(American_TV_series)/FVCcaHjA">ABC In Concert</a></i> series, aired on 6 September.<a class="footnote-ref" id="fnref:68" href="#fn:68"><sup>68</sup></a> The setlist for the tour included most of <i>Tin Machine</i> and all of <i>Tin Machine II</i>, with covers including the <a href="/facts/Pixies_(band)/26WCypPz">Pixies</a>' "<a href="/facts/Debaser/3f22e8UH">Debaser</a>" (1989), <a href="/facts/Neil_Young/6HHMQEYg">Neil Young</a>'s "<a href="/facts/I%2527ve_Been_Waiting_for_You_(Neil_Young_song)/G2HCec0q">I've Been Waiting for You</a>" (1968) and <a href="/facts/The_Moody_Blues/JBopxTMv">the Moody Blues</a>' "<a href="/facts/Go_Now/Rlpd2uP2">Go Now</a>" (1964). Reviews for the shows were mixed, with some complaining over the lack of Bowie's older hits. Following the release of the <a href="/facts/Live_album/WFW6z2fj">live album</a> <i><a href="/facts/Tin_Machine_Live%3a_Oy_Vey%2c_Baby/91oc3Mrs">Tin Machine Live: Oy Vey, Baby</a></i> in 1992, Tin Machine disbanded.<a class="footnote-ref" id="fnref:69" href="#fn:69"><sup>69</sup></a> Bowie married supermodel <a href="/facts/Iman_(model)/lSW1JSgF">Iman</a> in 1992 and resumed his solo career with <i><a href="/facts/Black_Tie_White_Noise/4Mb3qYoz">Black Tie White Noise</a></i> (1993); Gabrels remained his collaborator for the rest of the decade.<a class="footnote-ref" id="fnref:70" href="#fn:70"><sup>70</sup></a> </p> <h2 id="critical-reception">Critical reception</h2> Professional ratings<table><tbody><tr><th scope="col" colspan="2">Review scores</th></tr><tr><th scope="col">Source</th><th scope="col">Rating</th></tr><tr><td><a href="/facts/AllMusic/Hb8cU8Fb">AllMusic</a></td><td><a class="footnote-ref" id="fnref:71" href="#fn:71"><sup>71</sup></a></td></tr><tr><td><i><a href="/facts/Entertainment_Weekly/BhADudJx">Entertainment Weekly</a></i></td><td>C<a class="footnote-ref" id="fnref:72" href="#fn:72"><sup>72</sup></a></td></tr><tr><td><i><a href="/facts/Encyclopedia_of_Popular_Music/W9YQ0u46">Encyclopedia of Popular Music</a></i></td><td><a class="footnote-ref" id="fnref:73" href="#fn:73"><sup>73</sup></a></td></tr><tr><td><i><a href="/facts/Martin_C._Strong/dCPf0vV8">The Great Rock Discography</a></i></td><td>3/10<a class="footnote-ref" id="fnref:74" href="#fn:74"><sup>74</sup></a></td></tr><tr><td><i><a href="/facts/MusicHound/FRGypYFY">MusicHound Rock: The Essential Album Guide</a></i></td><td>"woof!"<a class="footnote-ref" id="fnref:75" href="#fn:75"><sup>75</sup></a></td></tr><tr><td><i><a href="/facts/Q_(magazine)/7NU1c3Gm">Q</a></i></td><td><a class="footnote-ref" id="fnref:76" href="#fn:76"><sup>76</sup></a></td></tr><tr><td><i><a href="/facts/Select_(magazine)/X8FCfQyf">Select</a></i></td><td>1/5<a class="footnote-ref" id="fnref:77" href="#fn:77"><sup>77</sup></a></td></tr><tr><td><i><a href="/facts/Spin_Alternative_Record_Guide/X8TDpcDs">Spin Alternative Record Guide</a></i></td><td>1/10<a class="footnote-ref" id="fnref:78" href="#fn:78"><sup>78</sup></a></td></tr></tbody></table> <p><i>Tin Machine II</i> was met with mixed reviews from music critics on release.<a class="footnote-ref" id="fnref:79" href="#fn:79"><sup>79</sup></a> Adrian Deevoy of <i><a href="/facts/Q_(magazine)/7NU1c3Gm">Q</a></i>, 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".<a class="footnote-ref" id="fnref:80" href="#fn:80"><sup>80</sup></a> In a more favourable review, Max Bell of <i><a href="/facts/Vox_(magazine)/yB2QQoU6">Vox</a></i> called the majority of the tracks "passable bordering on dull", concluding that it is "better than could have been expected".<a class="footnote-ref" id="fnref:81" href="#fn:81"><sup>81</sup></a> 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 <i>Tin Machine II</i> as the "truer" collaboration for the band due to the more varied songwriting.<a class="footnote-ref" id="fnref:82" href="#fn:82"><sup>82</sup></a> </p><p>Nevertheless, the album did receive some positive reviews. In <i><a href="/facts/Creem/FWnaUQJW">Creem</a></i>, Steve Appleford found <i>Tin Machine II</i> "a return to raw form" and called it "the best music Bowie's released since 1980's <i>Scary Monsters</i>".<a class="footnote-ref" id="fnref:83" href="#fn:83"><sup>83</sup></a> A reviewer for <i><a href="/facts/NME/EAscmwXq">NME</a></i> gave the album a thumbs up, while a <i><a href="/facts/Billboard_(magazine)/CVruQGq5">Billboard</a></i> writer approved of Padgham's work on "One Shot".<a class="footnote-ref" id="fnref:84" href="#fn:84"><sup>84</sup></a> Pareles praised the album, particularly Gabrels' guitar work, which he described as "two parts <a href="/facts/Robert_Fripp/BLyNN3E2">Robert Fripp</a>, one part <a href="/facts/Eddie_Van_Halen/AezgN14d">Eddie Van Halen</a> and one part speeding ambulance".<a class="footnote-ref" id="fnref:85" href="#fn:85"><sup>85</sup></a> In the late 1990s, some critics have suggested that the album was "unjustly" harshly reviewed at the time of its release.<a class="footnote-ref" id="fnref:86" href="#fn:86"><sup>86</sup></a><a class="footnote-ref" id="fnref:87" href="#fn:87"><sup>87</sup></a> This was echoed by Tony Horkins of <i>International Musician</i> 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".<a class="footnote-ref" id="fnref:88" href="#fn:88"><sup>88</sup></a> </p><p>Indeed, in 2010 and again in 2015, <i><a href="/facts/Uncut_(magazine)/hnPa6Wmw">Uncut</a></i> placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling it "extraordinary".<a class="footnote-ref" id="fnref:89" href="#fn:89"><sup>89</sup></a><a class="footnote-ref" id="fnref:90" href="#fn:90"><sup>90</sup></a> In a retrospective review for <a href="/facts/AllMusic/Hb8cU8Fb">AllMusic</a>, Mark Allender considered <i>Tin Machine II</i> 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.<a class="footnote-ref" id="fnref:91" href="#fn:91"><sup>91</sup></a> Nevertheless, Ted Asregadoo of <i><a href="/facts/Ultimate_Classic_Rock/1qqvyEav">Ultimate Classic Rock</a></i> found the album has "none of the anger, the immediacy, or the power of the debut album".<a class="footnote-ref" id="fnref:92" href="#fn:92"><sup>92</sup></a> In 2006, <i>Q</i> ranked <i>Tin Machine II</i> tenth in their list of the 50 worst albums ever.<a class="footnote-ref" id="fnref:93" href="#fn:93"><sup>93</sup></a> </p> <h2 id="legacy">Legacy</h2> <p>Bowie's biographers have given <i>Tin Machine II</i> mixed reactions. Pegg calls the record overall "mediocre", stating that it contains both improvements on <i>Tin Machine</i> and moments that are "simply unspeakable".<a class="footnote-ref" id="fnref:94" href="#fn:94"><sup>94</sup></a> 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".<a class="footnote-ref" id="fnref:95" href="#fn:95"><sup>95</sup></a> 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".<a class="footnote-ref" id="fnref:96" href="#fn:96"><sup>96</sup></a> 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".<a class="footnote-ref" id="fnref:97" href="#fn:97"><sup>97</sup></a> </p><p>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.<a class="footnote-ref" id="fnref:98" href="#fn:98"><sup>98</sup></a> However, Gabrels immediately stated after the initial announcement that neither he nor Palmer knew anything about the re-release.<a class="footnote-ref" id="fnref:99" href="#fn:99"><sup>99</sup></a> </p> <h2 id="track-listing">Track listing</h2> <i>Tin Machine II</i> track listing<table><tbody><tr><th scope="col">No.</th><th scope="col">Title</th><th scope="col">Writer(s)</th><th scope="col">Length</th></tr><tr><th scope="row">1.</th><td>"<a href="/facts/Baby_Universal/f0usCYSC">Baby Universal</a>"</td><td><a href="/facts/David_Bowie/7nMplAnf">David Bowie</a>, <a href="/facts/Reeves_Gabrels/LdREuNbf">Reeves Gabrels</a></td><td>3:18</td></tr><tr><th scope="row">2.</th><td>"<a href="/facts/One_Shot_(Tin_Machine_song)/qX5Wn9DT">One Shot</a>"</td><td>Bowie, Gabrels, <a href="/facts/Hunt_Sales/PY5hCwml">Hunt Sales</a>, <a href="/facts/Tony_Fox_Sales/uFd3FBSA">Tony Fox Sales</a></td><td>5:11</td></tr><tr><th scope="row">3.</th><td>"<a href="/facts/You_Belong_in_Rock_n%2527_Roll/NIlbF1mM">You Belong in Rock n' Roll</a>"</td><td>Bowie, Gabrels</td><td>4:07</td></tr><tr><th scope="row">4.</th><td>"<a href="/facts/If_There_Is_Something/FatrvdFj">If There Is Something</a>"</td><td><a href="/facts/Bryan_Ferry/M3A1mzJU">Bryan Ferry</a></td><td>4:45</td></tr><tr><th scope="row">5.</th><td>"Amlapura"</td><td>Bowie, Gabrels</td><td>3:46</td></tr><tr><th scope="row">6.</th><td>"Betty Wrong"</td><td>Bowie, Gabrels</td><td>3:48</td></tr><tr><th scope="row">7.</th><td>"You Can't Talk"</td><td>Bowie, Gabrels, H. Sales, T. Sales</td><td>3:09</td></tr><tr><th scope="row">8.</th><td>"Stateside"</td><td>Bowie, H. Sales</td><td>5:38</td></tr><tr><th scope="row">9.</th><td>"Shopping for Girls"</td><td>Bowie, Gabrels</td><td>3:44</td></tr><tr><th scope="row">10.</th><td>"A Big Hurt"</td><td>Bowie</td><td>3:40</td></tr><tr><th scope="row">11.</th><td>"Sorry"</td><td>H. Sales</td><td>3:29</td></tr><tr><th scope="row">12.</th><td>"Goodbye Mr. Ed"</td><td>Bowie, H. Sales, T. Sales</td><td>3:24</td></tr><tr><th scope="row">13.</th><td>"Hammerhead" (instrumental; <a href="/facts/Hidden_track/rCTbsEzE">hidden track</a>)</td><td>Bowie, H. Sales</td><td>0:57</td></tr></tbody></table> <h2 id="personnel">Personnel</h2> <p>According to the liner notes and biographer <a href="/facts/Nicholas_Pegg/j4BcHRUx">Nicholas Pegg</a>.<a class="footnote-ref" id="fnref:100" href="#fn:100"><sup>100</sup></a><a class="footnote-ref" id="fnref:101" href="#fn:101"><sup>101</sup></a> </p><p>Tin Machine </p> <ul><li><a href="/facts/David_Bowie/7nMplAnf">David Bowie</a> – lead (1–7, 9, 10, 12) and backing (8, 11) vocals, rhythm guitar, piano, <a href="/facts/Saxophone/zCFvRmAI">saxophone</a></li> <li><a href="/facts/Reeves_Gabrels/LdREuNbf">Reeves Gabrels</a> – guitar, backing vocals, <a href="/facts/Organ_(music)/QjxVlXU5">organ</a>, <a href="/facts/Vibrator_(sex_toy)/F6d0VuDG">vibrator</a> (3)<a class="footnote-ref" id="fnref:102" href="#fn:102"><sup>102</sup></a></li> <li><a href="/facts/Tony_Fox_Sales/uFd3FBSA">Tony Fox Sales</a> – bass, backing vocals</li> <li><a href="/facts/Hunt_Sales/PY5hCwml">Hunt Sales</a> – drums, percussion, backing and lead (8, 11) vocals</li></ul> <p>Additional musicians </p> <ul><li><a href="/facts/Kevin_Armstrong_(guitarist)/zRN7a2a8">Kevin Armstrong</a> – rhythm guitar (4), piano (9)</li> <li><a href="/facts/Tim_Palmer_(record_producer)/j8fEde5s">Tim Palmer</a> – additional piano and percussion</li></ul> <p>Production </p> <ul><li>Tin Machine – <a href="/facts/Record_producer/RcLFfQKL">producers</a>, <a href="/facts/Audio_mixing_(recorded_music)/zDG6EgcS">mixing</a></li> <li>Tim Palmer – producer, mixing</li> <li><a href="/facts/Hugh_Padgham/4Yu8sewS">Hugh Padgham</a> – production, engineering and mixing on "One Shot"</li> <li>Guy Gray, Simon Vinestock, Justin Shirley-Smith, Eric Schilling, Ruggie Simkins, Chuck Ferry – engineering</li> <li>Reiner Design Consultants, Inc. – design</li> <li><a href="/facts/Edward_Bell_(artist)/a5vjHAhJ">Edward Bell</a> – illustration</li> <li>Sally Hershberger – <a href="/facts/Photography/ezLPT43M">photography</a></li></ul> <h2 id="charts">Charts</h2> Chart performance for <i>Tin Machine II</i><table><tbody><tr><th scope="col">Chart (1991)</th><th scope="col">PeakPosition</th></tr><tr><th scope="row">Australian Albums (<a href="/facts/ARIA_Charts/aUXUHRK7">ARIA</a>)<a class="footnote-ref" id="fnref:103" href="#fn:103"><sup>103</sup></a></th><td>139</td></tr><tr><th scope="row">Austrian Albums (<a href="/facts/%25C3%25963_Austria_Top_40/3B0L8Tj0">Ö3 Austria</a>)<a class="footnote-ref" id="fnref:104" href="#fn:104"><sup>104</sup></a></th><td>25</td></tr><tr><th scope="row">Dutch Albums (<a href="/facts/Dutch_Album_Top_100/dG4dLtW3">Album Top 100</a>)<a class="footnote-ref" id="fnref:105" href="#fn:105"><sup>105</sup></a></th><td>33</td></tr><tr><th scope="row">German Albums (<a href="/facts/GfK_Entertainment_charts/bGrgjxKn">Offizielle Top 100</a>)<a class="footnote-ref" id="fnref:106" href="#fn:106"><sup>106</sup></a></th><td>56</td></tr><tr><th scope="row">Norwegian Albums (<a href="/facts/VG-lista/gHbBmrR7">VG-lista</a>)<a class="footnote-ref" id="fnref:107" href="#fn:107"><sup>107</sup></a></th><td>14</td></tr><tr><th scope="row">Swedish Albums (<a href="/facts/Sverigetopplistan/Br6GrFEd">Sverigetopplistan</a>)<a class="footnote-ref" id="fnref:108" href="#fn:108"><sup>108</sup></a></th><td>19</td></tr><tr><th scope="row">UK Albums (<a href="/facts/Official_Charts_Company/42Rz2PXj">OCC</a>)<a class="footnote-ref" id="fnref:109" href="#fn:109"><sup>109</sup></a></th><td>23</td></tr><tr><th scope="row">US <a href="/facts/Billboard_200/XtbnoFSM">Top Pop Albums</a> (<i>Billboard</i>)<a class="footnote-ref" id="fnref:110" href="#fn:110"><sup>110</sup></a></th><td>126</td></tr></tbody></table> <h2 id="notes">Notes</h2> <h3>Sources</h3> <ul><li>Buckley, David (2005) [1999]. <i>Strange Fascination – David Bowie: The Definitive Story</i>. London: <a href="/facts/Virgin_Books/66xsNojy">Virgin Books</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-75351-002-5.</li> <li>O'Leary, Chris (2019). <i>Ashes to Ashes: The Songs of David Bowie 1976–2016</i>. London: <a href="/facts/Repeater_Books/BJAmYQTB">Repeater</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-91224-830-8.</li> <li><a href="/facts/Nicholas_Pegg/j4BcHRUx">Pegg, Nicholas</a> (2016). <a href="https://books.google.com/books?id=LqFkDQAAQBAJ"><i>The Complete David Bowie</i></a> (Revised and Updated ed.). London: <a href="/facts/Titan_Books/LtNI3y1s">Titan Books</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-78565-365-0.</li> <li>Perone, James E. (2007). <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57"><i>The Words and Music of David Bowie</i></a>. <a href="/facts/Westport%2c_Connecticut/aE6DqyyW">Westport, Connecticut</a>: <a href="/facts/Greenwood_Publishing_Group/PhJVxymB">Greenwood Publishing Group</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-27599-245-3.</li> <li><a href="/facts/Christopher_Sandford_(biographer)/fYv7Bvs2">Sandford, Christopher</a> (1997) [1996]. <a href="https://archive.org/details/bowielovingalien00sand"><i>Bowie: Loving the Alien</i></a>. London: <a href="/facts/WarnerMedia/MvXvu3lU">Time Warner</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-306-80854-8.</li> <li><a href="/facts/Rob_Sheffield/569nwLsP">Sheffield, Rob</a> (1995). "David Bowie". In <a href="/facts/Eric_Weisbard/o9h3j0gf">Weisbard, Eric</a>; Marks, Craig (eds.). <a href="/facts/Spin_Alternative_Record_Guide/X8TDpcDs"><i>Spin Alternative Record Guide</i></a>. <a href="/facts/Vintage_Books/Wp0GEyUc">Vintage Books</a>. pp. 55–57. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-679-75574-6.</li> <li><a href="/facts/Marc_Spitz/amlCDXJR">Spitz, Marc</a> (2009). <i><a href="/facts/Bowie%3a_A_Biography/fH3CTWgc">Bowie: A Biography</a></i>. New York City: <a href="/facts/Crown_Publishing_Group/RmpMhKID">Crown Publishing Group</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-307-71699-6.</li> <li><a href="/facts/Dave_Thompson_(author)/xXsCJlbt">Thompson, Dave</a> (2006). <a href="https://books.google.com/books?id=ISBN9781550227338"><i>Hallo Spaceboy: The Rebirth of David Bowie</i></a>. Toronto: <a href="/facts/ECW_Press/RefTzcvr">ECW Press</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-55022-733-8.[<i>permanent dead link</i>]</li> <li><a href="/facts/Paul_Trynka/Dnq19xoI">Trynka, Paul</a> (2011). <i>David Bowie – Starman: The Definitive Biography</i>. New York City: <a href="/facts/Little%2c_Brown_and_Company/aJ9JSCnn">Little, Brown and Company</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-31603-225-4.</li></ul> <h2 id="external-links">External links</h2> <ul><li><i><a href="https://www.discogs.com/master/55473">Tin Machine II</a></i> at <a href="/facts/Discogs/wdyMoREv">Discogs</a> (list of releases)</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Pegg 2016, pp. 411–415. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>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. <a href="https://www.rollingstone.com/music/music-news/inside-david-bowies-challenging-noisy-side-project-tin-machine-52775/" target="_blank">https://www.rollingstone.com/music/music-news/inside-david-bowies-challenging-noisy-side-project-tin-machine-52775/</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Pegg 2016, pp. 411–415. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Buckley 2005, pp. 386–389. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Clarke, Tina (July 1989). "If I only had a band". Music Express. 13 (138): 8–11. <a href="/wiki/Music_Express_(magazine)" target="_blank">/wiki/Music_Express_(magazine)</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Derringer, Liz (August 1989). "Tin Machine – Bowie's Latest Vehicle". The Music Paper. Vol. 22, no. 1. Manhasset, New York. pp. 16–17. <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Passantino, Rosemary (July 1989). "Tin Machine Album Review". Spin. 5 (4): 110–111. <a href="/wiki/Spin_(magazine)" target="_blank">/wiki/Spin_(magazine)</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Perone 2007, pp. 99–103. - Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>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. <a href="/wiki/Jon_Pareles" target="_blank">/wiki/Jon_Pareles</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Pegg 2016, pp. 411–415. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Sandford 1997, pp. 276–277. - Sandford, Christopher (1997) [1996]. Bowie: Loving the Alien. London: Time Warner. ISBN 978-0-306-80854-8. <a href="https://archive.org/details/bowielovingalien00sand" target="_blank">https://archive.org/details/bowielovingalien00sand</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Buckley 2005, p. 392. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>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. <a href="https://ultimateclassicrock.com/david-bowie-tin-machine/" target="_blank">https://ultimateclassicrock.com/david-bowie-tin-machine/</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Sandford 1997, pp. 275–276. - Sandford, Christopher (1997) [1996]. Bowie: Loving the Alien. London: Time Warner. ISBN 978-0-306-80854-8. <a href="https://archive.org/details/bowielovingalien00sand" target="_blank">https://archive.org/details/bowielovingalien00sand</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Pegg 2016, pp. 411–415. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Perone 2007, pp. 99–103. - Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Allender, Mark. "Tin Machine – Tin Machine". AllMusic. Archived from the original on 17 January 2016. Retrieved 12 January 2016. <a href="https://www.allmusic.com/album/tin-machine-mw0000200035" target="_blank">https://www.allmusic.com/album/tin-machine-mw0000200035</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>Pegg 2016, pp. 588–589. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Thompson 2006, chap. 3. - Thompson, Dave (2006). Hallo Spaceboy: The Rebirth of David Bowie. Toronto: ECW Press. ISBN 978-1-55022-733-8. <a href="https://books.google.com/books?id=ISBN9781550227338" target="_blank">https://books.google.com/books?id=ISBN9781550227338</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Sandford 1997, p. 280. - Sandford, Christopher (1997) [1996]. Bowie: Loving the Alien. London: Time Warner. ISBN 978-0-306-80854-8. <a href="https://archive.org/details/bowielovingalien00sand" target="_blank">https://archive.org/details/bowielovingalien00sand</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Sandford 1997, p. 282. - Sandford, Christopher (1997) [1996]. Bowie: Loving the Alien. London: Time Warner. ISBN 978-0-306-80854-8. <a href="https://archive.org/details/bowielovingalien00sand" target="_blank">https://archive.org/details/bowielovingalien00sand</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>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. <a href="https://ultimateclassicrock.com/david-bowie-tin-machine/" target="_blank">https://ultimateclassicrock.com/david-bowie-tin-machine/</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></p></li> <li id="fn:25"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></p></li> <li id="fn:26"><p>Spitz 2009, p. 347. - Spitz, Marc (2009). Bowie: A Biography. New York City: Crown Publishing Group. ISBN 978-0-307-71699-6. <a href="#fnref:26" class="footnote-back-ref">↩</a></p></li> <li id="fn:27"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></p></li> <li id="fn:28"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></p></li> <li id="fn:29"><p>Appleford, Steve (1991). "Tin Machine II Review". Creem. 2 (1): 59. <a href="/wiki/Creem" target="_blank">/wiki/Creem</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></p></li> <li id="fn:30"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:30" class="footnote-back-ref">↩</a></p></li> <li id="fn:31"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></p></li> <li id="fn:32"><p>Buckley 2005, pp. 408–410. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:32" class="footnote-back-ref">↩</a></p></li> <li id="fn:33"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:33" class="footnote-back-ref">↩</a></p></li> <li id="fn:34"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:34" class="footnote-back-ref">↩</a></p></li> <li id="fn:35"><p>di Perna, Alan (1991). "Ballad of the Tin Men". Creem. 2 (1): 50–59. <a href="#fnref:35" class="footnote-back-ref">↩</a></p></li> <li id="fn:36"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:36" class="footnote-back-ref">↩</a></p></li> <li id="fn:37"><p>"Rock 'n Roll notes". Rolling Stone. 1991. <a href="#fnref:37" class="footnote-back-ref">↩</a></p></li> <li id="fn:38"><p>Perone 2007, pp. 103–106. - Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:38" class="footnote-back-ref">↩</a></p></li> <li id="fn:39"><p>Thompson 2006, chap. 3. - Thompson, Dave (2006). Hallo Spaceboy: The Rebirth of David Bowie. Toronto: ECW Press. ISBN 978-1-55022-733-8. <a href="https://books.google.com/books?id=ISBN9781550227338" target="_blank">https://books.google.com/books?id=ISBN9781550227338</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></p></li> <li id="fn:40"><p>Wyman, Bill (6 September 1991). "Tin Machine II Review". Entertainment Weekly. Archived from the original on 6 July 2014. Retrieved 8 January 2013. <a href="https://web.archive.org/web/20140706074110/http://www.ew.com/ew/article/0,,315383,00.html" target="_blank">https://web.archive.org/web/20140706074110/http://www.ew.com/ew/article/0,,315383,00.html</a> <a href="#fnref:40" class="footnote-back-ref">↩</a></p></li> <li id="fn:41"><p>"David Bowie's genre-hopping career". The Economist. 12 January 2016. Archived from the original on 18 October 2021. Retrieved 10 March 2017. <a href="https://www.economist.com/blogs/graphicdetail/2016/01/bye-bye-spaceboy" target="_blank">https://www.economist.com/blogs/graphicdetail/2016/01/bye-bye-spaceboy</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></p></li> <li id="fn:42"><p>Perone 2007, pp. 103–106. - Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:42" class="footnote-back-ref">↩</a></p></li> <li id="fn:43"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:43" class="footnote-back-ref">↩</a></p></li> <li id="fn:44"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:44" class="footnote-back-ref">↩</a></p></li> <li id="fn:45"><p>Gore, Joe (June 1997). "Changes 2.1". Guitar Player. pp. 45–58. <a href="/wiki/Guitar_Player" target="_blank">/wiki/Guitar_Player</a> <a href="#fnref:45" class="footnote-back-ref">↩</a></p></li> <li id="fn:46"><p>Resnicoff, Matt (September 1991). "Tin Machine's Progression of Perversions". Musician. No. 155. pp. 46–52, 94–95. <a href="/wiki/Musician_(magazine)" target="_blank">/wiki/Musician_(magazine)</a> <a href="#fnref:46" class="footnote-back-ref">↩</a></p></li> <li id="fn:47"><p>Buckley 2005, pp. 408–410. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:47" class="footnote-back-ref">↩</a></p></li> <li id="fn:48"><p>Appleford, Steve (1991). "Tin Machine II Review". Creem. 2 (1): 59. <a href="/wiki/Creem" target="_blank">/wiki/Creem</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></p></li> <li id="fn:49"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:49" class="footnote-back-ref">↩</a></p></li> <li id="fn:50"><p>Perone 2007, pp. 103–106. - Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3. <a href="https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57" target="_blank">https://books.google.com/books?id=C6bz2BFdPawC&pg=PA57</a> <a href="#fnref:50" class="footnote-back-ref">↩</a></p></li> <li id="fn:51"><p>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. <a href="https://www.nytimes.com/1991/09/01/arts/recordings-view-david-bowie-makes-news-with-noise.html" target="_blank">https://www.nytimes.com/1991/09/01/arts/recordings-view-david-bowie-makes-news-with-noise.html</a> <a href="#fnref:51" class="footnote-back-ref">↩</a></p></li> <li id="fn:52"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:52" class="footnote-back-ref">↩</a></p></li> <li id="fn:53"><p>di Perna, Alan (1991). "Ballad of the Tin Men". Creem. 2 (1): 50–59. <a href="#fnref:53" class="footnote-back-ref">↩</a></p></li> <li id="fn:54"><p>MacDonald, Patrick (20 December 1991). "Beaming Bowie excited about the current direction of his life, music". The Seattle Times. <a href="/wiki/The_Seattle_Times" target="_blank">/wiki/The_Seattle_Times</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></p></li> <li id="fn:55"><p>di Perna, Alan (1991). "Ballad of the Tin Men". Creem. 2 (1): 50–59. <a href="#fnref:55" class="footnote-back-ref">↩</a></p></li> <li id="fn:56"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:56" class="footnote-back-ref">↩</a></p></li> <li id="fn:57"><p>Buckley gives the release date as 3 September 1991.[25] <a href="#fnref:57" class="footnote-back-ref">↩</a></p></li> <li id="fn:58"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:58" class="footnote-back-ref">↩</a></p></li> <li id="fn:59"><p>O'Leary 2019, Partial Discography. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:59" class="footnote-back-ref">↩</a></p></li> <li id="fn:60"><p>Pegg 2016, pp. 415–417. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:60" class="footnote-back-ref">↩</a></p></li> <li id="fn:61"><p>Trynka 2011, p. 492. - Trynka, Paul (2011). David Bowie – Starman: The Definitive Biography. New York City: Little, Brown and Company. ISBN 978-0-31603-225-4. <a href="#fnref:61" class="footnote-back-ref">↩</a></p></li> <li id="fn:62"><p>Buckley 2005, pp. 408–410. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:62" class="footnote-back-ref">↩</a></p></li> <li id="fn:63"><p>Trynka 2011, p. 492. - Trynka, Paul (2011). David Bowie – Starman: The Definitive Biography. New York City: Little, Brown and Company. ISBN 978-0-31603-225-4. <a href="#fnref:63" class="footnote-back-ref">↩</a></p></li> <li id="fn:64"><p>O'Leary 2019, chap. 7. - O'Leary, Chris (2019). Ashes to Ashes: The Songs of David Bowie 1976–2016. London: Repeater. ISBN 978-1-91224-830-8. <a href="#fnref:64" class="footnote-back-ref">↩</a></p></li> <li id="fn:65"><p>Pegg 2016, pp. 783–784. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:65" class="footnote-back-ref">↩</a></p></li> <li id="fn:66"><p>Pegg 2016, pp. 203–204. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0. <a href="https://books.google.com/books?id=LqFkDQAAQBAJ" target="_blank">https://books.google.com/books?id=LqFkDQAAQBAJ</a> <a href="#fnref:66" class="footnote-back-ref">↩</a></p></li> <li id="fn:67"><p>Buckley 2005, pp. 408–410. - Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5. <a href="#fnref:67" class="footnote-back-ref">↩</a></p></li> <li id="fn:68"><p>Pegg 2016, pp. 594–595. - Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. 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