Тин Машин тобының тарихы

British–American rock band
the band's debut album of the same name

Tin Machine were a British–American rock band formed in 1988. The band consisted of English singer songwriter David Bowie on lead vocals, saxophone and guitar; Reeves Gabrels on guitar and vocals; Tony Fox Sales on bass and vocals; and Hunt Sales on drums and vocals. The Sales brothers had previously performed with Bowie and Iggy Pop during the 1977 tour for The Idiot. Kevin Armstrong played additional guitar and keyboards on the band's first and second studio albums and first tour, and American guitarist Eric Schermerhorn played on the second tour and live album Tin Machine Live: Oy Vey, Baby (1992). Hunt Sales said that the band's name "reflects the sound of the band", and Bowie stated that he and his band members joined up "to make the kind of music that we enjoyed listening to", and to rejuvenate himself artistically. The band recorded two studio albums and one live album before dissolving in 1992, after which Bowie returned to his solo career. By the end of 2012, they had sold two million albums. Bowie said Tin Machine helped revitalise his career. and Bowie was aware of his low standing. Eager to return to making music for himself rather than the mainstream audience he had acquired following the Let's Dance album,
Bowie looked around for collaborators. He briefly worked with Bon Jovi producer Bruce Fairbairn in Los Angeles, recording a few tracks, including a demo of "Lucy Can't Dance" (which was eventually re recorded and released on Bowie's 1993 solo album Black Tie White Noise) and a version of Bob Dylan's song "Like A Rolling Stone", but this did not bear much fruit, and the Dylan cover was passed to his friend Mick Ronson, where it was released on his posthumous album Heaven and Hull (1994). Soon after, Bowie began collaborating with Reeves Gabrels, who pushed the singer to rediscover his experimental side. Bowie and Gabrels had initially met through Gabrels' then wife Sara Terry, who was part of the press staff for the North American leg of Bowie's 1987 Glass Spider world tour. The two men had struck up a friendship when Gabrels visited at several tour venues. Notably, their relationship began as a social one, as Gabrels did not mention that he himself was a musician. Common interests in popular culture and the visual arts provided more than enough to talk about, Gabrels explained in later interviews, and also because he was in his wife's workplace, he felt it was not appropriate to bring up his own music. At the tour's end, Bowie kindly asked Terry if he could do anything for her. In response, Terry gave Bowie a tape of Gabrels' guitar playing. Months later, after listening to the tape, Bowie phoned Gabrels to invite him to get together to play and write. Bowie told him that he felt he had "lost his vision" and was looking for ways to get it back. After a month working together, Gabrels asked Bowie what he wanted of him, and, according to Gabrels, Bowie said "Basically, I need somebody that can do a combination of Beck, Hendrix, Belew and Fripp, with a little Stevie Ray Vaughan and Albert King thrown in. Then, when I’m not singing, you take the ball and do something with it, and when you hand the ball back to me, it might not even be the same ball." The first public fruits of Bowie and Gabrels working together came with a new arrangement by Gabrels of the song "Look Back in Anger" which Bowie had written with Brian Eno in 1979 for the album Lodger. The occasion was a benefit show at London's Institute of Contemporary Arts (ICA) on 1 July 1988 at which Bowie had been invited to perform with the avant garde dance troupe La La La Human Steps. Bowie sang, played and danced with troupe members while in lighted grottoes upstage three musicians (Gabrels on guitar, Kevin Armstrong on guitar, and Erdal Kızılçay on bass) played the new 7 1/2 minute score that Gabrels created from the three minute song; the new material included drums programmed by Kızılçay. "We went into the studio to rearrange it", said Bowie in a filmed interview; "I like the hard edged wall of guitar sound that we put into it." Gabrels recalled that early on, they were not sure whom they would work with. They discussed working with Terry Bozzio on drums and Percy Jones on bass. But Bowie, who had run into Tony Sales in Los Angeles at a wrap party for his Glass Spider Tour, convinced Tony to call his brother Hunt so they could work together again, as Tony and Hunt had performed with David Bowie in support of Iggy Pop in the late 1970s. Tony recalled that Bowie was "thinking about getting a band together — something together. He didn't know exactly what he wanted to do, but he wanted Hunt and I to meet Reeves and maybe we could all write together, come up with something." | width = 20em
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Bowie was pleased that the band members clicked, calling the ease at which the personalities came together "inspired guesswork". Bowie later rejected the idea that Reeves, Hunt and Tony were backing members of his band. "The Sales brothers would never accept having another boss. They are far too stubborn and aware of their own needs. They're not in the market to be anybody's backing band, either of them. You do not fuck with the Sales brothers, or Reeves Gabrels." The band split profits four ways, no one was on a salary and each member paid for his own expenses. Bowie also clarified that "the band will cease to exist the moment it ceases to be a musical experience for any of us. None of us wanted to get into the kind of situation where you find yourself making albums because you're contracted to." The Sales brothers moved the tone of the sessions away from art rock and more towards hard rock, and Bowie looked to one of his favorite bands at the time, Pixies, for inspiration. The Sales brothers heckled Bowie into greater spontaneity, with most songs recorded in one take, and lyrics left unpolished, thus giving the band a ragged, punk rock edge. In contemporary interviews, the band said their musical influences were Gene Krupa, Charlie Mingus, Jimi Hendrix, Glenn Branca, Mountain,

The group chose the name Tin Machine after one of the songs they had written. and "The Emperor's New Clothes". At the time of the release of the album, Bowie was enthusiastic about the band and the work they'd done, and felt that band had in them "another two albums at least." Prior to that show, the band played an unannounced show in Nassau. Bowie recalled "We showed up at a club in Nassau where we were recording and did four or five songs. We went down to the club and just did 'em." Added Gabrels, "We just walked up on stage and you could hear all these voices whispering, 'That's David Bowie! No, it can't be David Bowie, he's got a beard!

The group then went on hiatus while Bowie conducted his solo Sound+Vision Tour. In December 1990, Bowie split from EMI. Hunt Sales said that EMI "kind of freaked out a little bit at the strident, single less Tin Machine debut", which partially explained why Bowie switched music labels. Gabrels explained the change between the first and second album was because by the second album, "we knew one another as musicians. It wasn't as dense. And we actually left more room, I think for David to come up with some interesting melodies. There was more room for vocals on this record." In early August 1991, the band began promotional performances for the album, starting with TV appearances in the UK. From 5 October 1991 to 17 February 1992, the group went on their It's My Life Tour, which was a longer tour than their first. The band was joined on this tour by guitarist Eric Schermerhorn. On 23 November 1991, the band was the musical guest during Saturday Night Lives 17th season.

Tracks from the "It's My Life" tour were released on the July 1992 album Tin Machine Live: Oy Vey, Baby. The album did not sell well and there was speculation that the failure of this album to achieve commercial success was among the reasons that the band ultimately broke up. As early as 1990, Bowie knew he'd be going back to solo work, although not because he disliked working with the band. He said "I have very definite ideas of what I want to do as a solo artist, which I'll be starting on probably late next year [1991], again completely different, hopefully, from what I've done before." Shortly after the release of Oy Vey, Baby, Bowie returned to solo recording with his single "Real Cool World", but he maintained intentions to return to the studio with Tin Machine in 1993 for a third album. These plans would fail to come to fruition, however, and the band shortly thereafter dissolved. There were allegations that Hunt Sales' growing drug addiction was responsible for the band's end, but of Tin Machine's dissolution, Bowie merely said "personal problems within the band became the reason for its demise. It’s not for me to talk about them, but it became physically impossible for us to carry on. And that was pretty sad really."

Title Year Peak chart positions Album UKUS Main. Rock "Heaven's in Here" (promo only)1989 — — —Tin Machine "Under the God" 51 23 8"Tin Machine"/"Maggie's Farm (live)" 48 × × "Prisoner of Love" 77 — — "You Belong in Rock 'n' Roll"1991 33 — —Tin Machine II "Baby Universal" 48 — 21 "One Shot" — — 17 "—" denotes releases that did not chart. "×" denotes single not released in that territory.

Year Song(s) Album Notes Ref.1992"Go Now"Ruby Trax1993 "Baby Can Dance"Best of Grunge Rock Live version recorded in Hamburg on 24 October 19911994"Needles on the Beach"Beyond the Beach