Tin Machine
| Company type | Rock band |
|---|---|
| Industry | Music |
| Founded | 1988 |
| Founder | David Bowie, Reeves Gabrels, Tony Fox Sales, Hunt Sales |
| Headquarters | United Kingdom / United States |
| Products | Studio albums, live albums |
Number of employees | 4 (band members) |
Tin Machine was a British-American rock ensemble established in 1988, comprising English singer-songwriter David Bowie (lead vocals, saxophone, guitar); Reeves Gabrels (guitar, vocals); Tony Fox Sales (bass, vocals); and Hunt Sales (drums, vocals). The Sales siblings had previously collaborated with Bowie and Iggy Pop during the 1977 The Idiot tour. Guitarist Kevin Armstrong contributed guitar and keyboard parts on the first two studio albums and the initial tour, while American guitarist Eric Schermerhorn joined for the second tour and the live album Tin Machine Live: Oy Vey, Baby (1992).
Hunt Sales explained that the band's name was chosen to reflect their musical style, while Bowie remarked that their goal was to produce music they genuinely enjoyed listening to, aiming for artistic renewal.
Before disbanding in 1992, Tin Machine released two studio records and one live album. Following the split, Bowie returned to his solo career. By 2012, their total album sales had reached two million copies. Bowie credited Tin Machine with revitalizing his artistic trajectory.
1987–1988: Formation of the group
Following the release of Bowie's 1987 album Never Let Me Down and the subsequent Glass Spider Tour, which received lukewarm critical reception, Bowie recognized his waning reputation. Intent on creating music primarily for himself rather than the mainstream audience he had attracted after Let's Dance, he sought new creative partnerships. Briefly collaborating with Bon Jovi producer Bruce Fairbairn in Los Angeles, he recorded several tracks including a demo of "Lucy Can't Dance" (later re-recorded for Bowie's 1993 album Black Tie White Noise) and a rendition of Bob Dylan's "Like A Rolling Stone". This collaboration produced limited results; the Dylan cover eventually appeared on Mick Ronson's posthumous album Heaven and Hull (1994). Subsequently, Bowie began working with Reeves Gabrels, who encouraged him to reconnect with his experimental roots.
Bowie first encountered Gabrels through Gabrels' then-wife Sara Terry, who was part of Bowie's 1987 Glass Spider tour press team. Their friendship developed during the tour without Gabrels initially revealing his musician status. Afterward, Terry provided Bowie with a tape showcasing Gabrels' guitar work. Several months later, Bowie reached out to Gabrels to collaborate, expressing that he felt he had "lost his vision" and wanted to regain it. After about a month of working together, Bowie described his ideal collaborator as someone blending qualities of Beck, Hendrix, Belew, Fripp, along with influences from Stevie Ray Vaughan and Albert King—an individual capable of leading when Bowie was not singing and evolving the music creatively.
Their initial public collaboration featured Gabrels’ new arrangement of "Look Back in Anger", originally co-written by Bowie and Brian Eno for 1979's Lodger. This performance took place at London's Institute of Contemporary Arts on 1 July 1988 alongside avant-garde dance company La La La Human Steps. The piece included an extended 7½-minute score with programmed drums by Erdal Kızılçay. Bowie praised the resulting "hard-edged wall of guitar sound".
Bowie was initially uncertain about which musicians to include in the band; he considered working with Terry Bozzio and Percy Jones. However, after meeting Tony Sales at a wrap party following the Glass Spider Tour, Bowie persuaded him to bring in his brother Hunt Sales. Both brothers had previously supported Bowie during his collaborations with Iggy Pop. Tony recalled that Bowie was searching for "something" but was unclear exactly what; their main objective became collaborative songwriting alongside Reeves.
Reflecting on the band's formation, Bowie stated:
Before joining forces we never wanted to be part of a band... It took roughly a week in the studio before we realized our musical potential and decided to continue.
Bowie treasured the chemistry within the group, describing it as "inspired guesswork". Hunt and Tony Sales—sons of comedian Soupy Sales—helped maintain a lighthearted environment during recording sessions. Bowie rejected any notion that Reeves or the Sales brothers were merely support musicians: "The Sales brothers would never accept having another boss... You do not mess with the Sales brothers or Reeves Gabrels." Gabrels recalled that early on Bowie insisted this must be a band where every member contributed creatively. Financially, profits were divided equally; there were no salaries or expense reimbursements. Bowie emphasized that if any member ceased to find musical fulfillment within the group, it would come to an end. He also required interviews to be shared evenly among members to preserve group identity rather than focusing solely on himself.
The Sales brothers steered the band's sound toward hard rock rather than art rock; inspired by bands such as Pixies, they encouraged spontaneity with many tracks recorded in single takes featuring raw lyrics, infusing a punk edge. During tours, Bowie noted their music was powerful and intense—not designed for easy listening or dancing.
The band acknowledged influences including Gene Krupa, Charlie Mingus, Jimi Hendrix, Glenn Branca, Mountain, Cream, and the Jeff Beck Group. According to Bowie, they agreed from the outset to approach their work album by album and continue only if personal connections remained strong: "if we were still getting along—which was paramount—that we'd carry on."
Band name
The ensemble chose the name Tin Machine, inspired by one of their own tracks. Tony Sales humorously remarked that since all members were divorced at the band's inception, alternative names like "The Four Divorcés" or "Alimony Inc." might have been fitting. Gabrels suggested "White Noise," but Bowie dismissed it for being too "racist." Other rejected options included "Leather Weasel" and "The Emperor's New Clothes." Gabrels explained that the final choice represented the band’s philosophy: tin, an old yet common metal, symbolized their natural, unprocessed musical style without reliance on drum machines or sequencers.
1988–1989: Debut album and tour
Recorded during late 1988 and early 1989, Tin Machine's debut album was released in May 1989. It received mixed but largely favorable critiques, often compared positively to Bowie's recent solo output. Commercially, it entered the UK Albums Chart at number three but experienced a swift decline in sales. Gabrels remarked in 1991 that sales had surpassed his expectations by a factor of ten. Bowie remained hopeful about the group's future, anticipating "at least two more albums."
Contrary to popular belief, the band's first live appearance was not at the International Rock Awards on 31 May 1989; instead, it was an unpublicized performance at a Nassau club during recording sessions. Bowie recalled this as an impromptu gig, while Gabrels noted the audience's surprise at seeing Bowie sporting a beard.
Some fans and critics struggled to accept Bowie's new band identity; Tony Sales observed disappointment among those expecting Bowie to perform solo. Bowie stressed that Tin Machine's concerts would be deliberately "non-theatrical," marking a departure from his recent Glass Spider Tour.
The group embarked on a modest tour playing intimate venues from 14 June to 3 July 1989 before continuing recording sessions in Sydney. During this time, they contributed the instrumental track "Needles on the Beach" to the surfing compilation Beyond the Beach. A partial recording from their 25 June 1989 Paris performance at La Cigale was later released digitally in August 2019.
1990–1991: Second album and tour
In 1990, Tin Machine was largely inactive as Bowie pursued his solo Sound+Vision Tour, which extended until September, followed by filming his role in The Linguini Incident (1991). Gabrels worked on new material throughout the year and occasionally joined Bowie during tour breaks to record guitar solos. In December 1990, Bowie parted ways with EMI; Hunt Sales attributed this move to EMI's reaction against Tin Machine’s debut album, which lacked singles and had a confrontational tone. Subsequently, in March 1991, the band signed with Victory Music—a new label created by JVC and distributed through London Records and PolyGram—and recorded fresh tracks alongside Sydney session material for Tin Machine II. This follow-up was characterized as equally raw and unconventional as their debut but incorporated more R&B influences and softened abrasiveness. Gabrels observed that the second album showcased their deepening musical synergy and provided greater space for Bowie's vocal melodies.
By late 1991, Bowie expressed contentment with the band, stating he found significant satisfaction working within Tin Machine, while Gabrels confirmed they were fulfilling their creative ambitions. During promotional appearances, Gabrels caused controversy by playing guitar using a vibrator; after BBC’s Top of the Pops banned this act, he mimed with a chocolate éclair instead.
Starting in August 1991, the band promoted their album through UK television spots. From 5 October 1991 until 17 February 1992, they undertook an extended It's My Life Tour, featuring guitarist Eric Schermerhorn. On 23 November 1991, Tin Machine appeared as musical guests on Saturday Night Live's seventeenth season.
1992: Live release and breakup
Recordings from the "It's My Life" tour were compiled into the live album Tin Machine Live: Oy Vey, Baby, released in July 1992. The album did not achieve commercial success, fueling speculation that its poor reception contributed to the band's dissolution. By 1990, Bowie had already planned a solo comeback, intending to initiate a new solo project distinct from his previous work in late 1991. Around mid-1992, coinciding with the release of Oy Vey, Baby, Tin Machine contributed a cover of "Go Now" to the NME compilation Ruby Trax. Concurrently, Bowie resumed solo recording with the single "Real Cool World" and initially aimed to produce a third Tin Machine album in 1993. However, these plans were abandoned amid personal challenges within the group, including allegations concerning Hunt Sales' substance abuse. Bowie attributed the band's end to internal conflicts that made continuation untenable.
Band legacy
Although Tin Machine’s career was brief and met with divided opinions at first, retrospective evaluations in the late 1990s regarded them as unjustly criticized pioneers. Critics acknowledged their early influence on alternative rock and grunge prior to those styles becoming mainstream phenomena. One commentator described them as simply "ahead of their time," anticipating bands such as Nirvana. Producer Tim Palmer—who worked on Tin Machine’s albums—later mixed Pearl Jam’s breakthrough grunge record Ten and recalled Pearl Jam’s admiration for Tin Machine’s track "Heaven's in Here."
In 1996, Bowie reflected that Tin Machine helped him clarify his artistic vision and reclaim control over his career trajectory. By 1997, he recognized the band’s courage and quality craftsmanship while expecting their work to be reassessed positively despite ongoing skepticism. During this period, Bowie and Gabrels re-recorded selected Tin Machine songs; "I Can't Read" appeared on The Ice Storm soundtrack (1997), with both it and "Baby Universal" later included posthumously on Bowie's Is It Any Wonder? (2020).
Approaching the turn of the century, Bowie regarded his years with Tin Machine as crucial for revitalizing his musical career and credited it with renewing his creative drive. Despite contrary narratives, he consistently expressed satisfaction with working alongside the band, describing it as a "lifeline." He credited Reeves Gabrels with inspiring him to abandon unproductive habits that ultimately rejuvenated his artistic focus.
Personnel
- David Bowie – lead vocals; electric and acoustic guitars; piano; saxophone
- Reeves Gabrels – electric and acoustic guitars; backing vocals; organ
- Tony Fox Sales – bass guitar; backing vocals
- Hunt Sales – drums; percussion; backing and lead vocals
Studio albums
| Album Title | Release Information | Highest Chart Rankings | Certification Status | ||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| UK | AUS | AUT | GER | NLD | NOR | NZ | SWE | US | |||
| Tin Machine |
|
3 | 42 | 19 | 13 | 24 | 9 | 14 | 9 | 28 |
|
| Tin Machine II |
|
23 | 139 | 25 | 56 | 33 | 14 | — | 19 | 126 | |
| "—" indicates albums that did not enter the charts. | |||||||||||
Live albums
| Album Title | Release Details |
|---|---|
| Tin Machine Live: Oy Vey, Baby |
|
| Tin Machine: Live at La Cigale, Paris, 25 June 1989 |
|
Singles
| Single Title | Release Year | UK Chart Position | Ireland Chart Position | US Main Rock Chart Position | Associated Album |
|---|---|---|---|---|---|
| "Heaven's in Here" (promotional 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 |
"—" indicates singles that did not chart. "×" indicates the single was not released in that region.
Other appearances
| Year Released | Track(s) | Compilation Album | Additional Information |
|---|---|---|---|
| 1992 | "Go Now" | Ruby Trax | |
| 1993 | "Baby Can Dance" | Best of Grunge Rock | Live recording from Hamburg on 24 October 1991 |
| 1994 | "Needles on the Beach" | Beyond the Beach |
Music videos
| Year of Release | Song Title | Director(s) | Remarks |
|---|---|---|---|
| 1989 | "Heaven's in Here" | Julien Temple | Video and single were not officially released |
| "Under the God" | |||
| "Maggie's Farm" (live version) | |||
| "Prisoner of Love" | |||
| 1991 | "You Belong in Rock 'n' Roll" | ||
| "Baby Universal" | |||
| "One Shot" |
Music video productions
| Title | Album information |
|---|---|
| Tin Machine |
|
Live concert recordings
| Title | Album information |
|---|---|
| Oy Vey, Baby – Tin Machine Live at The Docks |
|
Tour history
- Tin Machine Tour (1989)
- It's My Life Tour (1991–1992)
Related topics
Bibliography