#61: Tin Machine/Maggie's Farm (Live) (as part of Tin Machine)

 

 

Year of release: 1989

UK Peak: #48

Chart Run: {61-48-77} (09/09/1989 - 23/09/1989)

 

Scores: 7 (Severin), 6 (Joe.), 5 (Colm), 4 (Taylor Jago), 3 (Dandy)

Average: 5

Final score: 50

 

After the Never let me Down album Bowie had come to realise that he’d s pent the best part of the last decade treading water and he needed to find some way to reinvigorate himself artistically and musically. The solution was Tin Machine.

At times in the past Bowie had relied heavily on ideas and contributions from his band, but he had always been the leader. Now he was an equal member with his band mates and all decisions were arrived at democratically. Tin Machine’s songs were not Bowie songs and it was not a Bowie album.

Musically Tin Machine were a straightforward Rock act and it has been said that they were ahead of their time. Stylistically they had more in common with the nascent Grunge scene, 80’s Alt. Rock bands like Pixies (of whom Bowie was a fan), and US Hardcore bands like Minor Threat or Husker Du than they did the hair metal that was prevalent at the time.

Lyrically Tin Machine focused on Bowie social and political concerns. The song Tin Machine was the third single from the debut album (Under The God was the first) and the band took their name from the song rather than writing it as a theme song or manifesto.

The UK public and press were dumbfounded by this move on Bowie’s part. Reviews were scathing and sales were poor. Many commentators have since re-evaluated their stance on the band and whilst most won’t go as far as to call them groundbreaking or ahead of the game, many have suggested that Bowie was looking forwards for the first time in years and that the albums aren’t as terrible as reviews suggested.

 

I can't say I particularly like this song. But since I haven't got much to say about it and that this and the next song (also a Tin Machine track) have the same final score, I should use this to explain the tiebreaking system. As the next song received a 9, while the best score for this was a 7, the next song wins by having the highest highest score.

#60: You Belong in Rock 'n' Roll (as part of Tin Machine)

 

 

Year of release: 1991

UK Peak: #33

Chart Run: {39-33-52}

 

Scores: 9 (Acidburn), 8 (Severin), 6 (Taylor Jago), 5 (popchartfreak), 4 (Joe., Colm), -1 (Dandy)

Average: 5

Final score: 50

 

Tin Machine biggest hit single was released ahead of the band’s second album. It granted them a Top Of The Pops performance that featured a memorable appearance from a bread roll.

The bands sound was a little less raw for this album and the song was heavily inspired by the contrasting influences of Marc Bolan and Nine Inch Nails. Guitarist Reeves Gabrels wanted to add some Industrial textures and began by using an electric razor to vibrate the strings, but found he wanted something with variable speeds. He settles on using a sex toy.

The band still hadn’t captured the public imagination and Bowie’s recent greatest hits tour had re-ignited interest in his solo career. Despite protestations that all was well, tensions were building in the group.

 

Having received a better highest score than Tin Machine/Maggie's Farm (Live), You Belong In Rock 'n' Roll scrapes a top 60, but is in the bottom 10. Personally I don't find this particularly good, although I prefer it to Tin Machine/Maggie's Farm. Only one song having received a -1 is left now, but it isn't appearing anytime soon.

Not surprised to see Tin Machine faring badly. I don't mind much of it but it wasn't well received then and although the hatred has calmed down, for many, there's little love for the group.

#59: Under Pressure (Rah Mix)

 

 

Year of release: 1999

UK Peak: #14

Chart Run: {14-32-36-46-55-59-69-x²-98-86} (18/12/1999 - 26/02/2000)

 

Scores: 10 (Fgiboy2511), 8 (popchartfreak), 7 (Acidburn), 6.5 (Taylor Jago), 5 (AH Gold, Colm), 4 (Joe.), 0 (Severin, Dandy)

Average; 5.05

Final score: 50.55

 

A remix of the former UK #1 single that was released to promote Queen’s forthcoming Greatest Hits III compilation. The release had no input from Bowie beyond the original recording.

The video featured footage of Queen from their 1986 Wembley show and Bowie from the Freddie Mercury Tribute concert splced together so they appeared to be duetting live.

 

I'm in two minds about this. It's not bad, but it's utterly useless and the original is far superior.

#58: Baby Universal (as part of Tin Machine)

 

 

Year of release: 1991

UK Peak: #48

Chart Run: {48-49-71} (02/11/1991 - 16/11/1991)

 

Scores: 8 (Severin), 7 (Joe.), 6 (Acidburn, Taylor Jago), 4 (Colm), 0 (Dandy)

Average: 5.17

Final score: 51.67

 

Baby Universal was one of the earliest songs written by Bowie and Reeves Gabrels after Tin Machine was formed, but the song was put aside because it didn’t feel right on the first album. It was selected for the second album partly because Bowie had been too busy with his greatest hits tour to find time to write new material. Consequently the Tin Machine II album feature far less contribution from him than the first.

The song was re-tooled for the album and has a lyric recalling past obsessions of messianic figures from space.

The band embarked on a tour the same month the single was released and there were plans to work on a third album in 1993 but the band broke up. Personal reasons were cited but speculation was rife that Bowie’s desire to return to solo recording and Hunt Sales’ increasing drug problems were the cause.

 

And so we have Tin Machine for the final time here with Baby Universal. And like their two other appearances here, it isn't up to the normal Bowie standard. Is Under The God any better?

Is Under The God any better?

It's Tin Machine, and it sounds like them, but it's one of their best songs.

#57: Black Tie White Noise (featuring Al B. Sure)

(from Black Tie White Noise)

 

 

Year of release: 1993

UK Peak: #36

Chart Run: {36-54} (12/06/1993 - 19/06/1993)

 

Scores: 7 (popchartfreak, Severin), 6.5 (Taylor Jago), 5 (Acidburn, Joe., Fgiboy2511, Colm), 4 (richie, Dandy)

Average: 5.39

Final score: 53.89

 

In April 1992 David Bowie married supermodel Iman Abdumajid. In the second week of their honeymoon period they flew to Los Angeles for some apartment shopping. A planned celebratory dinner was cancelled, with the couple confined to their hotel, watching through the windows as Los Angeles erupted into riots following the acquittal of four LAPD officers who had been caught on camera severely beating Rodney King.

Black Tie White Noise was Bowie’s reaction not only to the riots but also his attack on ‘universal harmony’ songs like We Are The World or Ebony & Ivory; accusing them of being nothing more than cheap slogans to alleviate the guilt of ‘white liberals,’ rather than any indication of change in the world. Bowie would say ‘There’s going to be an awful lot of antagonism before there’s any real move forward.’

Guest vocalist Al B Sure! Was an odd choice as he was a minor presence on the R&B/Hip Hop scene whose career had effectively stalled already. Al would not release another record for 16 years.

 

With a difference of only 3 between its highest and lowest score (a feat matched by our winner's 11-8 and only beaten by a 10-8 for the song in seventh place), Black Tie White Noise is definitely a song most people agree on.

#56: Miracle Goodnight

(from Black Tie White Noise)

 

 

Year of release: 1993

UK Peak: #40

Chart Run: {40-54}

 

Scores: 8 (popchartfreak), 7 (Severin), 6 (Joe., Taylor Jago), 5 (Dandy, Colm), 3 (Acidburn)

Average: 5.71

Final score: 57.14

 

Miracle Goodnight, like much of its parent album, is about Bowie’s new wife Iman. The song is as conventional a love song as he ever wrote. Bowie would even declare declare the whole album a ‘wedding present.’

The album is typically viewed as a return to form that set him up for a decade of work that, whilst not quite at the level of his 70’s output, would put the inconsistency of the 80’s behind him.

Nile Rodgers has said that Bowie was much more relaxed and happier than he was during the recording of their last album together – Let’s Dance. Bowie also reconnected with Mick Ronson, his guitarist from the early 70’s, who provided guitar for the Morrissey cover – I Know It’s Gonna Happen Some Day. He would soon commence working with Brian Eno again too.

Critical response to the album was positive, with most calling it his best album since Scary Monsters.

 

This is arguably the most uninteresting song Bowie has done after John, I'm Only Dancing (Again) It's not bad, but it's a bit bland. Anyway, with this out only one song from Black Tie White Noise remains.

#55: Peace On Earth/Little Drummer Boy (with Bing Crosby)

 

 

Year of release: 1982

UK Peak: #3

Chart Run: {73-39-22-10-3-3-9-46-93-91} (27/11/1982 - 29/01/1983)

 

Scores: 10 (richie, Colm), 9 (Taylor Jago), 8 (Acidburn), 7 (popchartfreak), 5 (AH Gold), 3 (Severin, Joe.), 2 (Fgiboy2511), 1 (Dandy)

Average: 5.8

Final score: 58

 

In 1977 David Bowie, somewhat surprisingly, appeared on legendary crooner Bing Crosby’s festive Christmas special. Bowie has stated that the appearance was as much to ‘normalise’ his career as it was because ‘my mother liked him’. Bowie is said to have requested to sing a different song as he hated Little Drummer Boy and so the Peace On Earth counterpoint was added.

The recording took place in September ’77 and Bing Crosby shortly after, said of Bowie, ‘clean-cut kid and a real fine asset to the show. He sings well, has a great voice and reads lines well’. This comment suggests Crosby’s line about not knowing who Bowie was may ring true. However, others have commented that Crosby may at least have been aware of him. The song was recorded after less than an hour of rehearsal.

Sadly, Bing Crosby died less than five weeks after the recording and before the show had been aired. Because of this some even contended that the duet was created through visual effects.

Crosby’s death at the time contributed to was briefly known as the ‘curse of Bowie’, when a connection was made with the death of Marc Bolan, who Bowie had recently duetted with in the last ever episode of Bolan’s TV show, also in September 1977.

The single’s release was the last on RCA with whom Bowie had now effectively split. His next release was through EMI. The song has gone on to become something of a Christmas favourite and regularly appears on festive playlists.

 

I'm assuming this didn't do well because it isn't the festive period. I hope so anyway, as it's a really good song and should be higher.

#54: Diamond Dogs

(from Diamond Dogs)

 

 

Year of release: 1974

UK Peak: #21

Chart Run: {37-28-28-21-25-30} (22/06/1974 - 27/07/1974)

 

Scores: 8 (Severin, Acidburn) 7 (richie, Taylor Jago), 6 (Joe.), 5.5 (Dandy), 4 (Colm), 3 (popchartfreak)

Average: 6.0625

Final score: 60.625

 

With Ziggy Stardust finally ‘killed off’ for good, Diamond Dogs introduced the world to Bowie latest character, Halloween Jack. A post apocalyptic street criminal and gang member. Bowie would later draw a direct comparison with the UK Punk scene, describing Jack as being like a young Sid Vicious or Johnny Rotten but in a dystopian future world. Too bleak and downbeat, the character didn’t last long enough to see Punk Rock but Sid Vicious was a huge Bowie fan at the time.

The single itself, much like Rebel Rebel owed a debt to the Rolling Stones and The Stooges school of Blues and Garage Rock. It failed to reach the heights of previous new material but Bowie had already moved on. Less than 2 months later he would record Young Americans and mark a drastic shift in style.

 

I'm surprised this hasn't finished higher to be honest. It definitely goes on for too long though.

I would've expected Diamond Dogs to be higher. It's one of those tracks that I can get bored sometimes of but if in the right mood it's great.

 

Peace On Earth is horrible at any time of the year.

I'm in the reverse, always find Peace On Earth sweet, and Diamond Dogs was the first Bowie single I actively didn't like and didn't chart, the tune is just so meh. I havent really warmed to it since :(

#53: Wild Is The Wind

(from Station To Station)

 

 

Year of release: 1981

UK Peak: #24

Chart Run: {59-28-25-27-24-24-28-29-32-48} (28/11/1981 - 30/01/1982)

 

Scores: 10 (Severin), 9 (Taylor Jago), 7 (richie, Joe.), 6 (popchartfreak, Colm), 5 (dandy), 4 (Acidburn), 1 (AH Gold)

Average: 6.11

Final score: 61.11

 

Originally recorded by Johnny Mathis in 1957, Bowie’s cover originally appeared as an album track on his 1976 album Station To Station is noted by many fans as being, not only his greatest cover version but also his best ever vocal performance. Although Bowie himself was proud of it, he would later cite Absolute Beginners as his best. He would often continue to say that Wild Is The Wind was one of the songs he most enjoyed performing.

The song is regarded the definitive example of the crooning vocal styled associated with the character of the Thin White Duke.

The single was released to promote his 1982 best of collection Changestwobowie on RCA records.

 

This is really good. Bowie doing covers usually doesn't go down too well with me but this is much, much better than Alabama Song or Knock On Wood.

#52: Thursday's Child

(from Hours...)

 

 

Year of release: 1999

UK Peak: #16

Chart Run: {16-36-46-x⁴-87-89}

 

Scores: 9 (Dandy), 7 (Taylor Jago), 6 (popchartfreak, Severin, Joe., Dandy, Colm), 3 (Acidburn)

Average: 6.125

Final score: 61.25

 

Originally written for the video game Omikron: The Nomad Soul; Thursday’s Child was touted as Bowie’s return to the Hunky Dory sound. Largely acoustic, and much more reflective than recent albums the initial impression was that finally Bowie had dropped all pretensions and released his most intimate album.

Along with Black Tie White Noise, and inevitably Blackstar, ‘Hours...’ is easily Bowie’s most personal album. The title for Thursday’s Child was inspired by a book about Eartha Kitt but the song isn’t. Instead the song focuses on a middle-aged man’s reflections on life.

It was during the recording of the ‘Hour...’ album that long time guitarist Reeves Gabrels decided it was time to move on. Gabrels had known Bowie since the late Never Let Me Down era and, as a huge fan of Alternative Rock, had felt it was his job to keep Bowie from becoming too dull or too cheesy. His last ‘victory’ was to talk Bowie out of collaborating with R&B girl group TLC just as they were about to have their thunder stolen by the upcoming Destiny’s Child. The backing vocals on Thursday’s Child were provided by Holly Palmer, who would later join Bowie’s touring group.

 

And so two out of three songs from Hours... are out. To be fair though, this is a really good track. However, it just happens that Bowie wasn't actually born on a Thursday; the 8th of January 1947 was a Wednesday.

Until recently I'd always viewed 'Hours...' as a decent album but having overplayed pretty much every Bowie album solidly through January I've come to place it among his worst. It's not that it's bad but it is quite dull. Rather caught up in the millenial Travis/Starsailor/Coldplay semi acoustic over earnest-ness.

 

On the other hand I have realised why Station To Station tends to rank in Bowie-fan polls in the top 3.

Sadly the single version of Wild Is The Wind cuts out most of the best bits

Edited February 25, 20169 yr by Severin

Ah, that's interesting. I based my vote for WITW on the album version.

#51: White Light/White Heat

 

 

Year of release: 1983

UK Peak: #46

Chart Run: {65-46-56} (05/11/1983 - 19/11/1983)

 

Scores: 9 (Severin), 7.5 (Taylor Jago), 7 (Acidburn, richie), 5 (Colm), 4 (Joe., dandy)

Average: 6.21

Final score: 62.14

 

In 1983 Bowie’s former label RCA took one more shot at cashing in on his back catalogue by releasing the album of the Ziggy Stardust film. Recorded on the last night of the tour in 1973, it was the show were ‘Ziggy’ famously declared they would never play again.

The song itself was originally written and recorded by The Velvet Underground and Bowie had been a long time fan. He’d been performing the song live since 1971, had recorded it twice for BBC Radio sessions and it almost made it onto the Pin Ups album. The song would continue to remain a fixture of his live sets right up until his retirement for touring.

With the song being noticeably different in style to his recent works, the public shied away from buying it. Most of his older fans would have come across the recording on the widely available bootleg: His Master’s Voice – Bowie and The Spiders From Mars’ Last Stand.

 

And just missing the top 50 is Bowie's cover of The Velvet Underground's White Light/White Heat, which stalled outside the top 40.

#50: TVC 15

(from Station To Station)

 

 

Year of release: 1976

UK Peak: #33

Chart Run: {44-37-33-35} (22/05/1976 - 12/06/1976)

 

Scores: 8 (Severin, richie), 7.5 (Joe., Taylor Jago), 7 (Dandy), 5 (popchartfreak, Acidburn, Colm), 4 (AH Gold)

Average: 6.33

Final score: 63.33

 

The 2nd single from Station To Station, like most of the album, was recorded in L.A. where Bowie was now living following his relocation from New York. The song was inspired by a drug fuelled hallucination of Iggy Pop’s in which the television swallowed his girlfriend. Bowie took this inspiration and wrote the song around the idea of a holographic television into which the singer climbs to recover his girlfriend.

The Station to Station album marks a major turning point in Bowie’s career, much more so than is often given credit for, and for several reasons.

Most obviously it acts as the natural bridge between the ‘plastic soul’ of Young Americans and the ‘Berlin trilogy’ of albums that would follow. Bowie was now inspired by Krautrock bands like Neu! and Can.

Perhaps, more significantly, Bowie has also claimed that his cocaine habit was now so large that he cannot remember recording the album. He had overdosed more than once during 1975/6 and was looking pale and emaciated. Bowie later stated that he was ‘out of his mind’ and deranged. It was because of this that he would move to Switzerland in 1976 to ‘clean up’

 

And that's two out of three gone for Station To Station. Anyway, TVC 15 is quite good, but it's not overly impressive and Station To Station should have been released instead (that song was issued as a single in France with a shorter version lasting a mere 3 minutes 40 seconds).

Edited February 25, 20169 yr by Taylor Jago

The problem with the single version of Station to Station is that it's not so much an edit as someone dropping the needle on the record halfway through the song.

 

The album isn't really suited to singles. It works much better as a whole package.

#49: Day-In Day-Out

(from Never Let Me Down)

 

 

Year of release: 1987

UK Peak: #17

Chart Run: {30-19-17-28-42-63} (04/04/1987 - 09/05/1987)

 

Scores: 8.5 (Taylor Jago) 8 (Acidburn), 7 (popchartfreak), 6 (Joe.), 5 (Severin, Dandy, Colm)

Average: 6.35

Final score: 63.57

 

In 1987 Bowie’s new album was promoted as a return to his Rock roots, it was supposed to be what his audience had been waiting for as the true follow up to Let’s Dance. A return to the creative mastery of his 70’s output. Bowie had been writing prolifically, for the first time since 1980 and anticipation was high. Bowie himself began the era talking positively about what he’d made. Less than two years later he would all but disown the album.

Initial reviews were decent if not glowing but things quickly soured as the bulk of them came in. Never Let Me Down was a bona fide stinker. For all of EMI’s bluster, Bowie had written a few decent songs but spent so much time half-heartedly trying to make them sound fresh and vital that he effectively smothered them to death. Bands that would matter over the next 10 years: Pixies, Nirvana, Public Enemy, N.W.A. Stone Roses, Happy Mondays, The KLF, Primal Scream; all of them were beginning to make waves on the scene. Bowie seemed completely out of touch.

Day-In, Day-Out was the opening single and it quickly became clear the UK public didn’t care much for it. The video was pushed heavily (despite some stations banning it) and received a prime spot on Top Of The Pops as well as a video single release. It limped to #17 in the UK.

Day-In, Day-Out is notable however, for highlighting Bowie’s increasingly socio-political lyrics, dealing as it does with homelessness and poverty. Tin Machine would increasingly develop this side of Bowie’s writing.

 

In retrospect, this isn't actually a bad song, but it's definitely more memorable for its video than the song itself. Perhaps surprisingly, this is the first song from Never Let Me Down to be eliminated, meaning all three of its singles escape the bottom 20.