David Bowie - Jump They Say...
Marcus Lindroos INF
probably his worst since 1968 at least. Bowie's dull expression on the
cover photo and the title ("Jump They Say") offer some hints as to the song
itself. The sound remains unchanged from "Real Cool World" -the previous
single. And a lacklustre tune it is. Popular wisdom(sp) has it that a hit
single must capture your imagination in fifteen seconds. Well, by the time
David starts musing "When does the shaking man come?" [I think it was, haven't
had the time to memorize the lyrics yet] you'll reach for the EJECT button.
---
Nile Rogers is producing again, but what can you do when the songs are awful?
Nile can't turn chicken bleep into chicken salad by himself. What we get is a
synthesizer-heavy, funky sound that owes a lot to that Bowie-of-the-80s
innovator, Prince, and songs like "The Future" from the Batman soundtrack. In
fact, the other three
remixes on the CD single sound even funkier - there's even a lot of sexy grunts
and groans on track 2 ("JAE-E Mix"). But the difference between this and
"Alphabet St." is the same as that between urine and cognac. Or "Rock'n Roll
Suicide" and "Jump They Say" - a few lines from Ziggy's farewell concert in
1973 ("Bye bye, we love you") can be heard at the end of one of the remixes.
You have to be awfully drunk to dance to this tune at a disco. Sniff...
MARCU$
--------------------------------------------------------------------------
. . . Fififinlandssvensk
Marcus Lindroos Internet: mlin...@abo.fi
Computer Science
Abo Akademi University
Finland
Man in Polyester Suit
: Dear, dear... David's new single from his first solo album in six years is
: probably his worst since 1968 at least. Bowie's dull expression on the
: cover photo and the title ("Jump They Say") offer some hints as to the song
: itself. The sound remains unchanged from "Real Cool World" -the previous
: single. And a lacklustre tune it is. Popular wisdom(sp) has it that a hit
: single must capture your imagination in fifteen seconds. Well, by the time
: David starts musing "When does the shaking man come?" [I think it was, haven't
: had the time to memorize the lyrics yet] you'll reach for the EJECT button.
: ---
: Nile Rogers is producing again, but what can you do when the songs are awful?
: Nile can't turn chicken bleep into chicken salad by himself. What we get is a
etc.
etc.
etc.
Well, I disagree.
He hasn't looked this good in quite a while, and it's one step towards
atonement for Tin Machine (although _forgiveness_ remains away aways).
-Shaun
--
----- "Baby's on fire, better throw her in the water
\ = /--- Look at her laughing, like a heifer to the slaughter
\ / ? / Baby's on fire, and all the laughing boys are bitching
\ / Waiting for photos, oh the plot is so bewitching" - Eno
oed...@cruzio.santa-cruz.ca.us
Smooth Bowie (with Nile Rodgers), rough Bowie (Tin Machine), avant Bowie (Low)
different strokes for different folks.
Criticism is bullshit.
I like it, I don't like it, O.K.
My whims and whimsies are reference standard for truth and beauty, not O.K.
(Incidentally, I don't like the Bowie/Rodgers collaborations from the past)
--
Rev.Dr.Oedipus P. Wienushausen # The only constant is change;
oed...@cruzio.santa-cruz.ca.us # enjoy the illusory dance.
# Love is the nature of universe.
Poised on the brink: Utopia/Oblivion # >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>!
Happy the Man
order. I don't listen to the radio.
I have heard Real Cool World. I grew to like it. Could someone please
let me know what songs are on this new single? i.e. bonus tracks, remixes.
If you would let me know thru email, it would cut down on the already huge
number of daily posts here. I will summarize for this group.
Many thanks to anyone who can help me out.
I really appreciate it.
Happy
--
Peter T. Norman | When he to whom one speaks does not
pno...@morgan.ucs.mun.ca | understand, and he who speaks himself
pno...@kean.ucs.mun.ca | does not understand, this is
Memorial Univ. of Nfld. Canada | metaphysics. --Voltaire
P.M. Pleass
been able to chase it up).. but.... Tin Machine brought out a lot of
the vocal qualities that i admire about Mr Bowie. Especially "Goodbye
Mr Ed" and "U Belong In Rock-n-Roll" are not bad at all....
I just dunno why old time bowie fans bitch about it. Granted they arnt
up to the standard of his "station to station" album or "lodger" but
its better than nothing.. (which is what we get as far as bowie goes
lately).
Yeah yeah.. so the ultra desprate attempt to make "real cool world"
acceptable for sale was a flop but listen to the vocal content of the
lead and u can hear some of the classic tones that have made bowie a
legend.
So.. here we are.. a new album... about time... when i get a hold of it
i will post a comment.... but for fuck sake... it better be good...
(pray)
The davester has to come out with some ultra shit b4 i wont pay to hear
him.
pat
Hey bowie fans!! how about some more stuff on the man himnself on this
newsgroup? or better still... alt.fan.bowie... i dunno how to make a
new newsgroup... so if anyone can assist.. mail me :>
Marcus Lindroos INF
> I have not heard the single yet. My record shop has the CD single on
> order. I don't listen to the radio.
>
> I have heard Real Cool World. I grew to like it. Could someone please
> let me know what songs are on this new single? i.e. bonus tracks, remixes.
There are six tracks on the CD single. Four different mixes of "Jump They Say",
the album version plus a remix of "Pallas Athena." Like "Real Cool World", JTS
is a well-produced disco song - keeping the format (lots of synthesizers and a
couple of horns in the background) from the soundtrack album. It just doesn't
possess the magic of a "Let's Dance" or "China Girl." I think Bowie has hit
all the right buttons this time, except he forgot to bring some decent
songwriter with him to the studio. Seems like he is suffering from a writers
block these days, it's been ages since he wrote a decent song ("Absolute
Beginners" - and "Never Let Me Down" although Carlos Alomar composed the song).
---
"Pallas Athena" is almost 100% instrumental. There's a voice repeating
"God...was on top of that! I saw!" over and over. Other than that, it reminds
me a bit of one the edited versions of Prince's "Cream." If all else fails,
let's hope Bowie has included a new version of "Magic Dance" from the Labyrinth
soundtrack released in 1986. If the silly shrieks and groans from the trolls
and goblins that appeared in the movie were removed from that song, it might
have real hit potential as a single.
> If you would let me know thru email, it would cut down on the already huge
> number of daily posts here. I will summarize for this group.
>
> Many thanks to anyone who can help me out.
> I really appreciate it.
Does anyone know when Arista plan to release the new album? I suppose this
will be called "Jump They Say" as well.
> Happy
>
>
>
> --
> Peter T. Norman | When he to whom one speaks does not
> pno...@morgan.ucs.mun.ca | understand, and he who speaks himself
> pno...@kean.ucs.mun.ca | does not understand, this is
> Memorial Univ. of Nfld. Canada | metaphysics. --Voltaire
MARCU$
Joseph Geigel
>
>Does anyone know when Arista plan to release the new album? I suppose this
>will be called "Jump They Say" as well.
>
Wow! Bowie's on Arisia now? When did he switch from EMI?
In other Bowie news, I just saw a Phillip Glass version of the Bowie
album "Low" advertised. Anyone know anything about this?
--
-- jogle
gei...@seas.gwu.edu
Michael S Ritchie
igel) writes:
>
> In other Bowie news, I just saw a Phillip Glass version of the Bowie
> album "Low" advertised. Anyone know anything about this?
It's called (I think) the Low Symphony, based on "themes" from
Low, though I think Bowie is listed as co-composer so exactly
how much Bowie and how much Glass are in the mix is anyone's guess!
--
Michael Ritchie mrit...@magnus.acs.ohio-state.edu
"Bring out the charge of the light brigade
There is SPRING in the air once again"
--Freddie Mercury
Happy the Man
The Low Symphony is a set of music inspired by Bowie's album LOW, from
1977. Bowie did not work on the project, as far as I know. He went to
see it performed and thought it was wonderful, according to Rolling Stone
Mag. Phillip Glass wrote the music - i dunno who performs it. sorry.
Anyone out there heard it?
Marcus Lindroos INF
> In article <1993Mar24.1...@abo.fi> MLIN...@FINABO.ABO.FI (Marcus Lindroos INF) writes:
> >
> >Does anyone know when Arista plan to release the new album? I suppose this
> >will be called "Jump They Say" as well.
> >
>
> Wow! Bowie's on Arisia now? When did he switch from EMI?
His contract with EMI called for five albums (Let's Dance, Tonight, Labyrinth,
Never Let Me Down, Tin Machine) and was not renewed because he insisted on
continuing with his Tin pals despite lack of success in the charts. Since then,
he's been a freelance rock musician, I think.
---
Here's a good Tin Machine joke from NEW MUSICAL EXPRESS - the TM drink!
-A magnum of Dom Perignon'52
-Some cold tea
-Half a can of warm Diet Tango with fag-ends in it
-A mug of Batchelor's Minestrone Cup-A-Soup
DIRECTIONS: Mix well. Then try to drink the champagne without tasting the three
other rubbish things:-)
[What's Diet Tango BTW?]
...to be fair, messrs. Gabrels, Sales & Sales have saved TM from complete
disaster. Their best songs have been collaborations.
> In other Bowie news, I just saw a Phillip Glass version of the Bowie
> album "Low" advertised. Anyone know anything about this?
Low's a good album. I can listen to it, "Heroes" and Station To Station for
ages. Scary Monsters and Diamond Dogs felt great for two years, now I never
play them anymore. The early 1970s albums also have their moments but sound a
bit dated IMO. Never liked Young Americans or Lodger. Tonight(!) actually is
one of my favorites - "Blue Jean" was a great single/video/concept/idea and
it's kind of sad that Bowie wasted his last great album by including too many
lame covers. If he only had recorded it in 1985 instead - with "Absolute Beginners",
"Dancing In The Street" and "This Is Not America" as followup singles to "Blue
Jean." Never Let Me Down is not as bad as I felt it was in '87 but suffers from
a lack of outstanding songs - only the 12" version of the title track had hit
potential although "Day-In Day-Out" also is catchy.
> --
>
> -- jogle
> gei...@seas.gwu.edu
>
MARCU$
Man in Polyester Suit
: In article <1993Mar24.1...@seas.gwu.edu> gei...@seas.gwu.edu (Joseph Ge
: igel) writes:
: >
: > In other Bowie news, I just saw a Phillip Glass version of the Bowie
: > album "Low" advertised. Anyone know anything about this?
: It's called (I think) the Low Symphony, based on "themes" from
: Low, though I think Bowie is listed as co-composer so exactly
: how much Bowie and how much Glass are in the mix is anyone's guess!
I saw it in a local import shop. It has a nicely designed cover (albeit with
surprisingly up-to-date photos of Eno and Bowie on the cover, considering
I thought they actually had nothing to do with it - true?). I has three
tracks, Art Decade (not sure on this one), Warszawa (11 minutes!!) and a
third track that I don't recognize the name of (and I thought I had just
about _everything_ Bowie did at this time...and Eno for that matter). If
I'm not just useless at remembering titles (true, anyway), does anyone
know anything about this track (the second BTW)? I want to hear it / hear
about it, but I'm just not willing to spend $36 for around 30 minutes of
music, even if it IS based on the Bowie-Eno collaborations.
Any more info anyone?
(BTW I saw an article on Eno in a recent issue of SPIN, and in it he said
that Bowie had sent him tapes of the forthcoming album, and based on these
he was of the opinion that it was the most interesting stuff Bowie had done
in the last decade, and that based on this, it might become inevitable that
they work together again - I was impressed... a bit)
Richard Caley
pp> I just dunno why old time bowie fans bitch about [Tin Machine].
pp> Granted they arnt up to the standard of his "station to station"
pp> album or "lodger" but its better than nothing.. (which is what we
pp> get as far as bowie goes lately).
Seconded. No idea why so many people are down on Tin machine, I'd
given up Bowie as a case of terminal senile dementure until TM
apeared.
--
r...@cogsci.ed.ac.uk _O_
|<
Heather Cross
sh...@iris.mincom.oz.au (Man in Polyester Suit) writes:
>I saw it in a local import shop. It has a nicely designed cover (albeit with
>surprisingly up-to-date photos of Eno and Bowie on the cover, considering
>I thought they actually had nothing to do with it - true?). I has three
>tracks, Art Decade (not sure on this one), Warszawa (11 minutes!!) and a
>third track that I don't recognize the name of (and I thought I had just
>about _everything_ Bowie did at this time...and Eno for that matter). If
>I'm not just useless at remembering titles (true, anyway), does anyone
>know anything about this track (the second BTW)? I want to hear it / hear
>about it, but I'm just not willing to spend $36 for around 30 minutes of
>music, even if it IS based on the Bowie-Eno collaborations.
>Any more info anyone?
>-Shaun
There are three tracks on "Low" Symphony. The first is "Subterraneans",
the second is "Some Are" (which was a Bowie outake from either "Heroes" or Low
sessions--it's available on one of those 2 Rykodisc re-releases), and the third
cut is "Warszawa". All in all, I think the reworking is wonderful. It _is_
done by the Brooklyn Philharmonic Orchestra, so it is more in a classical mode,
not electronic at all. If you like the Low album, give this a listen to-Glass
says in the liner notes: "My approach was to treat the themes very much as if
they were my own...In practice however, Bowie and Eno's music certainly in-
fluenced how I worked, leading me to sometimes surprising musical conclusions.
In the end I think I arrived at something of a real collaboration between
my music and theirs."
Heather
***********************************************************************
| Heather Cross / "Here I stand, foot in hand, /
|Kent State University / talking to my wall/ I'm not /
| BITNET: hcross@kentvm / quite right at all....am I? /
| INTERNET: hcr...@kentvm.kent.edu / -David Bowie /
***********************************************************************
Gregory Taylor
>Seconded. No idea why so many people are down on Tin machine, I'd
>given up Bowie as a case of terminal senile dementure until TM
>apeared.
Yikes. Two posts commenting favorably on popular music in a row. Bad
sign. I've said here several times before how I liked Reeves Gabrels'
work in the Machine in terms of being able to sculpt and mold great
walls of howling feedback. He sounds much better on the live "Oy Vey,
Baby" disc than in the studio, but hey. Great guitarist, and I think he
*did* push Bowie to the wall in some interesting ways.
--
It is not a film./You cannot stay outside it/feeling the actual breeze and
scent/or play it backwards to the place where everyone/agreed upon a dest-
ination,a politics in which no one is exploited and the material/for weight-
less summer clothes appears from nowhere./Gregory Alan Taylor/608-828-3385
Man in Polyester Suit
Well, if anybody cares, I find the Tin Machine stuff just plain boring because
it's nothing that hasn't been done many times before. One of the reasons I
first got into Bowie was that he'd for so long been doing things _first_ (or
at least very early -let's not get into a Malcolm McLaren discussion here).
So when he went into his version of grunge, it was all just so ho-hum. That's
why I bitch about it - it simply wasn't interesting. Don't get me wrong,
though. I thought his descent into mediocrity had begun much early; TM was
merely another phase of it. I felt that he started to go during Let's
Dance, and really lost the plot by the time he Never Let Me Down (which he
did). So having heard and enjoyed his return to that manic edge (and turning
your guitars up loud and shouting does not "having and edge" make) with Jump
(though who knows what else lurks on the new album) and the excellent video
(at last! someone who remembers that the medium is capable of something other
than standing in front of a crowd miming, or angsting over your axe on a lonely
helicopter-blown mountain-top) my interest has at last been re-piqued. It
starts to sound as if he's deciding what to do again, rather than wandering
lost in a musical desert (if this is what marrying Iman does to you, why the
hell didn't he do it years ago? ;^)
Ken Warkentyne
> One of the reasons I
> first got into Bowie was that he'd for so long been doing things _first_ (or
> at least very early -let's not get into a Malcolm McLaren discussion here).
> So when he went into his version of grunge, it was all just so ho-hum. That's
> why I bitch about it - it simply wasn't interesting.
To inject a slightly more critical opinion, I think that Bowie had
very good instincts at adopting marginal styles created by others and,
with a modicum of talent, making them his own. This up until Scary Monsters,
after which he lost his touch. Consider "Heroes", which I am sure that
many would place as one of his best efforts. It certainly was a landmark
album, outside the mainstream, definitely Classic Alt Rock(tm). And yet this
work seems pretty clearly to be the result of Bowie picking up on Eno, Connie Plank,
and German Space Rock types such as Cluster. ("Heroes" fans might
want to listen to the two collaborative works that Eno did with Cluster.)
I would say that Bowie, in spite of his obvious talent, never really had his
own muse, and now that he is old and fat, musically speaking, he's incapable
of moving backwards or forwards, just jiggling about in some aspic solution.
--
Ken Warkentyne - war...@ltisun.epfl.ch
Laboratoire de Teleinformatique, EPFL, Suisse.
8913...@levels.unisa.edu.au
> Dear, dear... David's new single from his first solo album in six years is
> probably his worst since 1968 at least. Bowie's dull expression on the
> cover photo and the title ("Jump They Say") offer some hints as to the song
> itself. The sound remains unchanged from "Real Cool World" -the previous
> single. And a lacklustre tune it is. Popular wisdom(sp) has it that a hit
> single must capture your imagination in fifteen seconds. Well, by the time
> David starts musing "When does the shaking man come?" [I think it was, haven't
> had the time to memorize the lyrics yet] you'll reach for the EJECT button.
> ---
[OTHER MOANINGS REMOVED]
Yawn... yet onother old time Bowiefile hopelessly lost in nostalgia. It must
be expensive buying all the latest Bowie and being unable to appreciate it ?
Anyway, to all the real Bowie fans out there, this is definitely one to get.
Theres some great playing on this stuff, trumpet from Al.B.Sure, some strange
and dreamy sax (presumably Bowie) and a very funky line of rhythm. Bowies
vocals are as usual, deliberately and finely wrought. This songs builds
upon itself to a very nice peak. The production is very slick, as we would
expect from Nile Rogers, with lots of interesting effects. The lead and backing
vocals have been somehow phased differently, giving a odd windy effect.
It fits in well with the video, which features Bowie standing in strong
wind atop a building. Actually, this is one of the best Bowie videos I have
seen for a long time.
The CD single is great value, with four remixes of 'Jump they say' by various
people that I havn't heard of before. Each one is actually markedly different,
unlike the different Cool World mixes. Additonally you get the Album version
and a remix of another new song 'Pallas Athena'. Its a multilayered
ryhythmical chant, with some more interesting sax (presumably Bowie again)
on top.
Exellent stuff. Can't wait for the new album. Rush out and get it. Now.
> MARCU$
>
> --------------------------------------------------------------------------
> . . . Fififinlandssvensk
>
> Marcus Lindroos Internet: mlin...@abo.fi
> Computer Science
> Abo Akademi University
> Finland
William Ballantyne.
Man in Polyester Suit
: In article <50...@iris.mincom.oz.au> sh...@iris.mincom.oz.au (Man in Polyester Suit) wrote:
: > One of the reasons I
: > first got into Bowie was that he'd for so long been doing things _first_ (or
: > at least very early -let's not get into a Malcolm McLaren discussion here).
: > So when he went into his version of grunge, it was all just so ho-hum. That's
: > why I bitch about it - it simply wasn't interesting.
: To inject a slightly more critical opinion, I think that Bowie had
: very good instincts at adopting marginal styles created by others and,
: with a modicum of talent, making them his own. This up until Scary Monsters,
: after which he lost his touch. Consider "Heroes", which I am sure that
: many would place as one of his best efforts. It certainly was a landmark
: album, outside the mainstream, definitely Classic Alt Rock(tm). And yet this
Well, that was actually exactly what I meant by the "Malcolm McLaren" remark.
Bowie has never been _original_ per se, but had excellent succes in _adopting_
originality from other sources (more "original" than the original, as it were).
Much like Malcolm, except Bowie usually managed to twist enough in another
direction that the sources could become obscured. Mr McLaren however revelled
in revealing his (plundered) resources (a truly post-modern artist :^).
: work seems pretty clearly to be the result of Bowie picking up on Eno, Connie Plank,
: and German Space Rock types such as Cluster. ("Heroes" fans might
: want to listen to the two collaborative works that Eno did with Cluster.)
Seconded - definitely worth tracking down.
: I would say that Bowie, in spite of his obvious talent, never really had his
: own muse, and now that he is old and fat, musically speaking, he's incapable
: of moving backwards or forwards, just jiggling about in some aspic solution.
Well, that's where I felt "Jump They Say" came into the picture - for the
first time in over a decade he's actually managed to plow a path through the
jello.
*a-hem*
Richard Caley
mips> Well, if anybody cares, I find the Tin Machine stuff just plain
mips> boring because it's nothing that hasn't been done many times
mips> before.
Ah, but it's done so well, which is more than can be said for anything
else he's done since Scarey Monsters. I don't demand new and exciting
from every album from every artist, but a bit of basic compitence
seems a quite reasonable criterion.
At base, Tin Machine is compitent but a tad predictable. Tonight is
unadulterated crap.
--
r...@cogsci.ed.ac.uk _O_
|<
Marcus Lindroos INF
Hm, am I the only person in the world that thinks Tonight was a GOOD album?!
I liked it despite the lack of new material...and the Blue Jean video was one
of the better videos of that era.
---
I don't really care how "innovative" a particular artist is (although
Bowie certainly gets a lot of extra points for the versatility he showed in the
1970s) - the only thing that matters is that the songs are good. That's why
Let's Dance was a pleasant album - there were three of his greatest hits on it
and another three great songs as well. Too bad he didn't stop for awhile to
ponder his future as a rock icon before continuing as only half of the hits
on that album (the title track and Modern Love) were new compositions.
The Bowie Career That Never Was:
1984: Re-release of "1984" soundtrack (Bowie was offered to star in the movie
and could have re-recorded parts of Diamond Dogs for the movie album that
eventually was written by Eurythmics instead. An excellent opportunity to
"tread water" while cashing in on Let's Dance by improving on
Diamond Dogs.)
1984:(Fall) An album of covers recorded during the "Tonight" sessions.
Why did he waste the few good new songs he had written (Blue Jean, Loving
the Alien) by including five covers out of a possible nine? The critics
condemned the album and the fans ignored it. Much better to go all the
way and remake "Pinups" by doing another cover album with God Only Knows,
I Keep Forgetting and similar oldies. It would still have been awful,
but at least he could have saved the good new material for a new album.
1986: Tonight is eventually released, with Dancing in the Street and Absolute
Beginners replacing some of the weaker stuff that appeared on the "real"
album. Three TopTen hits, another mega-million seller and a world tour
with the band he assembled for the 1985 "Live Aid" concert - possibly
built around the Screamin'Lord Byron/Vic stage persona.
1986: The soundtrack from "Labyrinth" (bleech).
1988: Never Let Me Down (bleech again. At this time, he had lost it for good.
But he could at least have released the title track as the first
single instead of Day-In Day-Out. Everybody seems to regard Carlos
Alomar's song as the best from that album. Making a movie of it might
have worked better than the confusing "Glass Spiders" stage version.
Seems like he was dealing with the flip side of American society
a lot, the Day-In Day-out video wasn't too bad and there WAS an unifying
theme on that record.)
1993: Black Tie - White Noise: God knows what we will get this time?! Will
be released next Monday.
In the end, pop music stagnated in the 1980s even without Bowie. I recently
listened to Prince's back catalogue - great stuff but for being "the Bowie of
his generation" he sounds a tad ordinary to me.
MARCU$
> --
> r...@cogsci.ed.ac.uk _O_
> |<
Terry Bermes
available on CD? I can't remember the last time that I heard one
of them.
terry
8913...@levels.unisa.edu.au
> <enu242k....@nella01.cc.monash.edu.au>
> Sender: r...@cogsci.ed.ac.uk
> Organization: Human Communication Research Center
> Lines: 14
> In-reply-to: enu...@nella01.cc.monash.edu.au's message of 24 Mar 93 05:42:03 GMT
Here here. Always struck me as strange that people listen to Bowie for his
constant experimentation - then suddenly draw then line at Tin Machine. Why ?
In the field of inventive, progressive guitar rock (etc...) Tin Machine are
right up there.
I read in an interview that following the release of Black Tie | White Noise
(Bowies new album) that Tin Machine will do another album this year.
William Ballantyne
8913...@lv.levels.unisa.edu.au - remember, I'm a name not a number !
8913...@levels.unisa.edu.au
> Richard Caley (r...@cogsci.ed.ac.uk) wrote:
> : In article <enu242k....@nella01.cc.monash.edu.au>, P.M. Pleass (pp) writes:
>
> : pp> I just dunno why old time bowie fans bitch about [Tin Machine].
> : pp> Granted they arnt up to the standard of his "station to station"
> : pp> album or "lodger" but its better than nothing.. (which is what we
> : pp> get as far as bowie goes lately).
>
> : Seconded. No idea why so many people are down on Tin machine, I'd
> : given up Bowie as a case of terminal senile dementure until TM
> : apeared.
>
> Well, if anybody cares, I find the Tin Machine stuff just plain boring because
> it's nothing that hasn't been done many times before. One of the reasons I
> first got into Bowie was that he'd for so long been doing things _first_ (or
> at least very early -let's not get into a Malcolm McLaren discussion here).
> So when he went into his version of grunge, it was all just so ho-hum. That's
Defining Tin Machine as 'grunge' is BS. SOME TM tracks are grunge like
(e.g. 'Tin Machine' from TM1, which features a big wall of guitar) but when
they are, they are still subtle works, unlike most grunge. Most of TM
is definitely not grungy. If you listen to TM2 (have you ?) you'd be
hard pressed to find any grunge in there at all !
> why I bitch about it - it simply wasn't interesting. Don't get me wrong,
> though. I thought his descent into mediocrity had begun much early; TM was
> merely another phase of it. I felt that he started to go during Let's
> Dance, and really lost the plot by the time he Never Let Me Down (which he
> did). So having heard and enjoyed his return to that manic edge (and turning
> your guitars up loud and shouting does not "having and edge" make) with Jump
Once again, TM is *not* about turning up the guitars and shouting !
Listen to it !!
> (though who knows what else lurks on the new album) and the excellent video
> (at last! someone who remembers that the medium is capable of something other
> than standing in front of a crowd miming, or angsting over your axe on a lonely
> helicopter-blown mountain-top) my interest has at last been re-piqued. It
> starts to sound as if he's deciding what to do again, rather than wandering
> lost in a musical desert (if this is what marrying Iman does to you, why the
> hell didn't he do it years ago? ;^)
As I write this, I am listening to Black Tie White Noise (the new album).
You'll be happy to here that horns and saxes are very prominent (back grunge,
BACK !!) although Mick Ronson(SFM etc) and Reeves Gabrels(TM) are listed here.
Also we have Mike Garson (Aladdin Sane) Lester Bowie, Al.B.Sure, Nile Rogers
and many others. Curiously, Peter Gabriel took the photographs inside the
CD cover.
>
> -Shaun
> --
> ----- "Baby's on fire, better throw her in the water
> \ = /--- Look at her laughing, like a heifer to the slaughter
> \ / ? / Baby's on fire, and all the laughing boys are bitching
> \ / Waiting for photos, oh the plot is so bewitching" - Eno
William Ballantyne
Software Engineering Environments Group
University of South Australia.