Under The God

Tin Machine, 1989

s ometimes, being a globally acclaimed, fabulously wealthy international superstar simply isn’t enough. The urge to be perceived as just another member of a critically derided, suitwearing metal combo with limited commercial appeal becomes overwhelming. Midlife crisis? Whatever, the media invariably lauded Bowie for his uncompromising penchant for constant change – until he changed into something of which they didn’t approve.

Eighties metal was music-press poison. Consequently, Tin Machine’s first single, an allguitars-blazing, if relatively conventional, fullfrontal assault on the global forces of neo-fascism (take that, Thin White Duke!) fell foul of dismissive reviews and a largely oblivious mainstream.