The group recorded two studio albums and a live album before dissolving in 1992, when Bowie returned to his solo career. The group was generally reviled, often receiving scathing critical reviews.
David Bowie’s Never Let Me Down album (already a move into slightly "harder" rock territory) and subsequent "Glass Spider Tour" had been savaged by critics, and the singer was aware of his low stock. Eager to return to making music for himself rather than the mainstream audience he had acquired following the Let's Dance album, Bowie began collaborating with Reeves Gabrels (who pushed the singer to rediscover his experimental side and went on to work closely with Bowie for much of the next decade) and multi-instrumentalist Erdal Kizilcay on new material in 1988. The first fruits of this came with a new version of Bowie’s 1979 song "Look Back in Anger", performed at the "Intruders At The Palace" benefit concert on 1 July 1988. They then began to plan a concept album based on Steven Berkoff's play East as a Bowie solo album, but this idea was scrapped. Bowie and Gabrels began working with producer Tim Palmer on new material. Bowie then recruited brothers Hunt Sales and Tony Sales (the sons of comedian Soupy Sales) as a rhythm section. Bowie had worked with them on Iggy Pop’s Lust for Life album and ran into them at a party in Los Angeles around this time.
The Sales brothers moved the tone of the sessions in Nassau 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 similar to the Pixies.
The group chose the name Tin Machine after one of the songs they had written (Gabrels would later credit the Sales brothers with this choice). The group set up allowed Bowie a certain level of anonymity, much needed after his 1980s overexposure, and he was happy to let the rest of the band (notably Hunt Sales) take the lead in interviews.
The band’s self-titled first album (Tin Machine) produced mixed but generally positive reviews on release in May 1989, picking up favorable comparisons with Bowie’s three more recent solo albums. However, many critics were scornful of Bowie’s latest attempt to reinvent himself as a bearded band-member. Commercially, the album initially sold well, reaching #3 in the UK charts, but sales quickly tailed off. The band undertook a low-key tour in small venues between 14 June and 3 July 1989, before further recording sessions in Sydney, Australia. During these sessions Tin Machine contributed to a surfing compilation album called Beyond the Beach, with a new instrumental song titled "Needles on the Beach.
The group then went on hiatus while Bowie conducted his solo "Sound+Vision Tour." In December 1990, Bowie split from EMI. Both parties stated that the split was amicable, although it is believed EMI refused to release another Tin Machine album in an exasperated attempt to secure another album similar to Let's Dance. In March 1991, the group signed to Victory Music, a new label launched by JVC and distributed worldwide by London Records and Polygram, and recorded more new material. This was combined with tracks from the Sydney sessions to form Tin Machine II album. This time the commercial success was even more fleeting, and Bowie was already tired of being shackled to a group set-up. From 5 October 1991 to 17 February 1992, the group undertook a larger tour, known as the "It's My Life Tour". The band was joined on this tour by guitarist Eric Schermerhorn, who would go on to play with Bowie's friend Iggy Pop.
Tracks from this tour were released on the July 1992 album Tin Machine Live - Oy Vey, Baby. Shortly afterwards, Bowie returned to solo recording with his single “Real Cool World” and the band dissolved.
Bowie promised Tin Machine III or at the very least a boxed-set of unreleased material in the mid-1990s, but his solo career had taken precedence, making him reluctant to dedicate energy to an old project. He continued to work with Gabrels, spanning four albums after Tin Machine: Black Tie White Noise (Gabrels contributed to only one track), Outside, Earthling, and Hours. After the last album, Gabrels felt that Bowie was moving in a softer, gentler direction that he did not want to travel in, so the two parted ways professionally. In some interviews he has also indicated his disappointment in the retrospective projects Bowie was planning at the time (the Toy album, which never surfaced, as well as the Ziggy 2002 project) played a part in his parting with Bowie.
Heaven's in Here
Tin Machine Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Of the rose on your cheek the wounded and dumb
We stumble and fall we stumble and fall
Skin on skin but there's heaven in...
Heaven's in here
Heaven's in here
Among the twilight and stars
Like a rocket to mars
Heaven in here
The first and the last are telling it all
Telling you loud but selling it small
I'm taking a swing at this shadow of mine
Crucifix hangs an' my heart's in my mouth
But it's here
Heaven's in here
Heaven's in here
Among the twilight and stars
Like a rocket to mars
Heaven in here
Heaven in one sigh
Heaven in two eyes
Heaven lies between your marbled thighs
The rustle of your falling gown
We stumble and fall like tragedy falls
We stumble and twirl there's heaven in here
We stumble and fall uncertain we fall
Flesh on flesh but there's heaven in...
Heaven's in here
Heaven's in here
Heaven's in here
Among the twilight and stars
Like a rocket to mars
Heaven in here
You'll dance to my tongue we'll dance on the sun
We're the twilight and stars
There's heaven in here
The song "Heaven's in Here" by Tin Machine starts with a mysterious, dream-like quality. The singer is describing a scene that is both beautiful and painful - dreaming between the blade and the tongue of a rose on someone's cheek that is wounded and mute. The line "Skin on skin but there's heaven in..." leaves us wondering what is in the heaven beyond the ellipsis, and what kind of relationship the singer and subject have. However, the chorus gives us a glimpse of what the heaven might be - "among the twilight and stars, like a rocket to mars, heaven in here." It seems that the heaven is a shared experience, something that they are both part of.
The verses of the song contrast a bit with the dreamy chorus. The first and last lines of each verse "tell it all" but "sell it small," perhaps representing the difficulty of expressing true connections and emotions in a world that values superficiality. The line "taking a swing at this shadow of mine" suggests that the singer is grappling with their own identity and place in the world. The crucifix and the metaphor of heart in the mouth add a religious undertone to the song.
The final verse brings back the image of stumbling and falling, suggesting that even within this heavenly experience they are not immune to pain and uncertainty. However, the line "you'll dance to my tongue we'll dance on the sun" hints at the possibility of overcoming those struggles by finding joy in a shared experience. Overall, the lyrics of "Heaven's in Here" invite interpretation and leave room for individual imagination and reflection.
Line by Line Meaning
Baby I dream between the blade and the tongue
I have deep dreams that I'm hesitant to speak into existence.
Of the rose on your cheek the wounded and dumb
I see the marks on your face, but choose to ignore them to avoid an argument.
We stumble and fall we stumble and fall
We continuously make mistakes.
Skin on skin but there's heaven in...
Despite our flaws, there is still a spark of passion between us.
Heaven's in here
Our love is still strong in this place.
Among the twilight and stars
We find peace in the beauty of the night sky.
Like a rocket to mars
Our love can take us to new, unexplored places.
The first and the last are telling it all
The beginning and end of our relationship reveals the truth.
Telling you loud but selling it small
I'm being honest, but not fully revealing my feelings.
I'm taking a swing at this shadow of mine
I'm fighting with my inner demons.
Crucifix hangs an' my heart's in my mouth
I'm feeling guilty and vulnerable.
But it's here
Our love is still present despite my struggles.
Heaven in one sigh
Our love can bring a sense of relief with just one breath.
Heaven in two eyes
The love between us can be seen in our eyes.
Heaven lies between your marbled thighs
Our love is both physical and emotional.
The rustle of your falling gown
Even the sound of your movement is beautiful to me.
We stumble and fall like tragedy falls
Our relationship experiences unexpected disasters.
We stumble and twirl there's heaven in here
Despite the chaos, there is still an undeniable spark between us.
We stumble and fall uncertain we fall
Our relationship is full of uncertainties.
Flesh on flesh but there's heaven in...
Our physical connection is still intense.
You'll dance to my tongue we'll dance on the sun
We will indulge in each other and enjoy the moment.
We're the twilight and stars
Together, we shine brightly in the darkness.
There's heaven in here
Our love creates a sense of peace and happiness.
Lyrics © O/B/O APRA AMCOS
Written by: DAVID BOWIE
Lyrics Licensed & Provided by LyricFind