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.
Baby Can Dance
Tin Machine Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No one looks and no one feels
But the baby can, the baby can
The way it feels just feeling you
Holding out and falling out
But the baby can, the baby can
I'm the jumping man
But baby can float
Baby can drown
Baby can touch her toes
Toss her hair
Makes you feel
You're going nowhere
Baby can dance
Baby can dance
Baby can walk around the town
Attract a man and cut him down
I'm the shadow man, the jumping jack
The man who can and don't look back
But the baby can, the baby can
I'm rolling out of the ferris wheel
No one looks and no one feels
But the baby can, the baby can
And the way it feels
I'm feeling you
The baby can float
Baby can drown
Baby can touch her toes
Toss her hair
Makes you feel
You're going nowhere
Baby can dance
Baby can dance
Baby can walk around the town
Attract a man and cut him down
Every day is far away
Every day, every day
It's over now
It's over now
It's over now
It's over now
It's over now
It's over now
But baby can float
Baby can drown
Baby can touch her toes
Toss her hair
Makes you feel
You're going nowhere
Baby can dance
Baby can dance
Baby can walk around the town
Attract a man and cut him down
Baby can float
Baby can drown
Baby can touch her toes
Toss her hair
Makes you feel
You're going nowhere
Baby can dance
Baby can dance
Baby can walk around the town
Attract a man and cut him down
The lyrics of Tin Machine's "Baby Can Dance" explore the theme of youth, freedom, and individuality. The song begins with the image of the singer rolling out of a Ferris Wheel, a universal symbol of amusement park rides and childhood memories. The line "No one looks and no one feels" suggests a sense of detachment from the rest of society, implying the singer's disassociation from the norms of society, as other adults in the park do not share the same excitement as the singer. However, the baby in the song can feel the excitement and joy of the ride, showcasing the freedom of youth and the ability to connect with the world on a more visceral level. The second stanza delves into the experience of falling, which could be a metaphor for taking risks, and the idea that the baby can do so too.
The middle section of the piece sees the introduction of some unique and recurring motifs, including the "jumping man" and "shadow man." Both of which appear to represent different parts of the singer's personality, with the jumping man indicating impulsivity and thrill-seeking, while the shadow man is a symbol of the past and more restrained tendencies. Ultimately, they are both overshadowed by the baby, who is free to float, drown, touch her toes, and dance, with a sense of abandon the singer can no longer enjoy. The final stanza emphasizes the youth-centric theme of the piece, saying that every day is far away and looking back with nostalgia, while also acknowledging that the carefree days of childhood have come to an end.
Interesting facts about "Baby Can Dance" include that it was written by David Bowie, who was the lead vocalist of Tin Machine, a band he created in 1988. The lyrics were inspired by memories of Bowie's own childhood and the idea of retaining one's sense of self in adulthood, as well as the recurring motif of the baby symbolizing freedom, which Bowie would later use in several other songs. The accompanying music video was shot in Sydney, Australia, and features the band playing at a carnival, with scenes of roller coasters and other amusement park rides intercut with the performance. The song's distinctive bassline was played by Tony Sales, who was also the drummer for Tin Machine. It was released in 1989 as the second single from the band's eponymous debut album.
Chords: G, A, D, A, Em, A, G
Verse: G - A - D - A
Chorus: Em - A - G
Outro: G - A - D - A, Em - A - G
Line by Line Meaning
I'm rolling out of the ferris wheel
I'm experiencing a sudden change or transition in my life like rolling out of a ferris wheel.
No one looks and no one feels
Nobody seems to care or notice this change happening in me.
But the baby can, the baby can
Only the baby has the ability to perceive and respond to this change even though others cannot.
The way it feels just feeling you
Experiencing the sensation of being close to you is exhilarating and fulfilling.
Holding out and falling out
I'm trying my best to hold onto something or someone, but I'm also afraid I might lose it or them soon.
But the baby can, the baby can
Only the baby can understand the complex mix of emotions that come with holding on tight and letting go at the same time.
I'm the jumping man
I'm a daring and adventurous person who likes to take risks.
But baby can float
But the baby can do something I cannot - move effortlessly and gracefully without any effort or struggle.
Baby can drown
Even though the baby can move effortlessly, it still has the potential to get in over its head and face danger.
Baby can touch her toes
The baby has innocent and effortless movements that bring joy and wonder to others.
Toss her hair
Even small movements like tossing hair can make an impression in others and draw attention.
Makes you feel
These movements and actions create an impact on others and affect their emotions and perceptions.
You're going nowhere
These actions make people feel like they are stuck or not progressing in life.
Baby can dance
The baby can move to the rhythm of life and make the most out of each moment.
Baby can walk around the town
The baby can explore and enjoy simple pleasures of life without worrying too much about the future or consequences.
Attract a man and cut him down
The baby's innocent and playful nature can even have an impact on others through attraction and rejection.
I'm the shadow man, the jumping jack
I'm the one in the background, working hard and taking risks.
The man who can and don't look back
I'm capable of moving forward with confidence and without regret.
Every day is far away
Every day seems unattainable or distant from my current reality.
It's over now
A phase or period in my life has come to an end.
But baby can float
Even though this phase of life is over, the baby can move on and find joy in the present.
Baby can drown
But the baby can still face challenges and struggles even in good times.
Baby can touch her toes
The simplest and most innocent movements can bring joy and wonder in uncertain times.
Toss her hair
Small, playful gestures can have a big impact on others and create moments of connection and joy.
Makes you feel
These actions and movements can create an emotional impact on others even in trying times.
You're going nowhere
But even in these uncertain times, others may feel a sense of stagnation or struggle to move forward.
Baby can dance
Still, the baby can bring light and joy into these moments through simple movements and playfulness.
Baby can walk around the town
The baby still has the power to explore and enjoy the simple pleasures of life even in the midst of uncertainty or change.
Attract a man and cut him down
Even in these times of change, the baby's playful and innocent nature can influence and impact others.
Lyrics © O/B/O APRA AMCOS
Written by: DAVID BOWIE
Lyrics Licensed & Provided by LyricFind