Cruising the Coastline...
A great way to end a beautiful day at sea. A scenic tour of the western coastline of Nassau, Bahamas.
Pushin Tin Charters is an exclusive and personalized boat charter company that caters to those seeking the ultimate boating pleasure. We offer a variety of onshore and offshore charters, each having its own uniqueness committed to that best boating experience!
TIN MACHINE ~ AMAZING ~ BOWIE & IMAN
It was love at first sight for the singer who met his wife at a party in 1990 before tying the knot two years later
Bowie and Iman bucked the trend of many short-lived showbiz unions, enjoying a marriage spanning more than two decades.
As well as being a rock God, Bowie was also a deeply devoted husband, and while the couple often tried to shy away from publicity, pictures and rare interviews give a glimpse into an unbreakable relationship which began back in 1990.
Speaking about the moment they met at a party, it was love at first sight for the singer who said he was “naming the children the first night we met”.
My attraction to her was immediate and all-encompassing. I couldn't sleep for the excitement of our first date. That she would be my wife, in my head, was a done deal.
I'd never gone after anything in my life with such passion in all my life. I just knew she was the one,” he added to Hello! magazine in 2000.
Tin Machine were an Anglo-American hard rock band formed in 1988, notable for being fronted by English singer-songwriter David Bowie. The band consisted of Bowie on lead vocals and guitar, Reeves Gabrels on guitar, Tony Fox Sales on bass, and Hunt Sales on drums. Both Tony and Hunt are the sons of comedian Soupy Sales. Guitarist Kevin Armstrong was an unofficial fifth member of the band, playing on the first studio album and both tours. Multi-instrumentalist Erdal Kızılçay was part of the group's genesis but did not become part of the band, although he would work with Bowie on albums after Tin Machine's dissolution. Drummer Hunt Sales said that the band's name reflects the sound of the band, and Bowie stated that he and his band members joined up to make the kind of music that we enjoyed listening to and to rejuvenate himself artistically
From The Fab Bowie Songs Site Pushing Ahead of the Dame
“Amazing” came out of Bowie and Reeves Gabrels’ composition binge of late summer 1988. Possibly inspired by Bowie’s relationship with Melissa Hurley, which was still in the honeymoon stage during the Tin Machine sessions, the lyric’s as plain-faced as Bowie ever got, though it’s not quite the unalloyed declaration of love—the singer fears his lover will finally realize their relationship is superficial (“I’m scared you’ll meet someone in whom you’ll confide,” while in the second verse he’s having nightmares about her leaving). Still, the (deliberately?) banal chorus keeps to the pleasures of the moment.
A power ballad of sorts in E major, “Amazing” has a touch of drama with its shift to the parallel minor in the chorus, and on the whole it’s not too far removed from post-comeback Aerosmith (even the title’s very Diane Warren). The Machine’s attempt at an Eighties hard rock ballad is full of tension and unease, however. Bowie likely took his initial verse melody from Gabrels’ ascending stepwise scale playing, while his later emphases are off-kilter at times—take his thudding “girl,” which he hammers as he sinks nearly an octave, disrupting the earlier, soaring sense of development. And the rhythm section is a ball of agitation, with Hunt Sales in particular seemingly on the verge of going off on a tear with every fill.
Still, there’s some fine acoustic guitar work here (likely Kevin Armstrong); Gabrels’ seagull-cry feedback in the intro is interesting, if pointless, while he gets off a couple of sonorous lines between choruses. The producer Tim Palmer said that Bowie shelved many of the more melodic pieces from the Tin Machine sessions so as to offer a bristling front for the Machine’s debut: this contributed to the sense of exhaustion one gets when enduring the record as a whole. In that context, the track’s place in the sequencing—leading off the album’s second side—makes “Amazing” seem like a happy spot of relief, even if the track is a barely-held ceasefire.
Recorded ca. August 1988 at Mountain Studios, Montreux, and/or Compass Point Studios, Nassau, Bahamas, ca. November-December 1988. A live version from the Academy, NYC, in 1991 is on Oy Vey Baby.
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