Unknown before surfacing on bootleg in 2008, “Exodus”* is another of the “surf” instrumentals that Tin Machine was playing around with (see “Needles on the Beach”). While no lost masterwork, the track’s general jauntiness, Reeves Gabrels channeling Robert Fripp on Eno’s “St. Elmo’s Fire,” Tony Sales’ exuberant bassline and Bowie (or Kevin Armstrong) subbing for Hunt Sales’ cymbals via a rapid-strummed acoustic guitar, gives “Exodus” a life and a bright spirit that’s missing from a few tracks that made the cut for Tin Machine II.
Recorded ca. September-October 1989, Studios 301, Sydney. Unreleased.
* The title is possibly a bootlegger’s. It’s unclear what was intended for the track—another instrumental like “Needles”, or as a rhythm track for a scrapped or redesigned song.
Top: Corinne Day, “Kate Moss in a telephone booth,” Borneo, August 1991.
This one would have been great in Pulp Fiction.🙂
This is the first time I have ever heard this before. Does anyone think that this sounds very much like a faster I Would Be Your Slave on Heathen?
Ive not found this yet, cannot wait to hear it.
Excellent blog by the way, found it a few weeks ago…
O’Leary, you can postpone it, but sooner or later you’ll have to get to Stateside.
this is the fate of humanity, really. We may try to delay it all we like, but one day we will reach “Stateside.”
Ha, ha, ha! Bring it on, I say…😀
Hey are you gonna review this one?:
🙂
yep. in a while.
Now, this is pretty nifty! I actually like this a bit more than Needles On The Beach. Too bad they couldn’t have built upon this. And some very tasty “Frippery” from Reeves…🙂
I like the sound of these surf songs — if they’d gone further in this direction for Tin Machine II, they might’ve come up with something closer to (but still different from) Station to Station.