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04/07/04 11:19 AM
Reeves Gabrels  

If I could have fantasized about any rock artist who I wanted to work with when I was younger, David would be on top of the list.

It all started when my mom bought me Ziggy Stardust, and my dad talked me into playing guitar because he thought I was too serious about my school work! I almost bought an electric bass instead, but my mom said, 'You won't be happy as a bassist, because aren't most bass players really frustrated guitarists?'

Then I went from Ziggy to Aladdin Sane, which is probably my favorite Bowie album.

Reeves Gabrels 'Left of Tonal Center' By Pete Brown, Guitar for the Practicing Musician, Jan 01, 1992

04/07/04 11:21 AM
Bowie on Guitar new [re: Adam]  

David plays rhythm electric on most of the songs.

I told him once that I liked his guitar playing, because he's not a professional.

He's got a solid rhythm groove, plus he comes up with stuff I'd never think of, because he doesn't have the preconceptions of a trained guitarist.

David also tends to feel the beat on 1 and 3, while I - an American - tend to groove on 2 and 4; together, we come up with a really nice push-pull thing between us. Having two different rhythm concepts at work is probably what's been the Stones' secret all these years, or Aerosmith, or any of those great two-guitar bands.

Reeves Gabrels 'Left of Tonal Center' By Pete Brown, Guitar for the Practicing Musician, Jan 01, 1992

(thunder ocean)
06/24/04 08:23 AM
On Tin Machine 1 new [re: Adam]  

The thing with Tin Machine was that I would have gone for a somewhat more technically proficient and agressive and slightly experimental rock thing, rather than a garage thing, which is what we got with the Sales brothers. We were very agressively going for an audio vérité thing, where you record a song in a day, so we were a handful in the studio, but Tim [Palmer, the producer] rose to the occasion wonderfully.

Reeves Gabrels in 'Strange Fascination', interviewed by David Buckley

(thunder ocean)
06/24/04 08:26 AM
On the name Tin Machine new [re: Sysiyo]  

There was a list of potential names for the band. The brothers liked "Tin Machine" because it was like The Monkees, having your own theme song! My suggestion for the album name was The Emperor's New Clothes. It was a little too much like setting yourself up; giving your critics ammunition.

Reeves Gabrels in 'Strange Fascination', interviewed by David Buckley

(thunder ocean)
06/24/04 08:40 AM
Bands new [re: Sysiyo]  

I actually tried to talk him out of the band thing because I thought the Sales brothers were nuts! I didn't want to be in a band any more. Bands are a nightmare, and democracy doesn't work as well as benevolent dictatorships in rock'n'roll in my opinion.

Reeves Gabrels in 'Strange Fascination', interviewed by David Buckley

(cracked actor)
03/31/05 08:35 PM
Re: Reeves Gabrels new [re: Adam]  

[There] was always a debate between David and I because David felt like he’d been there, done that. My argument was, “Well, yeah, in the ‘70s. There’s actually one or two literal generations that have not heard you do that.” In the context of the music I wrote with him, I always took the rap for being the one that was weird, that was destroying the songs, the one that was doing things that were not friendly, musically. Oftentimes, I was more the chorus guy than I was the weird section guy, except for when it came to the playing.

Reeves Gabrels, Interview with Ytsejam.com (http://www.ytsejam.com/modules.php?name=News&file=article&sid=783)

(heroic dolphin)
03/26/06 08:33 AM
Re: Reeves Gabrels new [re: Adam]  

"Reeves Gabrels, who's my guitar player, appeared on the horizon. He inspired me with his ready wit, sparkling intelligence, and uncompromising attitude to playing music, and he threw me a rope ladder down into the box I felt I was in and helped me get out of my confines. We formed Tin Machine, which was possibly the best decision I ever made in terms of freeing myself from this cul-de-sac and decontextualizing myself. Once I had done Tin Machine, nobody could see me anymore. They didn't know what the hell I was, which was the best thing that ever happened, because I was back using all the artistic pieces that I needed to survive and I was imbuing myself with the passion that I had in the late '70s."

Interview, September 1995, by Ingrid Sischy

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