Been putting off getting this The most addictive four songs I can think of! Nostalgic indie rock on this Pavement-tastic debut from Halifax with a video about what happens after hours in an office building. Explore music. Comiskie In addition to sporting the greatest, most eclectic selection of tags I've seen, this album happens to be exactly what I've been searching for. Favorite track: Click Clack.
Pretty sure my spirit animal is a dog. Favorite track: Roll It. Favorite track: Mixer. I've a feeling some gigs of theirs may be like that too; back room of a cafe type stuff, for the fortunate few to stumble on.
That's how I fantasise about seeing them anyway. Whine Of The Mystic was one of my top three records the year it came out, and there was good competition. This sounds right up there with those songs so I'll take a gamble; I do love these guys. Nick Green. Nick Green A little presumptious but here is a contender for album of the year ! Joe Silver. Jeff Pasley. Tony Pinon. Corey Sobel.
Thee Professor. Satan Hang Ten. Eon Katona. Lee Wood. Steve Seifert. Rick Ayre. Craig Ferrie. Doron Diamond. Mairead Kelly. David Brewster. Bruno Packard Hill. Trevor Spina. Wilton Catford. Hugh's Blues. Vicccc Vic. David B Kosbob. Jason Robey. Martin Wilmsen. Nick Snyder. Katsuhiko Hayashi. Mouth of Elvis. Andy McLemore. I would advise skipping the standard version and going for the 2 discs. Top critical review. Reviewed in the United States on March 21, Not what I expected. You'll like this if you are a die hard waits fan.
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There was a problem filtering reviews right now. Please try again later. Verified Purchase. There was a problem loading comments right now. Showing 0 comments. Sort by: Newest Oldest. He has been called 'America's best kept secret'. The man, the myth, the legend; Tom Waits. Over the past two weeks, a lot of people have asked me how I like the new Tom Waits album- so I figured being such a fan- I should finally sit down and officially talk about it. Bad as Me, marks Waits' 23nd official studio album release, not counting one-off's he's done for films, compilations, benefits, and whatever else tickles his fancy.
One can write an entire book and people have! Those who do know him, annoyingly describe him as the man with the raspy, gravelly voice. But his fans know better; for a man who has such a low register, he can certainly alter his voice to make this his most important instrument, having the range to be able to sound like a modern day Howlin Wolf- to an amazing ghostly falsetto- and everything in between.
All these influences, styles and experimentation are brought to Bad as Me. With co-creator, co-writer, co-producer and wife of almost 30 years, Kathleen Brennan, they have constructed a slick, tight knit album, with most of the 12 songs 15 if you got the deluxe edition no more than 3 and a half minutes in length. The variety of the song selection almost reads as a 'best of' for Waits, with each cut echoing a particular style he has inhabited over the years, while some even make the listener recollect a prior album.
This may sound like a complaint, but it isn't; not one of the tracks is filler, and I will be as bold as to predict that every one of these songs will be covered in the future, from a huge canon of artists. Speaking of artists, Waits has alot of his friends sitting in with him on this LP: Les Claypool, Flea, Marc Ribot, Keith Richards, Charlie Musselwhite, David Hidalgo and even his son, Casey, who has been playing along side dad on percussion for almost a decade now who all stop All My Friends Are Fish - Downsiders* - All My Friends Are Fish (Vinyl to play on a tune or two- or three.
This is one of the songs motifs Waits is brilliant with, as if you are waiting on the corner and he speeds by in his '49 chopped-top Merc and without even stopping, grabs you by the arm and takes you along for the ride. Much like "Hang on St.
Christopher" from his 's Frank's Wild Years, are great examples of road songs where the audience is propelled into motion and before you know it, some part of your body is moving and keeping rhythm. The 2nd romp is "Raised Right Man", a 12 bar tune that sports the only other time I've heard the phrase " Heavens to murkatroid" used aside from the cartoon character Snagglepuss. This song introduces us to new characters in the Waits psyche, "Mackey Debiasi", "Gunplay Maxwell", Flat Nose George" and "Ice Pick Ed Newcomb", and gives us brilliant words of wisdom that fans have come to know for years: "There ain't enough raised right men; it takes a raised right man to keep a happy hen.
Waits comments on what's going on right now: "The war drags on; We bailed out the millionaires; It's hard times for some and for others it's sweet" and he also reminds us to save our money because remember, "umbrellas always cost more in the rain". Waits does a little rock-a-billy number called "Get Lost", a great tune about breaking away and escaping everything, getting away from it all and just getting lost.
This is something you could hear Elvis doing in his prime with it's pace and beat. Asking a lover to reassure them of their love or to put them 'back in the crowd', as if to give them that sweet ultimatum. Then we get to the real bread and butter: the title track.
This is one of the examples that show how much of a genius Waits and Brennan can be when writing lyrics. At first, the little-off phases come off as nothing more than a play on words. But after some thought, they become amazing little vignettes- almost stills on flash cards being flipped through, for the listener to do want they want with them- to invent whatever story you will with these little 'starting points'.
It really is a Album) piece of writing and performance. This is a good place to highlight the fact that Waits varies the tone, pitch LP delivery of his lyrics in every song. His delivery for this track is panicked, frantic, almost cracking at times. He also adds in the little "Huhh! It's sound is crackled and muffled, as if transferred off an old 78, and it tells the tale of the lover wanting their partner to "Kiss me like a stranger once again".
He wants to feel like his loves a "mystery" or a "sin", it is a beautiful piece of songwriting. Jagger, Mr. Richards, I will scratch what I've been itching". It is told from the point of view of the last leaf on a tree, after autumn took the rest.
Amazing, poetic and thoughtful, it speaks of aging and getting older, and still being able to stick it out no matter what is put against you. An entire essay could be written on this cut alone, it really is the only track Waits lets himself loose on, making toward the loud, avante garde style that his hardcore fans I includedabsolutely love. Done in an army-style march, it tells the story heard countless times, in countless wars: a soldier goes away, experiences the horrors of war, being almost unable to cope or comprehend it all, then is brought back home, wounded and maimed, and left with no job and no future and no guidance.
Very disturbing, it also may be one of the only times I've heard Mr. Waits drop the F-bomb; not once but twice- but in his defense, it is completely warranted within the context of the song. The last cut on the regular album is "New Years Eve", a warm nostalgic tune about a family coping with the troubles of addiction and the like, while still trying to enjoy the holidays for what they are, and the fond memories they bring.
In it's conclusion, he seamlessly interjects "Auld Lang Syne", much like he did over 30 years earlier with "Waltzing Matilda" in "Tom Traubert's Blues".
The deluxe edition gives you three extra songs packaged in a nice, small, hardcovered book, which is a real treat.
This album flows effortlessly along without any speed bumps and before the listener realizes, it is over, leaving us wanting more. Though it is not personally my favorite Waits album, it definitely proves a number of points: It definitely is the most accessible album in his catalog in years; there is no filler on here, every track is great, which is extremely rare nowadays; Mrs.
Brennan was spot on with keeping the tracks around 3 minutes each for the sake of flow, it definitely helps the album keep moving which is not at all a dig at his other albums which have longer tunes; I think this just works here with what they were working toward ; and most importantly, Bad as Me solidifies the idea that Mr. Waits is still exploring new ground and evolving. At 61 years young, I dare everyone to cite a contemporary who increasingly breaks new ground with each new release, and still has the quality that his work holds.
While people his age, tour huge arenas, playing 'best of' shows, Mr. Waits continues to challenge himself and the music community and defies logic by being able to produce such an amazing product, that evolves with the times. Hell, he beat-boxes for Christ's sake on tunes and it works- Brilliantly at times!
Earlier this year Mr. Waits was inducted into the Rock and Roll Hall of Fame and in his acceptice speech, he said: "They say I have no hits and that I'm difficult to work with- and they say it like that's a bad thing. Tom Waits is an acquired taste; much like jazz, wine or bourbon and other fine things. Consider yourself part of the 'in' crowd - now you know America's best kept secret Only Tom Waits could do what he does on this album.
I am not into track by track analysis. I want to address why this album is important and is an album few artists, perhaps even only Tom Waits, could release. What I mean is this. Tom Waits has released an album of entirely new material and it sounds like a "greatest hits" compendium at the same time.
To listen to this album is to be introduced to Tom Waits for the first time and to make his acquaintance again. He is your brand new oldest musical friend. He is brand new and he is eternal. He cannot so much as cough and not sound musical. He is master of his domain and he is just beginning to discover the wealth and depth of his talent. I first became aware of Tom Waits in the very early '70's.
I am a huge Zappa fan. My girlfriend had, for my birthday, gotten us tickets to 2, two, count 'em, two Frank Zappa's shows in the month of April, The first was at the vaunted OrpheumTheater in downtown Boston. The opening act was Ram-A-Tam, the waste of time band put together by Jimi's drummer since Jimi had died. Pity anyone who opened for Zappa.
You were bound to be booed off the stage. The second show was at the gymnasium, sit on the floor, at Lowell Tech College. The opening act was some nobody named Tom Waits. So, with the huge balls it took to open for Zappa, there he stood. Famous beard, smokes, hat and attitude.
I was hoping it would be over soon. It was just him, his piano and an electric bass player. I wish I could tell you what he played, but I can't. I only know I was blown away. I think the best summary of what he was like then is captured on the somewhat hard to find album, "The Dime Store Novels, Vol.
I remember being utterly blown away. Here I was, planning to tolerate another period of "please hurry up and let the REAL musicians play," moment. Here stood this utterly confident, unassuming guy who sang with a growl, played piano like the genius he is and kept time by banging his hat on his thigh when he wasn't at the piano. He may have done "Diamonds on My Windshield," but I can't say for certain. Waits, was done. I wanted more. I was amazed. Tom went from there to putting together a body of work that is beyond compare.
He is an artist. He is a musicologist. He has more American music history in his little pinky than the libraries and curricula of many schools who offer degrees in music. I went to Berklee, so I know something of what I speak.
He is a songwriter. I imagine he has made a nice little nest egg just from people covering some of his songs, such as 'Ol 55, Closing Time and Temptation Diana Krall of all peoplejust to name a few. He could have rested on his laurels after creating and releasing his live album, "Nighthawks at the Diner," which sounds as fresh today as it did when it was released. Then comes the "reinvention" or, as I like to put it, "ah, okay, that was fine but then thee's this, and along comes, "Bone Machine" and "The Mule Variations," you got to get behind the mule.
I admit I have days when I just have to hear "Tabletop Joe" or things just won't feel right. It is a work of pure genius of the sort of which Tom Waits is capable. It is at once new and different and utterly familiar. New songs that sound like the history of Tom Waits' career. This album is living proof of the obvious; ;there is and only ever will be, one Tom Waits.
Not in style, never. Always at the forefront and instantly recognizable, yet, at the same time, an unknown. A brand spanking new album of completely new material that is old and familiar at the same time. He is utterly unique. He is an unqualified genius of the musical world. He is known to millions; he is known to almost no one. He is the best at what he does and what he does no one else can do.
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