mail: daniel_fjall@hotmail.com
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closing time mule variations alice
Closing Time In the early 70’s the market was flooded with singer/songwriters and Tom waits was one of them. What set him apart from others, such as Cat Stevens, Neil Young among others, was his love for swinging blues and jazz. Most of the others at the time found inspiration in the traditional folk music that was getting most of its attention nearly a decade earlier in New York with a young Bob Dylan in the front seat. Another singer/songwriter that was starting to get some recognition around this time was the New Jersey son Bruce Springsteen. Springsteen whom also would turn to jazz, but also funk on his The Wild, The Innocent & The E-Street Shuffle-album. Because of this mutual fascination for the smoky music, rather than hobo protest-music, Springsteen and Tom Waits would often be compared. Over the years they have taken winding paths away from the original road, though. If thinking about Springsteen around this time, Van Morrison automatically comes to mind. Someone whose excellent work during this period was heavily rooted in the blues, but constantly flirted with jazz and maybe even more importantly; soul. So, Tom Waits was not the only one who turned to this format, although he had a sound of his own. Always with the piano in the main spotlight, he was different from others. Yes, Elton John also relied heavily on the piano, but he had left whatever singer/songwriter-ambitions he might have had and went for a far more commercial pop sound, suitable for the charts. Also the thought of Randy Newman passes by briefly, even though there are a lot of differences between Newman and Waits. Newman had a sense of humor, often dark and bitter, whilst Waits, far from humorless, possessed a certain kind of natural melancholia that never sounded forced or fake. Also, Waits is a far better pianist, with more life and a moving feel in it. What Waits and Newman could have combined is probably their unique voices. Waits does sound a lot more confident with his vocals, though. Here, on Closing Time, he sounds young, yet experienced and it is inviting to compare him to Dylan, but that is taking the easy way out. Just because a singer doesn’t sound like Brian Wilson or, I don’t know, Dan Haley doesn’t mean he simply can not sing and therefore sounds like Dylan. No, Tom Waits is an excellent singer and this debut ought to be his most accessible album out of the around twenty he has released over the years. Here, the vocals are impressive throughout and always strong, effective and emotional resonant. Opening “Ol’ 55” has a touch of light optimism and such a tender atmosphere set by the piano and a simply loveable trumpet and a neat string arrangement. “Grapefruit Moon” towards the end has a similar arrangement, but bitter and slightly regretful. “Martha” is nearly the same way, only that the somewhat naive lyrics shows a man that has learned to live with his regrets and mistakes and moved on, although never been able to forget. However, the most bitter and melancholic song on the album is without a doubt “Lonely”. Usually people seem to be turned off by the too simplistic structure of the song, but I’ll be damned if that’s not what’s so good about it. The singer sits alone and has hit rock bottom. Of course he’s not going to think about any grand arrangements, clever lyrics or excellent piano work. He’ll just sit there, repeating the most simple of notes, and the words that comes most natural and closest to describe the current feelings: ‘lonely’. Of course, as soon as the dark, pessimistic song is over, Waits quickly gets “Ice Cream Man” along the way. A clever song, which lyrically somehow manages to combine both Randy Newman and the sexual implied metaphors of the bluesmen such as Robert Johnson and Muddy Waters and many others. Most importantly is, however, the swinging rhythm and great piano performance. The album closes fittingly enough with the title track. A melancholic instrumental with beautiful piano playing a melody together with a dejected trumpet. No matter what the title of the album suggests, Closing Time was only the beginning of an admirable and impressive career.
Mule Variations After a few years off, Waits returns with an album that is dirty, sometimes metallic, muddy and cold, yet breathing and completely alive. The industrial drums and just ugly, distorted sounds of “Big In Japan” opens the record that surely solidifies Toms status as an important artist in the modern age. Listen to how suddenly the horns coming in, without any abnormal effect to them, and creates a beautiful contrast between the horrid new and the familiar old. That is one of the best moments on Mule Variations, and the lyrics are perfect and holds the sort of sarcasm and sense of dark humor neither Randy Newman or Roger Waters can match. However, the best moment on the album for me, is the wonderful “Hold On” that somehow manages to be positive, hopeful and at the same time pessimistic, bitter and reflecting boredom and a feeling of giving up. The line ‘She said baby I still love you. Sometimes there’s nothing else left to do’ probably says everything Bruce Springsteen spent his entire career trying to say. However, all isn’t perfect. The album is slightly too long, and it is basically just the two mentioned songs that are instantly memorable along with the spoken “What’s He Building?”. You should spend some time with the album, though, as more nuances will appear with every listen. Although somewhat monotonous, it remains diverse as Waits leads the listener through the familiar sounds of Rain Dogs/Franks Wild Years via tender piano ballads recalling Closing Time, although not always as melodic as the 70’s material. You do get the feeling that Waits is following the formula of previous albums, and Mule Variations doesn’t add anything new. Still, he does that formula so good and the songwriting and performances are strong throughout. Despite whatever difficulties surrounding the album, it is hard to dismiss it since the quality overall is undisputable high and convincing.
Alice Whilst Mule Variations had offered an often scary and cold atmosphere, Alice sees Waits taking a bit warmer, slightly pre-war jazz approach. If not scary or frightening, surely downright depressing and incredibly pessimistic. The title track features Waits vocals at the most low-keyed performance, but every sentence, every word of the poetic and heartbreaking lyrics is made out just perfect, crisp and clear. The music itself probably just is basic singer/songwriter stuff, but the sad and heartaching trumpet together with the extremely tasteful, minimalistic piano notes and the stand-up bass leads the listener into a wonderful, if sad, jazz mood. It has a rainy, lonesome and simply hurting atmosphere that pushes the bitter love story to its extreme limit. The following 14 songs won’t let the listener down, although that very first song is never topped. The nearly overbearing lyrics of lost love, regrets, hopelessness and people simply giving up creates a stunning result. The violins, pianos and organs, trumpets, cellos and excellent bass combines the ultimate scene for Waits singing. Good news is that he actually sings on Alice. He never shouts in a monstrous way, he never sounds like he has spent his entire life drinking gasoline. He sings, and he sings beautifully. Not that he sounds young and fresh as in 1973, but God, he brings out the best of each and every track with the exact style and approach. Other good news is that all instruments actually are in tune here. Something that was a rare luxury on acclaimed albums such as Rain Dogs and Bone Machine. Although all songs are offering something and I would not want to be without any of them, there are some to listen extra carefully to. Besides the already mentioned masterpiece that opened the album, the organ-based “Lost In The Harbour” with its flutes and violins is something special, the utterly dark, suicidal story in “Poor Edward” and two final songs are exceptional. “I’m Still Here” reminds of early Closing Time-Waits and is done impeccable. Still, remember that you should listen all of these numbers. One might argue about the somewhat lack of diversity, but I’m confident nothing could have been done better and any change would’ve only disturbed the mood. The title track is worth the money alone. Even twice the money. The rest of these songs are purely bonuses. Bonuses as welcomed as a lottery-win.
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