- Disco de vinilo (24 de octubre de 2011)
- Limited Edition edición
- Número de discos: 1
- Formato: LP Doble, Edición limitada
- Sello: PIAS FRANCE
- ASIN: B005IU9IJQ
- Disponible también en: CD de audio | Disco de vinilo | Música MP3
- Valoración media de los clientes: 4.5 de un máximo de 5 estrellas Ver todas las opiniones (4 opiniones de clientes)
- Clasificación en los más vendidos de Amazon: nº44.497 en Música (Ver el Top 100 en Música)
Bad As Me (Vinilo) [Vinilo] LP Doble, Edición limitada
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Disco de vinilo, LP Doble, Edición limitada, 24 oct 2011
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Descripción del producto
Descripción del producto
La version LP du nouvel album de
TOM WAITS en précommande
1 LP de 180 g.
Un grand livret de 12 pages
Le CD de l album en bonus
« Bad As Me » est le premier album studio de TOM WAITS depuis sept ans. Membre du ROCK N ROLL HALL OF FAME depuis cette année, le californien nous livre un album exceptionnel. On y retrouve tout ce qui fait TOM WAITS : sa voix est toujours aussi époustouflante; ses ballades vous tordent le coeur ; ses blues hybrides sont toujours aussi diaboliques, son talent pour l écriture et son humour n ont pas pris une ride. Pour cet album, TOM WAITS s est entouré de musiciens prestigieux dont les identités seront bientôt révélées. « Bad As Me » fera date, à l image de ses uvres maîtresses telles que RAIN DOGS ou MULE VARIATIONS. Un album important d une des légendes vivantes de la musique américaine.
Lista de canciones:
2. Raised Right Men
3. Talking At The Same Time
4. Get Lost
5. Face To The Highway
6. Pay Me
7. Back In The Crowd
1. Bad As Me
2. Kiss Me
4. Last Leaf
5. Hell Broke Luce
6. New Year's Eve
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Pocos artistas han tenido una carrera tan constante en cuanto a calidad como él, y este disco no es una excepción: un muy buen álbum.
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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!) on how this man has influenced the last 5 decades of music. People who haven't heard of him don't even realize they know him by way of his acting, or by the huge volume of his catalog that has been covered by artists such as Los Lobos, Bruce Springsteen, Rod Stewart, The Eagles, Primus, The Ramones, Diana Krall, Bon Jovi, Screamin' Jay Hawkins, Charlie Musselwhite, Madeleine Peyroux and Scarlet Johansson, just to name a few.
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. As for style, Waits has done it all: blues, rock, country, R&B, hip hop, folk, ethnic- you name it, Waits has dabbled with it.
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 by to play on a tune or two- or three.
The album starts out with the rocking tune called "Chicago", a 21st century blues and R&B floor stomping, traveling song, about the migration of the African American community in the early to mid 40's from the South when the farming industry started to dry up, to the urban, industrial, factory bergs up north such as Detroit, Pittsburgh, or, Chicago. 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 1987'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."
We get a slow melodic venture for our next cut, "Talking At the Sametime", with Waits employing his falsetto over the spooky journey into darkness. 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. He even references this in the song, "Roll up all the windows, turn up the Wolfman Jack/Please, please love me tender, ain't nothing wrong with that..."Next up is another eerie travel song, "Face to the Highway", another example of Waits' use of word play that ends up being so much more thought provoking. "Ocean wants a sailor/Gun wants a hand/Devil wants a sinner/Table wants a dinner".
"Pay Me", the next track on the album, is sung (in my opinion) closest to Waits' natural speaking voice. Very haunting, he sings about how they pay him not to come home and keep him stoned- here, he is a female entertainer who is stuck at the same flophouse or cabaret- saying "I'll kick my foot at the lights; All the roads lead to the end of the world, I sewed a little luck in the hem of my gown/ The only way down from the gallows is to swing." The songs end with an absolutely haunting staccato piano part, which almost makes the educated listener think that this poor girl is stuck living upstairs in that B&B on the border that Marlene Dietrich runs in Touch of Evil. "Back in the Crowd" is a lovely mariachi number that almost seems like Roy Orbinson himself could have penned and sang. 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'. "I'm the hat on the bed, the coffee instead/the fish or cut bait, the detective of late/the blood on the floor, the thunder and the roar/the boat that won't sing, I just won't sleep a wink", -all trying to explain to a lover that "you are the same kind of Bad as Me". It really is a brilliant piece of writing and performance. This is a good place to highlight the fact that Waits varies the tone, pitch and 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!" 's that James Brown famously invented for his songs to add emphasise in certain places.
"Kiss Me" is a slow ballad which will undoubtedly become a jazz standard, a ghostly tune much like his "Blue Valentines" of three decades ago. 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. "Satisfied" is a foot stomping cut that seems to answer the Rolling Stone's statement, "I can't get no Satisfaction", stating boldly: "I will have satisfaction, I will be satisfied, before I'm gone." Keith Richards guests on guitar as he rattles out the accompaniment, with Waits even calling out him and his bandmate: "Now Mr. Jagger, Mr. Richards, I will scratch what I've been itching".
"Last Leaf" is a beautiful, tender ballad that Richards also guests on, but this time only for the purpose of backup vocals and harmony. 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.
Now one of the highlights of Bad as Me is the anti-war tour-de-force "Hell Broke Luce". 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 included), absolutely 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."
I couldn't agree more. 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...
As such, the only problem with Bad as Me is that it's difficult to justify owning an album that isn't distinctive stylistically. If you want to hear a postmodern masterpiece deconstruction of Americana music, you go to Rain Dogs. If you want an industrial manifesto of gloom and death, you turn to Bone Machine. I'd even say that Mule Variations was also a stylistically retrospective album, so Bad as Me can't even claim to be the first attempt where Waits simply wants to provide a smorgasbord of the styles he's already mastered. Since Bad as Me doesn't really have any songs that would be stylistically out of place somewhere else in the Waits library, some fans might not be particularly impressed with the album if they already own the rest. I'd respect someone who can't get into the album for this reason, but it was never enough of a problem to keep me from genuinely enjoying the album. Perhaps the lack of innovation makes the album a more casual listen relative to some of Waits' other releases, but I think it still deserves the praise it gets on the merit of its own material. As I said, the songs are still good, and the short length should safeguard against any possibility of boredom.
BAD AS ME sounds great! It's a concentration, a distillation, of his most recent period, documented by Anti records, similar to MULE VARIATIONS (1999) or REAL GONE (2002) but with a higher energy level. Marc Ribot is on guitar again, one of the reasons Waits's records sound so good. Keith Richards appears on several tracks too (Chicago, Satisfied, Last Leaf, and Hell Broke Luce), and guitarist David Hidalgo from Los Lobos, percussionist Gino Robair, harmonica-player Charlie Musselwhite, organist Augie Meyers and bassists Flea and Les Claypool all put in appearances.
There are several rollicking numbers, some signature melancholy tunes, a strong anti-war piece, and more -- a typically diverse Waits set that is all stamped with his unique vision, along with his partner, co-writer and co-producer, Kathleen Brennan. He channels Screaming Jay Hawkins, among others, with his incredible voice.
The deluxe edition comes in a hardback book, a real piece of art with stunning full-color photos for each song and all the lyrics in large easy-to-read print to peruse while you listen. The three bonus tracks are on a separate disc, which is mildly annoying.
BAD AS ME is a great album, one of the best of the year! You should check it out, along with the new PJ Harvey, Let England Shake (see my review), and the new Mekons Ancient & Modern (see my review) -- together, these three records are powerful and timeless dispatches from Reality to our world of superficial appearances and amnesia.
I also remember seeing Tom Waits on David Letterman around 1987/1988 for "Frank's Wild Years" and thinking how odd.
Now, of course, I am fully briefed and experienced with Waits' oeuvre. I own all of his studio albums and in preparation for "Bad As Me" I listened to all of them back to back during the past two weeks. This, I feel, helped me put "Bad As Me" into proper perspective.
Waits' has to have had one of the most unusual careers in popular music. I mean, his 70's output barely made any popular dent, nor did it sell very well. The 80's was pretty much the same. However, in the 90's, there was a strange turn of events as somehow his music was rediscovered. How that happened is anyone's guess. By the time "Mule Variations" was released in 1999, it seemed that more people than ever knew his music and sent that album up the charts making it his highest charting album to date. Since that time, each successive release has climbed higher and sold better. What? The last I checked in popular music the older you get the more you become irrelevant. Yet, here is Waits, age 62, with his highest charting album ever, "Bad As Me", cracking the top 10 for the first time in his life. So, if "Bad As Me" sucks, how do you explain its success? Waits is far from a sellout or a pop idol, so you can't say he's sold out and that's why it's gone to number 6.
All of this leaves me mystified. But I like it. A lot. More 60+ musicians should crack the top 10. To me, Waits is a national treasure like Randy Newman or Warren Zevon or Lindsey Buckingham.
But I digress..."Bad As Me" is exactly what you have been reading--an amalgamation of everything he's done throughout his career. It's like an abridged version of his career all on one disc in 16 songs. Look, "Kiss Me" is the closest thing here to something you might find on "The Heart Of Saturday Night" or "Small Change", and "Pay Me" could have come right from "Frank's Wild Years". Or how about "Hell Broke Luce"? That could have come from "Real Gone" or "Bone Machine". "Chicago" could have been on "Rain Dogs" or "Swordfishtrombones". There's something for every fan of Waits here. This is why it has received the high ratings. Waits does Waits, a real good, too. Now, I can see how if you weren't familiar with Waits that you could have the same reaction I had when I was 16, but if you give his music a chance and you get familiar with it, that initial shock wears off. Also, I can see if you are a hardcore fan, how you might have been hoping that he was going to reinvent himself like he does every decade, only to find that "Bad As Me" is just a compilation of everything Waits does best.
Still, "Bad As Me" has the right mix of songs both serious and humorous, dour and hopeful, fast, slow, bluesy, jazzy, rocky. The greasy "Raised Right Men" and "Satisfied" and the lunacy of "Bad As Me" and "Hell Broke Luce", the somberness of "Talking At The Same Time", "Face To The Highway" and "Last Leaf" or the the 50's sock hop of "Get Lost", there's much to appreciate here. The three bonus tracks "She Stole The Blush", "Tell Me" and "After You Die" round out the album in a way. It was unnecessary to put them on a separate disc on the deluxe edition. Also, I did not appreciate the book-like packaging of the deluxe edition--now where will I store it? It won't fit next to all my other Waits' cds!
The bottom line, after listening to "Bad As Me" for two weeks straight is that my wife doesn't enjoy Waits (and I don't know any women who do for that matter), and he has come up with a good album that's not his best work but not his weakest either. Four stars solid. Here is how "Bad As Me" compares to Waits' previous works:
1973 Closing Time: Five Stars
1974 The Heart Of Saturday Night: Four Stars
1975 Nighthawks At The Diner: Four Stars
1976 Small Change: Five Stars
1977 Foreign Affairs: Four Stars
1978 Blue Valentine: Three Stars
1980 Heartattack & Vine: Four Stars
1983 Swordfishtrombones: Four Stars
1985 Rain Dogs: Five Stars
1987 Frank's Wild Years: Four Stars
1992 Bone Machine: Five Stars
1993 The Black Rider: Three Stars
1999 Mule Variations: Five Stars
2002 Blood Money: Three and a Half Stars
2002 Alice: Four Stars
2004 Real Gone: Three Stars
2006 Orphans: Brawlers, Bawlers & Bastards: Four Stars
2011 Bad As Me: Four Stars
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, 1972. 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. 1. 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. I only know that for the first time I was at a Zappa concert and was SAD when the opening act, Mr. Waits, was done. I wanted more. I was amazed. This statement of amazement can only be contextualized properly by realizing that I was a HUGE fan of FZ.
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 people), just to name a few. Oh yeah, I should include "On A Downtown Train," too.
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). and then thee's "Black Rider," then a string of utterly amazing albums which, getting myself out of order chronologically, gave us "Rain Dogs," "Heart Attack and Vine," "Blue Valentine" and "Small Change" (I'm not listing them all, dammit) and "Swordfish Trombones," and "Frank's Wild Years." Then came the previously mentioned movement to what I will summarize as the "Mule Variations" segment.
Then he releases a multi=disc set of songs that didn't make it over the years, "Orphans, Brawlers, Bawlers and Bastards," which contained what many of us feel are some of his best work. He releases two completely different albums, "alice" and "Blood Money" AT THE SAME TIME! I admit I have days when I just have to hear "Tabletop Joe" or things just won't feel right.
To make what is already a too long review longer, brings us to "Bad As Me (Deluxe Edition).
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. He just goes about his life being Tom Waits, gift, blessing, devil-worker, genius, dense, complex, simply and utterly musically enjoyable. What I did was download the regular edition and then the three extra tracks from the deluxe edition separately and there you have it. Pure genius, pure enjoyment, pure Americana, pure Tom Waits.