The Godfather of carnival barker cool has returned with his first record of originals in seven years. This had better be worth the wait(s).
Tom Waits - Bad As Me (2011) – 6.8 / 10.0
Release Date: Oct. 25, 2011
Running Time: 44:33
Label: Anti
Genre: Alternative Singer/Songwriter
Drug of Choice: Whiskey, Cigarettes, Coffee, 'Ludes, Acid
Key Tracks:
"Raised Right Men"
"Hell Broke Luce"
"New Year's Eve"
Tom Waits' career has largely been defined by two sides of a coin over the last three decades. On one side, there is the slightly schtick-y carnival barker from Twin Peaks, partly comedic, partly evil. On the other, a stark, soul-crushed balladeer, precisely as earnest as the barker is odd. Waits' best records have found a proper balance to highlight both sides of his songwriting. Swordfishtrombones had "Johnsburg, Illinois" and "16 Shells from a Thirty-Ought Six". Rain Dogs balanced "Singapore" against "Downtown Train". Even Mule Variations had a "Pony" or "Hold On" for every "Filipino Box Spring Hog" or "Big In Japan". This is the duality of the character Waits has created for himself. With Bad As Me, Waits' first LP in seven years, The balance seems to favor his oddities, at the expense of those fantastic ballads, but still provides an entertaining listen.
The first half of Bad As Me plays like a love song to the Rock 'N Roll of Waits' youth; references abound to Wolfman Jack, Elvis, and the Stones (Keith Richards makes several appearances on the record). "Get Lost" is a straight up Rockabilly effort (and one of the less interesting moments on the record). The record opener, "Chicago", sounds exactly like what you would expect from a modern Waits record, but is still a recoup of the age-old travelin' Blues song. "Pay Me" is one of the few attempts Waits makes at a standard ballad here. It has that German cabaret style that Waits has used before and works extremely well, though it seems slightly out of place amongst the rest of this collection's rolling Blues stomp. I think the most interesting note from this side can be found on "Talking At The Same Time". A direct meditation on America's economic struggle, this is the first time I've heard Waits be so overtly political, and it feels incredibly fresh. Luckily, this isn't the only foray Waits will make into politics on Bad As Me.
The second half of Bad As Me has Waits investigating some of his early career Jazz stylings (though nowhere near as straightforward as those early records). This is also where you will find the record's oddest moments. The title track is a fun stomp with downright wacky guitar and harmonica accompaniments. "Last Leaf" is perhaps the biggest tragedy on the record, with a barely there arrangement and always ill-advised Keith Richards vocal performance. Minus those distractions, this track could have been the album's strongest (and maybe one of the best from this period of his career). The anti-war, hand bone dirge "Hell Broke Luce" is Bad As Me's strangest and most purely entertaining moment. The record closes with the album's strongest ballad, "New Year's Eve". Integrating excerpts from "Auld Lang Syne" into the Brechtian vocal, this is Waits at his most earnest and I think the record could have been better served if we had gotten to hear more of it.
Overall, the songs on Bad As Me are enjoyable, even if slightly too heavy with schtick. Waits has presented an album of tight tracks that show a healthy respect for his past and flourishes of continued growth as a songwriter. The performances are tight and solid (particularly the percussive tracks) and no one will be able to accuse Waits of not knowing who to surround himself with. I don't think Bad As Me will stand up as strong as Mule Variations has, but it is still a solid effort worth several return listens.
The deluxe release of Bad As Me includes three bonus tracks that are well worth the trip. I don't understand why "Tell Me" wasn't included in the original pressing.
Reviewer Stats:
Reviews -57
Average Rating - 6.7
Highest Rating - 9.5 Blitzen Trapper's American Goldwing
Lowest Rating - 1.5 D. Charles Speer's Arghiledes
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