Tom Waits – Rain Dogs (1985)
Genius. There are few performers more deserving of such a tag. A true musical chameleon, it’s almost impossible to summarise his career. Certainly the artist who recorded Real Gone in 2004 bears no relation at all to the one who released his debut set Closing Time in 1973. Initially known more as a singer songwriter specialising in string laden ballads, he then adopted a hard drinking road weary persona as the decade progressed. As the 80’s began Waits found himself at a crossroads in his life.
He had left the Asylum label for pastures new and married Kathleen Brennan who he had met while working on Coppola’s One From The Heart and with whom he would co-write much of his future material. He had then stunned his fans and critics alike in 1983 with the brilliant re-invention that was Swordfishtrombones. Conventional instruments were combined with accordion, marimba and pump organ all set against jarring percussion. Rain Dogs further expanded on this new direction, by increasing the ambition, and the addition of the superb guitar of Marc Ribot, whose work is one of the many highlights. 19 tracks in total, many still based on his blues and jazz roots, but also introducing polkas, spoken word, vaudeville, country and a touch of gospel all topped off with his ‘distinctive’ voice. Although he can roar and bellow with the best of them he can also bring real tenderness to his performance – witness Time and Hang Down Your Head. Singapore is a jaunty, sea shanty of an opening number, Clap Hands sounds like a New Orleans funeral march, Tango Till They’re Sore features off kilter piano and the instrumental Midtown is like big band jazz gone wrong. This may sound like this album is a difficult listen, but this is simply not the case. It may require several plays for its magic to be revealed, but with music like this, surely it’s the least we can do?
Few artists weave tales of life’s seedy underbelly better that Waits. You believe every single word of it, his lyrics paint vivid pictures, mostly in songs lasting less than 3 minutes. It seems whatever musical style he uses, he does it with utter conviction. Over the course of almost 20 albums he has scarcely put a foot wrong. Highly recommended also is the classic Jim Jarmusch film Down By Law which stars Waits as a DJ and features some of the music off this album. There are at least another 6 albums which could have been reviewed here (Nighthawks At The Diner, Blue Valentine and Bone Machine to name but three), but after listening to his music for nearly 20 years this is the one I keep coming back to.
Stuart Preston
Genius. There are few performers more deserving of such a tag. A true musical chameleon, it’s almost impossible to summarise his career. Certainly the artist who recorded Real Gone in 2004 bears no relation at all to the one who released his debut set Closing Time in 1973. Initially known more as a singer songwriter specialising in string laden ballads, he then adopted a hard drinking road weary persona as the decade progressed. As the 80’s began Waits found himself at a crossroads in his life.
He had left the Asylum label for pastures new and married Kathleen Brennan who he had met while working on Coppola’s One From The Heart and with whom he would co-write much of his future material. He had then stunned his fans and critics alike in 1983 with the brilliant re-invention that was Swordfishtrombones. Conventional instruments were combined with accordion, marimba and pump organ all set against jarring percussion. Rain Dogs further expanded on this new direction, by increasing the ambition, and the addition of the superb guitar of Marc Ribot, whose work is one of the many highlights. 19 tracks in total, many still based on his blues and jazz roots, but also introducing polkas, spoken word, vaudeville, country and a touch of gospel all topped off with his ‘distinctive’ voice. Although he can roar and bellow with the best of them he can also bring real tenderness to his performance – witness Time and Hang Down Your Head. Singapore is a jaunty, sea shanty of an opening number, Clap Hands sounds like a New Orleans funeral march, Tango Till They’re Sore features off kilter piano and the instrumental Midtown is like big band jazz gone wrong. This may sound like this album is a difficult listen, but this is simply not the case. It may require several plays for its magic to be revealed, but with music like this, surely it’s the least we can do?Few artists weave tales of life’s seedy underbelly better that Waits. You believe every single word of it, his lyrics paint vivid pictures, mostly in songs lasting less than 3 minutes. It seems whatever musical style he uses, he does it with utter conviction. Over the course of almost 20 albums he has scarcely put a foot wrong. Highly recommended also is the classic Jim Jarmusch film Down By Law which stars Waits as a DJ and features some of the music off this album. There are at least another 6 albums which could have been reviewed here (Nighthawks At The Diner, Blue Valentine and Bone Machine to name but three), but after listening to his music for nearly 20 years this is the one I keep coming back to.
Stuart Preston
1 comment:
How very true Stu... It is best heard as part of that holy trinity of Waits albums, with Swordfishtrombones and Frank's Wild Years but stands out as the one where every track is such a unique experience and world on its own. Can you imagine an album like that being released today? Or even a record company taking a chance on something so against the mainstream tide? A great choice for classic album.
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