Tom Waits – Bad As Me
Brandishing a cult following, a couple of Grammys, over a dozen albums, and an Oscar nomination, Tom Waits is something of a legend. That sort of a pedigree can be intimidating to new listeners. Aside from knowing Rod Stewart’s sappy cover of “Downtown Train” I was completely unfamiliar with any of Waits’ work. I put in Bad As Me anxious to hear what a legend sounds like and heard a voice that sounds like gravel, broken glass, and rusty nails being stirred in a concrete mixer with bourbon, syrup, and chili sauce. The end result is pure quality.
Tom Waits - Bad As Me
Bad As Me oozes bayou blues, seeps rock n’ roll, and sweats vaudeville Dixieland. It’s a wonder to listen to; and the music, written by Waits and his wife/collaborator Kathleen Brennan, is masterful. Featuring celebrity background musicians like Keith Richards, Les Claypool, and Flea, Waits’ ethos are quietly boosted with listeners unaware of what’s occurring. Each musician offers just the right amount of accompaniment to make the songs both rich and minimal at the same time.
This isn’t to say the album is perfect. Though Waits’ voice is unique and recognizable, it’s not necessarily pleasant. This is part of the draw of Waits and it’s a defining aspect of his music; yet it gets a little tiresome at times. Some melodic background vocals could definitely improve aspects of the more gnawing sections. Waits is at his best when his growl matches the intensity of his music. When the music slows down, his voice becomes a bit more jarring. Oddly, songs like “Kiss Me”, “Last Leaf” (featuring Richards on background vocals), and “Pay Me” have some of the best instrumental aspects of the album even while the vocal lines seem out of place. Still, the mere originality of it all makes it listenable and enjoyable.
When the subject matter matches the growl of Waits’ voice, the album is at its strongest. Luckily, this is almost on every song; tracks like “Bad As Me”, “Satisfaction”, “Chicago”, and “Hell Broke Luce” should especially resonate with audiences. Waits’ vocal intensity and simplicity is nicely mirrored by his simple—yet poignant—lyrics that tell colorful stories in few words. Each word feels deliberate and thoughtfully chosen—a stark contrast to the seeming spontaneity of his singing style. An example of this is found in the line “what sounded like fireworks turned out to be just what it was” from “New Year’s Eve.”
For old fans of Waits’ music, Bad As Me should be another testament of his longevity and capacity to growl some of the most beautiful and underappreciated music of anyone out there, and for newcomers, it’s a perfect introduction to a living musical legend.
Written by Rob Watkins