When the item arrived, the package was exactly the same as the original release, look, size, format, bar code, everything. I was just a kiss away from downloading them on iTunes actually. So if you're hesitant for any of these reasons, don't be - and if you've never heard this one before, you're in for a treat.
I must admit though that when this Bad As Me album came out I was thinking I opted for this album mostly out of loyalty and am glad I did. Wow, there are some powerhouse songs on this CD that seem to be more direct and dare I say less "Shticky" and mannered than his most recent CDs.
He seems to be more into the music here than trying too hard to create cleverly bizarre characters and stories. Weiss, also the Bass and Organ grinding out some whore-house rhythms on Raise Right Men I hated this song on first listen are pure genius.
Well, I am back in the fold now and hope this is the beginning of a new chapter in the Tom saga, nobody can rock with the authority of Mr. Waits and he can also write a fairly poignant ballad when he opts to keeps it real. In fact, so far gone was I that my wife emphatically suggested I move our c. In "Bad as me, " Waits hammers more nails into the cross on which fans are hooked.
Wait's will be "carousin" when he's a "thousand. His latest release benefits from having been the first release in five years since Orphans Brawlers, Bawlers, and Bastards , and very focused. Among the highlights include the snaky and sinister title track, "Get Lost" which sounds like it should be an infectious opening theme for a 80's comedy film , the rushing "Chicago", the fine aged lounge throwback "Kiss Me" and the mad anti-war march "Hell Broke Luce".
A definite buy. See all reviews. Top reviews from other countries. Tom Waits has to be among the most distinctive and original artists in music today, and is unquestionably musical Marmite for many people; There's a good chance that you'll either love him or hate him.
In my opinion the man hasn't released a bad album, and his lesser albums are still better than many artist's best, but this, his first release in 7 years since Real Gone in sounds a bit like a man that has run out of ideas. It has all the hallmarks of many Waits albums: the slow, bluesy tracks and the noisy stompers, but it's all been done before, which is unfortunate for someone that has made a career out of being a musical pioneer. If you love previous Tom Waits ideally from Swordfishtrombones onwards , then you'll probably love this.
If you hate Tom Waits If you know something is wrong with this world, then this collection is for you. Tom Waits tells it like it is, warts and all. He pulls back the curtain for all to see the the blind madness that goes on all aroud us. It's not political, it's the truth in words and music - some beauty and nostalgia too. Another gem to any Tom Waits collection. Quite accessible for tom. But none of his quirky ness has gone, thankfully. Report abuse. Bad as Me is a great album from Tom Waits.
Strikingly different to much of his back catalogue. This album has gotta be played loud. This is really good, and pretty musical - one to play your friends who haven't heard Tom Waits yet some of his stuff is not very appealing to Tom Waits virgins. I played it through twice in one sitting - it's that good. So good to have someone who's been around for years and is still coming up with fantastic music and lyrics. Did I mention that it's really good?
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The best songs on this album are on the bonus disc of the deluxe limited edition. The book is very nice, but these tracks on disc 2 make the album essential for my taste. I would advise skipping the standard version and going for the 2 discs. One person found this helpful. He has been called 'America's best kept secret'.
The man, the myth, the legend; Tom Waits. Over the past two weeks, a lot of people have asked me how I like the new Tom Waits album- so I figured being such a fan- I should finally sit down and officially talk about it. 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!
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. 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.
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 '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.
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. 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'.
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! 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. Jagger, Mr. Marcus sought and found those things in pre-war vernacular American music, in the songs Smith culled from his crates of 78s and gathered under a Celestial Monochord.
Tom Waits hears them everywhere. He's backed by a cabal of familiar, gnarly-faced noisemakers David Hildalgo, longtime bandleader Marc Ribot , Keith Richards, Flea , and again shares writing and producing credit with his wife and frequent collaborator Kathleen Brennan. Waits' jerky grandpa bark, which he'd honed and perfected by his mid-twenties, was reverse-engineered to age well.
Now, perhaps freed from the burden of approximation, he sounds especially wild and gleeful, hollering with deranged aplomb. Bad as Me is as essential-- and as essentially weird-- as anything he's done before. Bad as Me comprises mostly love songs: paeans to lasting love, the kind that changes and bends.