Tom Waits - Glitter and Doom Live
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CD Details
Artist: Tom WaitsEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-11-23
Music Label: Anti
Soundtracks:
Music CD 1
- Lucinda / Ain't Goin Down (Birmingham 07/03/08)
- Singapore (Edinburgh 07/28/08)
- Get Behind The Mule (Tulsa 06/25/08)
- Fannin Street (Knoxville 06/29/08)
- Dirt In The Ground (Milan 07/19/08)
- Such A Scream (Milan 07/18/08)
- Live Circus (Jacksonville 07/01/08)
- Goin' Out West (Tulsa 06/25/08)
- Falling Down (Paris 07/25/08)
- The Part You Throw Away (Edinburgh 07/28/08)
- Trampled Rose (Dublin 08/01/08)
- Metropolitan Glide (Knoxville 6/29/08)
- I'll Shoot The Moon (Paris 07/24/08)
- Green Grass (Edinburgh 07/27/08)
- Make It Rain (Atlanta 07/05/08)
- Story (Columbus 06/28/08)
- Lucky Day (Atlanta 07/05/08)
- Tom Tales 36:10
Music reviews of Glitter and Doom Live
Music Review: Good, but not like seeing a show
Rating: 4 Stars
Besides being one of the greatest singer-songwriters, Tom Waits is one of music's best live acts. This makes it all the more unfortunate that he has performed so rarely in recent decades, resulting in the astounding fact that he had only one live album in a nearly forty-year career prior to this 2009 release. Fans were thus understandably elated when he embarked on 2008's Glitter and Doom tour, especially as he had a new band and would be performing many recent and other songs never played live. The tour was a great success*, getting near-universally ecstatic reviews and being named Tour of the Year by at least one major outlet. This album's announcement was of course then met with some enthusiasm; those lucky enough to have caught a show could relive the experience, and those who missed out could make up for it.
Let me leave no doubt that this is a good live album, a fine document of live Waits that fans will appreciate and that may entice others. It had been far too long - about twenty years! - since Big Time, his last live release; Waits had released many great songs since, changed his repertoire almost entirely, and the 2008 shows were great. Also, incredibly, he was perhaps more popular than ever; high-profile covers by Norah Jones and others brought his music to a new audience, and Orphans, his previous release, became his first album to go gold in the U. S. [check] All this made such a release near-inevitable, and we should indeed be glad.
That said, anyone who saw a show will surely be disappointed because, fine as this is, it is a pale shadow of Waits' unforgettable live spectacle. The audio-only medium of course makes this to a large extent unavoidable. Though Waits is relatively low on stage props, lighting, etc., he makes great use of them, giving a creative and memorable presentation. Far more importantly, the pure fact of seeing him makes a great difference. Though known as something of a recluse, he is one of music's greatest entertainers. He is so engrossing that it is almost impossible to take one's eyes off him despite the fact that he uses almost no conventional moves or tricks. He sings, shakes, dances, and variously moves in bizarrely intriguing ways, making a truly entertaining, frequently comic, and often emotional spectacle. A true showman mixing elements of wild rock `n' rollers, Rat Pack crooners, jazz lounge lizards, Beat poets, carnival barkers, stand-up comedians, and more, he is truly must be seen to be believed. Great as the music is by itself, his presence gives an entirely new dimension that is sorely lacking here. The 2008 shows differed greatly from nearly all prior ones in featuring Waits at his signature piano on only a few songs, freeing him to pursue even more madcap antics. As all this suggests, video is the ideal form for a live Waits release. There are of course many who would prefer audio only, but fans should have at least had the choice.
However, this CD has other limitations that I will soon mention. For now, let me say what it does well. Most obviously, and very importantly for some, it manages to vividly portray one important aspect of a Waits show - his delightful between song banter. Nearly all artists chatter with crowds but almost always in empty, formulaic phrases. Waits takes it to a new level, spinning delightful monologues encompassing stories, tall tales, fun facts, and more. Always humorous and frequently hilarious, these span the humor gamut from bawdy to esoteric. Waits is as likely to tell a shaggy dog story as a one-liner; we never know quite what to expect but are always entertained. His distinct way of putting this across is a large factor; Waits is a master of delivery, showing why he is a successful actor and proving that he could have been an excellent stand-up comedian. However, not all the banter is pre-conceived; he also feeds off and works with an audience as few performers can. Though essentially a cult artist and thus unable to attract large crowds, Waits audience are very vocal, shouting out not only requests but various other things. Waits not only listens but comments, interacting as I have seen no other musician do, cracking jokes and other improvised bits that are unique and often hilarious. His third album, Nighthawks at the Diner, is a faux live album that puts all this across rather well. However, it is essentially missing from Big Time, to the disappointment of many. This more than makes up for it. The first disc has a fair amount of commentary, but the second is truly a special treat - over thirty minutes of "Tom Tales" culled from various shows and spliced together as one long monologue. Fans will want the album for it alone, and it could easily attract those who do not like Waits' music. Waits has recently played up this aspect, especially on Orphans' third disc, which has much spoken word material, and this is another excellent addition. The disc concludes with an impromptu-sounding performance of an actual song, the unlisted "Picture in a Frame." Some may wish the material had been spread out among the songs to give a more accurate picture, but this is probably the best arrangement for this album in the long run. Fans will of course want to hear the songs over and over, but the spoken material's charm inevitably wears off after a few listens; keeping them separate was an innovative and wise decision.
As for the music, we get a pretty good cross section of Waits' near-unmatched diversity, showcasing his more driving material as well as trademark ballads, spoken word pieces with music, and pure Waitsian weirdness. Few musicians have tried such a wide variety of styles, much less with such success, especially onstage. Even those who do not like Waits must admire his astounding reach, and the album goes a long way toward proving it. More impressive still is his vocal dexterity; perhaps not even Bob Dylan himself can command as many vocal stylings. Waits' voice is infamously non-commercial, automatically scaring off anyone unfortunately limited to conventionally good singing. However, the gravel-throated howler stereotype does him a great injustice, as it is only one of his many voices. Waits can channel Howlin' Wolf and Louis Armstrong one minute only to sound like a Rat Pack crooner the next. He can sound like a 1950s rockabilly singer, a show tunes belter, a black gospel singer, a country yodeler, and far too many other things to name. Waits has voices for each song type and runs through many in a single show, leaving audiences stunned. What is more, age seems to have no effect on his ability; however unconventional Waits' vocals, it must be admitted that very few singers nearing sixty sound so pristine. Glitter and Doom Live does a good job of showing these qualities.
All this of course makes the album well worth buying for fans, but it could have been significantly better for several reasons. The main problem is song selection. This would always be a thorny issue because Waits not only has a large number of songs but also because, unlike nearly all performers, he varies his sets significantly from show to show. Advertising for the album claims that the selection was made to give the feeling of an evening's performance, but it falls rather short for several reasons. The most obvious is length. The music disc is generous in spreading sixteen songs over seventy-seven plus minutes, nearly full CD capacity, but Waits played for two hours. The banter accounted for an appreciable amount, but he generally performed five or so more songs than are included here. Thus, despite the admitted advantages of putting the banter on a separate disc, a two-disc set approximating a full-length show would have been ideal, especially as disc two is not even half capacity.
The choices themselves are also highly questionable. 2008 shows consisted almost exclusively of songs from 1985's Rain Dogs forward, leaning heavily on Anti- label releases with Real Gone and Orphans, the most recent albums, getting especially heavy play. This is reflected here, which is good as far as it goes; unlike nearly all artists with multiple live albums, Waits does not keep inflicting the same songs on fans. Even so, a highlight of most shows was Waits tackling one of his 1970s classics at the piano, which is sorely missing here. This may be due to at least in part to licensing issues and/or a desire to have all songs credited to Waits and Kathleen Brennan, his wife and songwriting partner for the last several decades**, but is undeniably a great loss and gives a misleading impression. Even the selection of newer works is very debatable. I attended the Tulsa concert, and the two best performances were "Hoist That Rag" and "Come on up to the House," which are not represented here; conversely, one of two songs included from that show ("Get behind the Mule") was one of the less interesting, as it is here. More puzzling still is that some of the choices are not the best versions; for example, "Trampled Rose" at my show was significantly better than the one here. Also, one of the best things about Waits live is that, unlike nearly all artists, his arrangements are often substantially different from the originals. This was particularly so with the 2008 lineup. Yet several of the songs used, especially "Fannin Street," are among the few that closely followed studio versions. Those who do not like altered arrangements will appreciate this, but it again gives a misleading impression. Finally, it is a true shame that more ballads were not chosen, as two of the uncharacteristically small number here ("I'll Shoot the Moon" and "Lucky Day") are the highlights by a significant margin.
Additionally, it is only right to mention that Waits had a very talented band, but one would hardly know it from this. The concerts had many songs with extended instrumental introductions and solos, but the choices here distinctly shy away from this. Omar Torez was a high point of many shows with his masterful flamenco style acoustic and Santana-esque electric guitar and also handled other string instruments. Unfortunately, none of his lengthy intros or solos are here, severely underrepresenting his role. Vincent Henry was perhaps even more impressive, handling a large array of woodwinds and saxophones as well as harmonica and guitar. Waits is known for using many woodwind and brass instruments on record, and it is a testament to Henry's extraordinary talent that Waits did not need a second person playing them. He can be heard in an excellent support role, but his solos are also largely absent. Keyboardist Patrick Warren is also somewhat shafted, as the selection veers away from Waits' keyboard-heavy songs. This is not only strange and disappointing but arguably unfair to the excellent musicians who were such an important part of the shows. They of course never overshadowed Waits but were far more integral than this suggests. As if to rub it in, the CD does not include a band introduction.
On the other hand, the excellent rhythm section is represented in full force. Bassist Larry Taylor has a long history with Waits, and I was worried about anyone else filling the role, but Seth Ford-Young does an excellent job. He is clearly audible on nearly every track and is sometimes practically the lead instrument, keeping a solid rhythmic foundation for the array of instruments Waits employs. The talent of Waits' teenage drummer son Casey is also on clear display. His father's music from 1981's Swordfishtrombones onward is well-known for unique and prominent percussion. It is too much for even the greatest single drummer to duplicate, but the younger Waits does an excellent job. He surely has a fine career ahead, and this album will hopefully do much to advance it. His brother Sullivan also has a guest appearance on sax and clarinet. The patriarch meanwhile shows his usual versatility on acoustic/electric guitar and piano. Though no virtuoso, Waits has a distinct style that is charming and endearing. Others may be able to play the parts with more conventional skill, but his unique touch is an essential, irreplaceable part of his music and a joy to fans.
On a more technical note, the sound quality is not as crisp as most modern live albums', which may be a result of Waits' unconventional setup and relatively low volume. The crowd is also not as audible as is customary. This is not a problem for me, especially as the album avoids the instrument bleeding that plagues so many live albums and bothers me far more, but audiophiles may be annoyed. As for packaging, there is a generous selection of photos plus credits, etc. that will delight fans, triggering pleasant memories for those who saw the shows and giving those who did not a good taste of what they missed.
Quality varies a bit from song to song, as does resemblance to the originals. Few cuts equal or surpass the latter, but there are some notable exceptions. "Lucinda - Ain't Goin Down," an Orphans medley, is one of the best, a superb high energy opener. The "Lucinda" section betters the original primarily because a tough bass-drum punch replaces Waits' annoying beatboxing. The "Ain't" integration is nothing short of brilliant, especially the incredible segue, which truly shows the band's talent.
"Singapore" is significantly changed, mostly because Waits uses a very different voice, though the original also comes through at times. I prefer the latter, but the variation is valid and interesting. An excellent breakdown section again shows the band's talent.
"Get behind the Mule" is quite close to the studio cut except for varied vocal phrasing that comes off as more of a mistake than a variation. However, it is redeemed to a large extent by an excellent harmonica solo and a fine ending.
"Fannin Street" basically copies the studio take but is probably better because the end repeats less.
"Dirt in the Ground" has a new arrangement that falls quite short of the original but is legitimate and worthy. It is essentially less dramatic and more personal sounding, Waits coming off more like a friend whispering a sad truth than an Apocalyptic preacher warning everyone. The vocal approach is again the biggest change; I prefer the original's self-conscious melodrama, but this is a fine take. Musically, piano and horns are deemphasized for a more rhythm-heavy arrangement that suits the new vocal well.
"Such a Scream" was a daring choice to perform because of the original's heavy reliance on studio effects, not least crashing, electronic-like drums and mixing that almost buried the vocal. I would not have thought that the drums could even be approximately replicated, but Casey Waits does a surprisingly great job. Actually being able to make out his father's words is another nice surprise, even if he does not attempt the falsetto.
"Live Circus" is one of the true treats, a rendering of Real Gone's "Circus." Waits' albums from Swordfishtrombones onward have been notable for spoken word pieces backed by music, and they come across very well onstage, making it high time one appeared on a live album. This is a consummate performance and a fine example of how Waits feeds off an audience.
"Goin' out West" is fairly close to the original but distinguished by a newly prominent bassline somewhat reminiscent of T. Rex's "Bang a Gong." It is also a good example of the missing visual element; the song's most Waits-esque lyric - I will not spoil it - is deliciously overplayed and gets an ovation each time. Trust me, it was much funnier in person.
It is very unfortunate that we have to wait until the ninth track for a ballad, but "Falling Down" is worth the wait. This is a great performance showcasing Waits' unmatched skill in delivering such songs.
"The Part You Throw Away" has some nice musical touches added to what was a pretty bare bones studio cut. The performance is not especially remarkable, but fans will appreciate the bonuses.
"Trampled Rose" is one of Waits' best-known and best recent songs, and the live atmosphere adds some appropriate drama, even though this is not the best take.
The Grammy-nominated "Metropolitan Glide" is also notably different because of beatboxing's absence, but here it is actually missed, as the effect achieved on the studio cut and its integration with the music were outstanding. Waits thankfully atones to a large degree with some new vocalizings, and the slightly expanded arrangement adds some interesting touches.
"I'll Shoot the Moon" is the highlight of the album to this point. An exemplary performance of an immaculate love song, this is Waits at his balladeer finest. It is a great, highly moving vocal performance, and the roar as soon as Waits starts singing shows that the crowd truly appreciates this relatively obscure work. A few more songs like this would have made the album outstanding.
"Green Grass" is a cross between ballad and spoken word - a very intimate piece with bare music on the original that seems a poor choice for performance. However, it comes across surprisingly well, and the band arrangement gives new musical interest.
"Make It Rain" is one of Waits' most hard-driving numbers and seems tailor-made for performance. It does not disappoint. The arrangement is very similar to the original, but the live atmosphere gives a new degree of intensity, and the vocal is stellar. This is another instance where the visual element is truly missed; the seemingly incongruous applause after "Open up the heavens/Make it rain" arises because a large amount of glitter was dropped onstage - one of Waits' characteristic low-budget but effective touches.
The "Story" following this gives a good example of what to expect on disc two, but the closing "Lucky Day" is the highlight. An incredible performance of another overlooked gem, it is great enough in itself to make the album worth buying. Like "I'll Shoot," it was originally buried deep in the highly idiosyncratic - even by Waits standards - album The Black Rider and is the kind of beautiful ballad that only Waits can pull off. Both tracks, and especially this, stand out far more when separated from the madness that originally surrounded them. The words would seem overly sentimental, even corny, if sung by nearly anyone else, but Waits' vocal is so moving that I highly doubt I am the only one for whom it brings tears. The singing is emotionally wrought throughout, but Waits' timing in the near-spoken word section is beyond improvement - comic yet touching as only he can be. This bravura performance ends the album on such a high note that it can easily inflate one's view of the whole even as it makes us wish more songs from the piano set had been used.
All told, fans will want this album, even if it is primarily valuable for the scarcity of live Waits rather than inherent quality. Those who unfortunately missed the 2008 shows will like it most but should not assume it conveys the Waits experience in full force; it is perhaps best seen as an appetizer. Fans who saw the shows will almost certainly be disappointed but must remember that the album is quite good on its own terms - and is also a fine souvenir. Casuals and the curious should certainly not start here, and one should have many Waits albums before coming to this, but the dedicated will certainly want it eventually.
*I must put to rest a claim that I have seen everywhere from official advertising for the tour and album to the All Music Guide review of the latter - that the tour was "sold out." The show I attended (Tulsa) had at least several hundred empty seats in a theater holding only a few thousand. Anyone assuming this was because of no-shows would be wrong, as tickets were sold right up until show time. It may have been the only show like this, but that still means the tour was not "sold out."
**Those who have suspected that Brennan, credited for co-writing all Waits songs for some years as well as co-producing many, is automatically credited whether or not she contributed have new evidence. As on Orphans, some songs previously credited only to Waits - i.e., "Such a Scream" - are here credited to both.
Description of Glitter and Doom Live
In 2008, Tom Waits launched a sold out national tour,garnering intense critical praise Paste magazine called it the
best live show of 2008 and thrilling fans across the country
and the world, some in cities where Waits had never played
before. Now comes the document of those concerts, 17
performances hand picked by Waits from along the tour.
Leaning heavily on songs from his ANTI releases including a
haunting Trampled Rose from Real Gone and roaring Get
Behind the Mule from Mule Variations Waits also digs into
the vaults for tracks like a reimagined Singapore from 1985 s
Rain Dogs. Glitter and Doom Live will reside in the Waits
catalog alongside earlier live albums like Nighthawks at the
Diner and Big Time, both discs held on par with his classic
studio releases by fans.
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