Tom Waitts Bad

Tom Waits - Bad As Me (2011) [2CD] {Anti, Deluxe Limited Edition}
EAC rip (secure mode) | FLAC+CUE+LOG -> 316 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 600 dpi (jpg) -> 581 Mb | 5% recovery rar
© 2011 Anti, Inc. | 7177-2
Rock / Experimental Rock / Alternative / Songwriter

Bad As Me is Tom Waits’ first studio album of all new music in seven years. This pivotal work refines the music that has come before and signals a new direction. Waits, in possibly the finest voice of his career, worked with a veteran team of gifted musicians and longtime co-writer/producer Kathleen Brennan. From the opening horn-fueled chug of “Chicago,” to the closing barroom chorale of “New Year’s Eve,” Bad As Me displays the full career range of Waits’ songwriting, from beautiful ballads like “Last Leaf,” to the avant cinematic soundscape of “Hell Broke Luce,” a battlefront dispatch.

Tom Waits - Bad As Me (2011) [2CD] {Anti, Deluxe Limited Edition}
EAC rip (secure mode) | FLAC+CUE+LOG -> 316 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 600 dpi (jpg) -> 581 Mb | 5% recovery rar
© 2011 Anti, Inc. | 7177-2
Rock / Experimental Rock / Alternative / Songwriter

Bad As Me is Tom Waits’ first studio album of all new music in seven years. This pivotal work refines the music that has come before and signals a new direction. Waits, in possibly the finest voice of his career, worked with a veteran team of gifted musicians and longtime co-writer/producer Kathleen Brennan. From the opening horn-fueled chug of “Chicago,” to the closing barroom chorale of “New Year’s Eve,” Bad As Me displays the full career range of Waits’ songwriting, from beautiful ballads like “Last Leaf,” to the avant cinematic soundscape of “Hell Broke Luce,” a battlefront dispatch.

Bad as Me is Tom Waits' first collection of new material in seven years. He and Kathleen Brennan - wife, co-songwriter, and production partner - have, at the latter's insistence, come up with a tight-knit collection of short tunes, the longest is just over four minutes. This is a quick, insistent, and woolly aural road trip full of compelling stops and starts. While he's kept his sonic experimentation - especially with percussion tracks - Waits has returned to blues, rockabilly, rhythm & blues, and jazz as source material. Instead of sprawl and squall, we get chug and choogle. For "Chicago" - via Clint Maedgen's saxes, Keith Richards' (who appears sporadically here) and Marc Ribot's guitars, son Casey Waits' drums, dad's banjo, percussion and piano, and Charlie Musselwhite's harmonica (he appears numerous times here, too) - we get a 21st century take on vintage R&B…

Bad as Me is Tom Waits' first collection of new material in seven years. He and Kathleen Brennan - wife, co-songwriter, and production partner - have, at the latter's insistence, come up with a tight-knit collection of short tunes, the longest is just over four minutes. This is a quick, insistent, and woolly aural road trip full of compelling stops and starts. While he's kept his sonic experimentation - especially with percussion tracks - Waits has returned to blues, rockabilly, rhythm & blues, and jazz as source material. Instead of sprawl and squall, we get chug and choogle. For "Chicago" - via Clint Maedgen's saxes, Keith Richards' (who appears sporadically here) and Marc Ribot's guitars, son Casey Waits' drums, dad's banjo, percussion and piano, and Charlie Musselwhite's harmonica (he appears numerous times here, too) - we get a 21st century take on vintage R&B…

Although it isn't the revelation or surprising, extraordinary achievement that his 2010 record Praise & Blame was, Spirit in the Room is another solid, very welcome set of stripped-back interpretations from Tom Jones, produced once again by Ethan Johns, making those comparisons to Johnny Cash's late-period recordings with Rick Rubin all the more fitting. Know that the songbook has changed from classic (spirituals, blues, and traditional numbers) to more contemporary (Paul Simon, Leonard Cohen, Paul McCartney, the Low Anthem, and others) and that Jones and Johns are both in top form and you've got the picture, along with that same frustration that no matter how fun "What's New Pussycat?" and "Sex Bomb" were, a couple more albums like this along the way would have been rich and rewarding.

Although it isn't the revelation or surprising, extraordinary achievement that his 2010 record Praise & Blame was, Spirit in the Room is another solid, very welcome set of stripped-back interpretations from Tom Jones, produced once again by Ethan Johns, making those comparisons to Johnny Cash's late-period recordings with Rick Rubin all the more fitting. Know that the songbook has changed from classic (spirituals, blues, and traditional numbers) to more contemporary (Paul Simon, Leonard Cohen, Paul McCartney, the Low Anthem, and others) and that Jones and Johns are both in top form and you've got the picture, along with that same frustration that no matter how fun "What's New Pussycat?" and "Sex Bomb" were, a couple more albums like this along the way would have been rich and rewarding.