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Артист: Tom Waits Альбом: Blood Money, 2002 Издатель: Anti / 86629-2 Жанр: Experimental Rock, Blues-Rock, Songwriter Формат файла: EAC-FLAC-CUE-LOG-HQCovers Ссылка: CD 29 clicks Нахождение: eDonkey/Kademlia

Tracklist:
01. Misery Is The River Of The World [4:25]
02. Everything Goes To Hell [3:45]
03. Coney Island Baby [4:02]
04. All The World Is Green [4:36]
05. God's Away On Business [2:59]
06. Another Man's Vine [2:28]
07. Knife Chase [2:26]
08. Lullaby [2:09]
09. Starving In The Belly Of A Whale [3:41]
10. The Part You Throw Away [4:22]
11. Woe [1:20]
12. Calliope [1:59]
13. A Good Man Is Hard To Find [3:57]

All songs by Tom Waits and Kathleen Brennan
Produced by Tom Waits and Kathleen Brennan
Second Engineer: Jeff Sloan
Production Coordinators: Julianne Deery & Jeff Sloan
Cheques & Balances: Heather Fremling
Recorded and Mixed at In The Pocket Studio, Forestville, CA
Studio Support: Richard Fisher
Mastered at Mastering Lab, Hollywood, CA by Gavin Lurssen
A&R and Art Director: Jeff Abarta
Design: Winni Wintermeyer
Photos and Concept: Jesse Dylan

QUOTE

Tom Waits has said: "I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth." When it comes to the material on Blood Money, I don't know if I can call Waits' mouth pretty, but he certainly offers plenty of bad news in a very attractive, compelling way. Released simultaneously with Alice, a recording of songs written in 1990, Blood Money is a set of 13 songs written by Waits and Kathleen Brennan in collaboration with dramatist Robert Wilson. The project was a loose adaptation of the play Woyzeck, originally written by German poet Georg Buchner in 1837. The play was inspired by the true story of a German soldier who was driven mad by bizarre army medical experiments and infidelity, which led him to murder his lover - cheery stuff, to be sure. Thematically, this work - with its references to German cabarets and nostalgia - echoes Waits' other Wilson collaborative project, Black Rider. Musically, however, Blood Money is a far more elegant, stylish, and nuanced work than the earlier recording. With bluesman Charlie Musselwhite, reedman Colin Stetson, bassist and guitarist Larry Taylor, marimbist Andrew Borger, and others - Waits plays piano, organ, marimba, calliope, and guitar - this is a theater piece that feels like a collection of songs that reflect a perverse sense of black humor and authentic wickedness in places. The protagonists of these songs are so warped and wasted by life that they are caricatures; it's impossible not to like them and to not be repulsed by yourself for doing so. For starters, the set opens with "Misery Is the River of the World," a circus-like tango wrapped around a series of dialectical aphorisms: "If there's one thing you can say about mankind/There's nothing kind about man." When a piano cascades up a minor scale in dramatic showmanship, Waits chants the refrain, "Misery is the river of the world," with seeming delight. On "God's Away on Business" (with guests Stewart Copeland on drums and PJ Harvey guitarist Joe Gore) the rhythm first displayed on Bone Machine resurfaces and fills out the backbeat. It's almost a march in its depth and dimension, giving the entire track the feeling of an evil seven dwarfs about to roast Snow White for dinner: "I'd sell your heart to the junkman, baby/For a buck, for a buck/If you're looking for someone to pull you out of that ditch/You're out of luck, out of luck." This is bleak, disturbing, and hysterically funny. It's not all snakes and alligators, however. In "Coney Island Baby," Waits delivers one of his most memorable and moving love songs while playing the chamberlain in front of the band, who plays an old-time waltz laced through with gorgeous cello and trumpet slipping ethereally through the mix. Waits croons without affectation or droopy sentiment: "Every night she comes/To take me out to dreamland/When I'm with her/I'm the richest man in the town/She's a rose/She's a pearl/She's the spin on my world/All the stars make wishes on her eyes." Likewise, the track that follows it, "All the World Is Green," is a paean of love from the soldier to his wife and "Another Man's Vine" boasts the most overtly sensuous use of the word "bougainvillea" in a pop song. In all, Blood Money, like its sister, Alice, is a record steeped in musical and lyrical traditions barely remembered by popular culture and hence very rarely evoked (from carnival marches to tarantellas, primitive tangos, and early 20th century jazz). This isn't the other side of Tin Pan Alley, but an appreciation for and evocation of the music of the Weimar Republic with its easy pathos and often grotesque funhouse humor. That said, this appreciation does not make for a re-creation; Waits' music is his own from this particular place in time, but it illustrates and illuminates particular kinds of human foibles from the present era and celebrates them as human nonetheless. (by Thom Jurek, AMG) Blood Money is etched. It's scratched out in bold, dark lines with marimba, trumpet and bass clarinet and contains some of Tom Waits most memorable melodies. The songs are declarative, sardonic, unforgiving, musical dispatches from the bottom of the heap. "Blood Money is flesh and bone, earthbound," said Waits. "The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more carnal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they've been aging in a barrel and distressed." Blood Money is a new collection of thirteen songs originally written and produced by Waits and longtime collaborator and wife Kathleen Brennan. "Kathleen and I are well suited to this material. She is hilarious, blasphemous and ominous. She's the brains behind Pa," said Waits. Blood Money careens from the brutal to the tender with assaulting rhythms and romantic melodies. It's a grim musical deposition on the human condition, a dark mortality play where Tin Pan Alley meets the Weimer Republic. "Misery Is The River Of The World" and "God's Away On Business" have a percussive backbeat that sounds like a dead army of marching skeleton men. This signature rhythm first appeared on 1992's Bone Machine, but the army seems larger on these songs. Waits attributes that to a new percussion instrument: "There's a lot you can do with a giant four foot dried, curling, boomerang seed pod from the Botang Tree that grows only in Indonesia," said Waits. Blood Money features musicians: Charlie Musselwhite (harmonica); Larry Taylor (bass); Andrew Borger (drums, marimba, percussion); Matthew Sperry (bass); Gino Robair (percussion); Bent Clausen (piano, marimba); Bebe Risenfors (bass clarinet); Ara Anderson (trumpet); Colin Stetson (clarinet, bass clarinet) and Waits on piano, chamberlain...and calliope. "It's a 1929 pneumatic calliope with 57 whistles," said Waits. "It's no wonder they used them in the circus, it can be heard up to five miles away. The studio is in a canyon, we were in an old house there and people in neighboring communities complained of the noise. While playing, your face turns red, blood pressure goes up, your hair sticks up like Einstein's and you're sweating like you ran a mile, what's better than that?" Blood Money is based on the socio/political play "Woyzeck," originally written by a young German poet Georg Buchner as a spare, cinematic piece in 1837 and inspired by the true story of a German soldier who was driven mad by bizarre army medical experiments and infidelity, which led him to murder his lover. Waits and Brennan wrote songs for an avant-garde production of "Woyzeck" directed by Robert Wilson. "Woyzeck" premiered in November, 2000 at the Betty Nansen Theater in Copenhagen and went on to win Denmark's version of the Tony for Best Musical last year. The Danish production has toured extensively in Europe to sold-out houses and wide acclaim and comes to New York and Los Angeles this fall. Blood Money contains songs from the bottom of the world. There is a feeling the songs are trying to reach you from another time or dimension, where there is an eerie vaudeville cabaret playing fado, parlour songs and cambias. Appropriately, the record ends its macabre tale with, "A Good Man Is Hard To Find." Ironic in the spirit of Dennis Potter's use of music in The Singing Detective or Pennies From Heaven, it is an oddly sanguine nostalgic adieu from a ship going down. (anti.com)

SPOILER!

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Extractor: Exact Audio Copy v0.99pb5
Codec: Free Lossless Audio Codec v1.2.1
Scans: HQCovers JPG 600dpi
Total Time: 42:16
Ripper: SurowyTato

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