Bone Machine

 

 

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When all the grandpaboys made their death-is-coming-to-get-me albums in the 1990s (Reed's Magic & Loss, Dylan's Time Out of Mind, et al) only one of them didn't go all selfish. Tom Waits told transcendent, cinematic stories set in barns, colosseums, nursing homes, bars and temperamental oceans from the viewpoints of religious alcoholics, hairy-chested ex-cons, embittered nonagenarians, jilted Ophelias and would-be suicides. Waits' wails were lizardly and warm throughout; Bone contains the finest showcase of his Frank-Oz-meets-Francisco-Goya pipes.

Although it's a mystic love song, "Earth Died Screaming" was scary enough to turn the staunchest global-warming skeptic into an environmentalist. No existential ballroom could clear its floor without Ralph Carney's mournful woodwinds accenting "Dirt in the Ground". The myths of Christ, Lucifer, Sleepy Hollow and Johnny Cash blend on the chiller "Black Wings", which suggested that saviors are born out of gossip. Joey Ramone would go on to cover "I Don't Wanna Grow Up", and Waits would go on to outlive the beautiful bastard. If you don't weep to the twilit sendoff "Who Are You", then I must ask who the hell you think you are; of course, the chorus' question could easily be turned on its consummate-actor source. Waits, Beck and Radiohead form the trifecta proving that the "Best Alternative" Grammy can get something right, but only Waits fisted every Yankee idiom into a stain-pocked opera gown.

The way this album opens is strangely similar to the title of the album; "Bone Machine". Indeed, when "Earth Died Screaming" begins to fade in, the first thought I had was "wow.....that sounds like rattling bones!" This is one of Tom Waits' stream-of-consciousness monlogues songs, with odd, yet very solid and interesting rythm backing him. The next track, "Dirt In the Ground", is one of my favorite tracks on the album. I've always found that the flow in which Waits delivers his lyrics contributes significantly to the rythm of the song, and that is evident on this track. I find it to be very touching, with Tom using his self-described (tounge-in-cheek) "Prince voice", a higher register of his raspy vocals. This leads to a series of lesser tracks which I can only say I appreciate for their rythm, and "Who Are You" does have a nice melody.

After that, we have another of Waits' experimental pieces, similar to "9th & Hennepin" from Rain Dogs and "What's He Building" from Mule Variations. I have always enjoyed this piece, and it does especially suit the lyrics of the song (which, personally, I found mildly disturbing). Next, we have a stripped-down, gospel-blues number called "Jesus Gonna Be Here", in which Waits returns partially to his "Prince voice". I really like the rythm and vibe of this song, which I have tried to capture in one of my own recordings. "A Little Rain" I find very beutiful, especially the verse which goes "....she was 15 years old, and she'd seen the ocean.....she climbed into a van, with a vegabond.....and the last thing she said, was "I love you, mom"......and A Little Rain never hurt no one...." Personally, this brings to mind 1960's southern California, in which a young girl is climbing into the back of a van with some shady characters, while storm clouds loom near by. The light slide guitar in the background truly make it beutiful, and haunting. A great work. After this is "In the Collesuem", which has got a very syncopated, great rythm. It does, however, get tiring.

I really don't enjoy "Goin Out West". I find it cluttered, personally I don't enjoy the tremelo-to-distortion guitar effects, and the song itsself doesn't work for me. "Murder In the Red Barn" is a slow, mellow, psychotic semi-blues number which you can just put on again and again. Great banjo! "Black Wings" is a mysterious number, which for me brings to mind a Robert Rodriguez film. "Whistle Down the Wind" is similar to "A Little Rain", although less enjoyable, but does feature some great strings! "I Dont Wanna Grow Up" is, of course, a favorite for punk bands to cover. It is the most simple, straight-forward track on the album, indeed, the most simple, straight-forward track Waits has done in recent memory. But is is very enjoyable, and catchy! After this is an obscure little percussion piece, "Let Me Get Up on It". Tom Waits has always been a genius of odd, infectious, strange rythms, and this album really proves it. This number I find very danceable.....in an obscure, sinister, cob-webby way. "That Feel" is a great collaboration between Tom and Keith Richards, who has definately still got "that feel". The melody of this song is very nice.

All in all, this is a wonderful work of music. Reccomended for fans of Waits' 80's albums.

This was my first taste of Tom Waits (I've since got some other of his albums) and I have to say that this is one of the absolute finest albums I have ever heard. At times sad and delicate, other times loud, in your face and purposely devoid of melody, Bone Machine is an experimental, eclectic album that is unlike anything else I've discovered. There are elements of rock, blues and jazz (not instrumental jazz), but this is still unique and impossible to pigeon-hole into a particular genre.

The album opens with Earth Died Screaming, and loud, wierd and apocalyptic song that gives you a good impression of what is to come. The lyrics deal with the end of the world, only Waits is too busy thinking of his lover to notice ("The Earth died screaming while I lay dreaming - dreaming of you"). In essense though, the track is very representative of the experimental nature of the album and Waits incredible lyrics. When I say that Waits is perhaps the best lyricist I've ever heard, I am not exagerating. When coupled with Waits unique voice, at times shaky and emotional and at other times fierce and haunting, some of the greatest music I've ever heard is created.

The album is certainly not repetitive either, nor does it outstay its welcome. Earth Died Screaming, Jesus Gonna Be Here, In The Colloseum and Murder In The Red Barn are all loud, sometimes atonal percussion lead tracks with Waits growling and spitting out bizzare and sometimes scary imagery. All Stripped Down, Such A Scream, Going Out West and I Don't Wanna Grow Up are bluesy rock songs that make you want to bang your head (incidentally, Going Out West was the only other non-electronic track alongside The Pixies' Where Is My Mind used in the Fight Club soundtrack). Dirt In The Ground, Who Are You (my vote for the greatest song on the album, which is saying something), A Little Rain, Whistle Down The Wind and That Feel are the most accessible tracks here, being melodic, ballad-like songs full of melody and emotion. Then there are The Ocean Doesn't Want Me and Let Me Get Up On It, two really wierd tracks that aren't really songs but certainly add to apocalyptic, harrowing sound of the album, and lastly there is Black Wings, and dark, mysterious latino sounding song and another highlight.

Anybody looking for a dark, experimental and unique album needs to buy this now. I really can't say enough good things about it, nor can I find any fault in it. It isn't for everyone, this is true, but nonetheless everyone should hear it at least once.

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5.0 out of 5 stars Tom Waits' Most Waits
This album is, very easily, the most "Tom Waits" album you can find. This is Tom Waits at his most original. Read more

Published on May 14 2004 by Moishe

5.0 out of 5 stars Lovely!!
Let me state right off that there is no real bad Tom Waits album (well, ok , I never really got 'The black rider'). There are some that are better that the others. Read more

Published on Mar 29 2004

5.0 out of 5 stars Bong chacka bong kling!!! URGH !
Waits create a world of whiskey soaked bone men, and step into it as the leading artist, with an everchanging voice. I really love the in-fading percussion in the first track. Read more

Published on Mar 19 2004 by HMH

5.0 out of 5 stars Mixed bag of nuts...
Okay, to be honest, I only like 5 songs on here...but they are so good, they each deserve a star, hence the 5 star rating. Here they are... Read more

Published on Feb 29 2004 by Dokter Pogo

3.0 out of 5 stars Dissipointing to say the least.
Ok you got like 6 decent songs and alot of boring ones two. Seriously stripped down. I like lo-fi albums, but this goes to far at times. Read more

Published on Feb 27 2004 by W.D. Mainer

5.0 out of 5 stars Original, Shocking . . . and Vintage Waits
Tom Waits is the singer/songwriter on whom I can always rely to scare the heck out of my family and college friends. Read more

Published on Jan 15 2004 by Robert C. Hamilton

5.0 out of 5 stars The Greatest Album I've Ever Heard
I'm not kidding or exaggerating. I put this with The Beatles White Album, Captain Beefheart's Lick My Decals Off Baby, and T. Rex's The Slider. No kidding. Read more

Published on Jan 4 2004 by Ian Halloran

5.0 out of 5 stars "I Dont Wanna' Grow Up!"
This album has totally blown me away. First Time really listening to Tom Waits and This stuff is Excellent. Read more

Published on Jan 3 2004

5.0 out of 5 stars shoveling coal, inside my dreams
This is perhaps one of the greatest albums of all time. Before I listened to this, I was a normal person. Read more

Published on Nov 1 2003 by Kawika

5.0 out of 5 stars The Only CD that has ever truly blown my mind
There are many terrific albums that have been recorder in the history of mankind. The Stones Exile on Main Street, Black Sabbath's Paranoid, Nirvana's Nevermind, The Beatles'... Read more

Published on May 31 2003 by George Stathakes

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