Spring Break
Play it by Ear
Pulling from the past: 'Closing Time' by Tom Waits
Jordan Kerfeld
Issue date: 3/5/07 Section: Culture
- Page 1 of 1
I have discovered soft, melodic music is the only thing that seems to get me through busy and stressful mid-semester weeks.
With that said, Tom Waits' "Closing Time" is a welcome album.
Many are familiar with Waits as the '80s late-night talk-show luminary, or as the gruff-voiced ragamuffin who released several innovative albums mixing countless genres.
But many forget about his 1973 debut gem called "Closing Time," which featured a sound wholly different than what was eventually expected of him. I think the only one who paid attention was Gavin DeGraw, whose "Chariot" album sounds familiar stylistically.
On "Closing Time," his voice was strong and impressive and he had a flair for playing brilliant piano songs that smacked of Billy Joel and Elton John.
The jazz influences are present on some of these tracks, but most are melodic and deeply sentimental ballads.
The cover shows a tired-looking Waits seated beneath a single, dim light and glancing down at his piano keys. The visuals are prophesy of the music within, which feels like it was recorded in the wee hours of the night before an oblivious audience, played confidently but softly as to not bother those around him.
Despite the frequent quiet and loose nature of the recordings, the songs manage to stay interesting as Waits navigates through nostalgia and heartbreak.
The album begins with "Ol 55," a great, upbeat pop song that was later a hit for the Eagles. It is followed by an acoustic track called "I Hope That I Don't Fall In Love With You." In the country-flavored song, Waits presents a narrative about his shy contemplation of approaching a woman in a bar. The story is told brilliantly and the listener hangs on every word while appreciating his sweet, simple melody.
Another highlight is "Martha," where he sings in the affect of an old man, weaving a sentimental tale of a fictional character reconnecting with a childhood sweetheart. The melody is heartbreaking and the lyrics bittersweet as the character acknowledges his past wrongdoings and enduring feelings for a woman who - like him - moved on.
Lastly, there is "Grapefruit Moon," another bittersweet piano song that very well could have been written and performed in the quiet late-night moments beneath an effervescent sky of constellations. The track shines just as brightly.
The album is sappy, sentimental, and incredibly good.
Download: "Martha," "Grapefruit Moon," "Ol 55," "I Hope That I Don't Fall In Love With You"
jkerfeld@unews.com
With that said, Tom Waits' "Closing Time" is a welcome album.
Many are familiar with Waits as the '80s late-night talk-show luminary, or as the gruff-voiced ragamuffin who released several innovative albums mixing countless genres.
But many forget about his 1973 debut gem called "Closing Time," which featured a sound wholly different than what was eventually expected of him. I think the only one who paid attention was Gavin DeGraw, whose "Chariot" album sounds familiar stylistically.
On "Closing Time," his voice was strong and impressive and he had a flair for playing brilliant piano songs that smacked of Billy Joel and Elton John.
The jazz influences are present on some of these tracks, but most are melodic and deeply sentimental ballads.
The cover shows a tired-looking Waits seated beneath a single, dim light and glancing down at his piano keys. The visuals are prophesy of the music within, which feels like it was recorded in the wee hours of the night before an oblivious audience, played confidently but softly as to not bother those around him.
Despite the frequent quiet and loose nature of the recordings, the songs manage to stay interesting as Waits navigates through nostalgia and heartbreak.
The album begins with "Ol 55," a great, upbeat pop song that was later a hit for the Eagles. It is followed by an acoustic track called "I Hope That I Don't Fall In Love With You." In the country-flavored song, Waits presents a narrative about his shy contemplation of approaching a woman in a bar. The story is told brilliantly and the listener hangs on every word while appreciating his sweet, simple melody.
Another highlight is "Martha," where he sings in the affect of an old man, weaving a sentimental tale of a fictional character reconnecting with a childhood sweetheart. The melody is heartbreaking and the lyrics bittersweet as the character acknowledges his past wrongdoings and enduring feelings for a woman who - like him - moved on.
Lastly, there is "Grapefruit Moon," another bittersweet piano song that very well could have been written and performed in the quiet late-night moments beneath an effervescent sky of constellations. The track shines just as brightly.
The album is sappy, sentimental, and incredibly good.
Download: "Martha," "Grapefruit Moon," "Ol 55," "I Hope That I Don't Fall In Love With You"
jkerfeld@unews.com
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