Lucky Day, indeed: Tom Waits, Glitter and Doom Live

Fortune smiles every now and then. For me, it was Kings Road Merch mailing my package containing 1 copy of Glitter and Doom Live, 1 copy of True Confessions, and 1 size medium limited tour t-shirt of Tom Waits' Untitled 1, Oil on Concrete on Tuesday and it arriving well before the official release date. It's small joys like that that make life worth living these days.

I have to confess, I'm really disappointed that I didn't get to see Waits on the PEHDTSCHJMBA tour that shares the name with this release. Myself and a group of friends were ready to hop in a car and make an impulse drive to Ohio for one of his shows; in hindsight, I wish things like my lack of cash, their job responsibilities, and plain old common sense didn't get in the way of taking a journey into unknown territory and just having fun.

So, new album. I was hoping that Waits was planning on releasing a live album when the Glitter and Doom Tour was announced. I was never a huge live album fan until a couple years ago; Big Time may have contributed to the change in my opinion. Part of the aversion I think has to do with how many live albums are drawn from numerous concerts, leaving a somewhat choppy experience as not every track can be mixed and mastered to make them match perfectly, although a precious few can leave that illusion. "Falling Down," in particular, stands out on Glitter and Doom Live as its volume is noticeable lower than everything else on the disc.

We are provided a good mix of songs from the late Island era and many from the ANTI- collection. The album begins with a mash-up of "Lucinda" and "Ain't Goin' Down," Waits and band jumping back and forth between the two songs; they mesh together very well. The way they perform "Singapore" on Glitter and Doom is significantly different from the album version in the way he delivers the lyrics; here, the song feels kind of choppy as to where he places his line breaks. It's taking some getting used to, but I think I can grow to like it. One thing to note is that he sounds particularly gruff in his live recordings, with "Goin' Out West" displaying this heavily. If his rough throat sound has kept you from buying his albums in the past, then you should be made aware that not much has changed.

Glitter and Doom flits back and forth between the melancholy and the rough-and-tumble roll, featuring such sad pieces as "The Part You Throw Away," "Trampled Rose," and "Dirt In The Ground" juxtaposed against "Goin' Out West," "Metropolitan Glide," and "Such A Scream." Makes sense, given the title, I suppose (realizing that a tad late and having to make revisions, silly me). I'm glad that some cuts from The Black Rider made it to the live performance, as "I'll Shoot The Moon" (one of the most brilliant love songs in the history of Western Civilization, and hilarious at the end to boot) and "Lucky Day" are some of my favorites by Waits. I'm particularly happy Waits chose to end the album with "Lucky Day" (I once tried singing this song at a poetry reading, starting halfway through the song and doing an imitation of Waits' voice that kept falling apart; if memory serves, it sounded pretty hideous), as it works perfectly as a closing track.

Of course, the bonus disc Tom Tales is a major draw to this release. I won't say much about it since it really needs to be a surprise, but know that it would be worth purchasing if it were made available as a separate release. That's all I'm saying on that.

Glitter and Doom is a really enjoyable release. I am looking forward to spending the next week or so wearing it out a bit, you know, throwing some abuse on the thing to give it some character. Point in fact, I'm going to wrap this shit up so I can get back to listening to it.



Also, in case you forgot what PEHDTSCHJMBA stands for, watch below. I never get tired of watching this video.

A Few Thoughts Regarding Leonard Cohen

First, I will beg your forgiveness for not having updated since May; it's been a strange couple of months.

Since I'm on the topic of forgiveness, there are many things I forgive Leonard Cohen for. I can forgive his endless introductions of his band members, for those words show his gentlemanly bearing and infinite humility (qualities that many other musicians should learn from; any performer that has stomped off stage in a huff, I'm looking at you). I can forgive using a loop on a keyboard during "Tower of Song;" he was blessed with a golden voice, after all, and that allows the focus to be on that voice. I can look past his not singing several of his own songs in concert, taking a back seat as the back-up singers take the spotlight, as if he were saying, "There are other great musicians in the world; you should really be taking note since I like them too." I can't stand anything even remotely sounding like country, but how anyone can imagine doing anything other than taking his sweetie by the hand and dancing to the delightful hoedown that is "Closing Time?"

Several weeks ago, my friend Kevin called me at about 11am. He had a spare ticket to see Leonard Cohen perform at the Tower Theater in Philadelphia. As I recall, I told him that I wasn't all that familiar with Cohen's music, having only heard several covers. I didn't hesitate long, since, hey, free ticket, and I wasn't doing anything else that day (unemployment does have a few benefits). It was one of the best impulse decisions I have ever made.

Cohen's performance at the Tower Theater stands as my favorite live performance ever. As already noted, Cohen stands before his audience as a consummate gentleman, doffing his hat to his band with each introduction and treating his audience with every ounce of gratitude for sharing the evening with him and his compatriots. Even though he had a ridiculously large band backing him up, not once did a song seem overdone. Despite being 75 years of age, he presented an infinitely more polished show with more enthusiasm and grace than musicians a third of his age. And he was skipping off the stage like a giddy schoolboy! How he could have so much energy after performing for almost three hours boggles the mind. If I were to do such a thing, they'd have to carry me off halfway to being a cadaver under the heat of the stage lights.

The only thing that truly irked me and dampened the experience was the audience. I understand that they were all very excited by the show and to see one of the greatest lyricists in known human history, but did they have to give a standing ovation every three songs? Was it necessary to cheer wildly after the first thirty seconds of each song? And what the hell was with the inappropriate laughter in the first couple lines of his recitation (billed as "Recitation with N.L.," it's a variation on "A Thousand Kisses Deep")? That piece is the most soul-grinding piece of love-agony I have ever heard in my life, and people found it amusing? I don't suppose it's much to ask, but I would prefer the gentleman to be allowed to present his poetry without the constant interruption of people that absolutely cannot resist shouting.

I guess I can forgive the audience too. Their enthusiasm did get to be infectious. Especially the couple in the row in front of me that couldn't resist jumping out of their seats to kiss behind a nearby column. Sorry for staring, I just thought it was such a romantic thing to do.

Having thus had my mind and all expectations blown, I could not help but purchase Live In London. I'm not sure my bank account can handle the blow of reckless spending, but this is worth a little debt. It's also about as close to the Philadelphia show as I'll ever get short of having a recording of that specific show. Everything is spot on, and I don't believe the setlist to be varying much from what I saw.

Just as the performance at the Tower Theater is my favorite live experience, Live In London is the best live album in my collection. Nothing else can compare. It is one of the most soul-rending things ever committed to record to grace my music shelves. The audio quality is superb, Cohen's in-between song comments bespeak his graciousness, and the arrangement is magnificent. You cannot ask for more. If you are a fan, or are inexperienced with his music and just interested in wetting your feet in his material a little, Live In London comes highly recommended.

Now that I am through forgiving Leonard for anything that might be conceived as a shortcoming (mind you, none of it was, none of it could possibly be), I ask for his forgiveness. I am sorry I never gave his music a chance before being dragged to a concert that I had to bribed into by a free ticket. I am sorry for disregarding the advice of friends who recommended his work to me. I also hope he can forgive my audacity, my bold arrogance for thinking myself so high and mighty as to having any authority to forgive anyone of anything.

I know it's probably been said before, but Leonard Cohen really is our man. I hope he continues to show us how a musician should write, sing, and behave.



with thanks to Kevin for offering the opportunity to share a fantastic evening with him and his family