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Used Songs (1973-1980)

Tom Waits - Used Songs (1973-1980) Audio CD

A fair review of the Tom Waits "Used Songs (1973-1980)" Audio CD. Please note that the below review is the views of the authors, and authors only. You can get a complete list of all Tom Waits reviews here, or go back to the Tom Waits tabs.

Band: Tom Waits
Title: Used Songs (1973-1980)
Rating:

Release Date: 2001-10-23
Media: Audio CD

Tracks: 1: Heartattack And Vine 2: Eggs And Sausage (In A Cadillac With Susan Michelson) 3: A Sight For Sore Eyes 4: Whistlin' Past The Graveyard 5: Burma Shave 6: Step Right Up 7: Ol' '55 8: I Never Talk To Strangers (with Bette Midler) 9: Mr. Siegal 10: Jersey Girl 11: Christmas Card From A Hooker In Minneapolis 12: Blue Valentines 13: (Looking For) The Heart Of Saturday Night 14: Muriel 15: Wrong Side Of The Road 16: Tom Traubert's Blues (Four Sheets To The Wind In Copenhagen)

Maudlin, Irreverent, Fantastically Subversive
I'm more like William Hurt in 'Children of a Lesser God' as he tries to explain through sign language to Marlee Matlin how he responds to music. I envy people who write about music and can illustrate the sound. He fails, I fail - there are just not enough words. I only know I experience Tom Waits' music as memories I have and that I wished I had - as if all this time I've been searching for something that he's already seen, and he's the piper luring me into looking again.

Thank goodness I'm too old for that. In fact, it's better I never listened to him twenty years ago - there's no telling where I might have ended up. Maybe somewhere good. . . probably not. The idealized Tom Waits is like the idealized Charles Bukowski - they're subversives, influences that imprint dangerous longings of missed opportunities and spoiled affections on the unformed person. Momentary longings even in the old and broke.

This collection hasn't lost any of its power in the thirty years since these songs were released, with Waits' jazzy blues style clanging around with raw, abrasive lyrics side by side in a smoky drunk diner. It's always four in the morning in a Tom Waits song - you can't go home, might as well stay here. If I listen long enough, each selection gets its turn in the spotlight - favorites include the maudlin 'Sight For Sore Eyes' and the irreverent 'Mr. Siegel', but there's hardly a weak track in the bunch. I'm left wondering how these poetic chunks got twisted into songs that I've never heard before - how could I have been the places I've been and miss Waits' brutal truths? His version of it at least - the kind that smokes a lot and ends up walking the streets alone. Hey, I never said it was everybody's kind of truth.

If you've never tried Tom Waits before, this may be the only album of his you'll need. If you're a fan, then you already have the others. But if you're one of the lucky ones, the charming ones, who've never known lead-pipe morning fogs or seen bat-wing shadows, who's never for a moment doubted where home was, then there's no need to apply inside. Not all truth is fit for every human's consumption.
.

"Got No Time For The Corner Boys..."- A Waits Encore
. The name Tom Waits is no stranger to this space, particularly as I have recently reviewed many of his CDs. During that time I have reviewed both the early, more jazzy work that reflected his "night club act" approach and his later gravelly, time-worn, time-tested efforts that I always appreciate in any male singer (note, Bob Dylan, Dave Van Ronk, Howlin' Wolf, early Rod Stewart, etc. ). Here, as a Waits encore, is something of a "greatest hits" CD from the early days. There are many classic here. I note "Looking For The Heart Of Saturday Night", "I Never Talk To Strangers" (nice repartee with female companion), the sardonic "Step Right Up" (with possibly every advertising clich� that every existed) and the whimsical, although heartfelt, tribute to those Edward Hopper folk of "Nighthawks At The Diner", "Eggs And Sausage" (Tom Waits, whimsical?). However, my favorite is the homage to young love (and longings for love) "Jersey Girl". ("I got not time for the corner boys. . . . I don't want no whores from 8th Avenue. . . " are definitely lines that will get my attention. ). Yes, that is the ticket. .

I've Seen The Light
It's a real smokey affair of late night tales and woes. This is a Tom Wait's collection of his earlier work originally released on Asylum Records. Waits' voice is as haggard and rugged as ever and you can just imagine him humpbacked over a piano, cigarette pinched between his teeth as he delivers bourbon-soaked tracks such as 'The Heart of Saturday Night', 'Ol '55' , 'Tom Traubert's Blues' and 'Jersey Girl' to name but a few. I tinkered around Tom's music for a number of years without ever really trying to grasp it, but I've seen the light and have gotten lost in his beautiful madness. If you are just like me and relatively new to Tom, this will give you the perfect introduction. .

Strangle All The Christmas Carols! At Last! A Really Great Remaster Of His ASYLUM Label Years Catalogue!
He then signed to Island Records and in 1982 released "Swordfishtrombones" to howls of joy, amazement, praise and derision - all in equal measure. The Asylum label period of Tom Waits' extraordinary career began in 1973 with his debut album "Closing Time" and ended 8 albums later in 1980 with "Heartattack & Vine". And most of his albums on Island ('82 - '93) and Anti ('99 to the present day) have been the same ever since - mad, bad, beautiful, discordant and utterly unique in a world of increasingly plastic pop forced down our throats by gutless radio programmers every single day of our lives. Personally I love each period, Asylum, Island and the Anti label. And although the word is often overused, Waits is a genius - and utterly unique - beloved by both his fans and the industry for being so.

His Asylum albums were - if you like - his romantic troubadour period, a drunken Street bum with the heart of a poet and the itchy feet of Bukowski. He looked and sang the part too - greasy hair, freshly lit cigarette hanging out of his gob, wrecked clothes, a chronicler of the downtrodden and lost. But this was an artist whose songs were written with charm and real feeling for those on the outskirts - often touching and beautiful to a point where he could make you laugh with one song and cry with the next. But by "Heartattack & Vine", he had taken this persona it as far as it could go - hence the complete about face with his Island debut.

A little history for potential purchasers to explain why "Used Songs" is the best of scrappy bunch; the 1st compilation covering the Asylum Label period of his career appeared in 1981 and was called "Bounced Checks" - a single vinyl album containing a spattering of tracks and an unreleased live version of "The Piano Has Been Drinking" recorded in Dublin - a gig a friend of mine was privileged to be at. It's never been made available on CD to my knowledge. The second outing is "Asylum Years", a far better and more comprehensive 2LP set released on vinyl in 1984. Unfortunately, it's CD equivalent which came out two years later is a bit of a mish-mash - a single disc that lost 9 of the original 24 tracks and added 3 new ones not on the original double! This 14-track truncated CD carried the then relatively new words "digitally remastered" on the front cover and was sought after for that reason. The sound on that CD is good - if not spectacular - and is available to this day. It's also worth noting that there are 8 tracks on the "Asylum Years" 1986 remastered CD that aren't on "Used Songs" - they are "Diamonds On My Windshield", "Martha", "The Ghosts Of Saturday Night (After Hours At Napoleone's Pizza House)", "Grapefruit Moon", "Small Change (Got Rained On With His Own . 38)", "Potter's Field", "Somewhere" (a superb cover of the famous Leonard Bernstein classic from "West Side Story") and "Ruby's Arms". Which brings us up to "Used Songs 1973-1980", his 3rd and best compilation covering that period.

Elektra/Rhino's set features 16 tracks Digitally Remastered in 2001 by tape experts BILL INGLOT and DAN HERSCH at DigiPrep - and the sound quality is full, clear and beautifully rendered. A real treat. "Used. . . " takes in songs from all 7 of his studio albums and one from the live double. Here's the layout and what track is from what album (UK release dates):

USED SONGS 1973 - 1980 (77:33 minutes):
1. Heartattack & Vine (on "Heartattack And Vine", 1980)
2. Eggs & Sausage (In A Cadillac With Susan Michelson)
(on the live 2LP set "Nighthawks At The Diner", 1975)
3. A Sight For Sore Eyes (on "Foreign Affairs", 1977)
4. Whistlin' Past The Graveyard (on "Blue Valentine", 1979)
5. Burma Shave (on "Foreign Affairs", 1977)
6. Step Right Up (on "Small Change", 1977)
7. Ol' 55 (on "Closing Time", 1973)
8. I Never Talk To Strangers
(on "Foreign Affairs", 1977) [duet with BETTE MIDLER]
9. Mr. Siegal (on "Heartattack And Vine", 1980)
10. Jersey Girl (on "Heartattack And Vine", 1980)
11. Christmas Card From A Hooker In Minneapolis
(on "Blue Valentine", 1979)
12. Blues Valentines (on "Blue Valentine", 1979)
13. (Looking For) The Heart Of Saturday Night
(on "The Heart Of Saturday Night", 1974)
14. Muriel (on "Foreign Affairs", 1977)
15. Wrong Side Of The Road (on "Blue Valentine", 1979)
16. Tom Traubert's Blues (Four Sheets To The Wind In Copenhagen)
(on "Heartattack And Vine", 1980)

Being a single disc there are some glaring omissions and odd choices, "I Hope That I Don't Fall In Love With You" from "Closing Time" is left off in favour of "Ol' 55". "Wrong Side Of The Road" is chosen instead of the beautifully evocative "Kentucky Avenue" or the fantastic "Romeo Is Bleeding", both from "Blue Valentine". "On The Nickel" from "Heartattack & Vine" isn't there either. And so on - you could bitch about choices for days. ("Ol' 55" first turned up on the 3rd EAGLES album "On The Border" and was probably most peoples first introduction to Waits - so its easy to see why it was chosen. ) What is on here though, sounds fabulous.

Why is sound so important with this issue? Each of his Asylum albums are available on CD, but the earlier albums in particular are hissy and less that impressive sound-wise, because almost all of them came out in the initial vanguard of CD releases in the late Eighties - they weren't mastered well and have never been touched since. That's not the case with "Used Songs". The REMASTERING done by Rhino here makes all the difference. Right from the opening guitar and drum of "Heartattack & Vine", you're aware of the fantastic sound quality upgrade - it just pounds you. "Burma Shave", with just piano and vocals, is loud and beautifully clear. Then there's the delicacy of "Muriel" and "A Sight For Sore Eyes" and the hurting gargled-with-gravel vocals of "Tom Traubert's Blues" (his Waltzing Matilda song) - the sound on all of them is sweet and full, the saxophone and sassy rhythm section floating out of the speakers like some boozed-up turned-on jazz combo. It's thrilling, it really is! And lyrically, Waits has always been the equal of Joni or Bob - and way funnier. The booklet pictures the albums, there's a reproduction of a 1975 Jon Landau article from Rolling Stone, and a new liner note from Hal Willner - all tied off with a tasty card wrap, giving the whole package the class this release deserves.

Although it should have been a double, "Used" has the big advantage of its gorgeous sound and makes you pine for Extended Editions of each of his fantastic albums from that period. And on that point, when you think of the amount of lesser artists who have their entire catalogues released, remastered and pumped up with bonus tracks, and then you see someone of Waits' stature have no album from 1973 to 1993 in REMASTERED form by either WEA or Island on the market after 20 years of CD re-issues - it's just ridiculous and criminal. The same of course applies to Little Feat, Prince, Rickie Lee Jones, James Taylor, Carly Simon and many others. Come on Rhino and Universal - get their individual album catalogues remastered and get them out there - for God's sake!

In the near 20 years I've spent working in record shops and dealing with rare records, I've met some great artists and huge talents in the industry and enjoyed chin waging with them all - fame doesn't really faze me that way. But my love of Tom Waits is different. Tom is God incarnate. If Tom Waits actually turned up in our humble little shop, I'd be knobbled! I'd be too busy kissing the hem of his garment to actually speak to the man! An Irishman lost for words - yikes!

To sum up, "Used Songs" is a fantastic set, a superb introduction to the man & his music and frankly, a beacon of light in a landscape of increasingly dim musical pap. I picked it up in FOPP in London for �5 and it's available from over 60 on-line retailers for about the same price - including P&P!

Sure I'm biased, I adore the guy and his music, I do - but BUY THIS CD. If you love music, you need to hear this man's songs - it will be the best musical fiver you've ever spent.

Tom's Best
From the seminal mellowness of his first recorded song, Ol' 55, to the barbed-wire-throated Heart Attack and Vine, every cut on this disk is worth listening to over and over again. This stellar collection of Tom Waits' early songs is the best possible introduction to this unique artist. Eggs and Sausage (in a Cadillac with Susan Michelson) is the quintessential ode to the gritty conviviality of the late-night greasy spoon. Tom's rasping voice rings true on such gems as Whistlin' Past the Graveyard, Burma Shave, Blue Valentines and Wrong Side of the Road. The Rhino folks managed to select the very finest of Tom's albums from 1973 through 1980. This CD is a treat for both long-time fans and those looking for an introduction to this iconoclastic singer/songrwiter, who's still going strong. Highly recommended.

You can see a complete list of all Tom Waits discography, or go back to the Tom Waits tabs. There is also a good guide on how to read guitar tabs here.