Bad as Me [Deluxe Version]

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All Music Guide
Bad as Me, Tom Waits' first studio album of all new music in seven years, features a stellar cast of musicians, and co-production and songwriting from Kathleen Brennan. While the trademarks of Waits' 21st century music are showcased in tracks such as "Chicago" and "Hell Broke Luce," he also nods back to his very beginnings in ballads such as "Last Leaf" and the barroom chorale "New Year's Eve." "Raised Right Men" is a modern take on Waits' blues clatter, while "Satisfied" employs his take on gospel. Three packages are available: the standard CD digipack, a deluxe edition with a hardbound a 40-page booklet and three bonus cuts, and a 180-gram LP.
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Editorial Reviews

All Music Guide
Bad as Me, Tom Waits' first studio album of all new music in seven years, features a stellar cast of musicians, and co-production and songwriting from Kathleen Brennan. While the trademarks of Waits' 21st century music are showcased in tracks such as "Chicago" and "Hell Broke Luce," he also nods back to his very beginnings in ballads such as "Last Leaf" and the barroom chorale "New Year's Eve." "Raised Right Men" is a modern take on Waits' blues clatter, while "Satisfied" employs his take on gospel. Three packages are available: the standard CD digipack, a deluxe edition with a hardbound a 40-page booklet and three bonus cuts, and a 180-gram LP.
All Music Guide - Thom Jurek
Bad as Me is Tom Waits' first collection of new material in seven years. He and Kathleen Brennan -- wife, co-songwriter, and production partner -- have, at the latter's insistence, come up with a tight-knit collection of short tunes, the longest is just over four minutes. This is a quick, insistent, and woolly aural road trip full of compelling stops and starts. While he's kept his sonic experimentation -- especially with percussion tracks -- Waits has returned to blues, rockabilly, rhythm & blues, and jazz as source material. Instead of sprawl and squall, we get chug and choogle. For "Chicago" -- via Clint Maedgen's saxes, Keith Richards' who appears sporadically here and Marc Ribot's guitars, son Casey Waits' drums, dad's banjo, percussion and piano, and Charlie Musselwhite's harmonica he appears numerous times here, too -- we get a 21st century take on vintage R&B. Indeed, one can picture Big Joe Turner fronting this clattering rush of grit and groove, and this album is all about groove. Augie Meyers appears on Vox organ and Flea on bass to guide Waits' tablas and vocals on "Raised Right Men," a 12-bar stagger filled with delightful lyrical clich├ęs from an America that has passed on into myth -- Waits does nothing to de-mystify this; he just makes it greasy and danceable. The slow, spooky "Talking at the Same Time" is still in blues form albeit with ska-styled horns to make things more exotic, as Waits waxes about the current state of economic affairs. He showcases history's circular nature as he bridges our national narrative from 1929-1941, and up to the present day: "Well it's hard times for some/For others it's sweet/Someone makes money when there's blood in the street...Well we bailed out all the millionaires/They got the fruit/We got the rind..." Rockabilly rears its head on "Get Lost," with David Hidalgo strutting a solid '50s guitar snarl above the horns. Dawn Harms' violin and Patrick Warren's keyboards add textural dimension to Hidalgo's and Ribot's arid guitars on the apocalyptic blues of "Face to the Highway," with Waits offering startling, contrasting images in gorgeous rhymes. This track, and the two proceeding ones -- the forlorn carny ballad "Pay Me" and the wasted lover's plea in the West Texas mariachi of "Back in the Crowd" -- set up the latter half of the record, where there are more hard-edged blues and rockers, such as the spiky, stomping title track, the cracked guitar ramble in "Satisfied," and the clattering, percussive anti-war rant "Hell Broke Luce" sic. Between each of these songs are ballads. In the jazzy nightclub blues of "Kiss Me" and the country-ish folk of "Last Leaf" lie lineage traces to Waits' earliest material: the latter features Richards in a delightfully ruined vocal duet. Indeed, even the set-closer "New Year's Eve," with Hidalgo's guitars and accordion in one of Waits' signature saloon songs, quotes from "Auld Lang Syne" in the song's waning moments to send the platter off on a bittersweet, nostalgic note, reminding the listener of Waits' use of "Waltzing Matilda" in "Tom Traubert's Blues" all those years ago. Brennan's instincts were dead-on: it was time for a set of brief, tightly written and arranged songs -- something we haven't actually heard from Waits. Bad as Me is an aural portrait of all the places he's traveled as a recording artist, which is, in and of itself, illuminating and thoroughly enjoyable. [The two-disc deluxe edition contains three extra tracks: the outre jazz-blues of "She Stole the Brush," "Tell Me" which nicks a bit of Bruce Springsteen's "Thunder Road" in its guitar and glockenspiel riffs, and the Americana noir of "After You Die."]
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Product Details

  • Release Date: 10/24/2011
  • Label: Anti
  • UPC: 045778717729
  • Catalog Number: 87177

Tracks

Disc 1
  1. 1 Chicago (2:15)
  2. 2 Raised Right Men (3:24)
  3. 3 Talking at the Same Time (4:13)
  4. 4 Get Lost (2:42)
  5. 5 Face to the Highway (3:42)
  6. 6 Pay Me (3:14)
  7. 7 Back in the Crowd (2:49)
  8. 8 Bad as Me (3:10)
  9. 9 Kiss Me (3:41)
  10. 10 Satisfied (4:05)
  11. 11 Last Leaf (2:55)
  12. 12 Hell Broke Luce (3:57)
  13. 13 New Year's Eve (4:26)
Disc 2
  1. 1 She Stole the Blush (2:50)
  2. 2 Tell Me (3:43)
  3. 3 After You Die (2:47)
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Album Credits

Performance Credits
Tom Waits Primary Artist, Banjo, Guitar, Percussion, Piano, Glockenspiel, Tabla, Vocals, Pump Organ
Charlie Musselwhite Harmonica
Marc Ribot Bass, Guitar
Augie Meyers Piano, Accordion, Wurlitzer, Vox Organ
Larry Taylor Bass, Guitar, Electric Bass, Acoustic Bass
Will Bernard Guitar
Les Claypool Bass
Flea Bass
David Hidalgo Bass, Guitar, Percussion, Violin, Accordion, Background Vocals
Keith Richards Guitar, Vocals
Gino Robair Percussion, Drums, Vibes
Patrick Warren Keyboards
John Schott Guitar
Marcus Shelby Bass
James Whiton Bass
Chris Grady Trumpet
Dawn Harms Violin
Casey Waits Drums
Clint Maedgen Saxophone, Baritone Saxophone, Tenor Saxophone
Ben Jaffe Trombone, Tuba, Bass Clarinet
Zack Sumner Bass
Technical Credits
Tom Waits Composer
Kathleen Brennan Composer
Karl Derfler Engineer
Bernie Grundman Mastering
Trevor Hernandez Art Direction
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Customer Reviews

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