| Tom Waits |
| Heartattack And Vine |
Tom Waits — Heartattack And Vine
■■■ Toto album nebylo bůhvíjak přijato, relativně nejlépe ho vzal na vědomí biweekly magazine Rolling Stone. Za téměř deset let svých aktivit Waits ponořil svou vlastní osobnost do vrtošivé hudební fantazie a hrál tuto roli tak dokonale, že je nyní ochoten poskytnout náhradní díly pro všechny životem–zdupané snílky, kteří nemají svůj dar výřečnosti.
■■■ S jeho melancholickými folk–popovými melodiemi a orchestracemi filmů padesátých let navrhuje publiku, pojďme se pobavit trochu jinak: hudebními ekvivalenty ručně tónovaných starožitných pohlednic. Nebo alespoň tak, že zpěvákům budoucnosti dodává kuráže, když jednou sami padnou, aby měli motivaci opět a opět vstát. Samozřejmě, Tom Waits působí, že je opuštěný, prstem génia dotčený básník, dívající se z příkopu, aby zahlédl předpokládanou duhu, jeho romantismus je však zkroucený jako plechový kotlík. Umělcovy vokály se za posledních 6 let (The Heart of Saturday Night) zhoršily od drsných jižanských přízvuků a žargónů až k chraptivým a někdy i děsivým "kloktadlům", které už samotné vytvářejí dojem lapání po dechu. Jakoby mu někdo kolemjdoucí dával návrhy: život, nebo smrt a s jeho rukou na svém hrdle zpívá ty svoje groteskní, lehké, výstřední a vrtošivé písně. Superalbum!
Location: USA
Album release: September 1980
Recording Date: June 16, 1980 — July 15, 1980, Filmways/Heider Studios, Hollywood, CA
Record Label: Elektra, Asylum / WEA
Duration: 44:31
Tracks:
01. Heartattack And Vine 4:51
02. In Shades 4:25
03. Saving All My Love For You 3:42
04. Downtown 4:45
05. Jersey Girl 5:12
06. 'Til The Money Runs Out 4:26
07. On The Nickel 6:20
08. Mr. Siegal 5:15
09. Ruby's Arms 5:36
■ All songs written by Tom Waits.
Producer: Bones Howe
Personnel:
■ Bob Alcivar — string arrangement, orchestral arrangement, conductor
■ Ronnie Barron — hammond organ, Piano
■ Dave "Clem" Clempson — Guitar
■ Roland Bautista — electric guitar, twelve–string guitar
■ Greg Cohen — bass
■ Victor Feldman — percussion, chimes, glockenspiel
■ Jim Hughart — bass
■ Plas Johnson — tenor saxophone, baritone saxophone
■ Michael Lang — piano
■ Larry Taylor — bass
■ "Big John" Thomassie — drums
■ Tom Waits — vocals, electric guitar, piano
■ Jerry Yester — orchestral arrangement, conductor
■ Ron Coro — Art Direction, Design
Chart information:
■ This album was Tom Waits' first album to crack the Australian Top 40, reaching 30.
■ Heartattack and Vine was Waits' best–selling album in the US until Mule Variations, spending three months on the Billboard Hot 200 and peaking at #96.
■ Heartattack and Vine was Tom Waits' last album on the Asylum label, released in September 1980.
■ Bruce Springsteen has performed "Jersey Girl" as part of his live shows since the early 1980s, including it in his live retrospective "Live/1975–85". For the only time to date, Waits joined him onstage to sing it in August 24, 1981.
■ "On the Nickel" was recorded for the Ralph Waite film of the same name. "Heartattack and Vine" was covered by Screamin' Jay Hawkins. In 1993 this version was used without Waits' permission in a Levi's commercial, for which Waits took legal action and won a settlement. Jean–Luc Godard used "Ruby's Arms" in his 1983 film First Name: Carmen.
Review
BY STEPHEN HOLDEN | February 5, 1981 | Score: ■■■■
■ On Heartattack and Vine, the patron saint of America's hobo hipsters returns to the sentimental ballad style he abandoned for jazzier, less song–oriented turf after The Heart of Saturday Night. Though Tom Waits' new album sports its share of slinky blues vamps, it's the tear–jerkers that really matter. Lyrically, "Jersey Girl" conjures up Bruce Springsteen's world, then adds an arrangement that echoes the Drifters' "Spanish Harlem." But the tune's eager romanticism becomes warped in the caldron of what's left of Waits' voice. In the six years since The Heart of Saturday Night, the artist's vocals have deteriorated from gruff drawls into hoarse and sometimes ghastly gargles that make the very effort of drawing breath seem a life–and–death proposition.
■ "Saving All My Love for You," "Ruby's Arms" and "On the Nickel" boast the same morbid pathos as "Jersey Girl." With their wistful folk–pop melodies and Fifties film–score orchestrations, they suggest the pop–song equivalents of hand–tinted antique post cards. Or at least that's what the singer's down–and–out delivery turns them into. ■ Of course, Tom Waits' derelict–poet–saint, gazing up from the gutter to find a rainbow, is an assumed character. Yet it's only partly an act. For almost a decade, Waits has submerged his own personality and played this role so completely that he's now a willing surrogate for all the low–life dreamers who don't have his gift of gab.
■ But in a time when hipness is often equated with selfishness, Waits' woozy, far–out optimism has never seemed fresher. While he can be faulted on many counts — the godawful condition of his voice, his perverse love for dime–store kitsch imagery — the purity of his intentions is never in question: Tom Waits finds more beauty in the gutter than most people would find in the Garden of Eden. If his lack of objectivity has kept him from developing into a major artist, Waits' indivisibility from his self–created persona makes him a unique and lovable minor talent. ■ http://www.rollingstone.com/
Review by William Ruhlmann; Score: ■■■
■ Heartattack and Vine, Tom Waits' first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm–heavy title song and "'Til the Money Runs Out" foreshadowing the sonic experiments of the Island albums, while piano–with–orchestra tracks like "Saving All My Love for You" and "On the Nickel" (written as a motion–picture title tune) hark back to Waits' Randy Newman–influenced early days. It is just as well that Waits never entirely gave up on the ballad material; "Jersey Girl," a Drifters–style song, is a winner, and it was appropriated by Bruce Springsteen on his 1981 tour. Also, at least at this point, the rougher tunes all tended to sound the same.
Notes:
JERRY YESTER
Born: January 9, 1943, Birmingham, Alabama, United States
■ Jerome Alan "Jerry" Yester is an American folk rock musician, record producer, and arranger.
■ The Lovin' Spoonful
■ Modern Folk Quartet
DISCOGRAPHY TW IN STUDIO:
Studio albums
■ Closing Time
■ The Heart of Saturday Night
■ Small Change
■ Foreign Affairs
■ Blue Valentine
■ Heartattack and Vine
■ Swordfishtrombones
■ Rain Dogs
■ Franks Wild Years
■ Bone Machine
■ The Black Rider
■ Mule Variations
■ Blood Money
■ Alice
■ Real Gone
■ Bad as Me
Website: http://www.tomwaits.com/
Also:
FDRMX REVIEW
■ http://fdrmx.com/tom-waits-heartattack-vine-album-review/
■ The most bluesy and visceral of Waits' mid–period albums, Heartattack and Vine encapsulates the jazzy piano ballads ("Ruby's Arms"), beatnik imagery ("Mr. Siegal") and seedy, blues–inflected tales from America's underbelly that he perfected in his first decade of recording. This is an album of extremes, as Waits is unabashedly (and convincingly) sentimental on "On The Nickel" and "Jersey Girl" (later covered by Bruce Springsteen) and unflinchingly hard–boiled on the title track and the hustler's anthem "'Til the Money Runs Out". The concise, compact arrangements (he has never grooved so fiercely) foreshadowed the rhythmic invention to come in Waits' later work.
Heartattack and Vine
■ Liar liar with your pants on fire
white spades hangin on the telephone wire
gamblers reevaluate along the dotted line
you'll never recognize yourself on Heartattack and Vine
■ doctor lawyer beggar man thief
Philly Joe Remarkable looks on in disbelief
if you want a taste of madness you have to wait in line
you'll probably see someone you know on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil theres just god when he's drunk
well this stuff will probably kill you lets do another line
what you say you meet me down on Heartattack and Vine
■ see that little Jersey girl in the see through top
with the pedal pushers suckin on a soda pop
well I bet shes still a virgin it's only twenty-five to nine
you can see a million of em on Heartattack and Vine
■ better off in Iowa against your scrambled eggs
than crawlin down Cahuenga on a broken pair of legs
you'll find your ignorance is blissful every goddamn time
you're waitin for the RTD on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil thats just god when he's drunk
well this stuff will probably kill you let's do another line
what you say you meet me down on Heartattack and Vine
■ liar liar with your pants on fire
white spade hangin on the telephone wire
gamblers reevaluate along the dotted line
you'll never recognize yourself on Heartattack and Vine
■ doctor lawyer beggar man thief
Philly Joe Remarkable looks on in disbelief
if you want a taste of madness you'll have to wait in line
you'll probably see someone you know on Heartattack and Vine
■ see that little Jersey girl in the see through top
with the pedal pushers suckin on a soda pop
well I'll bet she's still a virgin but it's only twenty-five to nine
you can see a million of em on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil thats just god when he's drunk
well this stuff will probably kill you let's do another line
what you say you meet me down on Heartattack and Vine
■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■
| Tom Waits |
| Heartattack And Vine |
■■■ Toto album nebylo bůhvíjak přijato, relativně nejlépe ho vzal na vědomí biweekly magazine Rolling Stone. Za téměř deset let svých aktivit Waits ponořil svou vlastní osobnost do vrtošivé hudební fantazie a hrál tuto roli tak dokonale, že je nyní ochoten poskytnout náhradní díly pro všechny životem–zdupané snílky, kteří nemají svůj dar výřečnosti.
■■■ S jeho melancholickými folk–popovými melodiemi a orchestracemi filmů padesátých let navrhuje publiku, pojďme se pobavit trochu jinak: hudebními ekvivalenty ručně tónovaných starožitných pohlednic. Nebo alespoň tak, že zpěvákům budoucnosti dodává kuráže, když jednou sami padnou, aby měli motivaci opět a opět vstát. Samozřejmě, Tom Waits působí, že je opuštěný, prstem génia dotčený básník, dívající se z příkopu, aby zahlédl předpokládanou duhu, jeho romantismus je však zkroucený jako plechový kotlík. Umělcovy vokály se za posledních 6 let (The Heart of Saturday Night) zhoršily od drsných jižanských přízvuků a žargónů až k chraptivým a někdy i děsivým "kloktadlům", které už samotné vytvářejí dojem lapání po dechu. Jakoby mu někdo kolemjdoucí dával návrhy: život, nebo smrt a s jeho rukou na svém hrdle zpívá ty svoje groteskní, lehké, výstřední a vrtošivé písně. Superalbum!
Location: USA
Album release: September 1980
Recording Date: June 16, 1980 — July 15, 1980, Filmways/Heider Studios, Hollywood, CA
Record Label: Elektra, Asylum / WEA
Duration: 44:31
Tracks:
01. Heartattack And Vine 4:51
02. In Shades 4:25
03. Saving All My Love For You 3:42
04. Downtown 4:45
05. Jersey Girl 5:12
06. 'Til The Money Runs Out 4:26
07. On The Nickel 6:20
08. Mr. Siegal 5:15
09. Ruby's Arms 5:36
■ All songs written by Tom Waits.
Producer: Bones Howe
Personnel:
■ Bob Alcivar — string arrangement, orchestral arrangement, conductor
■ Ronnie Barron — hammond organ, Piano
■ Dave "Clem" Clempson — Guitar
■ Roland Bautista — electric guitar, twelve–string guitar
■ Greg Cohen — bass
■ Victor Feldman — percussion, chimes, glockenspiel
■ Jim Hughart — bass
■ Plas Johnson — tenor saxophone, baritone saxophone
■ Michael Lang — piano
■ Larry Taylor — bass
■ "Big John" Thomassie — drums
■ Tom Waits — vocals, electric guitar, piano
■ Jerry Yester — orchestral arrangement, conductor
■ Ron Coro — Art Direction, Design
Chart information:
■ This album was Tom Waits' first album to crack the Australian Top 40, reaching 30.
■ Heartattack and Vine was Waits' best–selling album in the US until Mule Variations, spending three months on the Billboard Hot 200 and peaking at #96.
■ Heartattack and Vine was Tom Waits' last album on the Asylum label, released in September 1980.
■ Bruce Springsteen has performed "Jersey Girl" as part of his live shows since the early 1980s, including it in his live retrospective "Live/1975–85". For the only time to date, Waits joined him onstage to sing it in August 24, 1981.
■ "On the Nickel" was recorded for the Ralph Waite film of the same name. "Heartattack and Vine" was covered by Screamin' Jay Hawkins. In 1993 this version was used without Waits' permission in a Levi's commercial, for which Waits took legal action and won a settlement. Jean–Luc Godard used "Ruby's Arms" in his 1983 film First Name: Carmen.
Review
BY STEPHEN HOLDEN | February 5, 1981 | Score: ■■■■
■ On Heartattack and Vine, the patron saint of America's hobo hipsters returns to the sentimental ballad style he abandoned for jazzier, less song–oriented turf after The Heart of Saturday Night. Though Tom Waits' new album sports its share of slinky blues vamps, it's the tear–jerkers that really matter. Lyrically, "Jersey Girl" conjures up Bruce Springsteen's world, then adds an arrangement that echoes the Drifters' "Spanish Harlem." But the tune's eager romanticism becomes warped in the caldron of what's left of Waits' voice. In the six years since The Heart of Saturday Night, the artist's vocals have deteriorated from gruff drawls into hoarse and sometimes ghastly gargles that make the very effort of drawing breath seem a life–and–death proposition.
■ "Saving All My Love for You," "Ruby's Arms" and "On the Nickel" boast the same morbid pathos as "Jersey Girl." With their wistful folk–pop melodies and Fifties film–score orchestrations, they suggest the pop–song equivalents of hand–tinted antique post cards. Or at least that's what the singer's down–and–out delivery turns them into. ■ Of course, Tom Waits' derelict–poet–saint, gazing up from the gutter to find a rainbow, is an assumed character. Yet it's only partly an act. For almost a decade, Waits has submerged his own personality and played this role so completely that he's now a willing surrogate for all the low–life dreamers who don't have his gift of gab.
■ But in a time when hipness is often equated with selfishness, Waits' woozy, far–out optimism has never seemed fresher. While he can be faulted on many counts — the godawful condition of his voice, his perverse love for dime–store kitsch imagery — the purity of his intentions is never in question: Tom Waits finds more beauty in the gutter than most people would find in the Garden of Eden. If his lack of objectivity has kept him from developing into a major artist, Waits' indivisibility from his self–created persona makes him a unique and lovable minor talent. ■ http://www.rollingstone.com/
Review by William Ruhlmann; Score: ■■■
■ Heartattack and Vine, Tom Waits' first album in two years and his last of seven for Asylum Records, is a transitional album, with tracks like the rhythm–heavy title song and "'Til the Money Runs Out" foreshadowing the sonic experiments of the Island albums, while piano–with–orchestra tracks like "Saving All My Love for You" and "On the Nickel" (written as a motion–picture title tune) hark back to Waits' Randy Newman–influenced early days. It is just as well that Waits never entirely gave up on the ballad material; "Jersey Girl," a Drifters–style song, is a winner, and it was appropriated by Bruce Springsteen on his 1981 tour. Also, at least at this point, the rougher tunes all tended to sound the same.
Notes:
JERRY YESTER
Born: January 9, 1943, Birmingham, Alabama, United States
■ Jerome Alan "Jerry" Yester is an American folk rock musician, record producer, and arranger.
■ The Lovin' Spoonful
■ Modern Folk Quartet
DISCOGRAPHY TW IN STUDIO:
Studio albums
■ Closing Time
■ The Heart of Saturday Night
■ Small Change
■ Foreign Affairs
■ Blue Valentine
■ Heartattack and Vine
■ Swordfishtrombones
■ Rain Dogs
■ Franks Wild Years
■ Bone Machine
■ The Black Rider
■ Mule Variations
■ Blood Money
■ Alice
■ Real Gone
■ Bad as Me
Website: http://www.tomwaits.com/
Also:
FDRMX REVIEW
■ http://fdrmx.com/tom-waits-heartattack-vine-album-review/
■ The most bluesy and visceral of Waits' mid–period albums, Heartattack and Vine encapsulates the jazzy piano ballads ("Ruby's Arms"), beatnik imagery ("Mr. Siegal") and seedy, blues–inflected tales from America's underbelly that he perfected in his first decade of recording. This is an album of extremes, as Waits is unabashedly (and convincingly) sentimental on "On The Nickel" and "Jersey Girl" (later covered by Bruce Springsteen) and unflinchingly hard–boiled on the title track and the hustler's anthem "'Til the Money Runs Out". The concise, compact arrangements (he has never grooved so fiercely) foreshadowed the rhythmic invention to come in Waits' later work.
Heartattack and Vine
■ Liar liar with your pants on fire
white spades hangin on the telephone wire
gamblers reevaluate along the dotted line
you'll never recognize yourself on Heartattack and Vine
■ doctor lawyer beggar man thief
Philly Joe Remarkable looks on in disbelief
if you want a taste of madness you have to wait in line
you'll probably see someone you know on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil theres just god when he's drunk
well this stuff will probably kill you lets do another line
what you say you meet me down on Heartattack and Vine
■ see that little Jersey girl in the see through top
with the pedal pushers suckin on a soda pop
well I bet shes still a virgin it's only twenty-five to nine
you can see a million of em on Heartattack and Vine
■ better off in Iowa against your scrambled eggs
than crawlin down Cahuenga on a broken pair of legs
you'll find your ignorance is blissful every goddamn time
you're waitin for the RTD on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil thats just god when he's drunk
well this stuff will probably kill you let's do another line
what you say you meet me down on Heartattack and Vine
■ liar liar with your pants on fire
white spade hangin on the telephone wire
gamblers reevaluate along the dotted line
you'll never recognize yourself on Heartattack and Vine
■ doctor lawyer beggar man thief
Philly Joe Remarkable looks on in disbelief
if you want a taste of madness you'll have to wait in line
you'll probably see someone you know on Heartattack and Vine
■ see that little Jersey girl in the see through top
with the pedal pushers suckin on a soda pop
well I'll bet she's still a virgin but it's only twenty-five to nine
you can see a million of em on Heartattack and Vine
■ Boney's high on china white Shorty found a punk
don't you know there ain't no devil thats just god when he's drunk
well this stuff will probably kill you let's do another line
what you say you meet me down on Heartattack and Vine
■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■