For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It's an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits' late-night world of bars and diners. The love lyrics of his debut album had long since given way to a comic lonely-guy stance glimpsed in "Emotional Weather Report" and "Better Off Without a Wife." But what really matters is the elaborate scene-setting of songs like the six-and-a-half-minute "Spare Parts," the seven-and-a-half-minute "Putnam County," and especially the 11-and-a-half-minute "Nighthawk Postcards" that are essentially poetry recitations with jazz backing. Waits is a colorful tour guide of midnight L.A., raving over a swinging rhythm section of Jim Hughart (bass) and Bill Goodwin (drums), with Pete Christlieb wailing away on tenor sax between paragraphs and Mike Melvoin trading off with Waits on piano runs. You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who's to say how much is too much?
Never reluctant to reveal the vast range of influences who have informed his music and outlook across more than 40 years, Tom Waits still remains amongst the most unique musical artists around. And as many of Tom s original contemporaries spend their twilight years releasing album after album of dull, predictable material, Waits does just the opposite and keeps all of us guessing as to just what he might do next.
DEUTERONOMIUM’S fourth studio album is a concept album, based on a book titled ”Devotions upon Emergent Occasions”.Music-wise, this album is a logical continuation to their previous album, “From The Midst Of The Battle”, only this time the attack is even more aggressive. The sounds are heavier and the overall production, make this album a real fist-in-your-face -experience!