Album Reviews
From his first gutter-folk album (Closing Time, from 1973) to last year's experimental masterpiece, Bone Machine, Waits' work has grown consistently stronger, more ambitious and less self-conscious. The Black Rider continues that tradition. Its songs offer the morbid excitement of a ride on a decrepit old Tilt-a-Whirl.
The rich, dizzying tunes incorporate graveyard fright noises, bizarre piano sounds and creepy sci-fi whistles into traditional, orchestrated Fiddler on the Roof-style melodies. A clanking, tin-can beat lurches through the material like a frantic Ichabod Crane, while disturbing violin and contorted blasts of French horn trudge along like drunken, determined sailors.
Waits' wrenching, lounge-loser vocals hawk in ragged, carney-style tones; love songs consist of lines like "I want to build/A nest in your hair." Burroughs' voice hobbles through on his one track like a crotchety passerby "T'ain't no sin to take off your skin/And dance around in your bones," he moans in a sexier moment while in others the evil chatter and whining of anonymous tormented souls exude a hysterically pathetic quality.
Although this odd, operatic collaboration with Burroughs and Wilson does not completely fit in with the whiskey-and-bar-stool concept of Waits' previous albums, it does continue his intriguing expansion into more surreal realms. His dervishlike approach to The Black Rider makes you gawk like a freakshow spectator in fear, fascination and delight.
(Posted: Jul 31, 1997)
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- Lucky Day (Overture)
- The Black Rider
- November
- Just The Right Bullets
- Black Box Theme
- T'Ain't No Sin
- Flash Pan Hunter (Intro)
- That's The Way
- The Briar And The Rose
- Russian Dance
- Gospel Train - (Orchestra)
- I'll Shoot The Moon
- Flash Pan Hunter
- Crossroads
- Gospel Train
- Interlude
- Oily Night
- Lucky Day
- The Last Rose Of Summer
- Carnival
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