Tom Waits - Mule Variations
April 16, 1999, Anti-/Epitaph
1. "Big in Japan" - 4:05
2. "Lowside of the Road" - 2:59
3. "Hold On" - 5:33
4. "Get Behind the Mule" - 6:52
5. "House Where Nobody Lives" - 4:14
6. "Cold Water" - 5:23
7. "Pony" - 4:32
8. "What's He Building?" - 3:20
9. "Black Market Baby" - 5:02
10. "Eyeball Kid" - 4:25
11. "Picture in a Frame" - 3:39
12. "Chocolate Jesus" - 3:55
13. "Georgia Lee" - 4:24
14. "Filipino Box Spring Hog" - 3:09
15. "Take It with Me" - 4:24
16. "Come on Up to the House" - 4:36
RESULTS
Rate: 9/10
Best Song: Hold On
Worst Song: What's He Building?
Comments
The rugged and raspy voice of Tom Waits could annihilate a jazz vocal competition, but the fact that he puts his voice to Rock is wicked.
Great instrumentals, very dark Album with a very fluid rhythm. I notice a trend in these darker Albums, where one track isn't actually a song, but rather a narration of events with little-to-no instrumentals present. This was the case of "Frankie Teardrop" by Suicide, or in this Album: "What's He Building?"
"What's He Building" features Waits narrating him looking into some loner guy's garage with a hammer and drill heard throughout the song. As interesting as it was, it wasn't good music.
But it rhymed, I guess!
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