![]() I turned it on, and I started screaming and banging on this chest of drawers really hard, till it was kindling, trying to make a full sound like a band. ![]() Waits: I was in Mexico in a hotel, and I only had this little tape recorder. Q: The beginning of "Big In Japan" is one of the more startling sounds you've ever put on record. And over there, they're hawking cigarettes, underwear, sushi, whiskey, sunglasses, used cars, beach blankets. And then there are all those people that don't do any commercials, they have this classy image. You can go over there and find people you haven't heard of in 20 years, that have moved over there, and they're like gods. It's also kind of a junkyard for entertainment. There are people that are big in Japan, and are big nowhere else. Waits: I see myself in the harbor, ripping up the electrical towers, picking up cars, going in like Godzilla and levelling Tokyo. Q: Are you really, as the opening track declares, "Big in Japan?" How do you know this? Ever been there? Waits talked about the album, his influences, and collaboration with wife Kathleen Brennan, with journalist Rip Rense. A collection of 16 pieces, it features Waits on piano, guitar, and percussion, plus musicians Larry Taylor, Dalton Dillingham III, Greg Cohen, and Les Claypool of Primus on bass Marc Ribot, Joe Gore, and Smokey Hormel on guitars Steven Hodges and Andrew Borger on drums and percussion Chris Grady on trumpet Ralph Carney and Nik Phelps on reeds Charlie Musselwhite and John Hammond on mouth organ. Tom Waits' first album for Epitaph, Mule Variations, is his first new full length studio recording since 1993. Key Words: Kathleen, Studio recording, Piano, Blues musicians, Studio recording, Aunt Evelyn, Testamints, Epitaph Also re-printed in "Performing Songwriter" July/ August, 1999 Transcription as published on the Mitch Schneider Organization site. Source: Epitaph promo interview (MSO), by Rip Rense. Title: Tom Waits: A Q&A About Mule Variations
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