Brutal. Even for a die hard Midwesterner like myself, January weather in Chicago has been brutal this year. So brutal that I find myself wrestling with the winds and bitters of Chicago sidewalks to make my weekly treks to local record stores. Falling over sheets of ice, dirty salty air, and a need to walk hunched to avoid all but the sidewalk just in front of my next fearless step. Yep. It’s been this bad.
I have found myself dodging some current releases in order to refresh my record collection of some lost, classic American songwriting. Today’s picks were a pair of purely American originals. Tom Waits and The Band tell stories we’ve all heard before, but each give us perspective and point of view demonstrating a rich palette of Americana. I speak to albums from each artist/group: Tom Waits Franks Wild Years (sic) and The Band The Band.
Tom Waits, Franks Wild Years
Tom Waits’ 1987 release is the music he co-wrote with his wife Kathleen Brennan. The songs became the basis for the play of the same name; performed in1986 by Chicago’s Steppenwolf Theatre Company. The album is pure Tom Waits and I’m shocked I have never spent the time listening to the entirety of the album. It is a record that demonstrates Waits’ flexibility as a songwriter. A song like “Hang on St. Christopher” is a staple in the Waits’ catalogue, but experiments on the two versions of “Straight to the Top” demonstrate musical moxie that harkens back to Leonard Cohen and Irving Berlin more than anything contemporary to Waits. Typical of Waits’ albums, he borrows from his previous albums in songs like the previously named “Hang on St. Christopher” and “Telephone Call from Istanbul” that fit in line with some of his previous experiments in 1986’s album Rain Dogs (incidentally, the title of the album is a nod to an early song of the same name on his 1983 release Swordfishtrombones), but gently massaging his listener in different experimental directions in the songs “I’ll Take New York” and “Blow Wind Blow”. Franks Wild Years is a masterful touch from one of America’s greatest songwriters to ever grace us with his presence. Truly, a man who can write a song like “Straight to Vegas” and then three songs later (and on the same side of the record) share a song like “Cold Cold Ground” where Tom laments “Take the weathervane rooster / Throw rocks at his head / Stop talking to the neighbors / Til we all go dead / Beware of my temper / And the dog I’ve found / Break all the windows in the cold, cold ground.” shows dexterity that is pure talent, shockingly beautiful in its execution.
The Band, The Band
I always have found it interesting that The Band’s second, self-titled album was a more commercially and financially accepted album on its release date than compared to their previous album, 1968’s Music From the Big Pink. The Band is a little more evenly arranged. There is a definite sense that Robbie Robertson (that’s J.R. Robertson to you and me) had a vision to the development of the track’s order and subsequent arrangement. However, I have always been more emotionally drawn to Music From the Big Pink because of exactly why The Band’s second album is so credited; because Big Pink is so uneven and spontaneous. With this being said, The Band is a beautiful collection of songs that paints a visionary tale of Americana. The first track “Across the Great Divide” sets the album in motion. Robertson’s invitation to “Grab your hat, and take that ride” calls out the listener to sit back and ride through the backroads of Americana. The pace is continued through Reconstruction Dixie in “The Night They Drove Old Dixie Down”, continued in the songs “Up on Cripple Creek” and “Look Out Cleveland”. Each demonstrates narratives about the people and events that shaped the complicated history of America. As I listen to the album for the first time in a long while, I am reminded in how well The Band told the Oral History of an America forgotten at the end of the commercially successful “Summer of Love”.
So that was my weekly venture to the record stacks of Dave Records on Clark and Wellington in Chicago. Without a doubt, bitterly cold days are not the norm around Chicago, but I’ll remind those who regret setting up their shacks in the Midwest that the cold days do not prevent us from heading out, grabbing some records, and returning home to some nice beers, a bump of the volume, and hockey on the TV to remind us Januarys are a state of mind around these parts.
We all know how critical it is to keep independent voices alive and strong online. Please consider a donation to support our work as an independent publisher devoted to the arts and humanities. Your donation will help PopMatters stay viable through these changing and challenging times where advertising no longer covers our costs. We need your help to keep PopMatters publishing. Thank you.