Автор | Отправлено | Сообщение |
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Frank Wild | 28.06.1999 02:03 | Роллинг Стоун прозрел Всех поздравляю - Том Уэйтс сделал Роллинг Стоун, впервые за всю жизнь, если меня не подводит память. До сего времени были только рецензии. Смотрите номер за 24 июня, с Джар-Джар Бинксом на обложке. Не знаю, есть ли это в сети, но в бумажном номере - статейка на три полосы за авторством Дэйвида Фрика с дивной постановочной фоткой Марка Зелигера: Том в роли грэйвдиггера, вся эта роскошь называется "Возрождение Тома Уэйтса". Не особо информативно, но забавно. Самая забавная цитата: I'm the kind of bandleader who when he says, "Don't forget to bring the Fender, I mean the fender from the Dodge." |
Дима | 28.06.1999 11:33 | Роллинг Стоун прозрел В сети пока только вот этот отчет о концерте в ЛА: Tom Waits Heart of darkness. Wiltern Theater, Los Angeles, June 12, 1999 After a prolonged absence from the touring circuit, Tom Waits has returned to the stage at the top of his game. The former Angeleno, who's forty-nine and now living in Northern California, has only appeared at a handful of events in recent years, primarily in the L.A. area, like his show-stopping gig at last year's Dead Man Walking benefit concert. But on the opening night of a sold-out, three-night stand at Los Angeles' beautiful Wiltern Theater, Waits proved again that he's one of this country's most extraordinary and original musical talents. The archetypal Waits-ian elements include hilarious stage patter, serene mood lighting and songs that seem to capture nearly every human emotion. A bluesman with one foot steeped in the past and one ahead of everyone else, Waits balances moods with the greatest of ease and one amusing anecdote after another. Wearing his trademark fedora and barking in his classic throaty growl, Waits deftly wove a musical quilt that segued from gritty blues numbers to touching ballads to hipster performance pieces. It was all tied together by an inventive band (brilliant blues guitarist Smokey Hormel, Larry Taylor on upright bass and drummer/percussionist Dan Magough and Andrew Borger on keyboards) very much in simpatico with their leader. The enraptured audience was also with him on every beat, rewarding him with several standing ovations. And Waits responded in kind, fielding most of the audience's requests. Focusing on his most recent material, Waits offered the lion's share of Mule Variations, his first album for the indie Epitaph and his first new record since 1992's Bone Machine (not counting his 1993's take on the William S. Burroughs/Robert Wilson operetta The Black Rider). Newer material, such as the tender "Hold On" and the romantic "Picture in a Frame," blended perfectly with Waits' raucous ode to youth "I Don't Wanna Grow Up" and the sublime "Who Are You." He went from cool alley-cat troubadour ("Singapore") to weary piano man ("Innocent When You Dream") to backyard balladeer ("Come On Up to the House," "Goin' Out West") with the flip of a guitar strap. "Get Behind the Mule" cracked like a cowboy's whip and "Chocolate Jesus" added more subtle commentary to Waits' ongoing dialogue with the spirits. Waits, who has moonlighted as a screen actor, colors his repertoire with eccentric characters and noir film- worthy atmosphere. The creepy, hilarious "What's He Building" -- about a notoriously reclusive neighbor -- is so realized a vision one can't help but imagine the Unabomber or Norman Bates as the song's protagonist. An extended live version of the song afforded Waits the perfect opportunity for a creative bit of dramatic theatre via the simple use of a flashlight. The use of shadows, a constantly changing backdrop and his infamous bullhorn are all long-proven staples of Waits' canon, and the adoring crowd ate up everything with a near-religious fervor. The two-hour concert -- replete with three separate encores -- ended fittingly with the timeless ballad "(Looking For) the Heart of Saturday Night," from the 1974 album of the same name. Like the heart of the poet on stage tonight, it was a thing of darkness and beauty. ROGER LEN SMITH (June 18, 1999) |