Tom Waits – Blue Valentine (1978)

"Blue Valentine" has a tendency to be dismissed as a so called "transitional" album, being that it is sandwiched into the period between Waits' critically acclaimed early albums and his mid-career foray into the unique instrumentation and free form music of his "Rain Dogs" period. In my opinion when Waits' career is viewed as whole, every one of his albums could be classified as "transitional" works, because the man is constantly moving forward with his music and moving into new territory with each record he puts out. That being said, "Blue Valentine" is a great and underrated album. In my opinion the title track is one of the most desperate songs Waits ever recorded, and the spare instrumentation and Waits' gravelly voice perfectly captures the mood of paranoia he sings of. The lyrics to the song "Blue Valentines" are one of the best examples of Waits' talent as a songwriter, as he describes a man who abandoned his lover and was tracked down by her and continues to receive her letters. The lines "it feels like theres a warrant out for my arrest, you've got me checkin in my rearview mirror, and I'm always on the run, thats why I changed my name, and I didn't think you'd ever find me here", and his descriptions of a blind and broken heart and nights full of whiskey are true genius. The song has remained one of my favorites of his over the years. I also think that Waits' voice was at it's best on this album and "Heartattack and Vine". The grit and rasp of his pipes on these two albums are unbelievable. The other thing about "Blue Valentine" that stands out to me is "$29.00", a straight up slow blues jam that goes on for a little over eight minutes. To hear Waits use his voice in a pure blues setting is rare, and he spits out the lyrics with his acid growl in a way that would make Howlin' Wolf blush. All the instrumental solos on that song are tight, and I find myself continuing to play that song again and again. "Wrong Side Of The Road" and "Whistlin' Past The Graveyard" are two others where his voice is unbelievable. The classic "Christmas Card From A Hooker In Minneapolis" is another of Waits' tales of down and out individuals, and has a jazzy piano accompaniment. I also think that "Kentucky Avenue" is one of Waits' best ballads, and always gives a tug at my heartstrings when I hear it. To me, the only turnoff to this album is Waits' rendition of "Somewhere" from West Side Story. While it was definitely an interesting choice for him as far as cover tunes are concerned, it just never grabbed me, although I wouldn't say it's bad. While critics may say that Waits didn't break any new ground on this album lyrically or musically, I think they missed the boat. This is a solid album, and Waits melded the blues, jazz, and symphonic music onto one disc and somehow managed to tie it all together in a way that makes sense. While this may not fall into the category of essential Tom Waits, this is good music. I can't make it any simpler than that.

Personnel:

Tom Waits - Vocals & Piano
For other personnel see booklet

Tracklist:

01. Somewhere (From "West Side Story")
02. Red Shoes By The Drugstore
03. Christmas Card From A Hooker In Minneapolis
04. Romeo Is Bleeding
05. $29,00
06. Wrong Side Of The Road
07. Whistlin' Past The Graveyard
08. Kentucky Avenue
09. A Sweet Little Bullet From A Pretty Blue Gun
10. Blue Valentines

Recorded to 2-track tape at Filmways/Heider Recording, Hollywood on July 224, 25 & August
10, 17, 23 & 26, 1978
Engineered by Bones Howe, Geoff Howe & Ralph Osborne
Disc Mastering by Terry Dunavan, Elektra Sound Recorders, LA
CD Mastering by Zal Schreiber, Atlantic Studios, NYC

Sound Quality: 8/9