The Tom Waits Project: #14. "Night on Earth" (1992) - with Kathleen Brennan

There are few artists who have had as enjoyably weird of a career as that of Tom Waits. With a career spanning over 45 years, he has reinvented himself countless times while providing some of rock's strangest, most eclectic tunes imaginable. Over the course of 2019, my goal with The Tom Waits Project is to explore every single one of his studio albums as well as live albums and soundtracks (no compilations) and chart the shifts in his career as well as hopefully understand what makes him so ubiquitous in pop culture. He's an artist who has always been there, making things weird, but there's a good chance you haven't truly noticed him. Here's your chance to join me every other Wednesday on a quest to find out what makes him so special.

Album: "Night on Earth"

Release Date: April 7, 1992

Label: Island Records

Certifications: N/A

Singles: N/A

Track List:

1. "Back in the Good Old World (Gypsy)
2. "Los Angeles Mood (Chromium Descensions)"
3. "Los Angeles Theme (Another Private Dick)"
4. "New York Theme (Hey, Can You Have that Heart Attack Outside Buddy)"
5. "New York Mood (New Haircut and a Busted Lip)"
6. "Baby, I'm Not a Baby Anymore (Beatrice Theme)"
7. "Good Old World (Waltz)"
8. "Carnival (Brunello Del Montalcino)"
9. "On the Other Side of the World"
10. "Good Old World (Gypsy Instrumental)"
11. "Paris Mood (Un De Fromage)"
12. "Dragging a Dead Priest"
13. "Helsinki Mood"
14. "Carnival Bob's Confession"
15. "Good Old World (Waltz)"
16. "On the Other Side of the World"

*NOTE: Listen to it here.

Track Analysis

This section is a song by song breakdown in hopes of understanding what makes each song special in his catalog. Other things considered will include best song, most interesting standout, and other fields deemed relevant to the album.

"Back in the Good Old World (Gypsy)"

While it hasn't been discussed much here, the choice for Jim Jarmusch to turn to Tom Waits as a kindred spirit is one of those cinematic moments of brilliance. Both appear to be vagabonds who observe the minutiae of life in weird but different ways. While this is very striking in how it sounds like a "Rain Dogs"-era Waits song, it still works as this wandering tale for whatever lies ahead. There's not going to be much in the way of traditional Waits on here. It's the first soundtrack he's done since "One From the Heart." One can hope that this is a better job than that.

"Los Angeles Mood (Chromium Descensions)"

So this is what Waits the composer sounds like. It starts off with a ticking rhythm, beating like a sleepy melody into the night, meditating into the night sky. It's peaceful, only being ripped apart by the sound of an electric guitar that is shredding through the silence. There's not much else to it, but at least it's a nice blend of beauty and chaos in one fairly short track. 

"Los Angeles Mood (Another Private Dick)"

While the last track had me worried that this would be a bit more of a minimalist experience, I am glad to hear that Waits has formed a bit of a rhythm here. He mixes the noirish guitar of a detective looking through the streets with a bluesy saxophone and upright bass that is plenty enjoyable and effective. It's also fun to hear the melodies build with the intensity as things become tenser. Provided this is the direction that the score goes, it will be a worthwhile experience.

"New York Theme (Hey, You Can Have That Heart Attack Outside Buddy)"

It's becoming clear that one of the distinguishing things about the soundtrack is the different locations. Whereas Los Angeles felt much more like a detective series, this is more of a laid back vibe. Yes, the upright bass is still there and the horn section is still rich, but now it feels like everything has been more mellowed as if hanging out in a jazz club as things are winding down. You're drinking at the bar and starting to relax. While not nearly as diverse rhythmically as the previous track, it sets a mood nicely for whatever comes next. 

"New York Mood (A New Haircut and a Busted Lip)"

There's not much of a variation from the previous track. The theme is fairly consistent throughout this. The only real difference is that there's more of a percussive vibe borrowed from the gypsy theme that started the album. Otherwise, the horn's still blowing that lonesome melody and things are still dreary in the atmosphere in all of the right ways. 

"Baby, I'm Not a Baby Anymore (Beatrice Theme)"

It sounds like things are heating up for the music. While it still has the familiar New York Theme going through this, it sounds like there's more personality on display, as if Beatrice is going to be important. Even the horn melody mixes up a bit. While it's not entirely different in melody, it still manages to convey something deeper about the character that may be exotic to the story, as if there's something seductive to Beatrice. It works in slight ways and helps to make the score pop with a little life, even as it patters out at the end.

"Good Old World (Waltz)"

After a series of songs reflecting something lonesome and sultry, the score takes a turn towards something more nostalgic. As the opening song would suggest, there's a lot to love about the old world. With this waltz, there's a slow lull into this memory of a better time, when things were better. It can't help but bring a smile as the instruments cradle the listener in their arms throughout the melody. It's simple and to the point, much like a good memory should be.

"Carnival (Brunello Del Montalcino)"

This is about the point where it makes sense why Jarmusch hired Waits to do the score. Where he could hire anyone in the world, he chose Waits because there's a certain vibe that one he has really given. It shows here as he uses what sounds like an instrumental track from "Frank's Wild Years"-era Waits. It's delusional while sticking within the confines of a circus motif, managing to give into the bells and whistles that come with the whimsy while being broken down enough that something sounds weird. It's not the best song on here, but it's the proof that Waits was a perfect fit for the project.

"On the Other Side of the World"

The second song on the album continues the melancholic vibe of Waits' material. This time, he sounds like he's in France as an accordion plays. The imagery of the leaning tower of Pisa is not too far off into the first verse. Everything comes across as being distant from the rest of the score, which has been predominantly in New York and Los Angeles. It's bittersweet to hear him sing about longing for someone on the other side of the world, and you want him to get his happiness. It's a peaceful song of self-reflection and one that works nicely at serving as a peaceful sigh midway through the score.

"Good Old World (Gypsy Instrumental)"

In a sense, it's an instrumental version of the opening song. It makes sense that it captures all of the longing and remorse that the lyrics had. The familiar gypsy theme plays throughout as it rocks across the melody. It's beautiful and simple, though a tad monotonous. With that said, it likely fits the theme of the scene, which is probably reminiscing on a past in the good old world. There's not much else to it besides its simple look back.

"Paris Mood (Un De Fromage)"

It's a mix of the gypsy theme with the Parisian theme from "On the Other Side of the World" mixed together in a way that maintains the longing and ennui. There's not much else to say, as the melody is fairly straightforward after that point. There are a few clicks here or there, but that doesn't impact the overall melody or affect of the music.

"Dragging a Dead Priest"

While this is a solid deviation from what has been heard, it's another not-so-particularly-interesting track to really dissect. It's more atmospheric, as it feels like carrying a body through a hollowed-out room, maybe a sewer of some kind. The clanging sounds of metal and the hum of the instruments all build to something haunting, but never in a way that makes you tense or engaged. It's likely better when accompanied by the visuals. 

"Helsinki Mood"

While it's described as being another mood, it feels like another hybrid of themes. This time, it's a mix of the New York and Gypsy themes that feature the low jazzy horns and the gypsy percussion that slowly walks through the track. It sounds dark, as there's no real personality behind the music. It's just an atmosphere that is very clear and open. It's hard to find much else to really get out of this song, which is among the more straightforward tracks on the entire album.

"Carnival Bob's Confession"

This is about as fun as the back half of the album has been. It's got the familiar "Rain Dogs"-era Waits to mix with the score nicely. It fits in the guitar from the Los Angeles theme with the Gypsy and New York themes as it goes to Paris. There's something sadistic underneath it all as if the pulsating melody is somehow waiting to spring a big surprise on the audience. There is anticipation here, and it works well enough to suggest what the rest of the score could be if the film it accompanied required more melodic personality.

"Good Old World (Waltz)"

The Tom Waits songs come to a close on this album with the familiar theme ending in heartbreak. Where there's been regret throughout the entire album, this track manages to convey vividly what it was that was lost in the old world. It was a woman whose beauty and tenderness filled his life with purpose, and it's tragic to see it gone. It works at capturing the emotion and giving the soundtrack's music a bigger purpose.

"On the Other Side of the World"

It makes sense that with everything considered on the album that the score ends on a bittersweet melody. Even if the tempo hasn't really changed, the essence has. Things have slowed down as the Parisian elements fade into more of an acceptance and the guitar shifts to a more acoustic sound that cries along with the horns. It's that melancholic farewell that is putting something to rest, slowly losing energy and hoping to be at peace with the world. It's a decent way for things to go out.

Closing Remarks

In the career of Waits, it's fascinating to include this in the bigger body of work. On one hand, it's a vast improvement over "One From the Heart," if just because you get the sense that Waits is trying something different. However, it doesn't work as a solo album, free of Jarmusch's context. The music is fine but reflects an inability on Waits' part to be an interesting musician-turned-composer. It's exciting to see him trying on various hats, but you kind of wish that this was weirder, or more challenging. Some of it works because it sounds like old Waits tracks, but as a whole, it's kind of just there. The motifs and themes work as they blend, but otherwise, it's kind of an underwhelming experience when it doesn't work, which isn't often enough.

Coming Up Next: "The Black Rider" (1993)

Album Rankings

This section is dedicated to ranking the albums from best to worst in hopes of finding which Tom Waits album is the best.

1. "Rain Dogs" (1985)
2. "Blue Valentine" (1978)
3. "Swordfishtrombones" (1983)
4. "Small Change" (1976)
5. "Frank's Wild Years" (1987)
6. "Heartattack and Vine" (1980)
7. "Bone Machine" (1992)
8. "The Heart of Saturday Night" (1974)
9. "Nighthawks at the Diner" (1975)
10. "Foreign Affairs" (1977)
11. "Closing Time" (1973)
12. "Night on Earth" (1992)
13. "Big Time" (1988)
14. "One From the Heart" (1982)

Song Rankings

This section is dedicated to finding the best songs from each album and comparing them to each other in hopes of finding which one is Tom Waits' best song.

1. "Hang Down Your Head" from "Rain Dogs" (1985)
2. "I Don't Wanna Grow Up" from "Bone Machine" (1992)
3. "Whistlin' Past the Graveyard" from "Blue Valentine" (1978)
4. "I Wish I Was in New Orleans" from "Small Change" (1976)
5. "Way Down in the Hole" from "Frank's Wild Years" (1987)
6. "Way Down in the Hole" from "Big Time" (1988)
7. "Martha" from "Closing Time" (1973)
8. "Jersey Girl" from "Heartattack and Vine" (1980)
9. "Shore Leave" from "Swordfishtrombones" (1983)
10. "Potters Field" from "Foreign Affairs" (1977)
11. "Eggs and Sausage" from "Nighthawks at the Diner" (1975)
12. "Los Angeles Mood (Another Private Dick)" from "Night on Earth" (1992)
13. "Please Call Me Baby" from "The Heart of Saturday Night" (1974)
14. "Picking Up After You" from "One From the Heart" (1982)