The Tom Waits Project: #20. "Orphans: Brawlers, Bawlers & Bastards" (2006) - Part One of Three

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: "Orphans: Brawlers, Bawlers & Bastards"

Release Date: November 17, 2006

Label: ANTI- Records

Certifications: 
-Certified Gold in U.S. (500,000 copies sold)
-A million copies sold internationally

Track List:

1. "Lie to Me"
2. "Lowdown"
3. "2:19"
4. "Fish in the Jailhouse"
5. "Bottom of the World"
6. "Lucinda"
7. "Ain't Goin' Down to the Well"
8. "Lord I've Been Changed"
9. "Puttin' on the Dog"
10. "Road to Peace"
11. "All the Time"
12. "The Return of Jackie and Judy"
13. "Walk Away"
14. "Sea of Love"
15. "Buzz Fledderjohn"
16. "Rains on Me"

*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.

"Lie to Me"

There's a lot (and I mean A LOT) to look forward to on this album of roughly 60 songs. Tom Waits' first b-sides record covers one of the most unique careers in music and is likely to go down some strange paths. In fact, those following his recent career trajectory may find him singing in a normal register, almost in a parody of a rockabilly singer, to be the oddest part of this whole thing. It's a fun little ditty that's in and out real quick, managing to get the audience dancing as the singer presents a deceitful story. It's fun in all of the right ways, managing to show just how diverse Waits' songbook goes. As far as a way to kick things off, this alarming start has plenty to consider.

"Lowdown"

And just like that, Tom Waits transfers from the rockabilly opener to a straightforward blues song. The guitar crunches everything along as Waits' voice grows deeper. It's hard not to love how much energy he is putting into this song. Along with an excellent guitar solo that sells the deeper energy, this is a fun little number that shows where he was as an artist. He could make dirty music if he really put his mind to it, and nothing answers that more than how much this song goes for the uptempo intensity that chugs along like a train as he sings about his woman being lowdown. Another solid song which only helps to show just how diverse his songbook is going to go.

"2:19"

It's another delightful song that feels like you're stuck on a train with Tom Waits. The percussion kicks along like a train on tracks as the guitar plops alongside like bumps in the road. Luckily Waits' ability to be the man inside telling wild stories remains an appealing aspect of the whole experience, especially as this song creates an atmosphere that is undeniable. The back half gets especially fun as Waits leaves the song and the instruments take over, presenting a fun musical breakdown that takes us into a fun, seedy place full of rich textures and moments that give this song personality. If nothing else, it's the catchiest song so far.

"Fish in the Jailhouse"

It's time for another fun song full of rich metaphors. As the title would suggest, Tom Waits creates the feeling of being stuck in the jailhouse. The instruments sound like they're beating against the walls of prison cells, echoing through the halls as Waits yells for help in the process. There's something jubilant about the fish as if it's desirable and a change of pace from the life that they have been leading. As far as songs go, it hits all of the right notes at capturing a seedy character getting to experience some luxury. Even the simple chorus sounds downright jubilant. It's another song that feels like great character building and brings forth another story that only Waits could tell with this unique of energy and purpose.

"Bottom of the World"

After an aggressive start, things have slowed down a bit. The guitar is just that much out of melody, capturing just how at unease Tom Waits will become through the song. He's lost from the rest of the world, which seems to be doing fine. He's stuck in a barber chair, handcuffed to the bishop and trying to make sense of the world. As a whole, it's another song that finds him reinventing the ballad, exploring the profundity in his misery along the way. It's a good enough song, though it doesn't have much that makes it stand out beyond his raspy voice once again finding some peace in his strange state of affairs.

"Lucinda"

All things considered, this feels like it comes as an outtake from the "Real Gone" album. For starters, the choice to have a heavily vocalized supporting track gives it that surreal quality that makes Tom Waits' singing voice a bit more surreal. This is a story of a bad man trying to reunite with his beloved Lucinda, and things go along in unexpected ways. It's a story song, and one that feels like a journey unto itself. For those who can appreciate his later work where he experiments with sound, this is a halfway decent track that ties well into his folkloric interests. Even then, the beat is a bit too redundant to keep things interesting for almost six minutes. It's good, but it makes sense why this didn't make the cut.

"Ain't Goin' Down to the Well"

This is the first cover that we've come across on the album, and it's easy to see what drew him to Lead Belly. Both were artists making their own style of blues, creating visions that were far more experimental and up for interpretations. The results here sound like a typical Waits song, managing to not feel out of place as the harmonica kicks in, the jerky beat carries the vocals through as he echoes through the song in mesmerizing ways. This song may not have much going on besides its bluesy demeanor, but it still is a great tonal track that shows Waits paying homage in the only way he knows how. 

"Lord I've Been Changed"

There are large portions of this that feel like it may have been from the "Mule Variations" era of Tom Waits. For starters, he was obsessed with gospel music at the time, incorporating spiritual imagery into his homely vision of nihilism. With his deep voice singing towards the heavens, the backing vocals clap along and harmonize. Waits sounds like he's been changed all right. He rarely goes this deep unless he's feeling something personal and emotional deep in his soul that needs to be yelled. It may not be his best gospel-flavored song, but it definitely fits with his vision of finding serenity in the world.

"Puttin' on the Dog"

It's another straightforward song that finds him using weird imagery very well. What exactly is puttin' on the dog? Well, if you follow the song, it's something that sounds like a lot of fun. There's not much else to the song beyond this, managing to trudge along with a harmonica backing things up and creating an upbeat, fun song. More than any song so far, this one feels like an outtake the most obviously. It's good, but there's not enough substance to it to make it stand out as anything special. 

"Road to Peace"

In what is the longest song on the album, Tom Waits breaks down a song about what it will take to achieve peace. As many will recognize from his 21st-century work prior to this, Waits has fallen in love with making more angry and political music. In this song, he flat-out mentions President Bush as a man who doesn't want to achieve peace but plays some strange game instead. As the guitar splashes in and out, he gives an elaborate story full of allegory and meaning that works as his most direct statement yet. It also makes sense why it didn't appear on any of his albums so far, as it was too polished for "Real Gone," nor thematically sound for "Blood Money." It works here as a defiant statement, and is among his best work on the album so far, feeling epic even as his voice is full of despair and calling out for God to get some help. 

"All the Time"

This sounds like it came from the era of "Bone Machine" in that he's got on a hollowed-out voice, the guitars sounding more mechanic than ever. It sounds downright evil in how it manages to use an aggressive tone to present to the bluesy song in a new way. It's good enough as a track, managing to convey so much of what made that album an essential departure for the artist. Even the lyrics feel like they have a demented sense of purpose as he discusses what he's doing all the time. It's another good song, but it makes sense why it didn't make the cut.

"The Return of Jackie and Judy"

Well, isn't that fun? After The Ramones covered "I Don't Wanna Grow Up," Tom Waits returned the favor by covering this ditty from earlier in their career. What is most impressive about the track is how it manages to zap anything that was reminiscent of The Ramones and make it a dirty blues song. The lyrics are still intact, but covers rarely get as night-and-day as they do here. It's a bit funny that way. What's more incredible is how well it works as conveying the same ideas, but with bluesy guitars that make it sound seedier and full of a dangerous tone that The Ramones just didn't have. The Ramones made it fun. This is just dangerous, and it works for the most part. The only thing that doesn't is the lengthy ending, which wraps things up for a bit too long.

"Walk Away"

If my ears don't deceive me, this is arguably the earliest cut on the entire album. At this point in Tom Waits' career, his voice has gone through the wringer, and it's impossible to hear even the best songs without hearing a scratch in it. Here he still has an innocence to his voice, even if the lyrics are par for the course. The beat is somewhat reminiscent of "Gun Street Girl" off of "Rain Dogs," and it's interesting to hear what he was trying to go for with this. It's good and has the jaunty melody that made his 1980s output so much fun. However, it still feels out of place here, even on a compilation of outtakes, because of how much different his voice sounds. It's good and full of solid lyricism, but it feels like a different era of Waits altogether, which would be fairly interesting to hear if there are enough songs for it.

"Sea of Love"

It's another cover song that takes things in a unique direction. Whereas most covers tend to go tender on the vocals, this is Tom Waits once again applying his gruff to things. Even the instruments sound impatient with the slower melodies. Everything is given a blues twist that makes it feel more personal, managing to take a ballad and make it feel like Waits is feeling it deep in his bones, shaking as he recalls the night he sings about. So much of the song works that even the guitar's twinkling melody gives it a personality that makes it far more engaging. It's a fairly successful interpretation that shows just how well Waits can make just about anything into his own style. 

"Buzz Fledderjohn"

It's another song fresh out of the porch blues style that Tom Waits is known for. Only this time, it really does sound like he's outside, witnessing the world pass by. The guitar clangs as if echoing through the afternoon wind. There's a dog barking in the background every now and then that gives the song a fun personality. As a whole, it's a bit understated even with such a memorable name. It's good, but considering how many other versions of songs like this, it's hard to suggest why it stands out as something special.

"Rains on Me"

As one could expect, things had to end on a melancholic note. Even if this isn't a narrative structure like every other Tom Waits albums, he has a habit of ending on a sad note. Here he gives himself the image of being a symbol of bad luck. No matter where he goes, it rains on him. He's stuck in this state, and it's impossible to escape. It's also another solid song that probably should work on one of his albums. Like most of his orphans, they feel a bit out of luck and there's no better metaphor to end the "Brawlers" chapter of this column than by remembering what he's good at finding joy in the sad parts of life.

Closing Remarks

The first part of this journey into Tom Waits' "Orphans" proved to be just as successful as one would expect. There were a few really good songs in the mix, but a lot of it feels like an understated journey into what could've been. Had there been no other options, these songs could easily have defined decades of his career. Would it be better? Often not really. However, it's still a good b-sides record that shows just how creative and diverse the man has been throughout his career. While I would love to hear some earlier era tracks, the ability to feature rockabilly, blues, and boozy covers of The Ramones proves just how wide this net is going to go. If nothing else, it makes me excited for the remaining 30-odd songs to follow. 

Coming Up Next: "Orphans: Brawlers, Bawlers & Bastards" (2006) - PART TWO OF THREE

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. "Mule Variations" (1999)
5. "Small Change" (1976)
6. "Frank's Wild Years" (1987)
7. "Heartattack and Vine" (1980)
8. "Bone Machine" (1992)
9. "The Heart of Saturday Night" (1974)
10. "Nighthawks at the Diner" (1975)
11. "Real Gone" (2004)
12. "Blood Money" (2002)
13. "Foreign Affairs" (1977)
14. "Closing Time" (1973)
15. "The Black Rider" (1993)
16. "Alice" (2002)
17. "Night on Earth" (1992)
18. "Big Time" (1988)
19. "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. "Filipino Box Spring Hog" from "Mule Variations" (1999)
3. "I Don't Wanna Grow Up" from "Bone Machine" (1992)
4. "Whistlin' Past the Graveyard" from "Blue Valentine" (1978)
5. "I Wish I Was in New Orleans" from "Small Change" (1976)
6. "Way Down in the Hole" from "Frank's Wild Years" (1987)
7. "Way Down in the Hole" from "Big Time" (1988)
8. "Martha" from "Closing Time" (1973)
9. "Jersey Girl" from "Heartattack and Vine" (1980)
10. "The Day After Tomorrow" from "Real Gone" (2004)
11. "Shore Leave" from "Swordfishtrombones" (1983)
12. "God's Away on Business" from "Blood Money" (2002)
13. "Potters Field" from "Foreign Affairs" (1977)
14. "Eggs and Sausage" from "Nighthawks at the Diner" (1975)
15. "Watch Her Disappear" from "Alice" (2002)
16. "Los Angeles Mood (Another Private Dick)" from "Night on Earth" (1992)
17. "Please Call Me Baby" from "The Heart of Saturday Night" (1974)
18. "Just the Right Bullets" from "The Black Rider" (1993)
19. "Picking Up After You" from "One From the Heart" (1982)