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Bad As Me

21 Oct 2011 | Format: MP3

7.49 (VAT included if applicable)
Buy the CD album for 11.35 and get the MP3 version for FREE. Does not apply to gift orders.
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Product details

  • Original Release Date: 21 Oct 2011
  • Release Date: 21 Oct 2011
  • Label: Anti/Epitaph
  • Copyright: 2011 Anti, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 44:38
  • Genres:
  • ASIN: B005SN54VO
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (23 customer reviews)
  • Amazon Bestsellers Rank: 27,030 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.3 out of 5 stars
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Most Helpful Customer Reviews

38 of 42 people found the following review helpful By Red on Black TOP 50 REVIEWERVINE VOICE on 24 Oct 2011
Format: Audio CD
Anyone thumbing through Tim Adams revealing interview with Tom Waits in last weeks Observer (23/10/11) should also read the subsequent comments upon it by Waits aficionados who are a particularly articulate bunch. One summarizes his Waits infatuation with the immortal line that "Tom Waits. He's the Dad I never had, the brother who wouldn't play with me, and the sister with the strangely deep voice". You know what he means. Tom Waits is both a one-man history of American music but also a vivid reflection of our lives ribald joys, drunken disasters, tender moments and defeated heartaches. He is a first class honours American maverick and the most genuinely original artist in modern rock music. On "Bad as me" he is back in over powering form and rocking harder than he has done for years. "Anyone who has ever played a piano," Waits has previously stated, "would really like to hear how it sounds when dropped from a 12th-floor window" and on his 17th album he does on occasions make a mighty racket. He is helped in this task by the presence on the album of his wife Kathleen Brennan, guitarist Marc Ribot, Flea from the Red Hot Chilli Peppers and a previous collaborator that other old blues reprobate Keith Richards.

The album starts with "Chicago" a roaring blast of horns and fast chops which sees Waits in fine voice and doing a Casey Jones style "all aboard" chant. He follows it by outdoing Nick Cave in the dirty blues stakes with "Raised Right Man" where Waits exclaims "Heavens to murkatroid/Miners to coal/A good women can make a diamond out of a measly lump of coal".
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3 of 3 people found the following review helpful By Bemused on 24 Feb 2012
Format: Audio CD
ONE OF HIS BEST
Having been a Tom fan since the 1970s when Small Change was released, I always look forward to the new releases and am rarely disappointed. Having read a few reviews of this latest album, I wasn't too sure what to expect. Well what an album! Nothing out of the ordinary on the first few listenings and then it begins to hit you. The wonderful rhythms of the opening track, the stomping energy of the next and the wonderful tunefulness of next... and so it continues throughout. So what if some of the tracks remind us of songs gone by, he's not the first artist to rework old ideas and bring fresh energy to them. If you want to try some Tom Waits this is as good a place to start as any. It doesn't happen too often but at the moment,I can't stop playing it. It's always difficult to pick a favourite and I'm sure when I next listen to Swordfishtrombones or Mule Variations etc. I will change my mind,but at the moment this is my favourite Tom album. Buy it and love it.
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4 of 5 people found the following review helpful By Buffalohump on 22 Jun 2012
Format: Audio CD
I have to say, its a bummer to write this review. Been a massive fan of Waits since my high school days when I was first exposed to Swordfishtrombones. I still consider that one of the greatest albums of the last 30 years, as is Raindogs and Frank's Wild Years. I think these are absolute stone classics. The amazing thing is Waits has maintained a pretty high standard since '83 when Swordfish came out. Just think of Bone Machine, the incredible combo of Alice and Blood Money, the superb collection of B-sides and outtakes in Orphans... I wouldn't hesitate to give any of these a 5 star rating. And then came this long break with nothing. So when I heard there was a new one, I thought: hell, this is going to be fantastic. He must have been working on it all this time.

Well, I wish it were so. Unfortunately it feels more like Tom woke up one morning and decided to make a record. Nothing wrong with that. But where is the invention, the pure genius of the lyrics, the otherworldly creative flair that we have come to expect from Tom? Where is the carnival? Where indeed... it feels like this man of endless creative ability has run out of ideas, as horrible as that sounds.

It appears there is plenty of energy and commitment but the sheer magic is missing. The great albums were just effortless, this one feels like he is trying to reach a place but just can't make it. I kept listening and listening, hoping for something to materialise out of the murk. Some of the best albums take a while to reveal themselves. But unfortunately it is yet to happen. I DO like Talking At the Same Time. That to me feels like the best song of the album for now. I was disappointed in Hell Broke Luce. With a title like that I expected it to be mighty, but it feels strained and bombastic (scuse the pun).
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48 of 60 people found the following review helpful By Biffer Spice on 28 Oct 2011
Format: Audio CD Verified Purchase
i'll start off this (most likely unpopular) review by saying i'm a massive tom waits fan. to put the review in context, my favourite era is the mid-80s trilogy, which i hold up as a high water mark for music in the 80s. i also love his blues albums of the late 70s, the one from the heart album of 1982, and the heart of saturday night. i'm not a huge fan of his later albums (eg since 1987's frank's wild years) with the exceptions of the black rider and alice. i feel his work has faded into regurgitating his favourite themes in ever so slightly different ways, and his work is subject ot the law of diminishing returns. what seemed fresh and vibrant when he first did it seems less so, when you recognise the riff, when you recognise the lyric, when you recognise the format. it's the moment when you notice the card the magician has got hidden up his sleeve.

i would also say that i came to tom waits quite late (probably about a decade ago, and so listened to it in a fairly unordered sequence. therefore, bone machine was about the fourth album i listened to, etc, so i wasn't burned out by then - i just recognised the better writing and invention in the earlier stuff, and the stagnation in the later stuff. i also find he delivers his lyrics better in the older albums. his real strength for me over the years has been his simply wonderful lyrics, and powerful delivery. he has kept the beautiful voice, and in some ways that has got better. eg in the black rider and alice, that voice is so rich and powerful, there really is little in music to compare with it. it's an instrument as much as a voice, and he inhabits his different characters to wonderful effect. that voice is the reason i will always buy his albums. there's no fix like it.
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