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Track Listings
| 1. Ol' 55 |
| 2. Hope That I Don't Fall In Love With You |
| 3. Virginia Avenue |
| 4. Old Shoes |
| 5. Midnight Lullabye |
| 6. Martha |
| 7. Rosie |
| 8. Ice Cream Man |
| 9. Little Trip To Heaven |
| 10. Grapefruit Moon |
| 11. Closing Time |
Product Description
Amazon.co.uk Review
It starts with a sunrise, it ends with "one star shining", and in between Closing Time contains an honest year's worth (1973, to be exact) of sweet, melodic, vintage Tom Waits--minus some of the vocal growl and thematic grit of his later stuff (but you can see it coming). Waltzes, lullabies, blues, jazz, you name it. Driving songs and drinking songs, even an honest to gosh country tune: "Rosie." There are torchers ("Lonely"), scorchers ("Ice Cream Man"), and back- porch senior citizen love songs ("Martha"): "Those were the days of roses/Poetry and prose, and/Martha, all I had was you and all you had was me." Other standouts are "I Hope That I Don't Fall in Love with You" (guess what--he does!) and "Grapefruit Moon", in which Waits croons: "Every time I hear that melody, something breaks inside." Hang on to your hearts and hats, folks. --Dan Leone
CD Description
The 1973 album that introduced a young singer-songwriter tothe world at large is a far cry from the wonderfully twisted sonic lanscape that would define SWORDFISHTROMBONES a decade later. The Waits of CLOSING TIME was a barroom balladeer too, but one who fit neatly into the early-'70s folk-rock, singer-songwriter paradigm (CLOSING TIME's opener "Ol' '55", in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairsthat present the songs with a minimum of fuss.
Waits's voice isn't the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best ("Martha", "I Hope That I Don't Fall in Love With You") attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the '40s than any '70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits's work from the'80s and '90s will be surprised by the relative straightforwardness of CLOSING TIME, yet the album announces an important talent.
It starts with a sunrise, it ends with "one star shining", and in between Closing Time contains an honest year's worth (1973, to be exact) of sweet, melodic, vintage Tom Waits--minus some of the vocal growl and thematic grit of his later stuff (but you can see it coming). Waltzes, lullabies, blues, jazz, you name it. Driving songs and drinking songs, even an honest to gosh country tune: "Rosie." There are torchers ("Lonely"), scorchers ("Ice Cream Man"), and back- porch senior citizen love songs ("Martha"): "Those were the days of roses/Poetry and prose, and/Martha, all I had was you and all you had was me." Other standouts are "I Hope That I Don't Fall in Love with You" (guess what--he does!) and "Grapefruit Moon", in which Waits croons: "Every time I hear that melody, something breaks inside." Hang on to your hearts and hats, folks. --Dan Leone
CD Description
The 1973 album that introduced a young singer-songwriter tothe world at large is a far cry from the wonderfully twisted sonic lanscape that would define SWORDFISHTROMBONES a decade later. The Waits of CLOSING TIME was a barroom balladeer too, but one who fit neatly into the early-'70s folk-rock, singer-songwriter paradigm (CLOSING TIME's opener "Ol' '55", in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairsthat present the songs with a minimum of fuss.
Waits's voice isn't the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best ("Martha", "I Hope That I Don't Fall in Love With You") attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the '40s than any '70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits's work from the'80s and '90s will be surprised by the relative straightforwardness of CLOSING TIME, yet the album announces an important talent.
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