While critics have been bitching that Mule Variations sounds incriminatingly like Rain Dogs and Bone Machine, I say thank god. Thank god he hasn’t decided to do a duet with Puff Daddy or have a techno geek redo his songs. His signature garage band clank and soulful braying steadfastly remain .
Mule Variations is home to a new family of songs featuring classic barroom and lullaby Waits.
The album proves haunting and rowdy. Listening it sounds like Waits is home.
There’s a cracklin’ fire on the hearth at Waits' house, and he invites us in from the cold. "House Where Nobody Lives", and "Come on Up to the House", are intimate in their camaraderie, while the bluesy "Cold Water", "Get Behind the Mule" get you moving. Meanwhile, "Eyeball Kid" and "Chocolate Jesus" are the wacky lyrics that only Waits can turn into poetry.
Waits growls and purrs in introspective ballads "Hold On", "Picture in a Frame", and "Georgia Lee". The soothing piano blends with his soulful, gruff voice in "Take it with Me". After all, Waits is still one of the few who can make you misty without clubbing you over the head with cheesy sentimentality.
The garage band sounds of "Big in Japan" (featuring Les Claypool of Primus), and "Filipino Box Spring Hog" bring you back to clanking reality. All music is removed from "What’s He Building", a spoken word piece Henry Rollins could only dream of composing.
A fan will appreciate that Waits is back (and touring this summer!), and anyone else should take the plunge.
Tom Waits Mule Variations
