Role reversal

A very interesting (and grandiose) example is Alexandra Kamp that the male narrator in Henry Miller's 'sex' Her voice lends - just one of the most controversial novels Millers, and just such a female and centerfoldige voice that a novel in audio book version are very own, stunning, excessively erotic, wild and even more liberal sense.

And now so a brand new example of such polarity reversal: The Norwegian Rebekka Bakken sings Tom Waits - that's unheard of, impudent to unreality that must really be, especially since so lately been other women to such Sang deeds (?) had felt called ...

Now what Bakken, accompanied and supported by the HR Big Band here is the best, is enormous.
Sure you can argue about whether BROKEN BICYCLES give a successful kick-off song, but after that it is an exceptional way manic, poignant, uplifting, inspiring, short: really big!

Bakken sings a knotless not, but rather between Norway and faded 'half-drunken babe'-English, thus mumbles (as Tom Waits and quite different) by some verse, can also gargle and scream, beg and cry, sometimes cold and far and wide as the universe, and then again intimately to the emotional ecstasy, clownish in market rhythm and controlled jazzy, and lies down again under the bridge, into the gutter.
Tom speaks of a 'she' makes Bakken from mostly a 'him', but not always - another reviewer has already criticized, it was surely funny when a female singer sings of a 15-dollar whore that 'it 'buys ... Yes, strange as it may, and very very sexy.

The HR Big Band is (of course) in top shape, the arrangements could also come from Tom Waits himself. The result is definitely not clinical, but alive and hot, vibrant sheer death & life & suffering & Lust & Suff & Sex.
An excellent album not only for Tom Waits fans.