"Blue Valentine" is the brusque solitaire of Wait's 1970. Tom leaves the PianoPiano be returning only rarely returned to his keys. The saxophone is relegated to the background. For grooving guitars and an organ wafts seditious around in the foreground of the songs. And Tom now discovered more and more the instrument with which he will replace the piano in the future: his voice. He howls, croaks, coughs and barks. He still does not apply to the megaphones. But who is watching him on "Blue Valentine", which will no longer be surprised at the later human beat-boxing Tom 1990s and 2000s.
In the song it comes to disgusting than ever. Men bleed - to gunshot wounds and a broken heart. In cemeteries is around whistled have girls no longer under her jeans as sweet little desires and pretty, blue dreams. No one comes here healthy in body and mind back out. As if in mockery begins Tom this Brechtian creatures-dance with a beautiful, world lost "Somewhere" cover. Then it goes into seven songs unadorned to the point where even long stays including "Romeo Is Bleeding" with us. Only "Kentucky Avenue" shortly before the end, which is so beautiful that you want to break out in tears while listening, bathes the scene for five minutes in a wistful gossamer-light lost childhood days. Only to be taken to a song continues with a sweet little ball of a pretty blue gun in the heart.
"Blue Valentine" is a promise for the future. Here are changes in the house. A plate to which one always returns and the time matures as selbstgepanschter Gin in a rusty gasoline drum behind the shed.
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This is the sixth part of my approach to the test Waits's canon. To predecessor please click here: "Foreign Affairs". It continues with "Heart Attack and Vine".
