Review Summary: The intricate "Swordfishtrombones" is the record that catapulted Tom Waits into the realm of the legendary.
By 1982, Tom Waits, the 33 year old beatnik-era-throwback that had become known for his jazzy singer-songwriter style, was at a crossroads. He had to decide whether to continue with the songwriting formula that, until that point, had worked relatively well for him, or to jump ship and do something a little bit more exotic. Thankfully, both for his career as well as for the history of experimental music, Tom Waits decided that he needed to escape the rut he was in and find a new sound. What was eventually produced, whether intentionally or through experimentation, was 1983's "Swordfishtrombones"; an album that not only sounded like nothing else Tom had ever recorded, but ultimately sounded like nothing else anyone had ever recorded.
Perhaps most recognizable for its use of dissonant melodies and abstract percussion, "Swordfishtrombones" saw Tom Waits begin to stray from the comfort of his beloved ivories and transition towards a broader range of instrumentation. From marimbas to African talking drums, and even the rare touch of the bagpipes, Waits held back nothing when recording his followup to "Heartattack & Vine". The resulting effect, exemplified by songs like 'Swordfishtrombones' and '16 Shells From A Thirty-Ought-Six', is approximately 42 minutes of being bombarded with tribal percussion and discordant melodies. The sheer power of tracks like 'Down, Down, Down' and the somewhat softer 'Shore Leave' is unmistakable. Although it is arguable that Waits takes it a step too far with his instrumental interlude 'Dave The Butcher', the imperfections are to be expected in an album that is so experimental. And for fans of Tom Waits' more sentimental ballads, songs like 'Johnsburg, Illinois' and 'Soldier's Things' still retain the singer-songwriter quality that was employed by Tom for so long.
In addition to the dramatic changes in instrumentation, "Swordfishtrombones" gave Tom Waits the chance to redefine the way he crafted his lyrics. The songwriting on this release differs from the nostalgic ballads of earlier records, in that it attempts to follow a single thematic premise. Rather than writing about long-lost friends and near-forgotten memories, Tom decided that it was time to tie his songs together in a more cohesive manner. The outcome of this lyrical experiment is the tale of a seemingly happy man, who deals with the trauma of war and loss, which eventually leads him to burn down his own house. Whether this was meant as a parallel to Tom's absent father Frank is unclear. What is clear however, is that this new lyrical structure was a much needed change for an artists who was fast approaching stagnancy. In tandem with the strange instrumentation, the lyrics weave together an album that is more altogether more atmospheric and album-like than any of Tom's previous work.
When listening to any of Waits' releases, one must first have a certain appreciation for the strange. For the most part, Tom Waits does not make music that is meant to be immediately accessible, and this is more true with "Swordfishtrombones" than with perhaps any of his other records. The use of disharmonious melodies, (clearly influenced by Jazz pianist Thelonious Monk) can initially be jarring and unpredictable. However, it is precisely this intricacy and uncertainty that makes the album so easy to revisit. It is not something one can fully digest in a day, nor in ten days for that matter. But with time and patience, the value of a record that was so instrumental to Tom Waits' career, as well as to the evolution of experimental music, will become apparent. "Swordfishtrombones" may not be Tom Waits' masterpiece, nor is it by any means a 'perfect' record. However, it is the record that catalyzed his reinvention and served as the first step for an artist that would become one of the most memorable of the century.
