Mojo's description:
That Waits' first, post-Island release appeared on indie-punk imprint Epitaph says much about the then 49-year-old's cussedness. Co-written with spouse Kathleen Brennan, it's a veritable Jimmy Stewart of an album - by turns irascible (Big In Japan), sentimental (The House Where Nobody Lives) and life-affirming (Come On Up To The House). An amalgam of Swordfishtrombones' eccentric clamour, Rain Dogs' blurry songcraft and Bone Machine's weather-beaten grotesques, it's Waits' most complete long-player
to date.
4 comments:
It's almost impossible for me to criticize any of his records, nearly everyone is a masterpeice. but it does, in many ways, feel less comprehensive than the albums that preceded and followed it.
I have to say this is one of my favourite Waits records. This is the one that really got me into his music even though I'd bought his stuff since Swordfishtrombones. Until Mule it never completely gelled for me. It was this record that made it all make sense.
Have to disagree with some comments here. Although at first I probably agreed with them, I think repeated listenings prove MV to be one of his best. I honestly love just about every song, and the same can't be said for Real Gone...or Blue Valentine, Foreign Affairs, Heartattack...all of which have a few songs I could really do without.
I am a brazilian woman who really loves tow waits and Mule variation is very good. Chocolate jesus is a marterpiece as a lot of his work. Her ears must be something amazing, because he consideres every sound
It's poetry. And the best
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