T-Bone Burnett – Tooth of Crime

T-Bone Burnett – Tooth of Crime

Or The almost ordinary evening of a solitary critic,

by Christian Izorce

(English version of the paper posted on July 21st)

The other night, with Antoine – whom I warmly thank for having accomodated me on his blog -, I went for dinner at a another friend’s place. This guy is known for having recorded many jewels in today’s music (jazz, world, sophisticated singers, …) and owns a very impressive high-fidelity system. During the night, he made us hear two songs by T-Bone Burnett … of whom I had heard many times, without having the slightest knowledge of what he does (beyond the clever “Humans from earth” from Wender’s “Until the End of the World” soundtrack !).
I dare admit that, but with a kind of a pain in the chest.

Title of the album ? True-False Identity.

A real smash in the face ! Brilliant ! Huge ! (It means nothing but I only found this to say)
Bought as soon as heard ? Not quite, since on the day after, at my grocery store (although well-stocked), they no longer had it for sale. But they were solding the very last opus of the audacious bluesman, released last May. Waoow, recorded on NoneSuch Records ? That cannot be bad … Right in the shopping bag !

Once back home, I set myself in the right mood : Le Fil by Camille (and its final, half an hour long « Ooom », a mere marvel), then La Mort d’Orion by Gérard Manset (historically psychedelic), and then, T-Bone Burnett and its all-fresh Tooth of Crime.

‘Cause I have a hollow tooth.
The feast was not over.
Ten pieces of pure bravery.
I have to tell you …

1. This is a damn hammering rock’n’roll piece ! A syncopating jerk ! A pushing, trombone-fitted swing. And T-Bone himself seems to be giving everyone the push, too ! One can figure him self-satisfied, showing scornful lips and an arrogant posture. It is called Anything I can say can and will be used against you. And this is just self-explanatory.

2. A rolling balad for two, sung with innocently innocent voices. Say, with respect to the title, Dope Island, and the lyrics (We lived outside the law/we struck with wild desire/…/But now the night’s gone dead/The hours filled with dread). Rythmic foundations are abyssal and the sound, gorgeously cavernous. Despite the lyrics, this could be this summer’s slow dance prototype.
What ? … Errr ? … Have slow dances really disappeared in 1982 ?

3. The Slowdown. Come on ! A manner of McCartney song, fresh and dancey, but like thrown in a mincer : chopped up small with capers, a drop of Tabasco sauce well at the center … and, yes, a fried egg with a bleeding yoke on top of it ! Just a bit repetitive and enjoyable like a march of draft resisters.

4. Blind Man, to whom we hang, a superb and expressionist duet by singer Sam Philips and guitarist Marc Ribot. A genuine track from a mere song-writer, very static, but beautiful and moving. This guy has a deep heart, really !

5. Again ? A sort of McCartney patty, whith tons of almost infrasonic boom-booms, plus strings topped with maple syrup. And this is called Kill Zone. Heavens ! Dear, where are we, really ?

6. What is this now ? Is it the string due to hang us that we hear at the beginning ? Gee. Oh no, this is a guitar ! … As a fact, this is Rat Age, but nothing to see with oriental horoscope. The voice is from outer-sewer, guitar is sound but subterranean, percussion and metal tube noises displayed as a large rainbow scenery (over a dark sky, still). An anticipation song that will make you stay away from sci-fi for ever. It pushes, not at higher speeds, but with haughtiness and authority. I quote some lyrics (by courtesy of the Dean of the University for Necro-Futurology) : “I was conceived in a behaviour station/Light years from civilisation/…/As earthman battle for their skins/I come down with the aliens …/ we’ve broken the genetic code/ And left it bleeding by the road” …And I’ll let you discover the sequel and end. This is worth a scream of hatred yelled right at one’s face … the face of those who will buy this record, and who are already convinced. That’s true, but still, this is worth saying.

7. It crawls like a rattlesnake that would endlessely whisper « Swizzle stick, swizzle stick ». It squeaks, but here again it moves, like a rusted tune which squeals but goes forward. In the end, this is an ultra-binary thing, rythmically speaking, but it is … venomous and epide(r)mic.

8. Telepresence (Make the Metal Scream). Surprisingly quiet ! Well, quiet, apparently. Metalised and out-of-phase voice which wraps and leads in a threnody in minor and descending mode. Heartrending as “Heartbreak Hotel”, John Cale’s version of course. See what I mean ? Well, it’s even better, only worse.

9. Here Come the Philistines. A kind of a sitll denouncing anti-rap , build as a revanchist litany against today’s society … and its leaders. Spangled with bitter and sharp guitar riffs. What a treat !

10. Sweet Lulabby. Just a little sweet thing before going to sleep, in the shape of a gentle balad with antique instruments and oriental-like ornaments. The voice frightens a bit, still. Oh, so little.

The readers of Ecoutez-Voir, maybe scared now, will be relieved by learning that T-Bone Burnett has long been, with some other main characters of the world’s rock scene (Neil Young just to name one), reluctant to the rise of digital technologies in the field of audio engineering. He has long been advocating for taking the most “analog” precautions to capturing sound when recording an album. Hence, his records (at least the most recent ones) are produced and recorded with the highest quality standards, and they are worth listening to through a very good audio system. Full range and holographic reproduction are a must ! One will then enjoy the very accurate and pin-point sound imaging, which brings another level of understanding to the songs. And for even more fear, the bass response of the system has to be exemplary. If theses conditions are respected, the thrill is garanted.

Did you get it ? One refers to T- Bone Burnett as we speak of the likes of John Cale, Dylan, Zappa, Captain Beefheart, Tom Waits. And the missing Waren Zevon, too.
And rigth after that, observe silence.

And many thanks to Philippe, who gave me the first bite.

The other steps of the journey :

Camille – Le Fil

Gérard Manset – La Mort d’Orion

Special note for our English speaking readers :

Camille is a very inventive young french singer who blends all sorts of vocal performances (from tibetan singing to gospel), often in a cappella titles. Her world is rich and very, very original. Her songs are generally highly delightful and relaxing too.

Gérard Manset has been in music for forty years and more. He is a sort of a hidden and desperate lonesome cowboy in the land of french singers. He never appears live, and his albums are exclusively and entirely manufactured by himself (from composition, play, to recording and mixing). La Mort d'Orion (1970) is a bewildering collage of pure cosmic inspiration. A jewel in a black velvet case.