Wicked Grin (CD) ~ John Hammond Jr. Cover Art

Wicked Grin

By: John Hammond Jr.

Provider: Amazon US
Availability: Download available
Also Available in: [CD]

Track Listing

MP3 Downloads
Amazon.com Album                 
DISC 1 for Wicked Grin Album By John Hammond Jr. Amazon.com iTunes
1   2:19 Buy Buy
2   Heartattack And Vine Buy Buy
3   Clap Hands Buy Buy
4   'Till The Money Runs Out Buy Buy
5   16 Shells From A Thirty-Ought Six Buy Buy
6   Buzz Fledderjohn Buy Buy
7   Get Behind The Mule Buy Buy
8   Shore Leave Buy Buy
9   Fannin Street Buy Buy
10   Jockey Full Of Bourbon Buy Buy
11   Big Black Mariah Buy Buy
12   Murder In The Red Barn Buy Buy
13   I Know I've Been Changed Buy Buy

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Product Notes

Wicked Grin is wicked indeed, just as sharp and clear and perceptive as you'd expect of an album of Tom Waits songs performed by veteran bluesman John Hammond. That basically sums up what Wicked Grin is all about; only one song on the album, the traditional "I Know I've Been Changed," wasn't written by Waits. This gorgeous recording should appeal to fans of both artists: Waits's songwriting is as incisive as ever, and Hammond explores each song to its fullest potential as he makes it his own. Waits produced the album as well. Between them, the two musicians achieve a kind of synthesis that makes for a damn fine collection. The first few songs kick things off nicely, evoking urban images, specifically of New York City, that stick in the mind like a tune running through your head that won't leave. Then there's "Shore Leave," with a sort of dark harmonic drone behind everything that makes the whole song downright spooky; the bittersweet "Fannin Street," which almost sounds like one of Johnny Cash's sweeter songs; and the Spanish-inflected "Jockey Full of Bourbon," which is capable of raising goose bumps. The format of this collaboration is perhaps a bit unusual--though there's a long history in the blues of artists covering other artists' work, it's usually done after the artist being covered is safely dead and can't object--but it works so well that it makes an excellent argument for continuing the practice, even if it's doubtful that most such pairings could be as successful as this one. This may well be one of the best releases of 2001. --Genevieve Williams

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