Blues singer/guitarist John Hammond has never fancied himself a songwriter. Though he remains one of blues music’s top acts, he often relies on the songs of others when performing in concert or on his albums.
On his latest record, Wicked Grin, Hammond draws from the extensive songbook of Tom Waits, and puts his own soulful growl on some of Waits’ best tunes. What’s more, Waits serves as the album’s producer and guitarist, and has given Hammond two unreleased tracks to interpret. This collaboration has paired two of the most respected artists in their genres and produced one of the strongest albums in Hammond’s long career.
Since he began recording in 1973, Tom Waits has been one of America’s most celebrated and frequently-covered songwriters. Though he has never received widespread public acclaim, he has remained a “musician’s musician.” Acts ranging from Bruce Springsteen and Bette Midler to Everything but the Girl have recorded from Waits’ catalogue. Though his recordings are undeniably distinctive, Waits’ songs have the ability to be interpreted in many different styles and in nearly any genre of music.
Wicked Grin succeeds because John Hammond has selected some of Waits’ finest songs, including many of his forgotten gems. “Til the Money Runs Out,” originally recorded in 1980, benefits from the sonic overhaul that Hammond and his sidemen give it. Hammond sings with the conviction and attitude of the low-life hustlers around whom the song centers. He nails the song’s best lyrical couplet, “can’t you hear the thunder, someone stole my watch/ I sold a quart of blood and bought a half a pint of scotch.” The track is aided by Hammond’s slinky guitar work and the heavy thud of Larry Taylor’s upright bass.
If there is a fault in Hammond’s renditions it’s the fact that most of the tracks on Wicked Grin are overly similar to Tom Waits’ original recordings. This is largely because the studio musicians are Waits’ long-time sidemen. While Hammond’s voice has a bluesy growl all its own, the arrangements sound a little too much like Waits’ recordings.
The collection ends with a spiritual number, “I Know I’ve Been Changed,” a song that marks Waits’ only vocal contribution to the album. Waits’ rusty-razorblade voice is unmistakable. Though Hammond’s voice is far from polished, it sounds like smooth pebbles when set against the gravelly sounds from Waits’ throat.
John Hammond has succeeded in paying tribute to a fine musician. And, hopefully, he has brought attention to Waits’ under-appreciated songwriting.
Singer Holly Cole had the same idea when she released Temptation, her collection of Tom Waits tunes. But where Cole’s album succeeded by giving the songs a new voice and sound, Wicked Grin fails. Hearing John Hammond cover Tom Waits in the spirit of Tom Waits only makes the listener want to hear an actual Tom Waits album.
The notion of a tribute album is touching, but in reality it rarely works. Would you buy an album of John Mellencamp doing Bruce Springsteen songs, or a Bruce Springsteen record covering Bob Dylan? When a singer sounds too similar to the original artist he is covering, it makes one wonder why the album was recorded in the first place.
John Hammond had the right idea when he chose Tom Waits as chief author of his album. But in practice, Wicked Grin’s well-intentioned mimicry is to its discredit. The songs are lyrical and the band sounds great, but Hammond would benefit from developing his own musical stylings. B
