Released: October 1976
Chart Peak: #89
Weeks Charted: 5
The people who populate Tom Waits' songs are deeply rooted in 20th-century American mythology. They come from tough-guy novels, pulp magazines, radio serials and film noir. Waits isn't interested in the heroes of this fiction, but with the people who exist on its fringes: cabbies, newsstand dealers, shoeshine boys and all-night waitresses. In the perverted language of American politics, they are known as "the little people," but Waits would agree with writer Joseph Mitchell that "they are as big as you are, whoever you are."
With his cigarette dangling from his mouth, his cap slapped over his forehead, Waits slouches through these streets presenting himself not as a detached observer but as a full-fledged native. He is, of course, an avowed sentimentalist in love with a place and an era that no longer exist -- a time when people ate mulligan stew and called a five-dollar bill a "fin." Playing rudimentary jazz piano and singing in a strangled cigarette-and-whiskey voice, Waits is at once an extremely affected anachronism and a brilliant chronicler of our past.
- Kit Rachlis, Rolling Stone, 12/30/76.
Waits continues to write wonderfully offbeat lyrics and large-scale ballad melodies, and to sing in a voice of such croaking eloquence that he makes the likes of Captain Beefheart sound like Caruso. The artist's eccentrically beguiling nightclub and college appearances have won him a solid cult following, and the excellence of what Waits provides here in his unique style can only add more fans. Best cuts: "Invitation To The Blues," "I Wish I Was In New Orleans," "The One That Got Away."
- Billboard, 1976.
Waits has developed into such a horrible singer that sometimes I think his stentorian emotionalism is deliberate, like the clinkers he hits in "The Piano Has Been Drinking." This doesn't affect his monologue songs one way or another, but it tends to detract from those with melodies. B-
- Robert Christgau, Christgau's Record Guide, 1981.
- Rick Clark, The All-Music Guide to Rock, 1995.
Small Change kicks off with the syrupy yet effective "Tom Traubert's Blues," but things pick up fast with "Step Right Up," which finds Waits improvising a huckster's jive at a mile a minute. * * * 1/2
- Daniel Durchholz, Musichound Rock: The Essential Album Guide, 1996.
This devastatingly lovely album offers the straight-no-chaser, wrong-side-of-the-tracks, sandpaper-voiced Waits before he got arty and experimental. Raw, emotional and powerful, the unsung troubadour of a Beat generation gone bad blows through the songs like a traveling medicine man (he really Damons the Runyon), each character springing to life to become your friend -- so pour yourself a gin and tonic and let the words envelope you. * * * * *
- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.
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