Because of the length of CDs, many albums originally identified as \u201cdouble albums\u201d now fit on one cozy CD disc. That means 70-minute opuses by such artists as Soundgarden, Tori Amos, Metallica, and the Beastie Boys are labeled as singular albums. Unfortunately, this means that artists now see the challenge of making a double album as having to record almost two hours worth of music. This usually results in an inferior product (see Smashing Pumpkins, Red Hot Chili Peppers, and Wu-Tang Clan\u2019s double-album efforts matched up against their single album predecessors). <\/p>\n
Double CD-albums are usually regarded as bloated excesses. The usual critic consensus says that if these albums were paired down to a single-CD, the album would be immeasurably better. But this conventional wisdom gets turned on its head when it comes to an even more audacious feat: the triple album. Many critics admired Prince\u2019s Emancipation<\/i> for its ambition far more than the songs that were included in its awesome 3-CD packaging. The Magnetic Fields\u2019 magnificent 69 Love Songs<\/i> is regarded as one of the best albums of the \u201890s. Sure, it would be an almost flawless double-album, but the fact is that for each of the three discs, the band batted at least a .800. <\/p>\n
The most recent notable three-disc compilation comes from Tom Waits. Orphans<\/i> isn\u2019t necessarily a triple-album by the purest of definitions. 14 of the songs were found on other albums or soundtracks. Others were rarities. 30 songs are considered new. But the uniformity and sound quality of Orphans<\/i> merits the album be treated as an actual \u201calbum\u201d instead of a \u201cbest of\u201d or \u201cB-sides\u201d collection. <\/p>\n
Orphans<\/i> is divided into three titles for each of the discs: Brawlers<\/i>, Bawlers,<\/i> and Bastards<\/i>. There are exceptions in each of the discs, but generally, Brawlers<\/i> represents Tom Waits\u2019 most recent output, such as the beat-box-infused elements of Real Gone<\/i>; Bawlers<\/i> contains the sentimental, cornpone side of Waits; and Bastards<\/i> contains the abstract side (even for Waits) of his output, including some spoken word pieces. <\/p>\n
In the age of digital downloads, artists have resorted to packing their albums with a ton of extras to get audiences to buy the physical product. Orphans<\/i> is no different. And while downloading the album digitally won\u2019t take away any of the album\u2019s impact, it is beautifully packaged, including more than twenty pages of pictures and an overall layout that looks like a yellowed novella from your grandparent\u2019s attic. \u00a0<\/p>\n
Despite several songs appearing on previous albums and compilations, there is uniformity throughout most of the album. Old-style instrumentation, such as harmonica, pump organs, and orchestral arrangements create a feeling of old-style \u201830s and \u201840s blues. Credit can be given to an all-star lineup of supporting musicians, including Charlie Mussellwhite and John Hammond (harmonica), Les Claypool (bass, what else?), and Collin Stetson (sax). <\/p>\n
Thanks to the quality of the tracks for each of the three albums, this approach works wonderfully for a listener. While Orphans<\/i> is considered to be a complete work, it also works very well on an individual level. Judging by Waits\u2019 previous output, it would be perfectly feasible to envision any of Orphans\u2019<\/i> three discs as a legitimate follow-up to Real Gone<\/i>. <\/p>\n
The age of the iPod shuffle certainly makes this collection more digestible for listeners. Put next to your other 30-6,000 other songs on your iPod, you can appreciate the head-shaking quirkiness of \u201cKing Kong,\u201d the Tom Waits at the top of his game \u201cBottom Of The World\u201d and the \u201clove them or hate them\u201d covers of tracks like \u201cYoung At Heart\u201d and \u201c