Comments on: Tom Waits – Martha (Lyrics)

By: Jackie

Jackie — Sat, 21 Jul 2007 20:58:30 +0000

Wonderful Song. And a very sad one too, a classic. Tim Buckley’s version is the most beautiful one, doew away with a set of lyrics that seems redundant too (where Waits goes “now we are mature”), lovely string and Tim’s delivery is unparalled as usual.

By: Kevin

Kevin — Wed, 19 Jul 2006 11:34:02 +0000

Hmm, I’ve never really looked at Martha from that perspective – that the narrator is a shit-stirrer. He is, without doubt, selfish. I would say he is pathetic too, but that word has drifted away from its origins in the word pathos into something altogether more malicious. However, I don’t believe he expects anything of the call. Remember, he too is married – or was, though there’s nothing to suggest is no longer. I’d hazard that the monologue is merely a token gesture. Perhaps they parted on bad terms and he wants to put that right before he dies, perhaps he hurt her.

As far as singing a lot and not looking like a twat? Well… the opposite, I’ve found, is perfectly possible, especially when you can’t play the piano. But try anyway.

Goose pimples don’t have any regard for all this, I agree. Yet I continue, for reasons unknown. Steinbeck really whores the tingles out in his short stories, and Lost in Translation is not without its tingle moments (hope this makes up for mentioning Nabokov).

By: eoin

eoin — Tue, 18 Jul 2006 13:09:20 +0000

Kevin: I can see where youâ€™re coming from and itâ€™s a good interpretation but I have a more cynical take on the songâ€™s sentiments. I see it as a snapshot from an ageing mansâ€™ dark night of the soul with the pervading mood being pathos and self serving regret. What on earth does he expect Martha to do? Leave her husband and kids because of one despairing phone call, or just to take pity on him because heâ€™s no longer young and foolish with many mistakes left to make. Whether I get this impression because of, or in spite of, the songâ€™s structure Iâ€™m not sure, as Iâ€™m not really that familiar with the rest of Waitsâ€™ writing (see barking comment above). Basically I like it because it has a lovely tune and there are no high notes so you can sing along without making a twat of yourself..

Goose pimples have no regard for our professed sensibilities, I get them reading the final page of â€œthe Deadâ€? and that bit in Casablanca where they all start singing the Marseileisse but also whenever I hear Fernando by Abba (hope this makes up for mentioning Shelley and Keats).

By: Adam

Adam — Tue, 18 Jul 2006 12:17:23 +0000

Seamus, I’ll give you a tenner for the lot

I have to say I love Wait’s older stuff but a lot of his newer stuff is enjoyable too, maybe a little bit more hit and miss but songs like Fish and Bird on Alice are beautiful.

Also Day After Tomorrow on RealGone is superb, not melodically brilliant or anything but really poignant all the same

By: Kevin

Kevin — Tue, 18 Jul 2006 09:09:56 +0000

I disagree with Kevin though, for me the killer lines are â€œI was alwaysâ€¦ so impulsive. I guess that I still amâ€?.

Hmm, I always felt that that line, and the proceeding line “all that really mattered then, was that I was a man,” felt a little bit forced – the rhyme in particular. Not that that diminishes its actuall meaning; that you’ve namedropped Shelley and Keats intimidates me to some extent! By contrast, the entire song, I think, is built around, “I love you can’t you see?” There’s a sense of inevitability about it, while its monotone fits the metre so simply reflecting, surely, the simplicity of the declaration.

But yes, goosepimples. I read a Nabokov quote recently which I will paraphrase (no doubt poorly). “The fit reader reads not with his brain, nor his heart, but with his back, waiting for that tell-tale tingle between his shoulder blades.” I guess it applies to the fit music listener too, or for that matter, any art.

By: Mr T

Mr T — Mon, 17 Jul 2006 23:51:19 +0000

As would I, as long as the copy that was used most often was on their ipod.

By: Damien

Damien — Mon, 17 Jul 2006 23:34:06 +0000

See, I’d vote for a guy that has Closing Time on vinyl.

By: Seamus Ryan

Seamus Ryan — Mon, 17 Jul 2006 23:26:38 +0000

Maybe I am showing my age but my Tom Waits collection is on vinyl. Swordfish Trombones, Tom Trauberts Blues, Closing Times to name but a few. Excellent!

By: Mr T

Mr T — Mon, 17 Jul 2006 23:15:18 +0000

His lyrics are still amazing, but the albums as a whole are not what they once were. However as i wasnt even born when he was making his early music I’ve never looked at his works cronologicaly. “Step right up” is just fantastic, but I equally like “poor Edward”. Bette Midler ruind Martha for me forever.
Looking at his tv appearances he has gained a certain charm over the years. You tube has a wondwerful selection
Early Waits: http://www.youtube.com/watch?v=R_0E7×3Nqys
My Fav: http://www.youtube.com/watch?v=4SabkryD460
Tom on Letterman: http://www.youtube.com/watch?v=A7K7451NLOs
Fishing with John: http://www.youtube.com/watch?v=C6Q5KEHkDUs
Tom Reads Bukowski: http://www.youtube.com/watch?v=fxjvUT1zw_w

By: Charlie

Charlie — Mon, 17 Jul 2006 22:59:00 +0000

“Itâ€™s a brilliant, simple piano ballad, I just wish heâ€™d kept knocking these out instead of barking over noise experiments in an avant guarde fashion”

It is indeed a lovely ballad but I have to say I love his barking tracks as well. Raindogs was the first Tom Waits album I ever got into and remains my favourite…and if anything, I find the earlier stuff a little tame.

Having said that though, the soundtrack album he did with Crystal Gayle (One from the heart) is a thing of beauty…