…because, as one of the commenters notes, “Autoharp!”
I got to thinking about my characterization of the saxophone in “The Last Living Rose” as being Tom Waitsian, and I think I can be more precise. What I really mean – and the song below is maybe a better example – is that they both have this overtly theatrical quality that I really respond to. The male chorus in “The Words that Maketh Murder” is a great example. The theatrical quality is kind of dirty cabaret, maybe a little bit Weill-ish. With Tom Waits, though, there’s some carnival mixed in.
About seven years ago, we saw Marianne Faithful in The Black Rider, which is kind of funny, because I don’t think neither S nor I had really registered that the album was a musical. It just seemed like a dark song cycle or something. Hardcore Waits types would roll their eyes, but eh. What can you do.