Satisfied - Bad As Me [423]

Another Keith Richards collaboration brings Waits to a full confrontation with the Rolling Stones, as Song by Song engages with this cryptic track from the second half of Bad As Me. Determination in music and sports, the sexual or metaphorical interpretations of bullets and guns, and the lunacy of Harry Smith all feature in our third conversation with Sara Gran.

Music extracts used for illustrative/review purposes include:
Satisfied, Bad As Me, Tom Waits (2011)

(I Can't Get No) Satisfaction, Out Of Our Heads, The Rolling Stones (1965)

(I Can't Get No) Satisfaction, Live in Paris, John Lee Hooker / Carey Bell (1970)

Time Is On My Side, Wish Someone Would Care, Irma Thomas (1964)

When You're Gone, Some Girls (Deluxe Edition), The Rolling Stones (1978/2011)

The Ghost Of Tom Waits, via YouTube (????)

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Kiss Me - Bad As Me [422]

Waits's yearning for a new (or at least newness in) love brings Sara, Martin and Sam to some inherent features of popular music as well as human nature in general. We have conversations about changing affection in art itself, dig into the truths and lies we tell about the shape of life, and begin an extended consideration of the presence of limerence in music.

Music extracts used for illustrative/review purposes include:
Kiss Me, Bad As Me, Tom Waits (2011)

Escape (The Pina Colada Song), Partners In Crime, Rupert Holmes (1979)

Babooshka, Never for Ever, Kate Bush (1980)

Let's Do It (The Ballad Of Barry And Freda), clip from As Seen On TV, Victoria Wood (1986)

Victoria Wood: Desert Island Discs, BBC Radio 4 (2007) (Waits pick at 21m25s)

The Paris Match, Cafe Bleu, The Style Council / Tracey Thorn (1984)

Marcus Shelby spotlight, KQED Arts via YouTube (2014)

Blue Valentines, Blue Valentine, Tom Waits (1978)

And Then He Kissed Me, single / Philles Records Presents Today's Hits, The Crystals (1963)

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Back In The Crowd - Bad As Me [420]

Joined by long-hoped-for guest Sara Gran, Sam and Martin shuffle back into the crowd of emotional songs of loss and yearning, flanked by Waits in a sorrowful mode and Roy Orbison full of powerful declamatory emotion. Some lyrical interpretation, a little passive-aggression, and the question of how lonely a voice sounds all occupy our discussion, as we continue through Bad As Me.

Music extracts used for illustrative/review purposes include:
Back In The Crowd, Bad As Me, Tom Waits (2011)

Only The Lonely, Lonely and Blue, Roy Orbison (1960)

Pretty Woman, Roy Orbison and Friends Black & White Night 30, Roy Orbison (1988)

Behind the scenes of Roy Orbison and Friends Black & White Night 30 (1988)

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