Like the first two volumes of Narrative in Tom Waits' Songs, I use the lyrics and music to tell the story waiting in the wings to come on, the one that the songs either avoid or never intended to let loose. I use the nightmare calliope of Mule Variations from 1999 and Alice and Blood Money from 2002 to evoke Waits' carnival barkers, inept profiteers, and balladeers to reach outside the wreckage of the personal to peer into the blackened well of those characters' lives. Raising their tangled stories like belladonna in the garden, I hope that the nightmare rides through albums like Real Gone's 2004 seemingly antithetical stories somehow combine with the narrative I am trying to pull out from Waits' exploration of Middle America, with its losses, its joys, and the cars everyone was driving when we went over the cliff.
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