Scarlett
Johansson's Album of Tom Waits Covers Doesn't Suck
Famous Hollywood
actress Scarlett Johansson has made an album, and right away youâre
probably thinking something snarky, say, along the lines of, âOh, so now
sheâs a musician.â Well, itâd
be a shame if Johanssonâs Anywhere I Lay My Head suffered that cynical fate, because if it did,
youâd miss out on the solid pleasures and genuine musical intrigue of a
fully legit album that is, track for track, chock-full of amazing, idiosyncratic
music.
Produced by Dave Sitek
of TV on the Radio â who recorded the discâs 11 tracks to sensually surreal
effect in a little shack studio down in the sultry swamps of Louisiana â Anywhere is a fascinating idea for a record as well, one
that took quite a bit of bravery on Johanssonâs part to undertake: It is an
album comprising, for the most part, cover versions of Tom Waits songs, for
cryinâ out loud.
Anyway, I for one feel
relieved to be able to confirm the albumâs general excellence, and I tell
Johansson this over the phone.
âWere you nervous about
it?â she asks me, laughing.
âI was a bit wary,â I
say. âLetâs face it, an actress gets to make a record, it could have been
cheesy. But yours is actually not just credible, itâs so different, and full
of surprises. Itâs great.â
âThank you,â she says,
with seemingly genuine pleasure. âIâm glad that you liked it. It was an
incredible journey recording it, from beginning to end. Itâs been such a
personal, kind of raw experience that I kind of forgot that it was gonna
come out, somehow.â She laughs again.
Iâd seen Johansson
warbling with the Jesus and Mary Chain at Coachella last year, and then I
heard she was at one point slated to do a remake of The Sound of Music. So I knew she had an interest in music, at least
as an aficionado.
âActually, ever since I
was a little girl, Iâve had this fantasy that I was gonna be a
musical-theater star â and of course I was, like, 8 years old [laughs], and thereâs this little blond, pigtailed girl
singing Annie or whatever.
âWhen the offer came to
do The Sound of Music, it was
really exciting for me â it opened up this fantasy. But then I realized
that that show was just a stretch for me; itâs like rearranging the music
to bring it down an octave, and the whole idea of prancing around in a big
skirt ⌠I donât know â musicals need to be kind of dark for me to connect
with them.â
Johansson doesnât come
from a particularly musical family, apart from having a grandmother who
used to sing to her when she was little, a jazz-enthusiast dad and a mom
who saw Hendrix play when he was still known as Jimmy James and who used to
hang out with the Moody Blues.
âI come from a family
of music lovers,â she says, savoring the memory. âI always had a lot of
music playing in the house growing up.â
The idea that her debut
album would attempt to interpret the songs of the redoubtable Waits seemed
a bit far-fetched, yet after having heard how it works in such interesting
ways, I didnât find it all that strange. And if youâve seen Johansson
onscreen, youâve probably noticed that kind of low-key lazy cool she brings
to her varied roles; itâs a kind of quiet confidence that fits the
smoldering sadness of Waitsâ songs quite naturally.
Mainly, Johansson loves
to sing, and it just so happens that among her favorite and most deeply
felt songs number several compositions by Waits. So she contemplated an
album of standards. âThe only song that I knew that I really wanted to do
was Tom Waitsâ âI Never Talk to Strangers,â which I think is a real modern
standard, in a way. But placing that alongside
Cole Porter and Gershwin
songs would have seemed out of place. Then I thought, Maybe Iâll try having
a few Tom Waits songs on it. Then, I donât know, maybe my mind kind of
expanded â I kept thinking of all these Tom Waits songs that Iâd love to
do, and could imagine, and thatâs how the album was born.â
Johansson says she can
just plain relate to Tom Waitsâ tunes, in which she finds a similar
emotional response to the wistful songs of Leonard Cohen, or Chet Baker.
But the cinematic quality of Waitsâ songs appealed to Johansson the actress
as well. âI can imagine his stories, the way he creates,â she says. âI
think a lot of his songs are fantasies, and poetic, and visual. I was
attracted to that aspect of it.â
Recording the album
took two or three tries. It was a daunting task, and initial efforts just
didnât satisfy. âI didnât just want it to be an album,â Johansson says. âI
wanted it to be an album that I would listen to, and an album for my own lifestyle,
I guess. It wouldâve been so much easier just to do a kind of
paint-by-numbers kind of thing, but I never wanted to do that.â
She had an idea of the
sound that she wanted but didnât know how to capture it, and after a year
of trying to re-create this sound in her head with studio musicians, âit
was impossible,â she says. âIt sounded awful, like bad Tom Waits covers. I
needed someone to share the same music and actually, physically produce
what I heard when I listened to the songs, how I imagined the songs.â
Sitek brings a real
credibility to this project. Heâs bursting with ideas about the
possibilities of resonant sound in a meeting between Scarlett Johansson and
Tom Waits. He drapes much of the material in a Phil Spectorish wall of
reverbed sound laced with a billion tiny shards of unidentifiable musical
texture.
âWhen I listen to
Waits,â says Johansson, âthereâs such a dreamy quality about his songs,
like being in a whole other world, and I wanted to create a world I called my
own. Then someone suggested Dave from TV on the Radio, and I was just such
a huge fan of that massive sound they did, and I thought Iâd like to see
what his take would be on it.â
Sitek and Johansson
worked out a lot of the concepts for the album during a drive from L.A. to
Louisiana, listening to a lot of Sigur RĂłs, Scott Walker and, of course,
Waits.
âThatâs how these songs
got born, in a way,â she says. âWe had an understanding by the time we got
down there.â
The album has an
overriding sexy haziness about it, and, naturally, Johansson credits âthat
inescapable stickiness and intoxicating humidity, that otherworldliness in
Louisiana. It was impossible to escape; every time you opened a door, the
life happening outside the studio just became a part of the album.â
While recording and
mixing came together quickly, a few tracks were a bit more difficult to get
right.
ââI Donât Wanna Grow
Up,ââ she sighs. âI donât know, it was harder. Itâs much different when
youâre sitting there with an eight-piece band, with those lyrics, and
thereâs a story youâre trying to tell there, with a mysterious quality, I
think. And then other songs, like âTown With No Cheer,â were just harder to
sing, because they have strange melodies, or the timing is strange, and you
end up having lyric sheets with you, trying to get the performing
intonation of the song right.â
While interpreting
Waitsâ tunes is similar to what she does as an actress, donât assume that
Johansson was merely adopting a persona for each of these songs, merely
looking for motivation. She does, however, concede the similarity in
approaches.
âThere are certainly
more similarities than there are differences,â she says. âIn a way, living
with these songs and these words, and applying your own personal stories to
these songs, is very similar to creating a character. As you familiarize
with these songs, you think of the world in a very private, particular way.
With most of the artists I love, whether Marianne
Faithfull,Billie Holiday
or Leonard Cohen, in the kind of characters they play or the stories
theyâre telling, thereâs such humanity in their performance that I feel
connected to.
âI donât think itâs
such a stretch for actors to sing. Itâs storytelling, really.â