Scarlett Johansson’s foray into music with her 2008 album Anywhere I Lay My Head was an intriguing detour for the acclaimed actress. Venturing into the catalog of Tom Waits, a revered and enigmatic songwriter, was a bold choice. Among the album’s tracks, “Fannin Street” stands out, not only for its evocative storytelling but also for the unexpected and poignant collaboration with David Bowie. This song, rooted in blues history yet reimagined through Waits’s distinctive lens, becomes a haunting exploration of temptation and regret in Johansson’s rendition, amplified by Bowie’s spectral harmonies.
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Johansson’s journey to recording a full album of Tom Waits covers was somewhat unconventional. Initially envisioning an album of standards, she found herself drawn to Waits’s “I Never Talk to Strangers,” a duet originally performed with Bette Midler. This sparked the idea of a Waits-centric project, a deep dive into the songwriter’s often melancholic and theatrical world. Despite early aspirations for musical theater roles like Annie, Johansson’s naturally deep voice led her down a different path, one that eventually circled back to singing, albeit in a distinctly non-traditional manner. Her acting career, spanning from childhood roles to becoming a Hollywood leading lady, provided a unique platform for this musical exploration. She wasn’t seeking pop stardom but rather an artistic outlet, a way to engage with music on her own terms, free from commercial pressures.
The sonic landscape of Anywhere I Lay My Head was crafted in collaboration with Dave Sitek of TV on the Radio. Sitek’s production aimed for a “cinematic record,” prioritizing atmosphere and texture over conventional song structures. This approach was perfectly suited to Waits’s music, known for its unconventional instrumentation and sonic experimentation. Sitek employed a range of unusual sounds – Tibetan bowls, music boxes, pump organs, bass harmonicas – creating what he termed a “cough medicine tinker-bell vibe.” This sonic tapestry provided a unique backdrop for Johansson’s vocals, enveloping them in a dreamy, sometimes unsettling atmosphere. The goal wasn’t to replicate Waits’s raw and gritty sound but to reinterpret his songs through a different sensibility, creating a dialogue between Johansson’s persona and Waits’s lyrical world.
“Fannin Street” itself has a rich lineage. Tom Waits’s version, which appeared on his 2006 album Orphans: Brawlers, Bawlers & Bastards, draws inspiration from a Leadbelly song of the same name. Leadbelly’s “Fannin Street” depicted Shreveport, Louisiana’s red-light district as a place of escape and allure, a world away from the constraints of everyday life. Waits shifted the location to Houston, Texas, retaining the song’s thematic core but imbuing it with his characteristic world-weariness. For Leadbelly, Fannin Street was a place of liberation; for Waits’s narrator, it becomes a symbol of both temptation and damnation. It’s a lament from someone caught in a cycle of self-destruction, aware of the warnings but unable to resist the pull of the street. The melody, described as “fished from a riverbed,” reinforces this sense of something unearthed, both beautiful and decaying.
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Scarlett Johansson’s rendition of “Fannin Street” is characterized by its simplicity and understated delivery. She stays within her lower vocal register, allowing her voice to blend into the song’s murky sonic textures. There’s a sense of resignation in her voice, a quiet acceptance of the song’s somber narrative. However, the track truly elevates with the addition of David Bowie’s vocals. Initially, Johansson had jokingly suggested a duet with Bowie on a Tom Waits song, a teenage fantasy that unexpectedly materialized. Bowie, having worked with Johansson on The Prestige, was intrigued by the project and offered his contribution. He recorded harmonies for “Fannin Street” and “Falling Down,” adding a layer of depth and emotional resonance to both tracks.
On “Fannin Street,” Bowie’s harmonies are nothing short of transformative. His four-part vocal arrangement builds throughout the song, culminating in what can be described as a “gorgeous piece of hysteria” in the closing refrain. While Johansson’s voice embodies a quiet resignation, Bowie’s harmonies express a profound sense of mourning, almost as if he’s lamenting Johansson’s character’s fall from grace. This interplay creates a fascinating dynamic. Where Waits’s version carries a sense of self-pity and condemnation in lines like “give a man gin, give a man cards/give him an inch he takes a yard,” Johansson’s delivery, subtly indicted, speaks from the perspective of someone on the receiving end of such actions. Bowie’s harmonies amplify this sense of loss and consequence, creating a haunting dialogue within the song.
The album also includes “Falling Down,” another Waits composition, which, given the line “come from St. Petersburg/Scarlett and me,” felt almost preordained for Johansson to cover. The music video for “Falling Down” further explores Johansson’s public persona, depicting her in a dressing room, constructing her movie star image. This meta-narrative, combined with the song’s themes of unraveling and disillusionment, adds another layer to the album’s overall exploration of identity and performance. On “Falling Down,” Johansson pushes her vocal limits, adopting a sharper New York accent, reminiscent of Debbie Harry. While Waits’s original vocal performance is a raw and visceral expression of collapse, Johansson’s version is more observational, detached, as if watching the world crumble from behind glass. Bowie’s vocals again shadow Johansson, initially whispering in the margins before rising to become an equal voice in the refrains, his presence underscoring the sense of loss that Johansson’s character seems to suppress.
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Anywhere I Lay My Head received a mixed critical reception upon its release. Some critics praised its ambition and atmospheric sound, while others found it somewhat uneven or lacking in emotional depth. Stephen Thomas Erlewine’s assessment, noting that “it doesn’t quite work, but it can’t quite be dismissed, either,” encapsulates this ambivalence. Despite the varied opinions, the album remains a noteworthy project, particularly for its unique approach to Tom Waits’s songbook and the unexpected collaboration with David Bowie. While Sitek’s production may sound somewhat dated to contemporary ears, Johansson’s performance, particularly on tracks like “Fannin Street,” retains a captivating allure. Her earnest blankness, as described in the original article referencing Theodore Dreiser’s Sister Carrie, evokes a sense of wistful longing, a dream of happiness forever out of reach.
“Fannin Street,” in particular, stands as a testament to the album’s intriguing nature. It’s a song that bridges blues history, Tom Waits’s distinctive songwriting, and the unexpected pairing of Scarlett Johansson and David Bowie. This rendition, imbued with a haunting atmosphere and layered vocal performances, offers a unique perspective on themes of temptation, regret, and the complexities of human desire. It’s a reminder that even within a cover album, there’s room for genuine artistic exploration and unexpected moments of beauty, especially when artists like Johansson and Bowie dare to venture into the rich and evocative world of Tom Waits.
