Archive for the Tom WAITS Category

Tom WAITS – Rain Dogs 1985

Posted in BLUES, Tom WAITS on December 26, 2010 by whoisthemonk

Tom WAITS – Rain Dogs 1985
ILPS 9803


With its jarring rhythms and unusual instrumentation — marimba,
accordion, various percussion — as well as its frequently surreal
lyrics, Rain Dogs is very much a follow-up to Swordfishtrombones,
which is to say that it sounds for the most part like The Threepenny
Opera being sung by Howlin’ Wolf. The chief musical difference is the
introduction of guitarist Marc Ribot, who adds his noisy leads to the
general cacophony. But Rain Dogs is sprawling where its predecessor
had been focused Tom Waits’ lyrics here sometimes are imaginative to
the point of obscurity, seemingly chosen to fit the rhythms rather than
for sense. In the course of 19 tracks and 54 minutes, Waits sometimes
goes back to the more conventional music of his earlier records,
which seems like a retreat, though such tracks as the catchy Hang Down
Your Head, Time, and especially Downtown Train (frequently covered
and finally turned into a Top Ten hit by Rod Stewart five years later)
provide some relief as well as variety. Rain Dogs can’t surprise as
Swordfishtrombones had, and in his attempt to continue in the direction
suggested by that album, Waits occasionally borders on the chaotic
(which may only be to say that, like most of his records, this one is uneven).
But much of the music matches the earlier album, and there is so much of
it that that is enough to qualify Rain Dogs as one of Waits’ better albums.
By William Ruhlmann, AMG.
William Shimmel- Accordion (tracks: A3, A9, B1)
Robert Musso- Banjo (tracks: A7)
Tony Levine- Bass (tracks: B8)
Greg Cohen- Double Bass (tracks: A5, B3, B4) ,
Larry Taylor- Double Bass (tracks: A1, A3, A4, A6 to B2, B5 to B7) ,
Tony Garnier- Double Bass (tracks: A2)
Mickey Curry- Drums (tracks: B8) ,
Stephen Taylor Arvizu Hodges- Drums (tracks: A1 to A4, A6, B1, B2, B6, B7)
Chris Spedding- Guitar (tracks: A1) ,
G.E. Smith- Guitar (tracks: B8) ,
Keith Richards- Guitar (tracks: A6, B5, B6) ,
Marc Ribot- Guitar (tracks: A1 to A4, A7, A8, B1) ,
Robert Quine- Guitar (tracks: B6, B8)
Michael Blair- Percussion (tracks: A1 to A4, A7, A8, B1, B3 to B5, B8 to B10)
John Lurie- Alto Sax (tracks: B7)
Ralph Carney- Saxophone [Bass], Clarinet (tracks: A4, B2 to B5, B9)
Bob Funk- Trombone  (tracks: A3, A5, B1)
A1.  Singapore  2:43
A2.  Clap Hands  3:45
A3.  Cemetery Polka  1:47
A4.  Jockey Full of Bourbon  2:45
A5.  Tango Till They’re Sore  2:50
A6.  Big Black Mariah  2:43
A7.  Diamonds and Gold  2:32
A8.  Hang Down Your Head  2:30
A9.  Time  3:55
B1.  Rain Dogs  2:53
B2.  Midtown (Instrumental)   1:01
B3.  9th & Hennepin  1:57
B4.  Gun Street Girl  4:37
B5.  Union Square  2:23
B6.  Blind Love  4:19
B7.  Walking Spanish  3:05
B8.  Downtown Train  3:50
B9.  Bride of Rain Dogs (Instrumental)   1:07
B10. Anywhere I Lay My Head  2:47
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Tom WAITS – Nighthawks At The Diner 1975

Posted in BLUES, Tom WAITS on December 21, 2010 by whoisthemonk

Tom WAITS – Nighthawks At The Diner 1975


I always have a tough time deciding which half of Tom Waits I like better: the early, sarcastic alcoholic quasi-beat-poet rambler, or the insane, growling old man. After listening to this record many times, I came to decide that if all of his pre-Swordfishtrombones sounded like this in the studio, I’d sway over to the early side in something less than a heartbeat. Take away the live setting, and put Tom and his four accompanists into a studio to do all those old tunes without the string arrangements, and there’s some stuff that you didn’t realize could achieve any higher quality. While some of his early albums definitely aim (low) at the “smoky lounge” sound that edges on jazz, but Nighthawks at the Diner is his bullseye.

The songs are nothing short of beautiful in their arrangements. Nothing gets quite to the “Step Right Up” caliber, so you can sit back with your ankle on your other knee, your buddies around the table, and let the coffee and cigarettes flow. Most of the words center around inebriated loneliness: a state of mind in which you want the intangible idea of company, but you’re too drunk and burned out to do anything about it other than go down to the bar and have a few, wallowing in the bittersweet status. You get the impression that Tom is taking a really sad, down-and-out life and making awesome jokes/wordplay about it, to the point where your first reaction is to laugh, and second is to (while still laughing) really feel sorry for the guy. I mean, “Emotional Weather Report” is a classically funny song (almost all of them are), with lines like …tornado watches issued shortly before noon Sunday, for the areas including the western region of my mental health, and the northern portions of my ability to deal rationally with my disconcerted precarious emotional situation… It’s cold out there! It’s the personification of a weatherman, as you can assume, and this is innately funny because he’s talking about a human being, (and here comes my big but) but you know what he’s talking about. He’s depressed, and he’s leading you in laughing about it.

Imagery has always been Tom Waits’s major strong point. How many times have you heard him rattle off “your” location at “the corner of” two random streets, the names of which could never be anything but street names? How many times have you heard the perfect similes and metaphors to describe how a woman looks? You get the cars, the bars, the cigarettes, the diners, the hopeless little towns, you get it all right down to the funniest detail. The song that bears the album’s namesake lyric, “Eggs and Sausage” is a very good example of this, including its hilarious intro, in which he utters my favorite Tom Waits quip: The veal cutlet crawled over to beat the shit out of my cup of coffee…but the coffee just wasn’t strong enough to defend itself. The only thing this album is missing is the number of human crossbreed characters.

Overall, Tom Waits is a poet. His are the long, rambling lyrics that you can imagine spoken instead of sung, behind a tinny microphone in a hole in the wall on the other end of town, getting drunker with each stanza. Nighthawks at the Diner is largely a comedic venture in a very poetic sense. He doesn’t get you with slapstick jokes, but with wordplay and ironies. Even in his saddest songs like “Warm Beer and Cold Women,” there are still things in there to make you laugh at how abysmally bleak a human life can carelessly get. I think it’s the saddest album one can put on to enjoy objectively, as opposed to putting on a depressing clump of songs to make you feel better about the shit that you’re in. Why not laugh at the dopey clown who’s already wearing a sloshed smile for all his pathetic late nights?

One song, though, is a branch in a different direction. “Big Joe and Phantom 309” is Tom’s urban legend, where the main character isn’t a drunk, isn’t alone in a gutter, doesn’t take himself out to dinner and take advantage of himself in a scene with a magazine. He’s just out drifting when a kindly trucker named Big Joe pauses to pick him up and take him down the road a while, telling tales and the way of life from his lonely point of view. Upon reaching the truck stop, though, the owner tells the narrator that Big Joe died ten years prior. Instead of a spooky ghost story for the road, this one has Big Joe swerving off the road and jackknifing in order to not hit a bus full of children. Beautiful song.
And finally, man he hired some hot jazz musicians.
Waits’s sense of humor shines on this album, delivered almost as a stand-up comedy act (with jazz quartet, of course). His hilarious comentary and recitations provoke some genuine belly-laughs (I doubled over in spots). Yet his lyrics retain the beautiful artistry that he has become known for.
The songs vary from the hilarous (“Better Off Without a Wife”) to the mysterious (his rendition of Red Sovine’s “Phantom 309”) to the beautifully tragic (“Putnam County”). He offers up tributes to love (“Nobody”) and tributes to barrooms (“Warm Beer and Cold Women”). Throughout, Waits banters with the crowd, which becomes a staple of his performance on here–his chatter with the audience actually becomes part of the music on the album. The result is a comedy album that isn’t comedy, a jazz album that isn’t jazz…but whatever it is, it’s absolutely brilliant.
A1 (Opening intro)  2:57
A2 Emotional Weather Report  3:47
A3 (Intro)   2:16
A4 On a Foggy Night  3:48
A5 (Intro)   1:53
A6 Eggs and Sausage (In a Cadillac With Susan Michelson)  4:19
B1 (Intro)   3:02
B2 Better Off Without a Wife  3:59
B3 Nighthawk Postcards (From Easy Street)  11:29
C1 (Intro)   0:56
C2 Warm Beer and Cold Women  5:21
C3 (Intro)   0:47
C4 Putnam County  7:35
C5 Spare Parts I (A Nocturnal Emission)  6:25
D1 Nobody   2:50
D2 (Intro)   0:41
D3 Big Joe and Phantom 309  6:28
D4 Spare Parts II and Closing  5:13
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Tom WAITS – Live in Akron Ohio, August 13, 2006

Posted in BLUES, Tom WAITS on December 21, 2010 by whoisthemonk

Tom WAITS – Live in Akron Ohio, August 13, 2006
At (Civic Theatre)


In an Unprecedented String of Dates in the South and Mid-West Through Cities He Hasn’t Played in Decades Beginning August 1 in Atlanta
LOS ANGELES, CA — July 05, 2006 — Iconoclast and reclusive touring artist TOM WAITS is making an unprecedented move by taking his always unpredictably stunning live show on the road, mostly in cities (Atlanta, Memphis, Louisville, Nashville) where he hasn’t been seen on stage since the mid-to-late ’70s. As for Asheville, NC, Tom has never played a gig; he hasn’t performed in Akron, OH or Detroit since the ’80s. The most recent stop on this extraordinary tour is Chicago, where Waits played the Chicago Theater for three sold out nights on his “Mule Variations” tour in ’99.
“We need to go to Tennessee to pick up some fireworks, and someone owes me money in Kentucky,” says Waits about why he’s chosen this particular time and route to tour.
When this two-time Grammy-winner last performed live in 2004, tickets sold out in hours, if not minutes. His most recent live date in London sold out in 30 minutes, with over 150,000 ticket requests received within the first hour. Waits’ three previous North American concerts (two in Vancouver, Canada and one in Seattle) were also snapped up in record time.
“His concert was a nostalgic trip through freak shows, murder ballads, and ruminations on lost love,” wrote Charles R. Cross in Rolling Stone after 2004 performance at Seattle’s Paramount Theater. “He didn’t so much sing these songs as he wheezed, whistled, and shouted them, shaking his fist like a craps player on a roll. Mining his recent ‘Real Gone’ … Waits created a world of haunting characters adrift in a bygone age.”
In other news, Paste magazine has just issued its collector’s edition citing the “100 Best Living Songwriters,” with Tom Waits and Kathleen Brennan (longtime co-writer, co-producer and wife) clocking in at #4. According to Paste, “In literature, only a handful of writers have pulled off the near impossible. In music, it happens on every Tom Waits recording.”
Look for local ads in the regional papers for on sale dates. The first show in Atlanta goes on sale July 8.
Tour dates are as follows:

DATE            CITY/STATE         VENUE
Tues, Aug 1     Atlanta, GA        Tabernacle
Wed, Aug 2      Asheville, NC      Thomas Wolfe Auditorium
Fri, Aug 4      Memphis, TN        Orpheum Theatre
Sat, Aug 5      Nashville, TN      Ryman Auditorium
Mon, Aug 7      Louisville, KY     Palace Theatre
Wed, Aug 9      Chicago, IL        Auditorium Theatre
Fri, Aug 11     Detroit, MI        Opera House
Sun, Aug 13     Akron, OH          Akron Civic *******
The Akron Civic Theatre looks like a small-town movie theater from the street, but looks are deceiving. That’s just the façade for the long entrance, which leads back to a beautiful and fairly large auditorium set back from the street. It’s ornate to the extreme, a little reminiscent of Chicago’s Music Box Theatre, though it has considerably more glitter. “Before it was a theater, it was a barbershop,” Waits said.

Waits’ set list at this concert was a combination of his repertoire from the last two concerts I’d seen, with just one new addition, “Clap Hands.”
He said he’d visited the Goodyear blimp factory because blimps had always appeared in the sky during major moments of his life. “The first time I robbed a gas station, a blimp went by. The first time I killed an endangered species, a blimp went by.” And he said he was staying at the Taft Hotel. He recommended staying at hotels named after presidents – but not at hotels named “Hotel President.” (Actually, I wonder if Waits was really staying at the Ritz-Carlton in Cleveland, since I happened to see Robillard walking into that hotel the night before.)
Waits told the story again about Wiener Circle, saying it was a restaurant at the last city where he’d been (actually, it was a couple of cities ago).
Although the stage had the same stack of megaphones, Waits never used them in Detroit or Akron.
Although Waits had scheduled another late-night concert the same night at the House of Blues in Cleveland (which I did not get a ticket for), he did not especially seem to be in a hurry to leave Akron, playing a concert of the same length as the Chicago and Detroit shows.
As I had suspected, the House of Blues show that I missed turned out to be the slightly more unusual one of the night, including 11 songs that I hadn’t heard in the previous three concerts. But I’m happy to report that I witnessed three excellent performances by this musical legend.
I am glad that I got to hear Tom Waits sing live. His voice was by far the best part of the show, and he’s quite a performer. The sound at the venue left a lot to be desired. The band was good but not quite as tight and as sharp as I would have hoped. Though I will say his kid has improved quite a bit as a drummer. Larry Taylor, of course, is an amazing bassist and a Waits mainstay. The guitarist and keyboardist were new I think to the whole Waits thing and didn’t quite have the odd angles down yet. The set was good: “Tango Til They’re Sore” and “Singapore” were highlights. He kept the banter to a minimum, but what there was was quite amusing.
By Randall Brown.
Tom Waits-Vocals, guitar, piano
Ben Thompson-Vibes, keyboards
Larry Taylor-Bass
Duke Robillard-Guitar
Casey Waits-Drums, percussion
01. Make It Rain
02. Shore Leave
03. Falling Down
04. Tango Until They Are Sore
05. Tom Traubert’s Blues
06. Eyeball Kid
07. Murder in the Red Barn
08. Trampled Rose
09. Bottom of the World
10. Till the Money Runs Out
11. Get Behind De Mule
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Tom WAITS – It's Just Blues! 2006

Posted in BLUES, Tom WAITS on December 16, 2010 by whoisthemonk

Tom WAITS – It’s Just Blues! 2006


And it’s a battered old suitcase to a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on
An old shirt that is stained with blood and whiskey
And goodnight to the street sweepers, the night watchmen, flame keepers
And goodnight, Matilda, too
Its been just over 30 years since Tom Waits made his recording debut. In that time his music has taken adventurous twists and turns, from confessional country-blues and jazz-flavoured lounge to primal rock and avant-garde musical theatre. By turns tender and poignant, strange and twisted, his songs have tended to explore the dark underbelly of society as he has given his voice to a litany of characters and tales on the fringe and in the fray.
01. Blues Waits [with Big Gilson] 5:31
02. Heartattack and Vine 4:41
03. In Shades 4:20
04. Romeo Is Bleeding 4:45
05. $29.00 8:16
06. Blues for Irene [with Sue Foley] 4:05
07. Cold Water 5:19
08. Way Down in the Hole [live] 4:42
09. Mr. Siegal 5:11
10. Depot, Depot 3:42
11. Low Down 4:14
12. Chocolate Jesus 3:54
13. Come on Up to the House 4:34
14. Buzz Fledderjohn 4:11
15. Emotional Weather Report [with the blues] 7:24
16. On the Road [with Jack Kerouac] 3:54

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Tom WAITS – Invitation To The Blues, The Live Experience 1977

Posted in BLUES, Tom WAITS on December 13, 2010 by whoisthemonk

Tom WAITS – Invitation To The Blues, The Live Experience 1977


Great Dane Records, GDR CD 9120. LP,19??. Performance: “April 26, 1977, “Post Aula”, Bremen/ Germany”.
(not authorized by Tom Waits).
Tom Waits was born at Park Avenue hospital in Pomona, California to Jesse Frank Waits and Alma Johnson McMurray, both schoolteachers.[3][4] His father was of Scots-Irish descent and his mother from Norwegian stock. After Waits’s parents divorced in 1960, he lived with his mother in Whittier, California, and then moved to National City, in San Diego County, near the Mexican border.[4] Waits, who taught himself how to play the piano on a neighbor’s instrument, often took trips to Mexico with his father, who taught Spanish; he would later claim that that he found his love of music during these trips through a Mexican ballad that was “probably a Ranchera, you know, on the car radio with my dad.”[5]

By 1965, while attending the Hilltop High School within the Sweetwater Union High School District, Chula Vista,[4] Waits was playing in an R&B/soul band called The System and had begun his first job at Napoleone Pizza House in National City (about which he would later sing on “I Can’t Wait to Get Off Work (And See My Baby on Montgomery Avenue)” from Small Change and “The Ghosts of Saturday Night (After Hours at Napoleone’s Pizza House)” on The Heart of Saturday Night).[3] He later admitted that he was not a fan of the 1960s music scene, stating, “I wasn’t thrilled by Blue Cheer, so I found an alternative, even if it was Bing Crosby.”[6] Five years later, he was working as a doorman at the Heritage nightclub (now the Sneak Joint) in San Diego — where artists of every genre performed — when he did his first paid gig for $25.[3] A fan of Frank Sinatra, Bob Dylan, Lord Buckley, Hoagy Carmichael, Marty Robbins, Raymond Chandler, and Stephen Foster, Waits began developing his own idiosyncratic musical style, combining song and monologue.

After serving with the U.S. Coast Guard,[7] he took his newly formed act to Monday nights at The Troubadour in Los Angeles, where musicians would line up all day for the opportunity to perform on stage that night. In 1971, Waits moved to the Echo Park neighborhood of Los Angeles (at the time, also home to musicians Glenn Frey of the Eagles, J.D. Souther, Jackson Browne, and Frank Zappa) and signed with Herb Cohen at the age of 21. From August to December 1971, Waits made a series of demo recordings for Cohen’s Bizarre/Straight label, including many songs for which he would later become known. These early tracks were eventually to be released twenty years later on The Early Years, Volume One and Volume Two.
01. Spare Parts 1 (A Nocturnal Emission)
02. Invitation To The Blues
03. Depot, Depot
04. The Piano Has Been Drinking – not me (An evening with Pete King)
05. Pasties & A G-String (At the Two O´clock Pub)
06. Step Right Up
07. Semi Suite
08. Fumblin’ With The Blues
09. Midnight Lullaby
10. Emotional Weather Report
11. I Can’t Wait to Get Off Work (And See My Baby on Montgomery Avenue)
12. New Coat of Paint
13. Diamonds On My Windshield
14. The One That Got Away
15. Small Change (Got Rained on With His Own .38)

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Tom WAITS – Fox Theatre. Atlanta, GA 2008-07-05

Posted in BLUES, Tom WAITS on December 11, 2010 by whoisthemonk

Tom WAITS – Fox Theatre. Atlanta, GA 2008-07-05
Thx to *Terry*


01. Intro
02. Lucinda / Ain’t Going Down To The Well
03. Down In The Hole
04. Falling Down
05. Chocolate Jesus
06. All The World Is Green
07. Cemetery Polka
08. Cause Of It All / ‘Til The Monkey Runs Out
09. Such A Scream
10. November
11. Hold On
12. Black Market Baby
13. 9th And Hennepin
14. Lie To Me
15. Lucky Day
16. On The Nickel
17. Lost In The Harbour
18. Innocent When You Dream
19. Hoist That Rag
20. Make It Rain
21. Dirt On The Ground
22. Get Behind The Mule
23. Hang Down Your Head
24. Jesus Gonna Be Here
25. Singapore
26. Eyeball Kid
27. Anywhere I Lay My Head

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Tom WAITS – Downtown Blues 1974-1975

Posted in BLUES, Tom WAITS on December 2, 2010 by whoisthemonk

Tom WAITS – Downtown Blues 1974-1975
All Credits Go To *janwal46*


This rare bootleg CD of 2 live recordings, made at Ebbets Field in 1974 (see also The Dime-Store Novels Vol. 1), and Denver in 1975. Another must have for the Waits fan and/or collector.

Thomas Alan “Tom” Waits (born December 7, 1949) is an American singer-songwriter, composer and actor. Waits has a distinctive voice, described by critic Daniel Durchholz as sounding “like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car.”[1] With this trademark growl, his incorporation of pre-rock music styles such as blues, jazz, and vaudeville, and experimental tendencies verging on industrial music,[2] Waits has built up a distinctive musical persona. He has worked as a composer for movies and musical plays and as a supporting actor in films, including Down By Law and Bram Stoker’s Dracula. He was nominated for an Academy Award for his soundtrack work on One from the Heart.
Lyrically, Waits’ songs frequently present atmospheric portrayals of grotesque, often seedy characters and places – although he has also shown a penchant for more conventional ballads. He has a cult following and has influenced subsequent songwriters despite having little radio or music video support. His songs are best-known to the general public in the form of cover versions by more visible artists, “Jersey Girl,” performed by Bruce Springsteen and “Downtown Train,” performed by Rod Stewart. Although Waits’ albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries. He has been nominated for a number of major music awards and has won Grammy Awards for two albums, Bone Machine and Mule Variations.
Waits currently lives in Sonoma County, California with his wife, Kathleen Brennan, and three children.
01. I Hope That I Don’t Fall In Love for You
02. San Diego Serenade
03. Good Night Loving Trail
04. Diamonds on My Windsheild
05. Ice Cream Man
06. Please Call Me Baby
07. Better off Without a Wife
08. The Ghost of Saturday Night
09. Big Joe & Phantom 309
10. Truck Driving Man
11. 01′ ’55
12. On a Foggy Night
13. Martha
14. Eggs & Sausages
15. New Coat of Paint
16. Night Hawk Postcards
17. Looking for the Heart of Saturday Night
18. Ice Cream Man (2)
19. San Diego Serenade (2)
20. 01′ ’55 (2)

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