The fourth release in Tom Waits' series of skid-row travelogues, Small Change proved to be the archetypal album of his '70s work. Waits was determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners.

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This collection goes far beyond a simple career retrospective, with over thirty songs, from his own versions he gave to other artists to things recorded in the garage with his kids. Also includes Tom's unique interpretations of songs by such diverse talents as The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht, and Leadbelly. Each of the three CDs is separately grouped and sub-titled 'Brawlers', 'Bawlers' and 'Bastards' to capture the full spectrum of Waits' ranging and roving musical styles. 'Brawle   [ read more ]

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If Closing Time, Tom Waits' debut album, consisted of love songs set in a late-night world of bars and neon signs, its follow-up, The Heart of Saturday Night, largely dispensed with the romance in favor of poetic depictions of the same setting. 0n 'Diamonds on My Windshield' and 'The Ghosts of Saturday Night,' Waits didn't even sing, instead reciting his verse rhythmically against bass and drums like a Beat hipster. Musically, the album contained the same mixture of folk, blues, and jazz as it   [ read more ]

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Released in 1999, this album was an instant classic, in that Tom Waits style. You know...dark chamber style music, southern blues-ish folk and crazy carnival music all on one album and brought together by an amazing voice.

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Tom Waits is one of the most influential musicians in the world today, an artist who never rests on his laurels. He continues to reinvent music, push boundaries, and create new sounds. On 'Real Gone,' the up-tempo tracks are some of the rawest and most kinetic he's ever laid down. He's never sounded like he's had this much fun, while the ballads are among his most beautiful and even chilling at times. The 15 tracks feature primal blues, Jamaican rock-steady grooves, rhythms and melodies both African and Lat   [ read more ]

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Alice is one of the most distinctive of all Waits' creations, occupying its own corner in the odd-angled room that is Tom Waits' body of work. While there are the familiar parts--the redoubtable ragged voice, jazz ballads and poignant musings on death and longing--the whole is strange and exotic. A devastatingly beautiful atmosphere made of sorrow and reverie, insanity and resignation, rises like a mist in Alice. It's a lyrical melancholia, a feeling that creeps in on the arms of Stroh violins and un   [ read more ]

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Blood Money is etched. It's scratched out in bold, dark lines with marimba, trumpet and bass clarinet and contains some of Tom Waits' most memorable melodies. The songs are declarative, sardonic, unforgiving, musical dispatches from the bottom of the heap. ''Blood Money' is flesh and bone, earthbound,' said Waits. 'The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more carnal. I like a beautiful song that tells you terrible things. We all like bad news out of a pre   [ read more ]

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"What's Orphans? I don't know. Orphans is a dead end kid driving a coffin with big tires across the Ohio River wearing welding goggles and a wife beater with a lit firecracker in his ear. At the center of this record is my voice. I try my best to chug, stomp, weep, whisper, moan, wheeze, scat, blurt, rage, whine, and seduce. With my voice, I can sound like a girl, the boogieman, a Theremin, a cherry bomb, a clown, a doctor, a murderer - I can be tribal. Ironic. Or disturbed. My voice is really my instrument   [ read more ]

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