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Tom Waits - Night On Earth



(01) Back in The Good Old World.mp3
(02) Los Angeles Mood.mp3
(03) Los Angeles Theme.mp3
(04) New York Theme.mp3
(05) New York Mood.mp3
(06) Baby I'm Not A Baby Anymore.mp3
(07) Good Old World (Waltz).mp3
(08) Carnival.mp3
(09) On The Other Side Of The World.mp3
(10) Good Old World (Gypsy Instrumental).mp3
(11) Paris Mood.mp3
(12) Dragging A Dead Priest.mp3
(13) Helsinki Mood.mp3
(14) Carnival Bob's Confession.mp3
(15) Good Old World (Waltz).mp3
(16) On The Other Side Of The World (Instrumental).mp3

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Tom Waits - Big Time



01 - 16 Shells From A Thirty-Ought-Six.mp3
02 - Red Shoes.mp3
03 - Underground.mp3
04 - Cold Cold Ground.mp3
05 - Straight To The Top.mp3
06 - Yesterday Is Here.mp3
07 - Way Down The Hole.mp3
08 - Falling Down.mp3
09 - Strange Weather.mp3
10 - Big Black Mariah.mp3
11 - Rain Dogs.mp3
12 - Train Song.mp3
13 - Johnsburg, Illinois.mp3
14 - Ruby's Arms.mp3
15 - Telephone Call From Istanbul.mp3
16 - Clap Hands.mp3
17 - Gun Street Girl.mp3
18 - Time.mp3

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Tom Waits - Franks Wild Years



1 - Blow Wind Blow.mp3
2 - Cold Cold Ground.mp3
3 - Frank's Theme.mp3
4 - Hang on St. Christopher.mp3
5 - I'll Be Gone.mp3
6 - I'll Take New York.mp3
7 - Innocent When You Dream (78).mp3
8 - Innocent When You Dream (Barroom).mp3
9 - More Than Rain.mp3
10 - Please Wake Me Up.mp3
11 - Straight to the Top (Vegas).mp3
12 - Straight to the Top.mp3
13 - Telephone Call from Istanbul.mp3
14 - Temptation.mp3
15 - Train Song.mp3
16 - Way Down in the Hole.mp3
17 - Yesterday Is Here.mp3

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Tom Waits - The Asylum Years



01 - Diamonds on My Windshield.mp3
02 - Heart of Saturday Night.mp3
03 - Martha.mp3
04 - The Ghosts of Saturday Night.mp3
05 - G****fruit Moon.mp3
06 - Small Change.mp3
07 - Burma Shave.mp3
08 - I Never Talk to Strangers.mp3
09 - Tom Traubert's Blues (Four Sheets to the....mp3
10 - Blue Valentines.mp3
11 - Potter's Field.mp3
12 - Kentucky Avenue.mp3
13 - Somewhere (from West Side Story).mp3
14 - Ruby's Arms.mp3

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Tom Waits - Rain Dogs



01 - Singapore.mp3
02 - Clap Hands.mp3
03 - Cemetery Polka.mp3
04 - Jockey Full Of Bourbon.mp3
05 - Tango Till They're Sore.mp3
06 - Big Black Mariah.mp3
07 - Diamonds & Gold.mp3
08 - Hang Down Your Head.mp3
09 - Time.mp3
10 - Rain Dogs.mp3
11 - Midtown (Instrumental).mp3
12 - 9th & Hennepin.mp3
13 - Gun Street Girl.mp3
14 - Union Square.mp3
15 - Blind Love.mp3
16 - Walking Spanish.mp3
17 - Downtown Train.mp3
18 - Bridge Of Rain Dog (Instrumental).mp3
19 - Anywhere I Lay My Head.mp3

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Tom Waits - Lost in The Stars



01 - Mahagonny Songspiel - Steve Weisberg.mp3
02 - The Ballad of Mac the Knife - Sting + Dominic Muldowney.mp3
03 - The Cannon Song - Fowler Brothers + Stanard Ridgway.mp3
04 - Ballad of the Soldier's Wife - M. Faithfull + Chris Spedding.mp3
05 - Johnny Johnson Medley - Van Dyke Parks.mp3
06 - The Great Hall - Henry Threadgill.mp3
07 - Alabama Song - Ralph Schuckett + Richard Butler.mp3
08 - Youkali Tango - Armadill String Quartet.mp3
09 - Der Kleine Leutnant des Lieben Gottes - John Zorn.mp3
10 - Johnny's Speach - Van Dyke Parks.mp3
11 - September Song - Lou Reed.mp3
12 - Lost in the Stars - Carla Bley + Phil Woods.mp3
13 - What Keeps Mankind Alive - Tom Waits.mp3
14 - Klops Lied (Meatball Song) - Elliott Sharp.mp3
15 - Surabaya Johnny - Dagmar Krause.mp3
16 - Hurricane Introduction - Mark Bingham.mp3
17 - Oh Heavenly Salvation - Mark Bingham.mp3

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Closing Time (1973)


Waits signed to Asylum Records in 1972, and after numerous abortive recording sessions, his first record—the jazzy, folk-tinged Closing Time—was released. The album received warm reviews, but Waits did not gain widespread attention until a number of the album's tracks were covered by more prominent artists.


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The Heart of Saturday Night (1974)


Revealeding Waits' roots as a nightclub performer, with half-spoken and half-crooned ballads often accompanied by a jazz backup band. Waits described the album as "...a comprehensive study of a number of aspects of this search for the center of Saturday night, which Jack Kerouac relentlessly chased from one end of this country to the other, and I've attempted to scoop up a few diamonds of this magic that I see."


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The Dime Store Novels Vol.1 (Live at Ebbetts Field 1974)




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Nighthawks at the Diner (1975)


In 1975, Waits moved to the Tropicana Motel on Santa Monica Boulevard and released this double album, recorded in a studio with a small audience in order to capture the ambience of a live show. The record exemplifies this phase of his career, including the lengthy spoken interludes between songs that punctuated his live act and the introduction to fans of his newly discovered, exaggeratedly gruff vocal delivery that would dominate many albums to come.


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Small Change (1976)


Waits was drinking more and more heavily, and life on the road was starting to take its toll. In reaction to these hardships, Waits recorded Small Change, which finds Waits in a much more cynical and pessimistic mood, lyrically, with many songs presenting a bare and honest portrayal of alcoholism while also cementing Waits' hard-living reputation in the eyes of many fans.
Like his previous albums, Small Change is heavily jazz influenced, with a lyrical style that owes a debt to Raymond Chandler and Charles Bukowski as well as a vocal delivery influenced by Louis Armstrong.

Small Change's critical and commercial success resulted in a much higher public profile for Waits. He was able to put together a regular touring band having previously toured solo, for the most part. They toured the United States and Europe extensively from October 1976 until May 1977,


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Foreign Affairs (1977)


Musically in a similar vein to Small Change, but showed further artistic refinement and exploration into jazz and blues styles. The album also features Bette Midler singing a duet with Waits on "I Never Talk to Strangers."


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Blue Valentine (1978)


More hard-boiled tales from Tom Waits, who sings in a raw, whiskey-soaked rasp that sounds both comical and deadly serious.
Blue Valentine displayed Waits' biggest musical departure to date, with much more focus on electric guitar and keyboards than on previous albums and nearly no strings for a darker, more blues-oriented and hard-edged sound. The song "Blue Valentines" was also unique for Waits in that it featured a desolate arrangement of solo electric guitar accompanied by Waits' vocal. It was around this time that Waits had a high profile romantic relationship with Rickie Lee Jones (who appears on the sleeve art of the Foreign Affairs and Blue Valentine albums).


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Heartattack And Vine (1980)


Waits' last studio album for Asylum, featured a developing sound that included both balladeer tendencies ("Jersey Girl") as well as rougher-edged rhythm and blues. Though not entirely unprecedented, the album's grittier sound was different for Waits, and foreshadowed the major changes in his music that would take place in the following years.


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Bounced Checks (Vinyl) (1981)


After leaving Asylum, the label released this "Best of" album. It is notable for including an alternate, stripped down version of "Jersey Girl" and the otherwise unreleased "Mr. Henry," as well as an alternate master of "Whistlin' Past the Graveyard" and a live performance of "The Piano Has Been Drinking."


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One From The Heart (OST)(1982)


The same year Waits released Heartattack and Vine, he began a long working relationship with Francis Ford Coppola, who asked Waits to provide music for his film One from the Heart. Waits originally wanted to work with Bette Midler, who previously sang a duet with him on from Foreign Affairs; but she was unavailable. Instead, Waits ended up working with singer/songwriter Crystal Gayle as his vocal foil for the album.
it remains the most accessibly mainstream music of Waits' storied career. Constructed as a dialog between lovers in a fitful emotional spiral, Waits' raspy growl is the perfect counterpoint to Gayle's own gutsy, surprisingly bluesy diva turns. Waits' score has long since taken its rightful place as a modern classic, a perfectly realized romantic daydream that never forgets the wistful, broken hearts stacking up beneath the Vegas neon.


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Swordfish Trombones (1983)


Swordfishtrombones marked a sharp turn in Waits' musical direction. The album differs from Waits' previous output primarily in its instrumentation. While Waits had always played either piano or guitar, he began to gravitate towards less common instruments, saying, "Your hands are like dogs, going to the same places they've been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don't explore; you only play what is confident and pleasing. I'm learning to break those habits by playing instruments I know absolutely nothing about, like a bassoon or a waterphone."Swordfishtrombones also introduced instruments such as bagpipes and marimba to Waits' repertoire, as well as pump organs, percussion, horn sections, experimental guitar and obsolete instruments.


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Tom Waits - Rain Dogs (1985)


Waits' new emphasis on experimenting with various styles and instrumentation reached its pinnacle on Rain Dogs, a sprawling nineteen-song collection considered by many fans and critics to be among his finest works to date. Contributions from renowned guitarists Marc Ribot, Robert Quine, and Keith Richards contributed to Waits' ever-increasing move away from piano-based songs, in juxtaposition with an increased emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo.


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Frank's Wild Years (1987)


Franks Wild Years, a musical play by Waits and Brennan, was staged in 1986, and the release of the album, Franks Wild Years included studio versions from the play of the same name. The album saw a heightened emphasis on brass instrumentation and a further broadening of Waits' musical palette. Rolling Stone summed up the album's myriad styles this way: "Everything from sleazy strip-show blues to cheesy waltzes to supercilious lounge lizardry is given spare, jarring arrangements using various combinations of squawking horns, bashed drums, plucked banjo, snaky double bass, carnival organ and jaunty accordion.


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Big Time (1988)


Waits performed in Big Time, a surreal concert movie and soundtrack which he cowrote with his wife, Kathleen Brennan.
Waits and band, takes us through the jazzy, quirky, bluesy tunes from his album "Franks Wild Years". with as much focus on stage performance as the musical performance.
It's a piece of evidence that all the music in the 80's wasn't synthesizers and bad haircuts.


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Night On Earth (1992)


The soundtrack album of the 1991 film of the same name, directed by Jim Jarmusch. It is is built around a recurrent theme reminiscent of Rain Dogs and manipulated into moods that reflect the cities in which the movie's various stories are told. Banjo and accordion are used to great effect to evoke the three European cities. Elsewhere, marimba and other percussion that Tom Waits was using on his "official" recordings at the time are well suited to the darkness and humor in Jarmusch's stories.


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Bone Machine (1992)


Waits's most harrowing album ever, thanks not only to such heartwarming sentiments as "What does it matter, a dream of love or a dream of lies / We're all going to be in the same place when we die" but also to the ravaged, shamanistic croak with which he delivers them. This stark record featured a great deal of percussion and guitar (with little piano or sax), marking another change in Waits' sound. The album is musically entrancing and richly poetic--"Are you still jumping out of windows in expensive clothes?" Waits asks a perennially unfaithful lover in "Who Are You." There's also room for some foolishness, as with "I Don't Wanna Grow Up," which has been memorably covered by the Ramones, and a boozy sing-along (with Keith Richards), "That Feel."


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The Black Rider (1993)


Summoned to Hamburg, Germany, to write music for a live stage production of Robert Wilson's The Black Rider, musical mastermind Waits took to the task at hand with gusto, assembling an eclectic crew of musicians to become "the pit band [he'd] always dreamed of." Several years later Waits assembled another "orchestra" in San Francisco to record many of the songs he'd written for the live production. Those tracks are found here, alongside a few rough gems from sessions in Hamburg. You'll find some musical matter familiar to Waits fans: accordions, carnivals, violas, banjos, the devil (a key figure in The Black Rider), a singing saw, bassoons, and trombones. Waits's many voices tell the rather disjointed story with a variety of musical styling, a touch of Day of the Dead, a whiff of carny, a nod to Brecht, a dash of film noir, and the scent of narcosis (with William Burroughs). Not easy listening, by any means, but a feast for the ears.


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Beautiful Maladies: The Island Years (1998)


A Tom Waits compilation album, consisting of previously-released songs from his years recording with Island Records, most notably from the albums Swordfishtrombones, Rain Dogs and Frank's Wild Years. The tracks were selected by Tom Waits. After this release, Waits left the Island label for Epitaph.


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Mule Variations (1999)


Seven years passed between the release of Bone Machine and Mule Variations. During that time Tom Waits eschewed cutting another "conventional" (the term used loosely here) song collection, occupying his time with acting projects, a soundtrack (Night on Earth), a stage project (The Black Rider), and sundry smaller diversions. What's surprising about Mule Variations is how little he's strayed from the old Bone yard through the years. Waits intersperses the tough and the tender, mixing exercises in creative noisemaking with tunes that fall on just the right side of maudlin.
Waits has again assembled a crew of attuned sidemen and, as always, Waits and his wife/co-songwriter/co-producer Kathleen Brennan exhibit an uncanny ear for the arcane. In the end, Mule Variations is the aural equivalent of a salvage shop that, while largely familiar, still has a few secluded chambers and trap doors.


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Used Songs (1973 - 1980) (2001)


A "best of" that collects songs already included in proper albums released between 1973 and 1980. No rarities or non-album versions here, but a good introduction to Tom Waits


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Blood Money (2002)


Based upon Robert Wilson's socio-political play "Woyzeck" for which Waits supplied the music in 2000. Woyzeck is inspired by a true story of a German soldier who was driven mad by bizarre army medical experiments and infidelity which led him to murder his lover.
Waits simultaneously released two albums, Alice and Blood Money. Both collections had been written almost ten years previously and were based on theatrical collaborations; Both albums revisit the tango Tin Pan Alley and spoken-word influences of Swordfishtrombones, while the lyrics are both profoundly cynical and melancholic.


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Alice (2002)


Based upon Robert Wilson's avant-garde opera of the same name for which Waits originally composed music in 1992. Alice is based loosely on author Lewis Carroll's obsession with young Alice Liddell, the girl who inspired his Alice in Wonderland and Through The Looking Glass novels.


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The Early Years Vol. 1 (2004)


The Early Years Vol. 2 (2004)


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 1 and Volume 2.


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Real Gone (2004)


Waits' only album to date to feature absolutely no piano on any of its tracks. Waits beatboxes on the opening track, "Top of the Hill," and most of the album's songs begin with Waits' "vocal percussion" improvisations. It is also more rock-oriented, with less blues influence than he has previously demonstrated,"
There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs--Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller--capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow").


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The Asylum Years (2006)




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Orphans: Brawlers, Bawlers & Bastards (2006)


A 54-song 3 disc box set of rarities, unreleased tracks, and brand-new compositions. The three discs are subdivided relating to their content: "Brawlers" features Waits' more upbeat rock and blues songs; "Bawlers," his ballads and love songs; and "Bastards," songs that fit in neither category, including a number of spoken-word tracks. Orphans also continues Waits' newfound interest in politics, with a song about the Israeli-Palestinian conflict, "Road To Peace."


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Tom Waits - The ghost of Tom Waits


01. Walk away
02. Way down in the hole (Live)
03. Walking for rotoscoping (Vindette)
04. Skeleton at the feast
05. Little pollyanna (Inspired by Tom Waits)
06. Spacious thoughts (N.A.S.A.)
07. All the world is green (Live)
08. The ghost of Tom Waits
09. John the miser
10. Goin' out west
11. Falling down the lane
12. Anywere I lay my head (Live)
13. Tom Waits at the barder (Vindette)
14. If tomorrow comes
15. Too ruff (Inspired by Tom Waits)
16. Til the money runs out (Single Version)
17. Singapore (Live)
18. When the saints go marching in (Movie Fragment)
19. Valuta
20. I'm a bridge (Inspired by Tom Waits)
21. It's alright with me
22. Come on up to the house (Live)
23. Do you know what I Idi Amin (Alternativ Version)
24. Don't wait for Tom
25. Mr.Henry

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Track List:

Disc 1:

1. Lucinda / Ain’t Goin Down (Birmingham - 07/03/08)
2. Singapore (Edinburgh - 07/28/08)
3. Get Behind the Mule (Tulsa - 06/25/08)
4. Fannin Street (Knoxville - 06/29/08)
5. Dirt in the Ground (Milan - 07/19/08)
6. Such a Scream (Milan - 07/18/08)
7. Live Circus (Jacksonville - 07/01/08)
8. Goin’ Out West (Tulsa - 06/25/08)
9. Falling Down (Paris - 07/25/08)
10. The Part You Throw Away (Edinburgh - 07/28/08)
11. Trampled Rose (Dublin - 08/01/08)
12. Metropolitan Glide (Knoxville - 6/29/08)
13. I’ll Shoot the Moon (Paris - 07/24/08)
14. Green Grass (Edinburgh - 07/27/08)
15. Make It Rain (Atlanta - 07/05/08)
16. Story (Columbus - 06/28/08)
17. Lucky Day (Atlanta - 07/05/08)

Disc 2:
1. Tom Tales

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