Tom WAITS – Downtown Blues 1974-1975

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

Blues

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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Tom WAITS - Rain Dogs 1985

Tom WAITS - Rain Dogs 1985
ILPS 9803

Blues

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 – Alice 1999

Tom WAITS – Alice  1999
(Canadian Bootleg)
All The Credits Go To *JANWAL46*

Blues

The songs had been unofficially released in several different versions of a bootleg called The Alice Demos many years before its official release, and this is the Canadian bootleg version of Alice. The source is believed to be studio recordings taken when Waits' car was broken into in late 1992 (as confirmed by Waits).
**
01. There's Only Alice
02. Interlude 1
03. And No One Knows I'm Gone
04. Interlude 2
05. Table Top Joe
06. Interlude 3
07. Kommie Nie Zu Spät
08. Interlude 4
09. Hang Me In The Bottle
10. Interlude 5
11. Down The Reeperbahn
12. Interlude 6
13. One, Two And Through
14. Interlude 7
15. Everything You Can Think Of Is True
16. Interlude 8
17. ...But There's Never A Rose
18. Interlude 9
19. What Became Of Old Father Craft
20. Interlude 10
21. Chained Together For Life
22. Interlude 11
23. Falling Down The Lane
24. Interlude 12
25. Untitled
26. Interlude 13
27. Down The Reeperbahn (Full Cast Version)
28. Goodbye
**
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Tom WAITS – Nighthawks At The Diner 1975

Tom WAITS – Nighthawks At The Diner 1975

Blues

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 & Crystal GAYLE - Soundtrack “One from the heart” 1982

Tom WAITS & Crystal GAYLE - Soundtrack “One from the heart” 1982

Jazz

True, the pairing of Waits and Crystal Gayle sounds like the perfect recipe for disaster. But don't come here looking for his usual rusty tin cup of Blue Ruin. This album's more like $10 Martini in some high class caberet club.
Apparently, Waits had been going through a bit of a career crisis and was on the verge of leaving the business. Despite the grind of constant touring & masterpieces like, SMALL CHANGE, commercial success continued to elude him. Rather than go the way of Springsteen or at worse, Billy Joel, Waits took a sharp turn off "Heart Attack & Vine" into parts unknown.
But at the time, there was a sense in the industry that Waits was just a washed up novelty act, verging on a parody of what he drank so hard to forget. Then Francis Ford Coppola came knocking & locked him in a room with nothing but a Steinway and a dream.
When he finally woke up, Waits had a steady paycheck, a wife, and an Oscar bid for Best Original Score. Not to mention a head full of strange ideas. Though the movie may not be the lost masterpeice Coppola would have you believe, the soundtrack in terms of the genre it pays tribute to, pretty much is.
Hardcore fans of those rusty pipes may be put off by the presence of Loretta Lynn's little sister, but Crystal Gayle's a far cry from The Grand Old Opry here. In fact Waits takes more of a supporting role here, giving her the spotlight. Waits has provided the perfect torch song with " Old Boyfriends" which is perfectly matched by Gayle's jaded sultriness.
Waits & Gayle duet on "Picking Up After You" which for my money tops his turn with Bette Midler on FOREIGN AFFAIRS. In fact, Midler was 1st choice for the project. But Gayle's low key personality proves to be the perfect choice, especially on numbers like, "Take Me Home" & "Any Way Out Of This Dream?"
As for Waits' turn at the mic, "Broken Bicycles" is worth the price of admission alone. One of my favorite Waits tunes. A dark,haunting melody & full of stark imagry like, "all those playing cards tied to the spokes" . It's something he still dusts off for live shows.
Among the few the instrumentals, the "Tango/Circus" montage sounds as warped as anything off of RAIN DOGS. Overall, the remaster & packaging are a vast improvement & there a real gem in the bonus track of, "Purple Ave".
This seemed to signal the end of an era for Waits. After this, he shed the lounge lizard routine and has been dancing around in his bones ever since. But HEART offers a rare glimpse of Waits in a slick, commercial setting without compromising a rusty nickel of artistic integrity.
By  K. H. Orton
**
Apocalypse Now is widely considered director Francis Ford Coppola's Waterloo, an ambitious personal vision that nearly wrecked his fabled career, health, and sanity. In fact, it was the director's equally Quixotic 1982 Vegas-themed musical One From the Heart that forever cast a pall over his Hollywood future, sounding a death knell for his once-promising American Zoetrope studios in the bargain. Hindsight being 20/20, it's now easy to see Heart's visual conceits as the glorious cinematic antecedent to Moulin Rouge, its smart, lounge-savvy score by musical odd couple Tom Waits and Crystal Gayle easily 15+ years ahead of the retro-hipster revival it preceded--and outclassed at every turn. Now brightened by a sparkling digital remastering, it remains the most accessibly mainstream--and ironically idiosyncratic--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. Backed by the spare, deftly lugubrious production of Bones Howe and key contributions by jazz vets Greg Cohen on bass, saxist Teddy Edwards, and the key, mournfully lyrical trumpet of Jack Sheldon, 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. This edition features the previously unreleased Waits vocal outtake, "Candy Apple Red" as well as an early, discarded version of the opening montage "Once Upon A Town/Empty Pockets," rejects that only underscore the strength of Waits' musical hand. Enhanced CD also features a newly-edited video montage by Coppola's son, Gian-Carlo.
By Jerry McCulley.
**
Tom Waits- Piano, Vocals, Orchestral Arrangements
Crystal Gayle- Vocals
Joe Porcado- Glockenspiel
Emil Richards- Vibraphone
Donald Waldrop- Tuba
Dick Hyde- Trombone
Gayle Levant- Harp
John Evans Thomassie- Percussion
Leslie Thompson- Harmonica
Ronnie Barron- Organ
Bob Alcivar- Piano, Conductor, Orchestral Arrangements
Dennis Budimir- Guitar
Larry Bunker- Drums
Gene Cipriano- Sax (Tenor)
Greg Cohen- Bass, Contribution
Teddy Edwards- Sax (Tenor), Contribution
Chuck Findley- Trumpet
Jack Sheldon- Trumpet, Contribution
John Lowe- Woodwind
Victor Feldman- Tympani (Timpani)
Shelly Manne- Drums
Pete Jolly- Piano, Accordion, Celeste
Lanny Morgan- Woodwind
**
01. Opening Montage, Tom's Piano Intro,Once Upon a Town/The Wages of Love (5:16)
02. Is There Any Way Out of This Dream? (2:14)
03. Picking up After You (3:55)
04. Old Boyfriends (5:54)
05. Broken Bicycles (2:51)
06. I Beg Your Pardon (4:28)
07. Little Boy Blue (3:43)
08. Instrumental Montage, The Tango,Circus Girl (3:00)
09. You Can't Unring a Bell (2:23)
10. This One's from the Heart (5:46)
11. Take Me Home (1:40)
12. Presents (1:00)
13. Candy Apple Red  (2:45)
14. Once Upon a Town,Empty Pockets (5:23)
**
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Tom WAITS - Live in Akron Ohio, August 13, 2006

Tom WAITS - Live in Akron Ohio, August 13, 2006
At (Civic Theatre)
Bootlegged.

Blues

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 - Blue Valentine 1978

Tom WAITS - Blue Valentine 1978
Label: Elektra

Jazz

Two welcome changes in style made Blue Valentine a fresh listening experience for Tom Waits fans. First, Waits alters the instrumentation, bringing in electric guitar and keyboards and largely dispensing with the strings for a more blues-oriented, hard-edged sound. Second, though his world view remains fixed on the lowlifes of the late night, he expands beyond the musings of the barstool philosopher who previously had acted as the first-person character of most of his songs. When Waits does use the first-person, it's to write a "Christmas Card From a Hooker in Minneapolis," not the figure most listeners had associated with the singer himself. The result is a broadening of subject matter, a narrative discipline that makes most of the tunes story songs, and a coherent framing for Waits' typically colorful and intriguing imagery. These are not radical reinventions, but Waits had followed such a rigidly stylized approach on his previous albums that for anyone who had followed him so far, the course correction was big news.
By William Ruhlmann. AMG.
**
Harold Battiste- Piano
Roland Bautista- Guitar
Ray Crawford- Guitar
Scott Edwards- Bass
Dawilli Gonga- Keyboards
Bobbye Hall- Percussion, Conga
Herbert Hardesty- Saxophone, Sax (Tenor)
Jim Hughart- Bass
Charles Kynard- Organ, Bass
Ricky Lawson- Drums
Byron Miller- Bass
Earl Palmer- Drums
Shine Robinson Guitar
Frank Vicari- Saxophone, Sax (Tenor)
Tom Waits- Guitar, Piano, Guitar (Electric), Vocals
Chip White- Drums
**
01. Somewhere 3:52
02. Red Shoes By The Drugstore 3:14
03. Christmas Cards From A Hooker In Minneapolis 4:33
04. Romeo Is Bleeding 4:52
05. $29.00 8:15
06. Wrong Side Of The Road 5:14
07. Whistlin' Past The Graveyard 3:17
08. Kentucky Avenue 4:49
09. A Sweet Little Bullet From A Pretty Blue Gun 5:36
10. Blue Valentines 5:50
**
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Tom WAITS - Invitation To The Blues, The Live Experience 1977

Tom WAITS - Invitation To The Blues, The Live Experience 1977 (REPOST)
Bremmen, Germany 04/26/1977
Label: GDR

Blues

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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