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Tom Waits – Orphans: Brawlers, Bawlers & Bastards (2006/2017)
FLAC (tracks) 24 bit/48 kHz | Time – 03:09:15 minutes | 2,02 GB | Genre: Blues Rock, Folk Rock, Experimental
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

“Orphans: Brawlers, Bawlers & Bastards” is a limited edition three CD set by Tom Waits, originally released in November 2006. The album is divided into three sections, with each disc being a separate collection in its own. It borrows from Tom Waits’ rock sound, with the first disc being blues and rock-based, the second centred on slow-tempo, melancholic ballads, and the third on more experimental compositions. Additionally, the record contains influences of other genres, including folk, gospel, jazz and roots music. Orphans: Brawlers, Bawlers and Bastards received universal acclaim from critics, who lauded its experimentation and composition, as well as Waits’ vocals. It was listed as one of the highest-scoring albums of the year in Metacritic, and was nominated for a Grammy Award for Best Contemporary Folk Album. Furthermore, it was a fair commercial success, charting in the United States Billboard 200, as well as in Australia, Switzerland and Austria, reaching the top twenty in the latter.

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Tom Waits – Nighthawks At The Diner (Remastered Live) (1975/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:13:40 minutes | 1,40 GB | Genre: Blues, Rock, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

A major part of Tom Waits’s mystique has always been his complex, intriguing persona; part Bukowski-esque barfly poet, part Kerouac-inspired hipster, part Hoagy Carmichael troubadour. Nowhere has that persona been more fully utilized than on “Nighthawks At The Diner”. Throughout the album waits unfurls his colorful, charismatic, artfully amplified personality. It’s like spending the evening with a lounge lizard/raconteur/beatnik standup comic who also happens to compose strikingly beautiful tunes that could have come from the Great American Songbook if not for their lyrical quirkiness. Though it would be a few more years before Waits would reinvent himself on “Swordfishtrombones”, the character who stomps through your brain on “Nighthawks At The Diner” with both guns blazing is as original and impressive a character as you could want.

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Tom Waits – Mule Variations (Remastered) (1999/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:40 minutes | 1,41 GB | Genre: Pop Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Not much else can be said about this album other than this is Tom Waits at his best. Tom Waits is one of the most innovative artists in popular music. His singular vision embraces everything from blues to tin-pan-alley to jazz to just about anything else you can think of. Grammy winner, actor, poet, a master of the musical collage and lyrical surprise, Tom Waits is simply a giant. Mule Variations offers the most complete picture of Tom Waits of any of his albums. Edgy stomps, humor and experimentation are interspersed with some of the most beautiful and personal songs he’s ever written.

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Tom Waits – Heartattack And Vine (Remastered) (1980/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 44:29 minutes | 782 MB | Genre: Blues, Jazz, Rock, Alternative, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The final Asylum album from 1980 couldn’t be more different than Waits’ ’73 debut – his voice sounds like the marvellous ruin that we know and love today, the ballads remain (On the Nickel is beautiful and even Springsteen took a crack at Jersey Girl) but it’s the twisted warped blues of the title track that points the way to the extraordinary world of Swordfishtrombones.

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Tom Waits – Glitter And Doom (Remastered) (2009/2017)
FLAC (tracks) 24 bit/48 kHz | Time – 01:13:35 minutes | 871 MB | Genre: Blues Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

“Glitter And Doom: Live” is a live album by Tom Waits recorded during the Glitter and Doom Tour of the USA and Europe in the summer of 2008. Disc One is designed to sound like one evening’s performance, even though the 17 tracks are selected from 10 cities, from Paris to Birmingham; Tulsa to Milan; and Atlanta to Dublin. Sonically the album is superb and has been beautifully recorded and meticulously mastered. Disc Two is a bonus compendium called TOM TALES, which is a selection of the comic bromides, strange musings, and unusual facts that Tom traditionally shares with his audience during the piano set. Waits’ topics range from the ritual of insects to the last dying breath of Henry Ford.

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Tom Waits – Foreign Affairs (Remastered) (1977/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 42:06 minutes | 702 MB | Genre: Blues, Rock, Jazz, Singer-Songwriter
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Absolutely essential. ANTI- are releasing mastered reissues of Tom Waits first seven albums, originally released through Elektra Asylum Records in the 1970’s. 1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental Cinny’s Waltz and featuring some new standards like Muriel and I Never Talk To Strangers, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colourful Jack and Neil and the sweeping, dramatic Potters Field as well as classic Waits ballads Burma Shave and Sight for Sore Eyes.

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Tom Waits – Foreign Affairs (Remastered) (1977/2018)
FLAC (tracks) 24 bit/192 kHz | Time – 42:06 minutes | 902 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Absolutely essential. ANTI- are releasing mastered reissues of Tom Waits first seven albums, originally released through Elektra Asylum Records in the 1970’s.

1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental Cinny’s Waltz and featuring some new standards like Muriel and I Never Talk To Strangers, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colourful Jack and Neil and the sweeping, dramatic Potters Field as well as classic Waits ballads Burma Shave and Sight for Sore Eyes.

Foreign Affairs is possibly Waits’ most consistently “Chandlerian” album, a series of vignettes from “dimestore novels” and “penny arcades” that could all take place in the same seedy block of skid row Los Angeles (or New York, in the case of “Potter’s Field”). Features Waits’ duet with Bette Midler on the singles-bar dialogue “I Never Talk to Strangers” and his take on his Beat predecessors Jack Kerouac and Neal Cassidy on “Jack & Neal.”

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Tom Waits – Closing Time (Remastered) (1973/2018)
FLAC (tracks) 24 bit/192 kHz | Time – 45:39 minutes | 1,05 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The 1973 album that introduced a young singer-songwriter to the world at large is a far cry from the wonderfully twisted sonic landscape that would define “Swordfishtrombones” a decade later. The Waits of “Closing Time” was a barroom balladeer too, but one who fit neatly into the early-’70s folk-rock, singer-songwriter paradigm (“Closing Time’s opener “Ol’ ’55,” in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairs that present the songs with a minimum of fuss.

Waits’s voice isn’t the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best (“Martha,” “I Hope That I Don’t Fall in Love With You”) attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the ’40s than any ’70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits’s work from the ’80s and ’90s will be surprised by the relative straightforwardness of “Closing Time”, yet the album announces an important talent.

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Tom Waits – Closing Time (Remastered) (1973/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 45:39 minutes | 794 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

The 1973 album that introduced a young singer-songwriter to the world at large is a far cry from the wonderfully twisted sonic landscape that would define “Swordfishtrombones” a decade later. The Waits of “Closing Time” was a barroom balladeer too, but one who fit neatly into the early-’70s folk-rock, singer-songwriter paradigm (“Closing Time’s opener “Ol’ ’55,” in fact, was covered by the Eagles on their first album). The arrangements here are straightforward, piano-based affairs that present the songs with a minimum of fuss.

Waits’s voice isn’t the deep, gravelly instrument that would bellow its way through RAIN DOGS, but a smoky, measured one, devoid of artifice. Accordingly, the song structures are simpler, and the best (“Martha,” “I Hope That I Don’t Fall in Love With You”) attain a timeless feel. For all his relative conventionality on this debut, though, Waits is still closer in spirit to the great American songwriters of the ’40s than any ’70s California rocker. Listeners looking for the eccentric, carnivalesque atmosphere that typifies Waits’s work from the ’80s and ’90s will be surprised by the relative straightforwardness of “Closing Time”, yet the album announces an important talent.

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Tom Waits – Blue Valentine (Remastered) (1978/2018)
FLAC (tracks) 24 bit/192 kHz | Time – 49:36 minutes | 1,54 GB | Genre: Alternative Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

After perfecting his seedy beatnik image on albums like “Small Charge” and “Nighthawks At The Diner”, Waits refined and expanded on it until the 1983 breakthrough of “Swordfishtrombones”. “Blue Valentine” is full of low-rent nightlife imagery and arrangements that leave Waits’ jazz leanings behind in favor of a more direct, blues-oriented approach. Lyrically, he’s at his most straightforward and narrative, with tunes like “$29.00” and “Christmas Card From a Hooker in Minneapolis” reading like dimestore detective novels. In a customary nod to tradition, he delivers a marvelously stentorian version of Bernstein’s “Somewhere.” Blue Valentine songs. Things close in a low-key fashion with the spare, heart-rending title song, a ballad of shattered love.

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Tom Waits – Blue Valentine (Remastered) (1978/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 49:36 minutes | 877 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

After perfecting his seedy beatnik image on albums like “Small Charge” and “Nighthawks At The Diner”, Waits refined and expanded on it until the 1983 breakthrough of “Swordfishtrombones”. “Blue Valentine” is full of low-rent nightlife imagery and arrangements that leave Waits’ jazz leanings behind in favor of a more direct, blues-oriented approach. Lyrically, he’s at his most straightforward and narrative, with tunes like “$29.00” and “Christmas Card From a Hooker in Minneapolis” reading like dimestore detective novels. In a customary nod to tradition, he delivers a marvelously stentorian version of Bernstein’s “Somewhere.” Blue Valentine songs. Things close in a low-key fashion with the spare, heart-rending title song, a ballad of shattered love.

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Tom Waits – Blood Money (Remastered) (2002/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 42:16 minutes | 880 MB | Genre: Pop Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

“Blood Money” is based on the socio/political play “Woyzeck”, originally written by a young German poet Georg Buchner as a spare, cinematic piece in 1837 and inspired by the 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, along with wife and collaborator Kathleen Brennan, wrote songs for an avant-garde production of “Woyzeck” directed by Robert Wilson, which premiered in November 2000 at the Betty Nansen Theater in Copenhagen and went on to win Denmark’s version of the Tony for Best Musical. The album careens from the brutal to the tender with assaulting rhythms and romantic melodies.

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Tom Waits – Bad As Me (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 44:33 minutes | 944 MB | Genre: Alternative Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Bad As Me is the first studio recording in over seven years from influential singer/songwriter Tom Waits. The exquisite album triumphs as one of his finest performances in a long and established career. Waits’ unparalleled songwriting, raspy vocals and masterful arrangements are on full display. Included is the beautiful ballad “Last Leaf,” a bluesy “Talking at the Same Time,” a gospel “Satisfied,” and more. This high resolution recording is the perfect way to experience one of music’s most important songwriters.

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Tom Waits – Alice (Remastered) (2002/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 48:23 minutes | 997 MB | Genre: Pop Rock
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

Alice, once dubbed “the lost Tom Waits masterpiece” by the press, was originally done as an avant-garde opera directed by Robert Wilson for Hamburg’s Thalia Theater in the winter of 1992. “Alice” was based loosely on Lewis Carroll’s obsession with young Alice Liddell, the girl who inspired his Alice in Wonderland and Through The Looking Glass. Working with wife and collaborator Kathleen Brennan, they wrote fifteen songs for the Wilson opera in the summer of 1992. The Thalia performed “Alice” for eighteen months, with an eclectic orchestra of Waits’ design.

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 unabashed poetry. These are songs to fall into, and sometimes, to keep falling. There are fragile, haunted musings, and laments, mad ruminations, and tales of unrequited love and anthems from beyond the grave. “Alice,” said Waits, “is adult songs for children, or children’s songs for adults. It’s a maelstrom or fever-dream, a tone poem, with torch songs and waltzes…an odyssey in dream logic and nonsense.”

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