TOM WAITS Swordfishtrombones LP ISLAND 1983 EU orig w/LARRY TAYLOR-FRED TACKETT
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Description
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TOM WAITS
with RANDY ALDCROFT, FRANCIS THUMM, GREG COHEN, STEPHEN TAYLOR
LARRY TAYLOR, FRED TACKETT, JOE ROMANO, ERIC BIKALES, etc.
In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed
to embody the same lifestyle, which he sang about in a raspy, gravelly voice. From the '80s on, his work became increasingly theatrical as he moved into acting and composing. Growing up in Southern California, Waits attracted the attention of manager Herb Cohen, who also handled FrankZappa, and was signed by him at the beginning of the 1970s, resulting in the material later released as The Early Years and The Early Years, Vol. 2. His formal recording debut came with Closing Time (1973) on Asylum Records, an album that contained "Ol' 55," which was covered by labelmates the Eagles for their On the Border album. Waits attracted critical acclaim and a cult audience for his subsequent albums, The Heart of Saturday Night (1974), the two-LP live set Nighthawks at the Diner (1975), Small Change (1976), Foreign Affairs (1977), Blue Valentine (1978), and Heart Attack and Vine (1980). His music and persona proved highly cinematic, and, starting in 1978, he launched parallel careers as an actor and as a composer of movie music..."SWORDFISHTROMBONES"
1983 LP ISLAND RECORDS 205 774 STEREO MADE IN GERMANY EUROPEAN ORIGINAL PRESSING
SINGLE COVER + INNER SLEEVE
NOTES: on cover "SWORDFISHTROMBONES"; on labels "SWORDFISHTROMBONE"
Barcode and Other Identifiers
Barcode: none
Label Code: LC 0407
Other: [Pressing Plant ID (Center label side B, embossed)]: Bass clef
LABEL: ISLAND - LIGHT & DARK FADING BLUE LABEL w/ LOGO at BOTTOM - BLACK & WHITE (rim) TEXT
Catalog on cover : (spine) 205 774-320 (rear) 205774-320 (inner): 205 774/97 548
Catalog on labels: 205 774 (S 205 774 A) / 205 774 (S 205 774 B)
Matrix / Runout (Side A, Stamped): 205774 A-1/83S l Made in Germany
Matrix / Runout (Side B, Stamped): 205774 B-1/83S l Made in Germany
On labels: top rim text reads "Alle urheber.........Ariola-Eurodisc GmbH, Munchen."
bottom rim text reads "All copyrights...............Eurodisc GmbH, Munich."
Produced by Tom Waits
? 1983 Original Sound Recording made by Island Records, Inc.
GEMA STEMRA(boxed)
On back cover: Written and Produced by Tom Waits
Alle Urheber.........Sendung!
Island Record Ltd. 22 St. Peters Square London W6
Distributed by the Ariola Group of Companies
Printed in Western Germany by Mohndruck Graphische Betriebe GmbH................
tracklisting
Side A: UNDERGROUND - SHORE LEAVE - DAVE THE BUTCHER - JOHNSBURG, ILLINOIS
16 SHELLS FROM A 30-6 - TOWN WITH NO CHEER - IN THE NEIGHBORHOOD
Side B: JUST ANOTHER SUCKER ON THE WINE - FRANK'S WILD YEARS - SWORDFISHTROMBONE
SOLDIER'S THINGS - GIN SOAKED BOY - TROUBLE'S BRAIDS
grading
RECORD VG+ but (please, read above description)
SLEEVE VG+ but (please, see pictures and read above description)
Between the release of Heartattack and Vine in 1980 and Swordfishtrombones in 1983, Tom Waits got rid of his manager, his producer, and his record company. And he drastically altered a musical approach that had become as dependable as it was unexciting. Swordfishtrombones has none of the strings and much less of the piano work that Waits' previous albums had employed; instead, the dominant sounds on the record were low-pitched horns, bass instruments, and percussion, set in spare, close-miked arrangements (most of them by Waits) that sometimes were better described as "soundscapes." Lyrically, Waits' tales of the drunken and the lovelorn have been replaced by surreal accounts of people who burned down their homes and of Australian towns bypassed by the railroad -- a world (not just a neighborhood) of misfits now have his attention. The music can be primitive, moving to odd time signatures, while Waits alternately howls and wheezes in his gravelly bass voice. He seems to have moved on from Hoagy Carmichael and Louis Armstrong to Kurt Weill and Howlin' Wolf (as impersonated by Captain Beefheart). Waits seems to have had trouble interesting a record label in the album, which was cut 13 months before it was released, but when it appeared, rock critics predictably raved: after all, it sounded weird and it didn't have a chance of selling. Actually, it did make the bottom of the best-seller charts, like most of Waits' albums, and now that he was with a label based in Europe, even charted there. Artistically, Swordfishtrombones marked an evolution of which Waits had not seemed capable (though there were hints of this sound on his last two Asylum albums), and in career terms it reinvented him...(AllMusic)
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