ANTI RECORDS TO RE-RELEASE TOM WAITS’ ENTIRE 1970s ELEKTRA ASYLUM CATALOGUE

Photo by Matt Kramer

HISTORIC DEBUT ALBUM ‘CLOSING TIME’ TO BE RELEASED ON 9 MARCH

ALSO ON 9 MARCH, ‘HEART OF SATURDAY NIGHT’, ‘NIGHTHAWKS AT THE DINER’, ‘SMALL CHANGE’, ‘FOREIGN AFFAIRS’, ‘BLUE VALENTINE’ AND ‘HEARTATTACK AND VINE’ AVAILABLE ON STREAMING SERVICES AND DIGITAL PLATFORMS. VINYL VERSIONS WILL BE RELEASED THROUGHOUT 2018

CD VERSIONS OF ALL ALBUMS WILL BE AVAILABLE ON 23 MARCH

Tom Waits’ first seven albums, originally released through Elektra Asylum Records in the 1970’s, have been re-mastered and will be re-released via Anti-Records. All titles – many of which have been long out of print – will be re-issued on hi quality 180 gram vinyl throughout 2018. CD versions will be available on 23 March with digital releases slated for 9 March.

Waits’ time-honored and critically acclaimed debut album Closing Time will be available on 180 gram vinyl, digital platforms and streaming services on 9 March. Pre-order Closing Time on CD, LP and digitally.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”.

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RE-RELEASE SUMMARY

Heart of Saturday Night (1974) – Expanding beyond the folk and pop stylings of his first album, Waits’ second studio release Heart of Saturday Night established his reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like “San Diego Serenade” are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features “Diamonds on My Windshield”, the first of what would become a signature for Waits’, the spoken word-poetry song. Waits’ delivers these lyrics as pure beat jazz in the stylings of Kerouac, Langston Hughes and Bob Kaufman.

Nighthawks at the Diner (1975) – Recorded in front of a live audience at the Record Plant recording studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits’ greatest classics like “Warm Beer, Cold Women” and “Eggs and Sausage” with a crack Jazz ensemble backing him up and some of the greatest stage patter ever committed to record.

Small Change (1976) – Small Change is a masterpiece that contains some of Waits’ best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom’s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like “Step Right Up”, “Tom Traubert’s Blues”, “I Wish I Was in New Orleans”, “The Piano Has Been Drinking”, and “Invitation to the Blues” are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits most popular recordings.

Foreign Affairs (1977) – 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, colorful “Jack and Neil” and the sweeping, dramatic “Potters Field” as well as classic Waits ballads “Burma Shave” and “Sight for Sore Eyes”.

Blue Valentine (1978) – Blue Valentine is a big departure from earlier Waits albums. Trading the piano for the guitar, Waits is getting rawer and bluesier and title track is a great example of this. Waits is in transition here, so you also get a stunning orchestrated rendition of Gershwin’s “Somewhere”, and the beautiful piano ballad, “Kentucky Ave.”, but you also get the juke joint swagger of “Romeo Is Bleeding” and “Whistlin’ Past the Graveyard”. This is also the record that contains one of Waits’ most popular songs ever, “Christmas Card from A Hooker in Minneapolis”.

Heartattack & Vine (1980) – Released in 1980, Heartattack and Vine was Waits’ final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven “Downtown” and the stomping NOLA blues of “Mr. Siegal”. This album also contains some of Waits most popular ballads, including “Jersey Girl” which was famously a hit for Bruce Springsteen. “On the Nickle” is a moving song about the homeless people who lived on 5th street in downtown LA, and “Ruby’s Arms” is a beautiful song with a lovely Bach-like melody.

http://www.tomwaits.com/

Tom Waits re-releases his Anti- catalogue

Tom Waits

Tom Waits is set to release newly versions of each of his acclaimed albums in the Anti- catalogue.  In addition, the album Real Gone has been fully remixed and individual releases of each of the three discs of Orphans: Brawlers, Bawlers And Bastards will be available early 2018.

Remastering significantly improves the quality of sound files and restores the integrity and intent of the original recording. Tom Waits and Kathleen Brennan personally oversaw this process for both the vinyl and digital formats of the catalogue.

“This restoration project could arrogantly be compared to restoring a faded tapestry, a painstaking process that requires meticulous attention to each”, Tom Waits explains, “colour faded thread.  Spending months on something completed once, many years ago was necessary though cursedly laborious for us.”

The albums roll out beginning November 2017 and continue through December. All albums will be available on 180-gram vinyl.

10th November  – Bad As Me
24th November  – Real Gone
24th November  – Blood Money
24th November  – Alice
1st December   – Glitter And Doom Live
15th December  – Mule Variations

2018 – Orphans: Brawlers, Bawlers And Bastards (released separately)

The first to be released is the Grammy-nominated album Bad As Me (2011). These songs were designed to be lean and mean, with strong hooks and tight running times. From the opening horn-fuelled chug of ‘Chicago’, to the closing barroom chorale of ‘New Year’s Eve’, Bad As Me displays the full career range of Waits’ songwriting, from beautiful ballads like ‘Last Leaf’ to the avant cinematic soundscape of ‘Hell Broke Luce’ a battlefront dispatch. Waits worked with longtime co-writer and producer Kathleen Brennan, in addition to Waits’ veterans; Keith Richards, Marc Ribot, David Hidalgo, Larry Taylor and Casey Waits. Bad As Me arrives in stores on 16th November.

Mule Variations (1999) The Grammy award winner for Best Contemporary Folk Album, and Certified Gold Record, offers the iconic songs ‘Hold On’ and ‘What’s He Building In There’ along with the groove-heavy, ‘Get Behind The Mule’. Experimentation is interspersed with some of the most beautiful and personal songs Waits has written.

Blood Money (2002) Based on the true story of Woyzeck, a conscripted German soldier, who murders the mother of his child after being driven mad by army drug experiments. This is a darkly rhythmic record, illuminating life’s bleak carnival with songs like ‘Misery Is The River Of The World’ and ‘God’s Away On Business’ and includes the melancholic beauty of ‘All the World Is Green’ and ‘The Part You Throw Away’.  Marimba, bass clarinet, trumpet, viola, cello, calliope and log drums form the core group of instruments.

Alice (2002) Alice is a haunted, moody chamber piece devoted to the obsessive, forbidden love of Charles Dodgson for Alice Liddell, for whom Alice in Wonderland was created. Piano, pump organ, cello, theremin and stroh violin are the main instruments employed for these melancholy and comic musings on death, longing, and the random meanness of life. Waits adapts the classic blues jazz balladry his early career in the eponymous song, ‘Alice’ and the seasick pump organ and strings ode to the wall that separated East from West Germany, ‘Lost In The Harbor’.

Real Gone (2004) Grammy nominated and featuring an entirely new mix that better fulfils the dynamic musical soundscape Waits/Brennan envisioned from the beginning. To accomplish this they returned to the multitrack session tapes and enhanced certain instruments or a vocal arrangement to create a sound that better represents the full-bodied more sonically vibrant and jagged edges that Waits and Brennan were originally going for but lost.

Orphans: Brawlers, Bawlers And Bastards (2006) This Grammy nominated, gold-certified three-disc set will be offered as separate records for the first time. The collection goes beyond a simple career retrospective with over 30 newly recorded songs and unique interpretations of songs by a diverse group of artists which include The Ramones, Daniel Johnston, Kurt Weill & Bertolt Brecht and Leadbelly.

Glitter And Doom Live (2009) Disc one captures 17 performances hand-picked by Waits from his sold-out 2008 international tour. The collection features a haunting ‘Trampled Rose’ from Real Gone and a hypnotic ‘Get Behind The Mule’ from Mule Variations. Waits also digs into the vaults for tracks like a reimagined ‘Singapore’ from 1985’s Rain Dogs. The second disc, ‘Tom Tales’, features a selection of the comic bromides, strange musings, and unusual facts that Tom traditionally shares with audiences.

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Artist’s website: www.tomwaits.com

‘Get Behind The Mule’ live:

 

Tom Waits sings Blind Willie Johnson

Tom Waits

Tom Waits has lent his voice and soul to a stunning collection of performances celebrating legendary gospel bluesman Blind Willie Johnson. God Don’t Never Change: The Songs Of Blind Willie Johnson is out through Alligator Record snow and features two contributions by Tom, ‘The Soul of a Man’ and ‘John The Revelator,’ both originally recorded by Johnson in 1930.

Blind Willie Johnson

A stunning collection of artists and performances celebrate the timeless music of legendary gospel bluesman Blind Willie Johnson. From Derek Trucks’ and Susan Tedeschi’s reverent reading of ‘Keep Your Lamp Trimmed And Burning’ to Lucinda Williams’ slide guitar-fueled lament in ‘Nobody’s Fault But Mine,’ from Luther Dickinson’s spirited take on ‘Bye And Bye I’m Going To See The King’ (with The Rising Star Fife & Drum Band) to Tom Waits’ virtual embodiment of Johnson himself on ‘The Soul Of A Man’ and ‘John The Revelator’, this record is packed with incomparable recordings that speak as much to the greatness of the performers as they do the enduring legacy of Blind Willie Johnson.

Artist’s website: www.tomwaits.com

MARTIN HARLEY – Mojo Fix – 60/20 Records 7 21762 97054 6

MojoFixMartin Harley plays guitar. All sorts of guitar: acoustic, lap slide, Weissenborn, you name it. He also plays harmonica and stylophone but a man’s got to have a hobby, right? Mojo Fix is his fifth album, three of them released as The Martin Harley Band.

It’s also something of a departure. Martin has moved from the Surrey delta to Texas to write and record with producer Bob Parr, his wife Claire and a distinguished cast of musicians. His style of Americana ranges from the blues’n’boogie of the title track to a gentle ballad like ‘Treading Water’. In fact the album switches moods at a bewildering rate. It opens with the title track and distorted vocals reminiscent of Tom Waits’ megaphone style with just drums and bass in support, a style repeated in the closing ‘Mean Old City’. ‘Cardboard King’ is one the record’s production numbers with a string quartet and a decidedly Slambovian feel. ‘Wrecking Ball’ is another rocker with violin and brass and ‘Rum Shack’ has the feel of a thirties’ tune brought into the 21st century and roughed up a bit.

Mojo Fix is an album that I enjoy more and more each time I listen to it. It feels like a square peg in the round hole of the music business and that’s great. Martin is touring extensively in the UK in March and that has to be a good night out. 

Dai Jeffries

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Artist’s website: https://www.facebook.com/martinharleymusic/

Bearfoot Releases New Music Video For Midnight In Montana

Bearfoot has just released a music video for “Midnight in Montana.” This is the second video from American Story, their 2011 release on Compass Records. Featuring lead vocals from guitarist Todd Grebe, the video follows the band on the road in Montana, with candid shots and impromptu band performances on the side of Highway 90, in the backseat of the van and on hay bales, capturing the playful spirit of the band on the road.

“Tell Me A Story,” the first video from American Story, was featured for 3 straight weeks as the #2 album on the CMT Pure 12-Pack Countdown with the album itself securing Bearfoot a spot on the Americana radio charts along side new releases from Wilco, Merle Haggard and Tom Waits.

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MOULETTES – new album ‘The Bear’s Revenge’ release date May 2012

Described as a turbo-charged roots ensemble for the 21st century, Moulettes are an entrancing combination of strings and celestial harmonies; woodwind and weirdness; rhythm and devilry has lead to comparisons with the Unthanks, Tom Waits and Shostakovitch. But, they have a sound and presence very much their own.

Cellist Hannah Miller, bassoonist Ruth Skipper and Ollie Austin (guitar, drums) have been playing and singing together for several years. But with the addition of violinist Georgina Leach and percussionist Rob Arcari in 2008, the Moulettes’ sinewy, melodic sound has come into true focus.

The band have shared stages, recordings, and personnel with the likes of Mumford & Sons (Ted Dwane of the Mumfords used to be their bassist) Mystery Jets, Band of Skulls (Emma Richardson guests on the album), Liz Green and even the Ting Tings – supporting the latter on tour as three-quarters of electro-pop band Modernaire. And they can count the Unthanks, Noisettes and Robert Plant as fans.

In the meantime, their previous album (available below) was described as the most ambitious ‘folk’ album you’ll hear all year (back in 2010). It splices together strands of classical, gypsy, jazz, alt.-rock and even some avant-garde to create a complex yet accessible whole. Highlights include the epic, atmospheric story-song “Devil Of Mine” (which boasts a mind-blowing video included as an extra on the disc); the Zepplin-esque folk-metal of “Requiem” and the entrancing prog-pop of “Wilderness.

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