Tom Waits Orphans Rapidshare
Orphans: Brawlers, Bawlers & Bastards is a limited edition three CD set by Tom Waits, released by the ANTI-label on November 17, 2006 in Europe and on November 21. Download free new release mp3 Tom Waits Orphans 3CD Album Version 2006 from zippyshare, uploaded, torrent.
At this stage of the game, any new record is an event. Listening through the music of his entire career is daunting, to say the least, but it's a journey no one else, with the possible exception of, has taken before.
If one listens to the official recordings, from 1973's, featuring the songs of an itinerant Beat barroom singer (no lounges please), right on through to the frenetic mania of 2004's, one becomes aware of not only the twists and turns of a songwriter wrestling and bellowing at and with his muse, but of a journeyman artist barely able to hold on to the lid of his creativity, let alone keep it on. Is the most unwieldy collection yet. Packaged in a Cibachrome-tinted box are three discs containing 56 songs total. It claims 30 new tunes, but a mere 14 can be found on other records - six othersd have to be hunted for while the remainder have shown up in various incarnationson soundtracks, compilations, etc.
Tom Waits Orphans Vinyl
This crazy thing began as a collection of outtakes, rarities, soundtrack tunes, and compilation-only cuts - some of which survive here in new form, including tracks from the tribute, the Bridge benefit, and two covers, to name a few. In other words, the first conception for this mess was as a hodgepodge collection of attic material. Checked out the tune selection as it was and said something like 'nah, bad idea; this would suck.' So, he did what any self-respecting artist with a head full of ideas, two stomping, shuffling feet, and itchy fingers - and time on his hands - would do: he recorded new songs and re-recorded others, so the thing would have some kind of elasticity yet hold its rickety bone and far-reaching sources together by means of cheap glue, chewed gum, solder, and a visionary recording engineer named. The end result is this daunting triple disc divided by title and theme: disc one is 'Brawlers,' ' rock and blues record, evoking everyone from and to and. It's a grand thing, since he hasn't released one like this before - the closest were on one side and on the other. Travel, regret, murder, salvation, guttersnipe meditations on sorrow, and nefarious and broken-down innocent - and nefarious - amorous intentions are a few of the themes that run through these tunes like oil and sand.
Disc two is 'Bawlers,' a collection of ballads, raw love songs, weepy wine tunes, wistful yet tentative hope - in the form of floppy prayers - and an under-the-table and wishing, bewildered, yet dead-on topical tome on the world's political situation. Disc three, entitled 'Bastards,' is even edgier; it's hanging out there with his music and muse on the lunatic fringe of experimentation. Think 's wilder moments and ' loopy standup comedy in the form of six spoken word pieces included here. Thank goodness he finally did this. If you've ever seen the man on a stage, you'll get why these are so important immediately. 'Brawler' digs deep into the American roots music that has obsessed since the beginning of his long labyrinthine haul.
Tom Waits Orphans Rapidshare
There's the frenetic rockabilly swagger that probably makes and shake and shimmy in their graves. One of the movie tunes, a cover of 'Sea of Love,' recalls its place in the film for those who've seen it. If you haven't, it's a slanted, tarnished jewel freshly liberated from antiquity. The hobo ballad 'Bottom of the World' recalls old country gospel, and 'Lucinda' can only be described as a gallows dance tune. The slippery hoodoo blues 'Road to Peace' is the season's most timely and topical political song.
'Bawlers' is the set's bridge, and it's easy to see why: it's the most accessible disc in the box. There are some of the movie tunes here, from flicks like Pollock, Big Bad Love, and Shrek 2. Other cuts, such as 'Goodnight Irene,' recall 'Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen)' from the album; the singing protagonist here is older and more desperate, almost suicidal. Resignation displaces hope; it's a long reach into the past and expresses the void of the present.
The cover of ' 'Danny Says' is completely reinvented; it's one of the loneliest, most sweetly desolate of ' many sides. It's not all darkness, however; there are gorgeous songs here too, such as 'Never Let Go' and 'You Can Never Hold Back Spring,' where an indomitable human spirit reins and rings true. Finally, it comes down to 'Bastards.' The eerie, strange, cabaret-in-a-carnival music that is and 's 'What Keeps Mankind Alive' enlists banjos, accordion, tuba, and big bass drum as simply the means to let these twisted words out of the box.
Thankfully the cover of 'Books of Moses,' originally by, is here, as is 's 'King Kong.' Neither of these cuts resembles their original version, and brings out the dark underbelly inherent in each. 'Bedtime Story' is the first of the monologues here. It is the repressed wish of every parent (with a sense of humor) to have the temerity to tell this kind of tale to their children when they retire. Others include a reading of 's 'Nirvana,' the hilarious monologue 'The Pontiac,' and the live routine 'Dog Door.' Perhaps the most inviting cut here is the piano-and-horn ballad 'Altar Boy,' a postmodern saloon song that would make turn red with rage.
This disc is the true mixed bag in the set: unruly, uneven, and full of feints and free-for-alls. Ultimately, the epicenter of is ' voice. It's many expressions, nuances, bellows, barks, hollers, open wails, roughshod croons, and midnight whispers carry these songs and monologues to the listener with authority as an open invitation into his sound world, his view of tradition, and his manner of shaping that world as something not ephemeral, but as an extension of musical time itself. As a vocalist, like, embodies the entire genealogical line of the blues, jazz, local barroom bards, and traveling minstrels in the very grain of his songs. That wily throat carries not only the songs he and his songwriting partner and wife, pen, but also the magnet for the sonic atmospheres that frame it.
There is adventure, danger, and the sound of the previous, the forgotten, and the wished for in it. And it is that voice that links all three of these discs together and makes them partners. One cannot dismiss that even though some of these songs have appeared elsewhere, is a major work that goes beyond the origins of the material and drags everything past and present with sound and texture into a present to be presented as something utterly new, beyond anything he has previously issued. To paraphrase Ezra Pound in response to 's inquiry about what his poem 'The Cantos' meant, these orphans speak for themselves.
. Barcode: 0 1 0. Matrix / Runout (Brawlers A side runout, etched): 86677-1-A BRAWLERS LP1 KPG@ATM 17559.1(3). Matrix / Runout (Brawlers B side runout, etched): 866771-1-B BRAWLERS LP1 KPG@ATM 17559.2(3). Matrix / Runout (Brawlers C side runout, etched): 86677-1-C BRAWLERS LP1 KPG@ATM 17559.3(3). Matrix / Runout (Brawlers D side runout, etched): 86677-1-D BRAWLERS LP1 KPG@ATM 17559.4(3). Matrix / Runout (Bawlers A side runout, etched): 86677-1-A BAWLERS LP2 KPG@ATM 17560.1(3).
Tom Waits Orphans
Matrix / Runout (Bawlers B side runout, etched): 86677-1-B BAWLERS LP2 KPG@ATM 17560.2(3). Matrix / Runout (Bawlers C side runout, etched): 86677-1-C BAWLERS LP2 KPG@ATM 17560.3(3). Matrix / Runout (Bawlers D side runout, etched): 86677-1-D BAWLERS LP2 KPG@ATM 17560.4(3). Matrix / Runout (Bastards A side runout, etched): 86677-1-A BASTARDS LP3 KPG@ATM 17561.1(3). Matrix / Runout (Bastards B side runout, etched): 86677-1-B BASTARDS LP3 KPG@ATM 17561.2(3). Matrix / Runout (Bastards C side runout, etched): 86677-1-C BASTARDS LP3 KPG@ATM 17561.3(3). Matrix / Runout (Bastards D side runout, etched): 86677-1-D BASTARDS LP3 KPG@ATM 17561.4(3).
Matrix / Runout (Bonus A side runout, etched): 86677-1-A RE ORPHANS LP 4 KPG@ATM 18250.1(3). Matrix / Runout (Bonus B side runout, etched): 86677-1-B RE ORPHANS LP 4 KPG@ATM 18250.2(3). Rights Society (A1 to B2, B4 to D2, D4 to F4, G2, G3, G5 to I1, I3, J1 to J5, K2 to K6, L2, L3, M1 to N3): ASCAP. Rights Society (B3, D3, G1, G4, H5, I5, L1, N1): BMI.