Album Info
Artist: | Tom Waits |
Album: | Bone Machine |
Released: | US, 6 Oct 2023 |
Tracklist:
A1 | Earth Died Screaming | 3:36 |
Double Bass [Upright Bass] - Larry Taylor | ||
Electric Bass - Les Claypool | ||
Percussion [Sticks] - Joe Marquez, Kathleen Brennan, Tom Waits | ||
Vocals [Vocal], Chamberlin [Chamberlain], Percussion, Guitar - Tom Waits | ||
Written-By - T. Waits | ||
A2 | Dirt In The Ground | 4:07 |
Alto Saxophone [Alto], Tenor Saxophone [Tenor Sax], Bass Clarinet - Ralph Carney | ||
Double Bass [Upright Bass] - Larry Taylor | ||
Piano, Vocals [Vocal] - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
A3 | Such A Scream | 2:08 |
Alto Saxophone [Alto Sax], Tenor Saxophone [Tenor Sax] - Ralph Carney | ||
Drums - Brain | ||
Vocals [Vocal], Guitar, Percussion - Tom Waits | ||
Written-By - T. Waits | ||
A4 | All Stripped Down | 3:03 |
Double Bass [Upright Bass] - Larry Taylor | ||
Guitar - Joe Gore | ||
Vocals [Vocal], Percussion - Tom Waits | ||
Written-By - T. Waits | ||
A5 | Who Are You | 3:54 |
Double Bass [Upright Bass] - Larry Taylor | ||
Vocals [Vocal], Guitar, Percussion - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
A6 | The Ocean Doesn't Want Me | 1:49 |
Vocals [Vocal], Percussion, Chamberlin [Chamberlain] - Tom Waits | ||
Written-By - T. Waits | ||
A7 | Jesus Gonna Be Here | 3:18 |
Double Bass [Upright Bass], Vocals [Vocal] - Tom Waits | ||
Guitar - Larry Taylor | ||
Written-By - T. Waits | ||
A8 | A Little Rain | 2:58 |
Double Bass [Upright Bass] - Larry Taylor | ||
Pedal Steel Guitar - David Phillips | ||
Vocals [Vocal] - Tom Waits | ||
Written By - K. Brennan, T. Waits/K. Brennan | ||
Written-By - T. Waits | ||
B1 | In The Colosseum | 4:50 |
Double Bass [Upright Bass] - Larry Taylor | ||
Drums - Brain | ||
Vocals [Vocal], Chamberlin [Chamberlain], Percussion [Conundrum] - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
B2 | Goin' Out West | 3:20 |
Double Bass [Upright Bass] - Larry Taylor | ||
Guitar - Joe Gore | ||
Vocals [Vocal], Drums - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
B3 | Murder In The Red Barn | 4:28 |
Banjo - Joe Marquez | ||
Double Bass [Upright Bass] - Larry Taylor | ||
Vocals [Vocal], Drums - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
B4 | Black Wings | 4:35 |
Double Bass [Upright Bass] - Larry Taylor | ||
Guitar - Joe Gore | ||
Vocals [Vocal], Guitar, Drums - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
B5 | Whistle Down The Wind | 4:35 |
Pedal Steel Guitar - David Phillips | ||
Piano, Vocals [Vocal] - Tom Waits | ||
Violin, Accordion - David Hidalgo | ||
Written-By - T. Waits | ||
B6 | I Dont Wanna Grow Up | 2:31 |
Double Bass [Upright Bass] - Larry Taylor | ||
Vocals [Vocal], Guitar - Tom Waits | ||
Written By - T. Waits/K. Brennan | ||
Written-By - K. Brennan, T. Waits | ||
B7 | Let Me Get Up On It | 0:53 |
Vocals [Vocal], Percussion - Tom Waits | ||
Written-By - T. Waits | ||
B8 | That Feel | 3:13 |
Double Bass [Upright Bass] - Larry Taylor | ||
Guitar - Waddy Wachtel | ||
Guitar, Vocals [Vocal] - Keith Richards | ||
Guitar, Vocals [Vocal], Drums - Tom Waits | ||
Steel Guitar - David Phillips | ||
Written-By - K. Richards, T. Waits |
Info About Buying Vinyl From Our Record Store
- We are a small independent record store located at 91 Plenty Rd, Preston in Melbourne, Australia (North of Northcote, between Thornbury & Reservoir)
- We buy and sell new and used vinyl records - if you have a collection you'd like to sell please click here.
- We ship Australia wide for a flat rate of $10 for standard shipping or $15 for express post.
- Free Shipping for orders $150 and over.
- You can also pick up your order in store, just select Local Pickup at the checkout.
- We also ship internationally - prices vary depending on weight and location.
- We ship vinyls in thick, rigid carboard mailers with a crushable zone on either side, and for extra safety we bubble wrap the records.
- In stock vinyl is usally shipped next business day, please check the availability field at the top of the product page to see whether the record is currently in stock or if it is available from the supplier as well as estimated shipping times.
- If you order an in stock item together with a pre order or back order (listed as available from supplier rather than in stock) then the order will be shipped together when all items arrive. If you would like the in stock items shipped first please place two separate orders or contact us to arrange shipping items separately.
- We are strongly committed to customer satisfaction. If you experience any problems with your order contact us so we can rectify the situation. If the record arrives damaged or doesn't arrive we will cover the cost of replacing or returning the record.
- If you change your mind you have 30 days to return your record but you must cover the cost of returning it to the store.
- You can contact our Melbourne record shop at (03) 9939 3807 or at info@funkyduckvinyl.com
- Happy Listening!
Description
Tom Waits' "Bone Machine," released on September 24, 1992, is a hauntingly beautiful album that showcases the artist's unique blend of gravelly vocals, eclectic instrumentation, and poetic lyricism. This album marked a significant moment in Waits' career, as it was a departure from the more traditional sounds of his earlier work, embracing a raw, experimental approach that would come to define much of his later music.
"Bone Machine" is often celebrated for its dark, atmospheric soundscapes that evoke a sense of desolation and introspection. The album was recorded in a variety of unconventional settings, including a church and a basement, which contributed to its gritty, organic feel. Waits himself has described the album as a collection of "songs for the end of the world," and it certainly carries that weighty, apocalyptic vibe throughout its tracks.
One of the standout tracks, "Earth Died Screaming," opens the album with a cacophony of sounds that immediately draws the listener into Waits' world. The song's unsettling lyrics and driving rhythm set the tone for the rest of the album, which is filled with tales of love, loss, and existential dread. Another highlight is "Goin' Out West," a raucous, swaggering anthem that showcases Waits' storytelling prowess and his ability to blend humor with melancholy. The imagery in this track is vivid and evocative, painting a picture of a man determined to make his mark in a harsh world.
Critically, "Bone Machine" was met with widespread acclaim. Major publications like Rolling Stone and The New York Times praised the album for its innovative sound and lyrical depth. In fact, it won the Grammy Award for Best Alternative Music Album in 1993, solidifying Waits' status as a pioneering figure in the music industry. The album's rawness and authenticity resonated with both fans and critics alike, and it has since been regarded as one of Waits' finest works.
The production of "Bone Machine" is particularly noteworthy. Produced by Waits and his long-time collaborator Kathleen Brennan, the album features a diverse array of instruments, including percussion made from found objects, which adds to its unique texture. Waits' voice, often described as a blend of whiskey and gravel, is at its most expressive here, conveying a range of emotions from despair to defiance.
One of the more interesting anecdotes surrounding the album is Waits' approach to songwriting during this period. He often drew inspiration from his surroundings and the people he encountered, infusing his lyrics with a sense of realism and grit. In interviews, he has mentioned how he would often write songs in the middle of the night, capturing the raw energy of his thoughts and feelings in the moment. This spontaneity is palpable in the music, making it feel alive and immediate.
"Bone Machine" also holds a significant place in cultural history, as it reflects the grunge and alternative rock movements of the early 1990s. While Waits was not directly part of these movements, his willingness to experiment with sound and form resonated with the ethos of the time. The album's influence can be seen in the work of many artists who followed, as they sought to push the boundaries of what music could be.
In conclusion, Tom Waits' "Bone Machine" is a masterclass in songwriting and production, a testament to the power of music to evoke deep emotions and provoke thought. Its critical acclaim, Grammy win, and lasting impact on the music landscape make it a must-listen for anyone interested in the evolution of alternative music. Whether you're a long-time fan of Waits or a newcomer to his work, this album is sure to leave a lasting impression, inviting you to explore the darker corners of the human experience.