Japanese-only SHM-CD (Super High Material CD) paper sleeve pressing of this 1985 album. SHM-CDs can be played on any audio player and delivers unbelievably high-quality sound. You won't believe it's the same CD! Universal. 2008.

Welcome to the hipster blues. By the time of this 1977 recording, Tom Waits had fully transformed himself into a musical character actor from another era, caught somewhere between Raymond Chandler and the Beat Generation. His vocals here are some of the most mannered performances this side of Bukowski (and probably had something to do with the movie roles he won in the coming years). His use of strings on some of these tracks can occasionally drift dangerously close to schmaltz, but that's easily compensated by such highlights as his duet with Bette Midler on "I Never Talk to Strangers" and the breathless melodrama of "Burma-Shave." Cool. --Steve Appleford

Tales For The Audience

现场录音是由NPR进行的电台直播，效果很不错。
可能是Orphans Tour？我也不太清楚，有的图片上这么介绍。
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This is a recording of an apparently complete concert from the early years, showing Tom Waits in fine form, helped along by a skilled and sympathetic band and a friendly and responsive audience. Tracks include a medley of Summertime and Burma Shave; Romeo Is Bleeding; 'Bullets' (more commonly known as Sweet Little Bullet From A Pretty Blue Gun); Small Change, etc - you get the picture.
Talking of which, the show was shot in low light and quality is inevitably subject to digitising the product of the time, with the result that individual band members tend to appear as coloured pixellated blobs until they get focus, which usually only happens in the event of a solo, but the hazy appearance kind of goes with the music and is no bad thing - in fact, higher lighting might easily have produced a more visible gig, but probably not such a good one...
...because this is an excellent performance: onstage accompaniment is drums, upright bass, guitar, tenor sax/trumpet, while Tom throws shapes, or plays guitar or piano. Stage props include auto paraphenalia of early Waits imagery, such as petrol (sorry, gas) pumps, worn-out tyres and old Caddys (or is that a backdrop through the haze?), as well as the real-but-theatrical cigarettes and essential pork-pie hat.
It's filmed a while ago, but the voice has already been honed into a uniquely textured device and it's a treat to witness the rough ride the words have to endure while still managing to deliver heartbreak and damaged beauty in every song. It's also easy to imagine almost every frame, whether it's a jaw-jutting grimace or nearly-upright guitarist, as icon or caricature - take your choice. Whatever, the man is plainly enjoying himself.

One from the Heart was a soundtrack album of Tom Waits compositions for the Francis Ford Coppola film of the same name. It was recorded from October 1980 to September 1981, and released in 1982. It was during this period that Waits met his wife Kathleen Brennan, an employee at the studio where it was recorded.
Crystal Gayle features prominently on the record, performing either solo or in duets with Waits. The soundtrack was nominated for an Academy Award for Original Music Score.
The movie was re-released on DVD on January 27, 2004, and the DVD contains remixed and remastered Dolby Digital 5.1 Surround Sound of the soundtrack from Waits' original studio sessions, a documentary on the making of the soundtrack, as well as previously unreleased demo recordings and alternate takes.

Bounced Checks is the first compilation of Tom Waits recordings, including album, live and alternate versions of songs from six of his seven albums for Asylum Records, excepting his debut, Closing Time.
The collection includes several previously unreleased tracks. "Mr. Henry" is an outtake from Heartattack and Vine, "The Piano Has Been Drinking" is a live rendition of the track from Small Change, and "Jersey Girl" and "Whistlin' Past the Graveyard" are alternate takes from Heartattack and Vine and Blue Valentine.
（介绍来源于维基百科）

There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs--Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller--capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). --Aidin Vaziri

Blood Money is up there with Waits's best albums from the mid-'80s, veering as it does from sexy insomniac circus music to gorgeously heart-tugging lullabies to woozy zigzag bluesy romps to what can only be described as Oscar the Grouch singing out of tune on top of the soundtrack to an old French film. Blood Money's 13 songs were cowritten by Tom Waits and longtime collaborator and wife Kathleen Brennan for a Robert Wilson production of Georg Büchner's unfinished, protomodernist 1837 play, Woyzeck, about a Kafkaesque German soldier who goes crazy after doing medical experiments for money and kills his girlfriend after witnessing a perceived infidelity. The album's worldview is, necessarily, bleak. The lyrics are hilariously misanthropic, occasionally hallucinatory, and ring with the truth of Tin Pan Alley clichés turned inside out. "Coney Island Baby," in particular, is a grand statement, with Waits delicately croaking the lines "She's a rose, she's the pearl / She's the spin on my world / All the stars make their wishes on her eyes." The album's manifesto, however, is to be found in the title tune, as Waits spits out the words "If there's one thing you can say about mankind / There's nothing kind about man / You can drive out nature with a pitch fork / But it always comes roaring back again." Released at the same time as the lyrical, lovely Alice, the ragged and rhythmic Blood Money marks the return of one of our most gifted meta-singer-songwriters to the top of his game. --Mike McGonigal

This is Waits's most harrowing album ever, thanks not only to such heartwarming sentiments as "What does it matter, a dream of love or a dream of lies / We're all going to be in the same place when we die" but also to the ravaged, shamanistic croak with which he delivers them. Death hangs like a bad suit on songs like "Jesus Gonna Be Here," "The Ocean Doesn't Want Me," and "Murder in the Red Barn." But the album is musically entrancing and richly poetic--"Are you still jumping out of windows in expensive clothes?" Waits asks a perennially unfaithful lover in "Who Are You." There's also room for some foolishness, as with "I Don't Wanna Grow Up," which has been memorably covered by the Ramones, and a boozy sing-along (with Keith Richards), "That Feel." --Daniel Durchholz

The first album of the loose trilogy that also includes Rain Dogs and Franks Wild Years, Swordfishtrombones marked a radical departure for Waits, whose avant-garde ambitions became plain not so much in his lyrics or subject matter--the songs here deal, as do his older albums, with hard life on the wrong side of the tracks and dreams of escape and transcendence--but in the music, a sound somewhere between German cabaret music from between the wars and contemporary Manhattan rush hour. Odd time signatures, unusual instrumentation (glass harmonicas and brake drums, among others), and Waits's barked vocals make this one of his most individualistic and challenging albums. --Daniel Durchholz

Yūsaku Matsuda was a Japanese actor. In Japan, he was best known for roles in action films and a variety of television series in the 1970s as well as a switch to a wider range of roles in the 1980s. His final film appearance was as the villain Sato in Ridley Scott's Black Rain.