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

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

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）

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.

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.

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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Tales For The Audience

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

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.

Tom Waits wasn't always the intense, even bizarre pop expressionist he'd become by the '80s. Before the brilliant dementia of his later work, Waits was just another soft-spoken troubadour with a wicked sense of humor and a special fondness for jazz, blues, and the Beat generation. The roots of his music are revealed within the 13 tracks of The Early Years, a collection of previously unreleased 1971 demo tapes. Waits never intended these recordings for public consumption. But the wise guy pathos of "I'm Your Late Night Evening Prostitute" and the intentionally bad puns of "Had Me a Girl" hold up well as intelligent, charming, early snapshots of an important artist. --Steve Appleford

As tour guide on a trip through the midnight-to-dawn streets of Los Angeles that the beautiful people never see through the smoked-glass windows of their limos, Waits details the lives of hipsters, down-and-outers, and lost causes in latter-day beat poetry and small-jazz-combo arrangements. This live album from 1975 almost has the quality of standup comedy, but the routines are richer and more carefully drawn. Check out the vivid detail, low humor, and hooker-with-a-heart-of-gold emotionalism Waits brings to songs such as "Nighthawk Postcards," "Putnam County," and a memorable reading of trucker poet Red Sovine's "Big Joe and Phantom 309." --Daniel Durchholz

13 track 1986 retrospective of his finest output for the Asylum label, including 'The Heart Of Saturday Night', 'Small Change', 'I Never Talk To Strangers', 'Blue Valentines', the 'Westside Story' classic 'Somewhere' and more! A WEA release.