June 25th, 2008
A plea from the taper: Please support the artist by purchasing official music. These tapes are not intended to replace official product. The artists and their teams rely on purchases of official releases. It is easy to download music for free, but there is a cost to produce it. Please support the artist!
Sonic Studios DSM 6S/L Microphones > Sonic Studios PA-6LC2 Microphone Pre-Amplifier > Zoom H2 Recorder 16-bit/44.1-KHz wav files > Sound Forge > CD Wav > Wav
Recorded and Mastered by K2
102 Down In The Hole
103 Falling Down
104 All The World Is Green
107 Fannin Street
108 Trampled Rose
109 Black Market Baby
110 Anywhere I Lay My Head
111 Lie To Me
113 Invitation To The Blues
114 Lucky Day
116 Innocent When You Dream
201 Hoist That Rag
202 Get Behind The Mule
203 Jesus Gonna Be Here
204 Goin’ Out West
205 Shore Leave
206 Cemetery Polka
207 Come On Up To The House
208 Make It Rain
209 Eyeball Kid
Tom Waits – vocals, guitar, piano, percussion, bullhorn
Seth Ford-Young – bass
Vincent Henry – woodwinds
Omar Torrez – guitar/banjo
Casey Waits – drums
Sullivan Waits – clarinet/conga
Patrick Warren – keyboard
Waits has dubbed his summer 2008 tour “Glitter and Doom,” a trek through the lower half of the U.S. he described as “PEHDTSCKJMBA” (pronounced “pess-kuh-JUM-buh), an acronym for each of the tour’s stops: Phoenix, El Paso, Houston, Dallas, Tulsa, St. Louis, Columbus, Knoxville, Jacksonville, Mobile, Birmingham and Atlanta.
REVIEW: Tom Waits
6/27/2008 11:59:09 AM
By Jennifer Chancellor
World Scene Writer
It was a carnival-like revival of the surreal on the historic Brady Theater stage on Wednesday night at the Brady Theater, and Tom Waits was its swarthy-voiced ringleader.
The storied singer and spoken-word performer maneuvered between piano, guitar and maracas, and his band belted out tunes on clarinet, bass clarinet, doghouse bass, drums, keyboards, hand drums and more.
For this show, however, Waits’ trademark granulated voice was the ultimate instrument, from rumbling growls to falsettos and even beatboxing.
During Rain Dogs, he pulled his leg up and arms out, into a crane position and clapped his hands.
As he raven-cawed out the lyrics, We sail tonight for Singapore, the vivid blue, white, red and yellow spotlights blinked and burned against the crushed red velvet curtains behind him.
The near-capacity audience was set adrift into Waits intricate aural hallucination.
In between songs, he’d croak out salty monologues about the sound of corn growing to how sensitive eels are to alcohol.
Several times, he even gently shushed the amorous crowd, which often erupted into yells and chants for their favorite songs while he segued through his set after all, it was Waits first time to perform in Tulsa. Ever.
It was also his first performance in the Sooner state since 1974, when he opened for Frank Zappa in Oklahoma City.
As if drunkenly running from a hell hound on his heels, he staggered into Goin’ Out West, claiming he had a devil on a leash.
Throughout the set, fog roiled forth in bursts as he stomped his feet on the stage. Sweat streaked his cheeks like tears and saturated his three-piece gray suit.He never faltered.
The two-plus hour set was as eclectic as his decades-long career, as he barked out poetry to tunes like Lucinda, November, Black Market Baby, Innocent When You Dream, Cemetery Polka, Come on Up to the House, Rain Dogs and Lie to Me.
During the encore, he donned a mirrored bowler hat and spun like a disco ball.
So put a candle in the window and a kiss upon his lips,î he sang along to his encore tune Time.
I made a golden promise, that we would never part. I gave my love a locket, and then I broke her heart.
As the dish outside the window fills with rain / Just like a stranger with the weeds in your heart / And pay the fiddler off till I come back again.