Rocktrospectiva: The Acclaimed "Bad As Me" Turns 15

 

Released on 21 October 2011 "Bad As Me" was the 17th., studio album by US singer-songwriter Tom Waits, the album is known to have been recorded as early as February 2011 and was officially announced for release on August 23, 2011, on Waits' official web site and various social media networks. On the same day, the title track, "Bad as Me", was released as the album's first single on iTunes and the second single was "Back In The Crowd."  

The album was Waits' first album consisting completely of new material in seven years since Real Gone (2004). Waits' label, Anti-, had recently agreed on a distribution deal with Warner Music Group allowing them to release the album internationally. This marked Waits' first release through the Warner organization since Heartattack and Vine (1980). Upon its release, Bad as Me received widespread critical acclaim and the album was nominated for a Grammy Award for Best Alternative Music Album and was Wait's first top 10 in the US peaking at No. 6.  

After several rumours; Waits announced on his official web site and through various social media outlets that he would "set the rumors straight" on August 23. On this date, the title track was released as a digital single through iTunes, a video with previews of the album was released on YouTube, according to an announced released at the time that read:  Bad As Me is Tom Waits' first studio album of all new music in seven years. This pivotal work refines the music that has come before and signals a new direction. Waits, in possibly the finest voice of his career, worked with a veteran team of gifted musicians and longtime co-writer/producer Kathleen Brennan. From the opening horn-fueled chug of "Chicago," to the closing barroom chorale of "New Year's Eve," Bad As Me displays the full career range of Waits' songwriting, from beautiful ballads like "Last Leaf," to the avant cinematic soundscape of "Hell Broke Luce," a battlefront dispatch. On tracks like "Talking at the Same Time," Waits shows off a supple falsetto, while on blues burners like "Raised Right Men" and the gospel tinged "Satisfied" he spits, stutters and howls. Like a good boxer, these songs are lean and mean, with strong hooks and tight running times. A pervasive sense of players delighting in each other's musical company brings a feeling of loose joy even to the album's saddest songs." 

In an interview regarding Bad as Me, Waits confirmed the influence of Captain Beefheart, who had died earlier the same year. This collection continued the trajectory of everything Waits has produced since his 1980s era—bizarre offerings featuring an array of instruments, eclectic themes, and, of course, Waits’s signature haunting, plaintive, and gravelly voice. 

The set opened with "Chicago," part of a diverse sequence of songs—most lasting between two and four-and-a-half minutes—that, while generally slow-paced, undergo significant shifts. Key examples included the slow, melancholic "Face to the Highway"; the deeply sorrowful "Pay Me" which featured a beautiful accordion accompaniment; and "Kiss Me," in which Waits, asked his lover to kiss him as if they were uninhibited strangers. 

Then there was the ever-playful, mischievous, and ironic side of Waits—evoking a circus-like atmosphere in tracks such as "Raised Right Men" and "Get Lost." Here, the genius sounded almost as if he is barking, backed at times by a horn section, a rock-inflected guitar, or a simple organ—a sound that would surely startle any curious newcomer. There was also the promotional track "Bad As Me," where Waits, as always, toys with rhythm and his own vocal delivery. The journey concluded with "New Year's Eve." 

The album achieved widespread critical acclaim, the album considered a portrait of all the places he's traveled as a recording artist, the album was also praised for containing "no filler at all. Finally Waits' embraced of a legacy that now includes enshrinement in the Rock And Roll Hall Of Fame," concluding that "for longtime fans it's a fun reminder of Waits' ability to be a badass when necessary. 

 

Bad As Me Track List: 

 

1.  Chicago
2. Raised Right Men
3. Talking at the Same Time
4. Get Lost
5. Face to the Highway
6. Pay Me»
7. Back in the Crowd
8. Bad as Me
9. Kiss Me
10. Satisfied
11. Last Leaf
12. Hell Broke Luce
13. New Year's Eve

New Music: Boots On The Ground

           

Massive Attack and Tom Waits have shared a new collaborative single entitled “Boots on the Ground,” which marks the first new Massive Attack music distributed under what they’re referring to as a Spotify exemption policy. It’s also Waits’ first original music in 15 years and the first new tune from Massive Attack in six years. The protest anthem comes with a spoken-word B-side from Waits entitled “The Fly,” as well as additional spoken-word reflections from the Egyptian-Canadian-American writer Omar El Akkad. The single comes with a film made by Massive Attack in collaboration with the photographer thefinaleye. 

News: Massive Attack & Tom Waits Together For A New Collaborative Single

Massive Attack and Tom Waits have shared a new collaborative single entitled "Boots on the Ground," which marks the first new Massive Attack music distributed under what they’re referring to as a Spotify exemption policy. It’s also Waits' first original music in 15 years and the first new tune from Massive Attack in six years.

 

The protest anthem comes with a spoken-word B-side from Waits entitled "The Fly," as well as additional spoken-word reflections from the Egyptian-Canadian-American writer Omar El Akkad release this, April 17.

 

"It's a career honor to collaborate with an artist of the magnitude, originality and integrity of Tom, but this track is arriving in an atmosphere of chaos," Massive Attack shared of the collaboration. “Across the western hemisphere, state authoritarianism and the militarization of police forces are fusing again with neo-fascist politics. Seen within the American emergency, at home and overseas, this track contains pulses of callous impulse & abandoned mind."

 

Added Waits: "One day many years ago I accepted an invitation from Massive Attack to collaborate. Way back then, we sent them 'Boots on the Ground.' Their long release delay never worried me. Today, as in all of mankind’s yesterdays, guarantees this song will never go out of style. Man’s fiasco folly is a feast for the flies. Hence, the B side of Massive Attack's upcoming 12 inch 'The Fly' features my appreciation for the winged nuisance.”

 

The single comes with a film made by Massive Attack in collaboration with the photographer thefinaleye.

Rocktrospectiva: The Dazzling And Carnivalesque "Rain Dogs" Turns 40

Released on 30 September 1985 "Rain Dogs" was the ninth studio album by US singer-songwriter Tom Waits, a conceptual album about "the urban dispossessed" of New York City, Rain Dogs is generally considered the middle album of a trilogy that includes Swordfishtrombones and Franks Wild Years, the album spawned three singles "Jockey Full Of  Bourbon", "Hang Down Your Head" and the iconical "Downtown Train" the aided the album to peak No. 29 in the UK and No. 199 in the USA, years later in 1989/1990, Rod Stewart covered the song and made it and international hit.  

 

The album, which features guitarists Keith Richards and Marc Ribot, is noted for its broad spectrum of musical styles and genres, described by Arion Berger as merging "outsider influences – socialist decadence by way of Kurt Weill, pre-rock integrity from old dirty blues, the elegiac melancholy of New Orleans funeral brass – into a singularly idiosyncratic American style.

 

Waits wrote the majority of the album in a two-month stint in the fall of 1984 in a basement room at the corner of Washington and Horatio Streets in Manhattan. According to Waits, it was, "kind of a rough area, Lower Manhattan between Canal and 14th Street, just about a block from the river ... It was a good place for me to work. Very quiet, except for the water coming through the pipes every now and then. Sort of like being in a vault."

 

In preparation for the album, Waits recorded street sounds and other ambient noises on a cassette recorder to get the sound of the city that would be the album's subject matter. A wide range of instruments was employed to achieve the album's sound, including marimba, accordion, double bass, trombone, and banjo, indeed the album is notable for its organic sound, and the natural means by which it was achieved. 

 

Waits, discussing his mistrust of then fashionable studio techniques, said, "If I want a sound, I usually feel better if I've chased it and killed it, skinned it and cooked it. Most things you can get with a button nowadays. So if I was trying for a certain drum sound, my engineer would say, 'Oh, for Christ's sake, why are we wasting our time? Let's just hit this little cup with a stick here, sample something (take a drum sound from another record) and make it bigger in the mix, don't worry about it.' I'd say, 'No, I would rather go in the bathroom and hit the door with a piece of two-by-four very hard.'"

 

Rain Dogs was the first time that Waits worked with guitarist Marc Ribot, who was impressed by Waits' unusual studio presence. Ribot said, "Rain Dogs was my first major label type recording, and I thought everybody made records the way Tom makes records. ... I've learned since that it's a very original and individual way of producing. As producer apart from himself as writer and singer and guitar player he brings in his ideas, but he's very open to sounds that suddenly and accidentally occur in the studio. I remember one verbal instruction being, 'Play it like a midget's bar mitzvah.'" Ribot also recalls how the band would not rehearse the songs before going to record; rather, Waits would play them the songs on an acoustic guitar in the studio. "He had this ratty old hollow body, and he would spell out the grooves. It wasn't a mechanical kind of recording at all. He has a very individual guitar style he sort of slaps the strings with his thumb ... He let me do what I heard, there was a lot of freedom. If it wasn't going in a direction he liked, he'd make suggestions. But there's damn few ideas I've had which haven't happened on the first or second take."

 

It also marks Waits' first recording with Keith Richards, who played on "Big Black Mariah", "Union Square" and "Blind Love". Waits said, "There was something in there that I thought he would understand. I picked out a couple of songs that I thought he would understand and he did. He's got a great voice and he's just a great spirit in the studio. He's very spontaneous, he moves like some kind of animal. I was trying to explain 'Big Black Mariah' and finally I started to move in a certain way and he said, 'Oh, why didn't you do that to begin with? Now I know what you're talking about.' It's like animal instinct." According to Barney Hoskyns, the album's general theme of "the urban dispossessed" was inspired in part by Martin Bell's 1984 documentary Streetwise, to which Waits had contributed music.

 

Though it has been remarked that the man on the cover bears a striking resemblance to Waits, the photograph is actually one of a series taken by the Swedish photographer Anders Petersen at Café Lehmitz (a café near the Hamburg red-light boulevard Reeperbahn) in the late 1960s. The man and woman depicted on the cover are called Rose and Lilly. 

 

The album has been regarded as one of the most important albums in Waits' career, continuing the new path which he forged Swordfishtrombones onwards, hailead as a romantic and carnivalesque masterpiece imbued with the avant-garde sound of New York, and whose lyrics might be the best in Waits career, also because every track seemed to be like a short-themed movie full of mystery and darkness. 

 

Rain Dogs Track List: 

 

1. Singapore

2. Clap Hands

3. Cemetery Polka 

4. Jockey Full Of Bourbon

5. Tango Till They're Sore

6. Big Black Mariah 

7. Dimaonds And Gold

8. Hang Down Your Head 

9. Time  

Rocktrospectiva: The Dusty Gem "Heartattack And Vine" Turns 45

Released on 9 September 1980 "Hearttack And Vine" was the 7th., studio album by US singer, actor, musician and composer Tom Waits, it was his final album to be released on the Asylum label with long-term producer Bones Howe before a remarkable musical reinvention.  The album spawned the single "Jersery Girl". 

Lyrically, "Jersey Girl" conjured Bruce Springsteen’s world, but the tune’s eager romanticism becomes warped in the caldron of what’s left of Waits’ voice.  "Saving All My Love for You,", "Ruby’s Arms" and "On the Nickel" boast the same morbid pathos as "Jersey Girl." With their wistful folk-pop melodies and Fifties film-score orchestrations, they suggest the pop-song equivalents of hand-tinted antique post cards. 

"On the Nickel" was recorded for the Ralph Waite film of the same name. It was used as the theme song for the 1985 "The Atlanta Child Murders" miniseries. Waits was already messing with off-kilter rhythms even in the most conventionally structured blues and jazz songs, with nastier-sounding guitars -- he plays a particularly gnarly style of rhythm on this entire album. 

Five of these nine tracks were rooted in blues with rock edges and R&B beats. By this time, his singing voice had deteriorated to a gasping-for-breath whiskey-and-cigarettes growl that could make words indecipherable from one another, but his jazzman-inspired phrasing more than compensated. The opening title track with its razored electric guitars, walking upright bass and natural sound, the percussion and tenor sax that makes Waits' vocal grimace and growl even more menacing. The tune details substance abuse, denizens of life's dark side, and a view of God and the Devil as sober and drunk sides of the same person.  

The slow blues instrumental "In Shades," which sets up the first of a series of memorable ballads. "Saving All My Love for You" showed Waits' piano and a string chart by Jerry Yester frame a scenic, confessional, broken love song. "Downtown" adds funk to the blues, and organ sound confrontation with distorted electric guitars and Waits' declarative guttural snarl. 

"Jersey Girl," a dramatic ballad that overlaps with the sound world of Bruce Springsteen so much -- complete with glockenspiel -- that the Boss covered it, released it as a live B-side, and made it a part of his live sets for decades. "On the Nickel" is another of Waits' more arresting ballads evoking an earlier and grittier era in American life and culture. It was used as the title track of Ralph Waite's film of the same name -- Waits scored the entire film. "Mr. Siegal" is a gangster's boast that rivals the hip poetry of Lord Buckley. The near baroque woodwind and reed chart that introduces album finale "Ruby's Arms" marks one of Waits' most beautiful and unusual ballads, the use of strings as a frame for his singing is sparse and roomy, allowing the songwriter's piano to accompany his achingly sad vocal with all the poignancy, regret, and resolve that only the romantically bereft can muster. 

The critics agreed that "Heartattack and Vine" revealed how much Waits had grown during his tenure with Asylum with almost every song stands on its own as a dusty gem.  

 

Hearttack And Vine Track List: 

 

1. Hearttack And Vine 

2. In Shades

3. Saving All My love For You

4. Downtown

5. Jersey Girl

6. 'Til The Money Runs Out

7. On The Nickel

8. Mr. Siegal

9. Ruby's Arms  

Rocktrospectiva: El Extraño "Swordfishtrombones" Cumple 40 Años

 

Lanzado el 1 de Septiembre de 1983, "Swordfishtrombones" fue el 8avo., álbum de estudio del legendario crooner Tom Waits, el álbum fue producido por el mismo y ofreció un estilo totalmente diferente de lo que era sus discos anteriores, se mueve de los convencionalismos basados en temas compuestos con piano para pasarse a un estilo más abstracto y experimental, del álbum se lanzo un único single llamado "In The Neighborhood", curiosamente el disco alcanzó el No. 164 en el Billboard 200.

 

Un disco clave en su carrera, es considerado el parte aguas para Tom Waits que lo alejo de todo lo tradicional que tocaba antes, quizás el hecho de haber podido conocer a la que fue su esposa como el detonante de todo, un estilo que iba dentro pseudo jazz pasando por el art rock experimental, los temas eran cortos llenas de letras con extraña imagineria, un sonido desgastado, retorcido gracias a la sonoridad extraña que marcó este nuevo disco. 

 

El tema "In The Neighborhood" era como una curiosa marcha extraña de borrachos interpretando el tema, "Frank's Wild Years" era uno de los mejores temas del set y que inspiraría al siguiente disco, y es que aunque no lo parezca, este disco fue el inicio de una curiosa trilogía sonora para Waits sin andar buscándolo, para dar paso al "Raindogs" y luego al "Frank's Wild Years", sin duda el disco fue influyente en la carrera de Waits, además de ser el primero para el sello Island tras el rechazo que Warner Bros., le hiciera. 

 

La crítica lo abrazó y apreció, muchos medios lo catalogaron como el mejor disco de ese 1983, otros con el pasar de los años fueron suavizando su primera opinión al respecto y comenzaron a considerar el álbum como uno de los mejores de todos los tiempos por su temática tan extraña. 

 

La portada fue a cargo de Michael A. Russ mostrando a Waits junto a los actores Angelo Rossitto y Lee Kolima.

 

Swordfishtrombones Track List:

 

1. Underground

2. Shore Leave

3. Dave The Butcher

4. Johnsburg Illinois

5. 16 Shells From A Thirty-Ought Six

6. Town With No Cheer

7. In The Neighborhood

8. Just Another Sucker On The Vine

9. Frank's Wild Years

10. Swordfishtrombones

11. Down, Down, Down

12. Soldier's Things

13. Gin Soaked Boy

14. Trouble's Braids

15. Rainbirds

 

Rocktrospectiva: El Aspero Y Romantico "Rain Dogs" Cumple 35 Años

Lanzado el 30 de Septiembre de 1985, "Rain Dogs" 9no., álbum de estudio del icónico crooner Tom Waits, que era una disco conceptual sobre los desposeidos urbanos de New York, y que forma parte de la trilogía que comenzó con "Swordfishtrombones" y "Frank Wild Years". 

 

Si bien Waits había confundido a todo el mundo con el primero de la trilogía, con este se los volvía a ganar a todos con estos temas que apelaban al romanticismo e idealismo bañados en Bourbon, con un submundo habitado por una serie de curiosos personajes callejeros, tan variopintos y grotescos ignorados por la sociedad pero que allí estaban y siguen estando presentes, arropados con una serie de letras dementes, con una música increible llena de percusiones estruendas, trompetas tan disonantes, pianos de bar con sabor a viejo, acordeones, organos, guitarras crispadas y hasta un banjo y que iban dando forma a una serie de temas tan raros.

 

Waits escribío la mayoria de los temas en dos meses durante el otoño de 1984 en un sotano en Manhattan, era una área dura entre el bajo Manhattan, el Canal y la 14 calle, a una cuadra del rio, pero que era un buen lugar para trabajar, quieto y callado excepto por el agua que iba y venia, y gracias a eso fue que añadio muchos instrumentos que también curiosamente incluían una marimba, y es que el disco es notable por su sonido organico y natural, que logró usando unas notables técnicas de grabación, además que Waits trabajó con buenos músicos como el guitarrista Marc Ribot que fue determinante en el sonido del disco, además que también contó con la aparición de keith Richards, ambos le dieron esa aura espectral al mismo que muchos bautizarian como sucio blues, por último cabe mencionar que según Barney Hoskyns, la temática del disco sobre los urbanos desposeidos, fue inspirado por el documental de Martin Bell "Streetwise" de 1984, al cual Waits contribuyó con la música. 

Del disco solo salío el single "Downtown Train" tan aspero y meláncolico con esa guitarra triste que arropaba la voz garrasposa de Waits y que muchos consideraron que Rod Stewart arruinó y domesticó con su buen cover de 1990, otros temas como "Blind Love" tenía aires a country, las instrumentales "Midtown" y "Bride Of Rain Dog", entre otras. Por último, la porta que fue tomada de una serie de imágenes hechas por el fotográfo Sueco Anders Petersen, en el Café Lehmitz a finales de los 60's, con una pareja que eran conocidos como Rose y Lilly. 

El disco fue aclamado por la crítica, y así considerado como un gran logró en su carrera, gracias a un toque único y variado a la vez, que lo hizo ganarse el status de poeta Estadounidense, un disco casi pop, lleno de buena instrumentación, no tan melódico pero sorpresivamente flexible en las vocales, con una peculiar bandera, entre romanticismo y optimismo glorioso. 

Rain Dogs Track List:

1. Singapore

2. Clap Hands

3. Cemetery Polka 

4. Jockey Full Of Bourbon

5. Tango Till' They Shore

6. Big Black Mariah

7. Diamonds & Gold

8. Hang Down Your Head

9. Time

10. Rain Dogs

11. Midtown 

12. 9th. & Hennepin

13. Gun Stree Girl

14. Union Square

15. Blind Love

16. Walking Spanish

17. Downtown Train

18. Bride Of Rain Dog

19. Anywhere I Lay My Head

La Noticia: Tom Waits Relanzará Real Gone

El iconico Tom Waits publicará una nueva versión remasterizada/remezclada de su clásico tema "Real Gone" que aparecierá originalmente en el 2004. Por aquel entonces, Waits buscaba elaborar algo más extraño y atipicó a lo que venía haciendo, empezando por alejarse del piano y meterse de lleno con sus colaboradores Marc Ribot, Larry Taylor, Harry Cody, Brain Mantia y Les Claypool, para sacar el sonido tan peculiar y original de aquel disco.

Esta nueva reedición ha sido remasterizada por el propio Waits y su esposa Kathleen Brennan, quién se ha convertido en su colaboradora musical, de acuerdo a los detalles de esta nueva entrega, se dice que se podrá descubrir el sonido y textura que Waits quería originalmente en su disco, osea una intimidad que resaltará mucho más, y hasta hoy pudo lograr eso.

En realidad pues no se sabe que es lo que realmente quiere dar a entender Waits, ya que se trata de un disco bastante reciente en donde se aplicó toda la tecnología posible, no estamos hablando de un disco de hace 20 ó 30 años sino una obra casi genial del 2004, y que por ende son muy fáciles de conseguirlos, en todo caso deberia de revisar su catalogo y darle una nueva pincelada de sonido a otros discos más viejos o casi olvidados de su rico repertorio musical. 

La fecha estimada será el 24 de noviembre próximo cuando salga a la venta la nueva edición remasterizada del clásico del 2004, "Real Gone".

Primicia: Hell Broke Luce

       

Ya para quemar los últimos cartuchos del genial "Bad As Me" el iconico Tom Waits nos entrega el que probablemente sea el último single que se extrae del disco "Hell Broke Luce" cuyo video ha sido dirigido Matt Mahurin presentandonos un lugubre y bizarro escenario con Tom Waits jalando su último baluarte una casa de todo lo malo y contaminante desde codiciosas aves de rapiña hasta milicianos abusadores.

Primicia: Satisfied

Segundo single oficial que se extrae del magistral "Bad As Me", la dirección del video corre a crgo de Jesse Dylan y nos muestra a un bizarro Tom Waits de sombrerito y en blanco y negro haciendo bailecitos al compás de la garrasposa "Satisfied", aceptable video aunque la canción vale más que las imágenes.

Discos: Bad As Me

Pubicado a finales del pasado mes de octubre "Bad as Me" el decimoséptimo álbum de estudio legendario Tom Waits, aunque ya el 23 de agosto estaba disponible el single "Bad As Me", el primer trabajo del artista en siete años, y lo que lo hace una obra fundamental es que refina la música de antes marcando una nueva dirección, lo cual fue logrado gracias al trabajó que realizo junto a un equipo de geniales músicos veteranos además de su antañona colaboradora Kathleen Brennan.

El álbum reune una variopinta colección de tracks que muestran el amplisimo arsenal compositivo de Waits, que van desde baladas como "Last Leaf" hasta la vanguardística "Hell Broke Luce", destacan también temas como "Talking at the Same Time", donde Waits hace gala de un falsete flexible, y en el toque gospel de "Satisfied" donde escupe, tartamudea y aulla.

En realidad "Bad As Me" trata la continuación de todo lo que Waits ha realizado a partir de su etapa ochentera que son bizarras entregas que tiene toda clase de instrumentos, argumentos y la siempre espeluznante, quejumbrosa y rasposa voz de Waits.

El set abre con "Chicago" un variopinto paseo de canciones cuyo promedio de duración se situa entre los 2 a 4 minutos y medio si mucho, canciones que en su mayoria son lentas pero que van cambiando de manera significativa, un ejemplo clave son los tracks “Face to the Highway” la cual es lenta, melancólica y suena, la tristisima y también mi preferida “Pay Me” con un hermoso acordeón acompañando el tema, o “Kiss me” en donde Waits con su toque caracteristico le pide a su amor que lo bese como unos desconocidos desenfrenados.

Tambien esta el siempre juguetón, perverso e hironico lado de Waits con ese toque cirquense en temas como “Raised right men” y “Get lost” en donde el genio aparece casi ladrando, a veces acompañado por una sección de vientos, una guitarra rockera, o un simple organo lo cual de seguro asustaría a cualquier curioso neofito, tambien esta el track promocional “Bad As Me” donde waits juega como siempre con los tiempos y su voz,

Hasta terminar con "New Year´s Eve" pero a esas alturas uno esta más que complacido de escuchar semejante conjunto de canciones tan pero tan raras pero a la vez entrañables que contrastan con la porqueria que hoy en día domina la radio desgraciadamente.

Se les recomienda adquirir la versión de lujo ya que trae tres temas más lo cual siempre es bien recibido cuando se trata de un artista como él.

Bad As Me tracklisting:

1. Chicago
2. Raised Right Men
3. Talking at the Same Time
4. Get Lost
5. Face to the Highway
6. Pay Me»
7. Back in the Crowd
8. Bad as Me
9. Kiss Me
10. Satisfied
11. Last Leaf
12. Hell Broke Luce
13. New Year's Eve

Deluxe edition:

14. She Stole the Blush
15. Tell Me
16. After You Die

Primicia: Bad As Me

Primer single oficial que se extrae del experadisimo y anticipadisimo "Bad As Me" que saldrá a la venta el proxímo 24 de octubre, después de tanto tiempo nos corroe la impaciencia de saber que tal estará la placa, aunque esta probadita deja buen sabor de boca y lo coloca en el punto de mira de lo más sobresaliente de este año que entra en su recta final.

El Libro: Waits/Corbijn - Photographs 1977-2010

Programado inicialmente para el 2009, el libro tuvo que esperar un año para por fin ser lanzado oficialmente, se trata del nuevo trabajo en conjunto del aclamado fotográfo holandés Anton Corbijn y la leyenda viviente Tom Waits.

El libro "Waits/Corbijn - Photographs 1977-2010" se extiende a lo largo de los 30 años de relación entre ambos artistas recogiendo 200 fotográfias a color y duotone, asi como retratos tomados a Waits, el lanzamiento fue aplazado por la sencilla razón que se decidio incluir 49 paginas más que incluyen suplementos de Waits, fotográfias de su autoria, escritos y letras de sus canciones haciendo del mismo algo codiciable.

El libro estara disponible por el momento en inglés y alemán, aún no se sabe si se incluira una edición en español aunque es muy dificil, Waits anuncio el lanzamiento del tan esperadisimo libro a través de su pagina en Twitter el pasado 1ero. de septiembre.

La selección final de Corbijn pudo ser apreciada del 22 de septiembre al 12 de octubre en De Stadsschouwburg, Amsterdam la cual incorporo música de Waits y su esposa asi como de la cantante estadounidense Kathleen Brennan.

Actualmente Waits se encuentra trabajando en temas musicales para una obra de teatro junto al director y colaborador durante mucho tiempo Robert Wilson, el dramaturgo.

El libro costara aproximadamente unos €75, y si quieren saber más pueden entrar a la pagina oficial: http://www.schirmer-mosel.com/corbijn/