![]() I’m always dragging things into the studio… when I come up to the studio, my car’s filled with junk.” ![]() I like things that weren’t intended to be instruments being used as instruments… things that have been out in a field somewhere, or that you find in the gutter. Using invented instruments like the “conundrum” a structure of his own devising, Waits said, “it looks like a big iron crucifix, there are a lot of different things hanging off it: crowbars, and found metal objects that I like the sound of… when you hit it, it sounds just like a jail door slammin’. Waits performed much of the percussion himself, enthused by the release offered by thumping metal objects and banging sticks to achieve the clattering sound he was looking for. Three decades later, it still sounds like nothing else.Īs Rip Rense put it at the time of its release, the album was “made of clattering sticks, rusted farm equipment, choking demons, newspaper clippings, thundering stomps, Biblical myths, phantoms, marching skeletons, madmen, murders, lost friends, little kids, and a little rain.” As outlandish as that might sound, you’ll likely struggle for any other way to put it once you actually listen. ![]() It won the 1993 Grammy for Best Alternative Album. His singing was somehow more tortured and extreme. Musically it was his most daring album yet, creating darker experimental soundworlds with rhythms that rattled like syncopated skeletons. The records heralded a second act, with Waits deconstructing his established persona and breaking new ground. In the mid-’80s, Tom Waits released a trio of albums – Swordfishtrombones, Rain Dogs, and Frank’s Wild Years – that redefined who he was.
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