|1-04||Jockey Full Of Bourbon||2:45|
|1-05||Tango Till They're Sore||2:49|
|1-06||Big Black Mariah||2:44|
|1-07||Diamonds And Gold||2:31|
|1-08||Hang Down Your Head||2:32|
|1-12||9th & Hennepin||1:58|
|1-13||Gun Street Girl||4:37|
|1-18||Brain Of Rain Dogs (Instrumental)||1:07|
|1-19||Anywhere I Lay My Head||2:48|
|2-03||Dave The Butcher||2:15|
|2-05||16 Shells From 30.6||4:30|
|2-06||Town With No Cheer||4:22|
|2-07||In The Neighbourhood||3:04|
|2-08||Just Another Sucker On The Vine||1:42|
|2-09||Frank's Wild Years||1:50|
|2-11||Down, Down, Down||2:10|
|2-13||Gin Soaked Boy||2:20|
Swordfishtrombones is the seventh studio album by American singer-songwriter Tom Waits, released in September 1983. It was the first album that Waits produced himself. Stylistically different from his previous LPs, the album moves away from the piano and string orchestra arrangements of the late 1970s, replacing them instead with unusual instrumentation and a somewhat more abstract songwriting approach.
Listen to Rain Dogs, Swordfishtrombones online and get recommendations on similar music. Album descriptions on Last.
Tom Waits' career can pretty much be divided into everything before Swordfishtrombones and everything after Swordfishtrombones. That 1983 album marked a seismic shift in the way the singer-songwriter made his records. Prior to the LP, he was a late-night jazzbo with a beatnik sense of style and phrasing, and a sense of . But on Swordfishtrombones he began relying on found sounds and junkyard percussion to power his songs, which lyrically were sort of in the same neighborhood if you squinted hard enough
The middle album of the trilogy that includes Swordfishtrombones and Franks Wild Years, Rain Dogs is Waits's best overall effort. The songs are first-rate, and there are a lot of them-19 in all, ranging from grim nightlife memoirs ("9th and Hennepin," "Singapore") to portraits of small-time hustlers ("Gun Street Girl," "Union Square") to bursts of street-corner philosophy ("Blind Love," "Time").
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But much of the music matches the earlier album, and there is so much of it that that is enough to qualify Rain Dogs as one of Waits' better albums.
Waits followed Swordfishtrombones with what I consider to be the quintessential Tom Waits album, Rain Dogs. He took what was successful and innovative with the previous album, the strange percussion, horns, and deep basses which replaced the traditional piano and strings of his previous album, and continued to polish it. He stuck with his themes of down and out losers, vagabonds, alcoholics, and treasure seekers and created a marriage of styles that has never been duplicated. For truly, Rain Dogs is a patchwork theme album. Listening to it, one can become immersed in shady, rain dripping alleyways, seeing staggering drunks passing you by in dim lights, smelling the rum on their breath, and then emerging onto the cobblestoned 17th century pirate-infested streets of New Orleans. No one else would do such a thing and I’m not sure anyone else actually could.