#ryuichisakamoto — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #ryuichisakamoto, aggregated by home.social.
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https://www.magmoe.com/2941101/movie/2026-04-25/ 「圧巻の1919」Ryuichi Sakamoto | Trio Tour 2012 ひでちゃぴんさんの映画レビュー（感想・評価） #film #movie #RyuichiSakamoto|TrioTour2012 #レビュー #感想・評価 #映画
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https://www.wacoca.com/media/639309/ 「圧巻の1919」Ryuichi Sakamoto | Trio Tour 2012 ひでちゃぴんさんの映画レビュー（感想・評価） #film #movie #RyuichiSakamoto|TrioTour2012 #レビュー #感想・評価 #映画
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Now listening on #YouTube
Ryuichi Sakamoto: andata
from async#Sakamoto #RyuichiSakamoto #Andata #Async #Music #ModernMusic #Muziek #ModerneMuziek
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Now listening on #YouTube
Ryuichi Sakamoto: andata
from async#Sakamoto #RyuichiSakamoto #Andata #Async #Music #ModernMusic #Muziek #ModerneMuziek
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Now listening on #YouTube
Ryuichi Sakamoto: andata
from async#Sakamoto #RyuichiSakamoto #Andata #Async #Music #ModernMusic #Muziek #ModerneMuziek
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Now listening on #YouTube
Ryuichi Sakamoto: andata
from async#Sakamoto #RyuichiSakamoto #Andata #Async #Music #ModernMusic #Muziek #ModerneMuziek
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Now listening on #YouTube
Ryuichi Sakamoto: andata
from async#Sakamoto #RyuichiSakamoto #Andata #Async #Music #ModernMusic #Muziek #ModerneMuziek
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Shirin Neshat, Shoja Azari – „Women Without Men“ (2009)Geschichte ist für einen Film nie ein beliebiger Hintergrund. Sie greift ein, zerschneidet Biografien, schreibt sich in die Menschen. Hier ist es der Putsch im Iran von 1953, der nicht erklärt wird, sondern zu spüren ist. Straßen, Stimmen, Hitze, und mittendrin die Frauen, die versuchen, sich die Räume zu erkämpfen, die ihnen vorher systematisch entzogen werden. (ARTE, Neu)
Zum Blog: https://nexxtpress.de/mediathekperlen/shirin-neshat-shoja-azari-women-without-men-2009/ -
🇺🇦 #NowPlaying on #KEXP's #EasternEchoes
Ryuichi Sakamoto:
🎵 The Last Emperor (Theme)https://juliarovinsky.bandcamp.com/track/ryuichi-sakamoto-the-last-emperor
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Current CD playing in the car - Thousand Knives of #RyuichiSakamoto, next up is Para Bellum by #Testament
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🎶
How I spent 🎅 Christmas 2025 🎄
🙂 Thanks to 🇺🇸 #LaLaLandRecords (1, 2, 5), 🇪🇸 #QuartetRecords (3, 9), 🇬🇧 #SilvaScreenRecords (4, 12), 🇯🇵 #RamblingRecords (6), 🇬🇧 #AtlasRéalisations (7), 🇮🇹 #CamSugar (8), 🇮🇹 #CinevoxRecords (10), 🇯🇵 #Commmonsmart (11) ... and 🇮🇹 #IntermezzoMedia
#Filmmusik #FilmMusic #Soundtrack #JohnBarry #StelvioCipriani #MurrayGold #JerryGoldsmith #PaulLeonardMorgan #GeorgeMartin #EnnioMorricone #RizOrtolani #RyuichiSakamoto #DebbieWiseman
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🎶
How I spent 🎅 Christmas 2025 🎄
🙂 Thanks to 🇺🇸 #LaLaLandRecords (1, 2, 5), 🇪🇸 #QuartetRecords (3, 9), 🇬🇧 #SilvaScreenRecords (4, 12), 🇯🇵 #RamblingRecords (6), 🇬🇧 #AtlasRéalisations (7), 🇮🇹 #CamSugar (8), 🇮🇹 #CinevoxRecords (10), 🇯🇵 #Commmonsmart (11) ... and 🇮🇹 #IntermezzoMedia
#Filmmusik #FilmMusic #Soundtrack #JohnBarry #StelvioCipriani #MurrayGold #JerryGoldsmith #PaulLeonardMorgan #GeorgeMartin #EnnioMorricone #RizOrtolani #RyuichiSakamoto #DebbieWiseman
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🎶
How I spent 🎅 Christmas 2025 🎄
🙂 Thanks to 🇺🇸 #LaLaLandRecords (1, 2, 5), 🇪🇸 #QuartetRecords (3, 9), 🇬🇧 #SilvaScreenRecords (4, 12), 🇯🇵 #RamblingRecords (6), 🇬🇧 #AtlasRéalisations (7), 🇮🇹 #CamSugar (8), 🇮🇹 #CinevoxRecords (10), 🇯🇵 #Commmonsmart (11) ... and 🇮🇹 #IntermezzoMedia
#Filmmusik #FilmMusic #Soundtrack #JohnBarry #StelvioCipriani #MurrayGold #JerryGoldsmith #PaulLeonardMorgan #GeorgeMartin #EnnioMorricone #RizOrtolani #RyuichiSakamoto #DebbieWiseman
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🎶
How I spent 🎅 Christmas 2025 🎄
🙂 Thanks to 🇺🇸 #LaLaLandRecords (1, 2, 5), 🇪🇸 #QuartetRecords (3, 9), 🇬🇧 #SilvaScreenRecords (4, 12), 🇯🇵 #RamblingRecords (6), 🇬🇧 #AtlasRéalisations (7), 🇮🇹 #CamSugar (8), 🇮🇹 #CinevoxRecords (10), 🇯🇵 #Commmonsmart (11) ... and 🇮🇹 #IntermezzoMedia
#Filmmusik #FilmMusic #Soundtrack #JohnBarry #StelvioCipriani #MurrayGold #JerryGoldsmith #PaulLeonardMorgan #GeorgeMartin #EnnioMorricone #RizOrtolani #RyuichiSakamoto #DebbieWiseman
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🎶
How I spent 🎅 Christmas 2025 🎄
🙂 Thanks to 🇺🇸 #LaLaLandRecords (1, 2, 5), 🇪🇸 #QuartetRecords (3, 9), 🇬🇧 #SilvaScreenRecords (4, 12), 🇯🇵 #RamblingRecords (6), 🇬🇧 #AtlasRéalisations (7), 🇮🇹 #CamSugar (8), 🇮🇹 #CinevoxRecords (10), 🇯🇵 #Commmonsmart (11) ... and 🇮🇹 #IntermezzoMedia
#Filmmusik #FilmMusic #Soundtrack #JohnBarry #StelvioCipriani #MurrayGold #JerryGoldsmith #PaulLeonardMorgan #GeorgeMartin #EnnioMorricone #RizOrtolani #RyuichiSakamoto #DebbieWiseman
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🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles
Ryuichi Sakamoto:
🎵 Merry Christmas Mr.Lawrencehttps://eoticonmusic.bandcamp.com/track/ryuichi-sakamoto-merry-christmas-mr-lawrence-eoticon-remix
https://open.spotify.com/track/5VuwAhMCz9EMg3RHL1KUEr
(There are still 364 days until 🎄 #Christmas) -
Ryuichi Sakamoto’s final chapter has been honored on the world stage in the form of an International Emmy Award for NHK. https://www.japantimes.co.jp/culture/2025/11/26/film/ryuichi-sakamoto-international-emmy-award/?utm_medium=Social&utm_source=mastodon #culture #film #ryuichisakamoto #awards #emmys #japanesefilm
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Alva Noto – Xerrox Vol. 2 (2009, Germany)
Our next spotlight is on number 870 on The List, submitted by leonardo.
This is the second in a five-album series from experimental electronic musician and visual artist Carsten Nicolai, aka Alva Noto, the first volume released in 2007 and the final just earlier this year (full series pictured and linked below, I recommend viewing on the blog in desktop mode to see all covers in a single horizontal line).[1] The sweet thing about the Xerrox series (and having it now complete) is that you can really drop in wherever you want without knowledge of any of the other volumes, and just because you aren’t keen on one volume doesn’t necessarily mean you won’t adore another volume. They all work from the same concept – essentially, making an auditory copy of a copy of a… – but have different starting material, a different approach, and ultimately a different feel. In the volume we look at here, Noto works his magic on samples from the likes of Michael Nyman, Stephen O’Malley, and frequent collaborator Ryuichi Sakamoto. Have you hit the Copy button yet?!
- Note all covers IRL are stark black print on a white background, I fooled around with them to highlight the volume we’re spotlighting. The CD cases do look elongated like this though; I was actually introduced to Noto and this series because I saw Vol. 3 in my local record shop and though it looked so cool, I had to buy it to check it out. ↩︎
#alvaNoto #ambient #carstenNicolai #electronic #electronicMusic #experimental #listenToThis #michaelNyman #music #musicDiscovery #ryuichiSakamoto #stephenOmalley
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🇺🇦 #NowPlaying on #BBC6Music's #TheSleepingForecast
Ryuichi Sakamoto:
🎵 The Last Emperor Themehttps://anam1.bandcamp.com/track/the-last-emperor-main-theme
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https://www.wacoca.com/media/426549/ 坂本龍一さん、最後の3年半の軌跡。本音が綴られた日記で辿るドキュメンタリー映画『Ryuichi Sakamoto: Diaries』予告編 #movie #MovieCollection #MovieCollectionJP #RyuichiSakamoto:Diaries #ムビコレ #坂本龍一
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🧵 A tribute to the Coda documentary about musician Ryuichi Sakamoto (2017).
#graphic #design #artwork #2D #vector #cartoon #illustration #illustrator #cute #DigitalArt #digital #style #art #artist #arts #arte #designer #GraphicDesign #minimalism #ArtLovers #FineArt #painting #drawing #MastoArt #FediArt #CreativeToots #ArtistsOnMastodon #RyuichiSakamoto #documentary #poster #CoverArt #music #musician #ElectronicMusic #synth #synthesizer #synthesizers #retro #1980s
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Ryuichi Sakamoto - Playing the Piano 12/12/2020
On the 11th of December, 2020, Ryuichi Sakamoto was informed his cancer—the one he had beaten into remission in 2015—had returned.
The next day, he poured his feelings into the piano, and played an online concert for all.
This is that concert.
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It's only 5 days till he's home, so we must have this amazing collab from our Yoongi with Ryuichi Sakamoto and Woosung.
Agust D Ft. Ryuichi Sakamoto & WOOSUNG - Snooze
https://www.youtube.com/watch?v=zCNqdvR9e_w -
"On Division Street" by Nation of Language really makes me think of "Behind the Mask by Yellow Magic Orchestra
https://music.youtube.com/watch?v=06iyW6JWDsc "On Division St" Nation of Language
https://music.youtube.com/watch?v=gcEbrwHnmWY "Behind The Mask" Ryuichi Sakamoto with Tohoku Youth Orchestra
https://youtu.be/kcfJkH2gbcc Yellow Magic Orchestra - Live at the Greek Theatre, 1979 "BEHIND THE MASK"
#music #NationOfLanguage #YMO #YellowMagicOrchestra #RyuichiSakamoto
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Remembering Ryuichi Sakamoto from Yellow Magic Orchestra
(January 17, 1952-March 28, 2023)
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NTS Guide to: Sakamoto's Piano Works | 28.03.25
An hour of Ryuichi Sakamoto's piano focussed compositions, in memory of the legendary musician.
#music #nts #ntsradio #ryuichisakamoto #japan #piano #modernclassical
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Fushimi: "If only some people can have it, that's not happiness. That's just nonsense. #Happiness is something anyone can have."
https://www.imdb.com/title/tt23736044/quotes/?item=qt7061125
#Kaibutsu
https://en.wikipedia.org/wiki/Monster_(2023_Japanese_film)
#KoreedaHirokazu
https://en.wikipedia.org/wiki/Hirokazu_Kore-eda
#SakamotoYūji
https://en.wikipedia.org/wiki/Yuji_Sakamoto
#SakamotoRyūichi
https://en.wikipedia.org/wiki/Ryuichi_Sakamoto
#Monster #Film #Cinema #LGBTIQ #Gay #Love #Friendship #HirokazuKoreeda #YujiSakamoto #RyuichiSakamoto #Japan -
Fushimi: "If only some people can have it, that's not happiness. That's just nonsense. #Happiness is something anyone can have."
https://www.imdb.com/title/tt23736044/quotes/?item=qt7061125
#Kaibutsu
https://en.wikipedia.org/wiki/Monster_(2023_Japanese_film)
#KoreedaHirokazu
https://en.wikipedia.org/wiki/Hirokazu_Kore-eda
#SakamotoYūji
https://en.wikipedia.org/wiki/Yuji_Sakamoto
#SakamotoRyūichi
https://en.wikipedia.org/wiki/Ryuichi_Sakamoto
#Monster #Film #Cinema #LGBTIQ #Gay #Love #Friendship #HirokazuKoreeda #YujiSakamoto #RyuichiSakamoto #Japan -
Fushimi: "If only some people can have it, that's not happiness. That's just nonsense. #Happiness is something anyone can have."
https://www.imdb.com/title/tt23736044/quotes/?item=qt7061125
#Kaibutsu
https://en.wikipedia.org/wiki/Monster_(2023_Japanese_film)
#KoreedaHirokazu
https://en.wikipedia.org/wiki/Hirokazu_Kore-eda
#SakamotoYūji
https://en.wikipedia.org/wiki/Yuji_Sakamoto
#SakamotoRyūichi
https://en.wikipedia.org/wiki/Ryuichi_Sakamoto
#Monster #Film #Cinema #LGBTIQ #Gay #Love #Friendship #HirokazuKoreeda #YujiSakamoto #RyuichiSakamoto #Japan -
Fushimi: "If only some people can have it, that's not happiness. That's just nonsense. #Happiness is something anyone can have."
https://www.imdb.com/title/tt23736044/quotes/?item=qt7061125
#Kaibutsu
https://en.wikipedia.org/wiki/Monster_(2023_Japanese_film)
#KoreedaHirokazu
https://en.wikipedia.org/wiki/Hirokazu_Kore-eda
#SakamotoYūji
https://en.wikipedia.org/wiki/Yuji_Sakamoto
#SakamotoRyūichi
https://en.wikipedia.org/wiki/Ryuichi_Sakamoto
#Monster #Film #Cinema #LGBTIQ #Gay #Love #Friendship #HirokazuKoreeda #YujiSakamoto #RyuichiSakamoto #Japan -
Whoa, I'm checking out Ryuichi Sakamoto's Neo Geo (1987) because I saw someone else here listening to it this morning, and I was not expecting to hear Mr. Pop!
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and whilst I go down a rabbit hole - Jools Holland interviewing Ryuichi Sakamoto
https://www.youtube.com/watch?v=fXcCdy0dkGo
and Ryuichi Sakamoto (plus Peter Barakan) interviewing David Bowie on the radio, with Bowie selecting the music
https://www.youtube.com/watch?v=eI66hEv81fQ
#JoolsHolland #DavidBowie #RyuichiSakamoto #PeterBarakan #坂本龍一
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Of course, the two examples of #Fairlight-using #Debussy & #Kraftwerk fans who worked with other singers did have a cross-over of sorts - this song features a sample from "Legs" by Art of Noise - presumably Camilla Pilkington of the glass company in the sample - and has Bernard Fowler on vocals
https://music.youtube.com/watch?v=cUJsLsI258o
Ryuichi Sakamoto - G.T. II°
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At some point in 2024, the record company managed to upload the official video to Youtube at last (instead of the low quality unofficial ones)
https://music.youtube.com/watch?v=bTK8Z2vPodQ
坂本龍一「RISKY」
It's another example of a musician who was influenced by #Debussy and #Kraftwerk deciding to record a song with a singer from a different musical background.
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#AskaMatsumiya
#RyuichiSakamoto#AfterYang
#Kogonada
#MilanRecords
#A24 #Showtime 2022Good #art is subjective and unique, just like my connection with this #music and the #movie that includes it.
I carry its wonderful mark eternally tattooed on my soul and heart. -
#AskaMatsumiya
#RyuichiSakamoto#AfterYang
#Kogonada
#MilanRecords
#A24 #Showtime 2022Good #art is subjective and unique, just like my connection with this #music and the #movie that includes it.
I carry its wonderful mark eternally tattooed on my soul and heart. -
#AskaMatsumiya
#RyuichiSakamoto#AfterYang
#Kogonada
#MilanRecords
#A24 #Showtime 2022Good #art is subjective and unique, just like my connection with this #music and the #movie that includes it.
I carry its wonderful mark eternally tattooed on my soul and heart. -
#AskaMatsumiya
#RyuichiSakamoto#AfterYang
#Kogonada
#MilanRecords
#A24 #Showtime 2022Good #art is subjective and unique, just like my connection with this #music and the #movie that includes it.
I carry its wonderful mark eternally tattooed on my soul and heart. -
Die immersive Ausstellung "Ryuichi Sakamoto | seeing sound, hearing time" im "Museum of Contemporary Art Tokyo" läuft noch bis zum 30. März 2025. #RyuichiSakamoto #Kunstausstellung #Klangkunst #MuseumOfContemporaryArtTokyo #Japan
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#CurrentlyWatching "Derrida", a 2002 documentary about the legendary #French philosopher #JacquesDerrida. TBH I don't know much about the guy, so I'm trying to learn me some stuff. Bonus: Soundtrack by #RyuichiSakamoto 🎞️ 👍 😁 #Philosophy #Humanities #Deconstruction https://www.youtube.com/watch?v=l0J1XVAOU0s
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#CurrentlyWatching "Derrida", a 2002 documentary about the legendary #French philosopher #JacquesDerrida. TBH I don't know much about the guy, so I'm trying to learn me some stuff. Bonus: Soundtrack by #RyuichiSakamoto 🎞️ 👍 😁 #Philosophy #Humanities #Deconstruction https://www.youtube.com/watch?v=l0J1XVAOU0s
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#CurrentlyWatching "Derrida", a 2002 documentary about the legendary #French philosopher #JacquesDerrida. TBH I don't know much about the guy, so I'm trying to learn me some stuff. Bonus: Soundtrack by #RyuichiSakamoto 🎞️ 👍 😁 #Philosophy #Humanities #Deconstruction https://www.youtube.com/watch?v=l0J1XVAOU0s
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#CurrentlyWatching "Derrida", a 2002 documentary about the legendary #French philosopher #JacquesDerrida. TBH I don't know much about the guy, so I'm trying to learn me some stuff. Bonus: Soundtrack by #RyuichiSakamoto 🎞️ 👍 😁 #Philosophy #Humanities #Deconstruction https://www.youtube.com/watch?v=l0J1XVAOU0s
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#CurrentlyWatching "Derrida", a 2002 documentary about the legendary #French philosopher #JacquesDerrida. TBH I don't know much about the guy, so I'm trying to learn me some stuff. Bonus: Soundtrack by #RyuichiSakamoto 🎞️ 👍 😁 #Philosophy #Humanities #Deconstruction https://www.youtube.com/watch?v=l0J1XVAOU0s
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TomWaitsAWeek | Tom Waits – Alice (2002, US)
Today’s spotlight is on number 526 on The List, submitted by swordgeek. This is the last spotlight in our #TomWaitsAWeek feature.[1]
As mentioned in our previous spotlight, Waits’ 1993 album The Black Rider brought in someone who would become a key collaborator and influence on Waits, one Robert Wilson, an absolute fixture in the world of experimental/avant-garde theatre. While the earlier Franks Wild Years like Black Rider was also a stage-to-studio affair, I feel like adding Wilson into the mix amplifies the fact that the most Tom Waits of Tom Waits traits really glitter when the cinematic/stage-worthy qualities of his story-songs are given more room to breathe. Indeed, if, in another timeline, Waits only existed in the world of off-Broadway musical theatre, his brilliance would not be diminished in the least. So, yes, the Waits/Wilson collab albums – Black Rider, Alice (i.e., the subject of today’s spotlight), and Blood Money – are essentially soundtracks. And, because they’re soundtracks, it could be easy for someone who hasn’t yet heard them to feel intimidated without having seen their originating theatrical piece, or even assume these are curious artifacts only for Waits completists, akin to his film soundtracks. However, I would suggest one need not be guarded in approaching them. These albums, my friends, are absolute gems just as the ‘regular’ studio albums are, with Alice, imho, shining the brightest.
Similar to how Waits had first written the Black Rider songs for the Wilson-directed musical/”cowboy opera” of the same name (which premiered in 1990), Waits and Kathleen Brennan wrote songs for Wilson’s opera Alice (which premiered in 1992) and then later tweaked them for the studio album. While Alice the opera is primarily about Lewis Carroll’s rather questionable/creepy thing for Alice Liddell, the young daughter of some friends and possibly his muse for Alice’s Adventures in Wonderland and Through the Looking-Glass, at least when approached as an off-stage collection of songs, Alice seems but one character in a typical Waits-ian cast, complete with circus performers. And, given all we’ve heard thus far on our journey through Waits’ discography, the music itself is familiar territory, particularly with a few callbacks to Small Change‘s “The Piano Has Been Drinking (Not Me)”, as well as some of the eclectic instrumentation used since the beginning of his experimental phase. I, for one, really love this album, and would likely place both it and Black Rider in my Top 5 Waits Albums list, if I had to make one.
Given my attempt to cover all the albums consecutively in the previous #TomWaitsAWeek spotlights, it should be noted here that Alice didn’t immediately follow Black Rider. First of all, there was an entire decade between the Alice opera and album. When asked by The Onion A.V. Club[2] on this matter, here is what Mr. Waits said:
The Onion: So, why did it take you so long to record the songs on Alice?
Tom Waits: The songs were written around ’92 or ’93, ’round in there. It was done with Robert Wilson in Germany. We stuck ’em in a box and just left ’em there for a while. They were aging like the honey. And we locked in the freshness. They were hermetically sealed. You move on to other things, you know? And then you go back and say, “Well, this was okay.”
O: It was kind of developing a reputation as the great lost Tom Waits album.
TW: I bought a copy of the bootleg on eBay. ‘Cause I didn’t know where those tapes were.
During this decade, Waits also released a non-Wilson collab album, the fabulous Mule Variations (1999). I think I learned my lesson while writing the last spotlight though, so I won’t attempt to summarize that album here too. However, I would say that Mule Variations/Black Rider/Alice is perhaps my favorite run in Waits’ discography, for whatever that’s worth. I will also not attempt to summarize the final few albums, i.e., Blood Money (2002), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006), and Bad as Me (2011). Well, except for noting that Blood Money was actually released at the same time as Alice, and is also studio versions of songs that Waits and Brennan originally wrote for a Wilson musical (namely Woyzeck, which premiered in 2000), so let’s just say it’s Alice‘s fraternal (or conjoined?) twin.
That said, I did want to ramble on a tiny bit further here before logging off to finish the rest of our listening schedule[1] for the week, because there’s some WONDERFUL rabbit holes to go down when looking at this partnership and period, particularly on Wilson’s side. In between Alice the opera and Alice the album, aside from the aforementioned Woyzeck, Wilson racked up a number of entries in his CV that blow my mind just thinking about them. For instance, in addition to a handful of new projects with Philip Glass (with whom, as mentioned last spotlight, he had collaborated with on the 1976 opera Einstein on the Beach), during this time Wilson also collaborated with Ryuichi Sakamoto in 1999 for a Lincoln Center Festival piece called The Days Before – Death Destruction & Detroit III, which riffed off of my favorite Umberto Eco novel, The Island of the Day Before. Also, he completed the third in the trilogy of his works performed by the German Thalia Theater company (the first two being Black Rider and Alice), the 1996 Time Rocker, the music for which was written by none other than Lou Reed. AND THEN, Wilson would collaborate again with Reed in 2000 on an Edgar Allan Poe musical called POEtry, which ran at BAM. Reed would go on to release a studio album based on the musical, The Raven (2003), which features Willem Dafoe, Laurie Anderson, ANOHNI, Steve Buscemi, Ornette Coleman, The Blind Boys of Alabama, David Bowie… Like, OMG, to have been in New York at that time!
Anyway, I hope you’ve enjoyed/are enjoying #TomWaitsAWeek, or at least can devote some time in the future to the three Waits albums we have on The List…and beyond. I myself haven’t yet finished going through Waits’ studio discography, and also now have some physical media to track down. Speaking of which, I’ll sign off with one last thing from that Onion interview quoted above:
Tom Waits: You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it’s hungry. It pulls it in, and you feel like it wants more silver discs. “More silver discs. Please.” I enjoy that.
The Onion: Do you have one in the Cadillac?
TW: No, I have a little band in there. It’s an old car, so I have a little old string band in the glove compartment. It’s grumpy.
Edit: As provided in the comments by icastico, here’s a link to a bootleg of the original Alice demos – they’re fantastic and definitely worth checking out!
[1]For those listening through the discography with us, Alice was part of yesterday’s listening schedule. Here’s what’s left on the docket for today: Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me.
[2]Thanks to BramMeehan for this link!#1001OtherAlbums #2000s #AliceInWonderland #experimental #KathleenBrennan #LewisCarroll #ListenToThis #LouReed #music #musicDiscovery #musical #Musodon #RobertWilson #RyuichiSakamoto #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Alice (2002, US)
Today’s spotlight is on number 526 on The List, submitted by swordgeek. This is the last spotlight in our #TomWaitsAWeek feature.[1]
As mentioned in our previous spotlight, Waits’ 1993 album The Black Rider brought in someone who would become a key collaborator and influence on Waits, one Robert Wilson, an absolute fixture in the world of experimental/avant-garde theatre. While the earlier Franks Wild Years like Black Rider was also a stage-to-studio affair, I feel like adding Wilson into the mix amplifies the fact that the most Tom Waits of Tom Waits traits really glitter when the cinematic/stage-worthy qualities of his story-songs are given more room to breathe. Indeed, if, in another timeline, Waits only existed in the world of off-Broadway musical theatre, his brilliance would not be diminished in the least. So, yes, the Waits/Wilson collab albums – Black Rider, Alice (i.e., the subject of today’s spotlight), and Blood Money – are essentially soundtracks. And, because they’re soundtracks, it could be easy for someone who hasn’t yet heard them to feel intimidated without having seen their originating theatrical piece, or even assume these are curious artifacts only for Waits completists, akin to his film soundtracks. However, I would suggest one need not be guarded in approaching them. These albums, my friends, are absolute gems just as the ‘regular’ studio albums are, with Alice, imho, shining the brightest.
Similar to how Waits had first written the Black Rider songs for the Wilson-directed musical/”cowboy opera” of the same name (which premiered in 1990), Waits and Kathleen Brennan wrote songs for Wilson’s opera Alice (which premiered in 1992) and then later tweaked them for the studio album. While Alice the opera is primarily about Lewis Carroll’s rather questionable/creepy thing for Alice Liddell, the young daughter of some friends and possibly his muse for Alice’s Adventures in Wonderland and Through the Looking-Glass, at least when approached as an off-stage collection of songs, Alice seems but one character in a typical Waits-ian cast, complete with circus performers. And, given all we’ve heard thus far on our journey through Waits’ discography, the music itself is familiar territory, particularly with a few callbacks to Small Change‘s “The Piano Has Been Drinking (Not Me)”, as well as some of the eclectic instrumentation used since the beginning of his experimental phase. I, for one, really love this album, and would likely place both it and Black Rider in my Top 5 Waits Albums list, if I had to make one.
Given my attempt to cover all the albums consecutively in the previous #TomWaitsAWeek spotlights, it should be noted here that Alice didn’t immediately follow Black Rider. First of all, there was an entire decade between the Alice opera and album. When asked by The Onion A.V. Club[2] on this matter, here is what Mr. Waits said:
The Onion: So, why did it take you so long to record the songs on Alice?
Tom Waits: The songs were written around ’92 or ’93, ’round in there. It was done with Robert Wilson in Germany. We stuck ’em in a box and just left ’em there for a while. They were aging like the honey. And we locked in the freshness. They were hermetically sealed. You move on to other things, you know? And then you go back and say, “Well, this was okay.”
O: It was kind of developing a reputation as the great lost Tom Waits album.
TW: I bought a copy of the bootleg on eBay. ‘Cause I didn’t know where those tapes were.
During this decade, Waits also released a non-Wilson collab album, the fabulous Mule Variations (1999). I think I learned my lesson while writing the last spotlight though, so I won’t attempt to summarize that album here too. However, I would say that Mule Variations/Black Rider/Alice is perhaps my favorite run in Waits’ discography, for whatever that’s worth. I will also not attempt to summarize the final few albums, i.e., Blood Money (2002), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006), and Bad as Me (2011). Well, except for noting that Blood Money was actually released at the same time as Alice, and is also studio versions of songs that Waits and Brennan originally wrote for a Wilson musical (namely Woyzeck, which premiered in 2000), so let’s just say it’s Alice‘s fraternal (or conjoined?) twin.
That said, I did want to ramble on a tiny bit further here before logging off to finish the rest of our listening schedule[1] for the week, because there’s some WONDERFUL rabbit holes to go down when looking at this partnership and period, particularly on Wilson’s side. In between Alice the opera and Alice the album, aside from the aforementioned Woyzeck, Wilson racked up a number of entries in his CV that blow my mind just thinking about them. For instance, in addition to a handful of new projects with Philip Glass (with whom, as mentioned last spotlight, he had collaborated with on the 1976 opera Einstein on the Beach), during this time Wilson also collaborated with Ryuichi Sakamoto in 1999 for a Lincoln Center Festival piece called The Days Before – Death Destruction & Detroit III, which riffed off of my favorite Umberto Eco novel, The Island of the Day Before. Also, he completed the third in the trilogy of his works performed by the German Thalia Theater company (the first two being Black Rider and Alice), the 1996 Time Rocker, the music for which was written by none other than Lou Reed. AND THEN, Wilson would collaborate again with Reed in 2000 on an Edgar Allan Poe musical called POEtry, which ran at BAM. Reed would go on to release a studio album based on the musical, The Raven (2003), which features Willem Dafoe, Laurie Anderson, ANOHNI, Steve Buscemi, Ornette Coleman, The Blind Boys of Alabama, David Bowie… Like, OMG, to have been in New York at that time!
Anyway, I hope you’ve enjoyed/are enjoying #TomWaitsAWeek, or at least can devote some time in the future to the three Waits albums we have on The List…and beyond. I myself haven’t yet finished going through Waits’ studio discography, and also now have some physical media to track down. Speaking of which, I’ll sign off with one last thing from that Onion interview quoted above:
Tom Waits: You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it’s hungry. It pulls it in, and you feel like it wants more silver discs. “More silver discs. Please.” I enjoy that.
The Onion: Do you have one in the Cadillac?
TW: No, I have a little band in there. It’s an old car, so I have a little old string band in the glove compartment. It’s grumpy.
Edit: As provided in the comments by icastico, here’s a link to a bootleg of the original Alice demos – they’re fantastic and definitely worth checking out!
[1]For those listening through the discography with us, Alice was part of yesterday’s listening schedule. Here’s what’s left on the docket for today: Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me.
[2]Thanks to BramMeehan for this link!#1001OtherAlbums #2000s #AliceInWonderland #experimental #KathleenBrennan #LewisCarroll #ListenToThis #LouReed #music #musicDiscovery #musical #Musodon #RobertWilson #RyuichiSakamoto #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Alice (2002, US)
Today’s spotlight is on number 526 on The List, submitted by swordgeek. This is the last spotlight in our #TomWaitsAWeek feature.1
As mentioned in our previous spotlight, Waits’ 1993 album The Black Rider brought in someone who would become a key collaborator and influence on Waits, one Robert Wilson, an absolute fixture in the world of experimental/avant-garde theatre. While the earlier Franks Wild Years like Black Rider was also a stage-to-studio affair, I feel like adding Wilson into the mix amplifies the fact that the most Tom Waits of Tom Waits traits really glitter when the cinematic/stage-worthy qualities of his story-songs are given more room to breathe. Indeed, if, in another timeline, Waits only existed in the world of off-Broadway musical theatre, his brilliance would not be diminished in the least. So, yes, the Waits/Wilson collab albums – Black Rider, Alice (i.e., the subject of today’s spotlight), and Blood Money – are essentially soundtracks. And, because they’re soundtracks, it could be easy for someone who hasn’t yet heard them to feel intimidated without having seen their originating theatrical piece, or even assume these are curious artifacts only for Waits completists, akin to his film soundtracks. However, I would suggest one need not be guarded in approaching them. These albums, my friends, are absolute gems just as the ‘regular’ studio albums are, with Alice, imho, shining the brightest.
Similar to how Waits had first written the Black Rider songs for the Wilson-directed musical/”cowboy opera” of the same name (which premiered in 1990), Waits and Kathleen Brennan wrote songs for Wilson’s opera Alice (which premiered in 1992) and then later tweaked them for the studio album. While Alice the opera is primarily about Lewis Carroll’s rather questionable/creepy thing for Alice Liddell, the young daughter of some friends and possibly his muse for Alice’s Adventures in Wonderland and Through the Looking-Glass, at least when approached as an off-stage collection of songs, Alice seems but one character in a typical Waits-ian cast, complete with circus performers. And, given all we’ve heard thus far on our journey through Waits’ discography, the music itself is familiar territory, particularly with a few callbacks to Small Change‘s “The Piano Has Been Drinking (Not Me)”, as well as some of the eclectic instrumentation used since the beginning of his experimental phase. I, for one, really love this album, and would likely place both it and Black Rider in my Top 5 Waits Albums list, if I had to make one.
Given my attempt to cover all the albums consecutively in the previous #TomWaitsAWeek spotlights, it should be noted here that Alice didn’t immediately follow Black Rider. First of all, there was an entire decade between the Alice opera and album. When asked by The Onion A.V. Club2 on this matter, here is what Mr. Waits said:
The Onion: So, why did it take you so long to record the songs on Alice?
Tom Waits: The songs were written around ’92 or ’93, ’round in there. It was done with Robert Wilson in Germany. We stuck ’em in a box and just left ’em there for a while. They were aging like the honey. And we locked in the freshness. They were hermetically sealed. You move on to other things, you know? And then you go back and say, “Well, this was okay.”
O: It was kind of developing a reputation as the great lost Tom Waits album.
TW: I bought a copy of the bootleg on eBay. ‘Cause I didn’t know where those tapes were.
During this decade, Waits also released a non-Wilson collab album, the fabulous Mule Variations (1999). I think I learned my lesson while writing the last spotlight though, so I won’t attempt to summarize that album here too. However, I would say that Mule Variations/Black Rider/Alice is perhaps my favorite run in Waits’ discography, for whatever that’s worth. I will also not attempt to summarize the final few albums, i.e., Blood Money (2002), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006), and Bad as Me (2011). Well, except for noting that Blood Money was actually released at the same time as Alice, and is also studio versions of songs that Waits and Brennan originally wrote for a Wilson musical (namely Woyzeck, which premiered in 2000), so let’s just say it’s Alice‘s fraternal (or conjoined?) twin.
That said, I did want to ramble on a tiny bit further here before logging off to finish the rest of our listening schedule1 for the week, because there’s some WONDERFUL rabbit holes to go down when looking at this partnership and period, particularly on Wilson’s side. In between Alice the opera and Alice the album, aside from the aforementioned Woyzeck, Wilson racked up a number of entries in his CV that blow my mind just thinking about them. For instance, in addition to a handful of new projects with Philip Glass (with whom, as mentioned last spotlight, he had collaborated with on the 1976 opera Einstein on the Beach), during this time Wilson also collaborated with Ryuichi Sakamoto in 1999 for a Lincoln Center Festival piece called The Days Before – Death Destruction & Detroit III, which riffed off of my favorite Umberto Eco novel, The Island of the Day Before. Also, he completed the third in the trilogy of his works performed by the German Thalia Theater company (the first two being Black Rider and Alice), the 1996 Time Rocker, the music for which was written by none other than Lou Reed. AND THEN, Wilson would collaborate again with Reed in 2000 on an Edgar Allan Poe musical called POEtry, which ran at BAM. Reed would go on to release a studio album based on the musical, The Raven (2003), which features Willem Dafoe, Laurie Anderson, ANOHNI, Steve Buscemi, Ornette Coleman, The Blind Boys of Alabama, David Bowie… Like, OMG, to have been in New York at that time!
Anyway, I hope you’ve enjoyed/are enjoying #TomWaitsAWeek, or at least can devote some time in the future to the three Waits albums we have on The List…and beyond. I myself haven’t yet finished going through Waits’ studio discography, and also now have some physical media to track down. Speaking of which, I’ll sign off with one last thing from that Onion interview quoted above:
Tom Waits: You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it’s hungry. It pulls it in, and you feel like it wants more silver discs. “More silver discs. Please.” I enjoy that.
The Onion: Do you have one in the Cadillac?
TW: No, I have a little band in there. It’s an old car, so I have a little old string band in the glove compartment. It’s grumpy.
1For those listening through the discography with us, Alice was part of yesterday’s listening schedule. Here’s what’s left on the docket for today: Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me.
2Thanks to BramMeehan for this link!#1001OtherAlbums #2000s #AliceInWonderland #experimental #KathleenBrennan #LewisCarroll #ListenToThis #LouReed #music #musicDiscovery #musical #Musodon #RobertWilson #RyuichiSakamoto #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Alice (2002, US)
Today’s spotlight is on number 526 on The List, submitted by swordgeek. This is the last spotlight in our #TomWaitsAWeek feature.[1]
As mentioned in our previous spotlight, Waits’ 1993 album The Black Rider brought in someone who would become a key collaborator and influence on Waits, one Robert Wilson, an absolute fixture in the world of experimental/avant-garde theatre. While the earlier Franks Wild Years like Black Rider was also a stage-to-studio affair, I feel like adding Wilson into the mix amplifies the fact that the most Tom Waits of Tom Waits traits really glitter when the cinematic/stage-worthy qualities of his story-songs are given more room to breathe. Indeed, if, in another timeline, Waits only existed in the world of off-Broadway musical theatre, his brilliance would not be diminished in the least. So, yes, the Waits/Wilson collab albums – Black Rider, Alice (i.e., the subject of today’s spotlight), and Blood Money – are essentially soundtracks. And, because they’re soundtracks, it could be easy for someone who hasn’t yet heard them to feel intimidated without having seen their originating theatrical piece, or even assume these are curious artifacts only for Waits completists, akin to his film soundtracks. However, I would suggest one need not be guarded in approaching them. These albums, my friends, are absolute gems just as the ‘regular’ studio albums are, with Alice, imho, shining the brightest.
Similar to how Waits had first written the Black Rider songs for the Wilson-directed musical/”cowboy opera” of the same name (which premiered in 1990), Waits and Kathleen Brennan wrote songs for Wilson’s opera Alice (which premiered in 1992) and then later tweaked them for the studio album. While Alice the opera is primarily about Lewis Carroll’s rather questionable/creepy thing for Alice Liddell, the young daughter of some friends and possibly his muse for Alice’s Adventures in Wonderland and Through the Looking-Glass, at least when approached as an off-stage collection of songs, Alice seems but one character in a typical Waits-ian cast, complete with circus performers. And, given all we’ve heard thus far on our journey through Waits’ discography, the music itself is familiar territory, particularly with a few callbacks to Small Change‘s “The Piano Has Been Drinking (Not Me)”, as well as some of the eclectic instrumentation used since the beginning of his experimental phase. I, for one, really love this album, and would likely place both it and Black Rider in my Top 5 Waits Albums list, if I had to make one.
Given my attempt to cover all the albums consecutively in the previous #TomWaitsAWeek spotlights, it should be noted here that Alice didn’t immediately follow Black Rider. First of all, there was an entire decade between the Alice opera and album. When asked by The Onion A.V. Club[2] on this matter, here is what Mr. Waits said:
The Onion: So, why did it take you so long to record the songs on Alice?
Tom Waits: The songs were written around ’92 or ’93, ’round in there. It was done with Robert Wilson in Germany. We stuck ’em in a box and just left ’em there for a while. They were aging like the honey. And we locked in the freshness. They were hermetically sealed. You move on to other things, you know? And then you go back and say, “Well, this was okay.”
O: It was kind of developing a reputation as the great lost Tom Waits album.
TW: I bought a copy of the bootleg on eBay. ‘Cause I didn’t know where those tapes were.
During this decade, Waits also released a non-Wilson collab album, the fabulous Mule Variations (1999). I think I learned my lesson while writing the last spotlight though, so I won’t attempt to summarize that album here too. However, I would say that Mule Variations/Black Rider/Alice is perhaps my favorite run in Waits’ discography, for whatever that’s worth. I will also not attempt to summarize the final few albums, i.e., Blood Money (2002), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006), and Bad as Me (2011). Well, except for noting that Blood Money was actually released at the same time as Alice, and is also studio versions of songs that Waits and Brennan originally wrote for a Wilson musical (namely Woyzeck, which premiered in 2000), so let’s just say it’s Alice‘s fraternal (or conjoined?) twin.
That said, I did want to ramble on a tiny bit further here before logging off to finish the rest of our listening schedule[1] for the week, because there’s some WONDERFUL rabbit holes to go down when looking at this partnership and period, particularly on Wilson’s side. In between Alice the opera and Alice the album, aside from the aforementioned Woyzeck, Wilson racked up a number of entries in his CV that blow my mind just thinking about them. For instance, in addition to a handful of new projects with Philip Glass (with whom, as mentioned last spotlight, he had collaborated with on the 1976 opera Einstein on the Beach), during this time Wilson also collaborated with Ryuichi Sakamoto in 1999 for a Lincoln Center Festival piece called The Days Before – Death Destruction & Detroit III, which riffed off of my favorite Umberto Eco novel, The Island of the Day Before. Also, he completed the third in the trilogy of his works performed by the German Thalia Theater company (the first two being Black Rider and Alice), the 1996 Time Rocker, the music for which was written by none other than Lou Reed. AND THEN, Wilson would collaborate again with Reed in 2000 on an Edgar Allan Poe musical called POEtry, which ran at BAM. Reed would go on to release a studio album based on the musical, The Raven (2003), which features Willem Dafoe, Laurie Anderson, ANOHNI, Steve Buscemi, Ornette Coleman, The Blind Boys of Alabama, David Bowie… Like, OMG, to have been in New York at that time!
Anyway, I hope you’ve enjoyed/are enjoying #TomWaitsAWeek, or at least can devote some time in the future to the three Waits albums we have on The List…and beyond. I myself haven’t yet finished going through Waits’ studio discography, and also now have some physical media to track down. Speaking of which, I’ll sign off with one last thing from that Onion interview quoted above:
Tom Waits: You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it’s hungry. It pulls it in, and you feel like it wants more silver discs. “More silver discs. Please.” I enjoy that.
The Onion: Do you have one in the Cadillac?
TW: No, I have a little band in there. It’s an old car, so I have a little old string band in the glove compartment. It’s grumpy.
Edit: As provided in the comments by icastico, here’s a link to a bootleg of the original Alice demos – they’re fantastic and definitely worth checking out!
[1]For those listening through the discography with us, Alice was part of yesterday’s listening schedule. Here’s what’s left on the docket for today: Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me.
[2]Thanks to BramMeehan for this link!#1001OtherAlbums #2000s #AliceInWonderland #experimental #KathleenBrennan #LewisCarroll #ListenToThis #LouReed #music #musicDiscovery #musical #Musodon #RobertWilson #RyuichiSakamoto #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Alice (2002, US)
Today’s spotlight is on number 526 on The List, submitted by swordgeek. This is the last spotlight in our #TomWaitsAWeek feature.1
As mentioned in our previous spotlight, Waits’ 1993 album The Black Rider brought in someone who would become a key collaborator and influence on Waits, one Robert Wilson, an absolute fixture in the world of experimental/avant-garde theatre. While the earlier Franks Wild Years like Black Rider was also a stage-to-studio affair, I feel like adding Wilson into the mix amplifies the fact that the most Tom Waits of Tom Waits traits really glitter when the cinematic/stage-worthy qualities of his story-songs are given more room to breathe. Indeed, if, in another timeline, Waits only existed in the world of off-Broadway musical theatre, his brilliance would not be diminished in the least. So, yes, the Waits/Wilson collab albums – Black Rider, Alice (i.e., the subject of today’s spotlight), and Blood Money – are essentially soundtracks. And, because they’re soundtracks, it could be easy for someone who hasn’t yet heard them to feel intimidated without having seen their originating theatrical piece, or even assume these are curious artifacts only for Waits completists, akin to his film soundtracks. However, I would suggest one need not be guarded in approaching them. These albums, my friends, are absolute gems just as the ‘regular’ studio albums are, with Alice, imho, shining the brightest.
Similar to how Waits had first written the Black Rider songs for the Wilson-directed musical/”cowboy opera” of the same name (which premiered in 1990), Waits and Kathleen Brennan wrote songs for Wilson’s opera Alice (which premiered in 1992) and then later tweaked them for the studio album. While Alice the opera is primarily about Lewis Carroll’s rather questionable/creepy thing for Alice Liddell, the young daughter of some friends and possibly his muse for Alice’s Adventures in Wonderland and Through the Looking-Glass, at least when approached as an off-stage collection of songs, Alice seems but one character in a typical Waits-ian cast, complete with circus performers. And, given all we’ve heard thus far on our journey through Waits’ discography, the music itself is familiar territory, particularly with a few callbacks to Small Change‘s “The Piano Has Been Drinking (Not Me)”, as well as some of the eclectic instrumentation used since the beginning of his experimental phase. I, for one, really love this album, and would likely place both it and Black Rider in my Top 5 Waits Albums list, if I had to make one.
Given my attempt to cover all the albums consecutively in the previous #TomWaitsAWeek spotlights, it should be noted here that Alice didn’t immediately follow Black Rider. First of all, there was an entire decade between the Alice opera and album. When asked by The Onion A.V. Club2 on this matter, here is what Mr. Waits said:
The Onion: So, why did it take you so long to record the songs on Alice?
Tom Waits: The songs were written around ’92 or ’93, ’round in there. It was done with Robert Wilson in Germany. We stuck ’em in a box and just left ’em there for a while. They were aging like the honey. And we locked in the freshness. They were hermetically sealed. You move on to other things, you know? And then you go back and say, “Well, this was okay.”
O: It was kind of developing a reputation as the great lost Tom Waits album.
TW: I bought a copy of the bootleg on eBay. ‘Cause I didn’t know where those tapes were.
During this decade, Waits also released a non-Wilson collab album, the fabulous Mule Variations (1999). I think I learned my lesson while writing the last spotlight though, so I won’t attempt to summarize that album here too. However, I would say that Mule Variations/Black Rider/Alice is perhaps my favorite run in Waits’ discography, for whatever that’s worth. I will also not attempt to summarize the final few albums, i.e., Blood Money (2002), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006), and Bad as Me (2011). Well, except for noting that Blood Money was actually released at the same time as Alice, and is also studio versions of songs that Waits and Brennan originally wrote for a Wilson musical (namely Woyzeck, which premiered in 2000), so let’s just say it’s Alice‘s fraternal (or conjoined?) twin.
That said, I did want to ramble on a tiny bit further here before logging off to finish the rest of our listening schedule1 for the week, because there’s some WONDERFUL rabbit holes to go down when looking at this partnership and period, particularly on Wilson’s side. In between Alice the opera and Alice the album, aside from the aforementioned Woyzeck, Wilson racked up a number of entries in his CV that blow my mind just thinking about them. For instance, in addition to a handful of new projects with Philip Glass (with whom, as mentioned last spotlight, he had collaborated with on the 1976 opera Einstein on the Beach), during this time Wilson also collaborated with Ryuichi Sakamoto in 1999 for a Lincoln Center Festival piece called The Days Before – Death Destruction & Detroit III, which riffed off of my favorite Umberto Eco novel, The Island of the Day Before. Also, he completed the third in the trilogy of his works performed by the German Thalia Theater company (the first two being Black Rider and Alice), the 1996 Time Rocker, the music for which was written by none other than Lou Reed. AND THEN, Wilson would collaborate again with Reed in 2000 on an Edgar Allan Poe musical called POEtry, which ran at BAM. Reed would go on to release a studio album based on the musical, The Raven (2003), which features Willem Dafoe, Laurie Anderson, ANOHNI, Steve Buscemi, Ornette Coleman, The Blind Boys of Alabama, David Bowie… Like, OMG, to have been in New York at that time!
Anyway, I hope you’ve enjoyed/are enjoying #TomWaitsAWeek, or at least can devote some time in the future to the three Waits albums we have on The List…and beyond. I myself haven’t yet finished going through Waits’ studio discography, and also now have some physical media to track down. Speaking of which, I’ll sign off with one last thing from that Onion interview quoted above:
Tom Waits: You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it’s hungry. It pulls it in, and you feel like it wants more silver discs. “More silver discs. Please.” I enjoy that.
The Onion: Do you have one in the Cadillac?
TW: No, I have a little band in there. It’s an old car, so I have a little old string band in the glove compartment. It’s grumpy.
1For those listening through the discography with us, Alice was part of yesterday’s listening schedule. Here’s what’s left on the docket for today: Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me.
2Thanks to BramMeehan for this link!#1001OtherAlbums #2000s #AliceInWonderland #experimental #KathleenBrennan #LewisCarroll #ListenToThis #LouReed #music #musicDiscovery #musical #Musodon #RobertWilson #RyuichiSakamoto #TomWaits #TomWaitsAWeek
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@LittleTokyo @nkLottery He is one of my favorites. The entire Xerox series is fantastic! If you like this kind of geometrical glitch IDM don't miss Kangding Ray.
The Sakamoto collab took my breath away when Vrioon came out. The Virus series is everything I wanted from a Nicolai + Sakamoto mashup and I gobbled up those releases as fast as they could make them.