Swordfishtrombones

1 and 5 are equally valid ratings. Personally I have a lot of patience for goofy, borderline-unlistenable shit as long as it doesn't take itself too seriously. I like this halloween music.

I really don’t like Tom Waits’ music and this album hasn’t changed my opinion.

You're walking through the fairground with your date. They're miserable as you couldn't even win them a prize goldfish at 'Toss the Ring'. You tried to tell them it's all a fix and the rings aren't big enough to fit over the bowls, but they wouldn't listen. They looked at you like this date was as poor as your excuse. It begins to drizzle and your candy floss droops. Who cares? The idea of candy floss was better than the actual thing anyway. Over the sounds of others laughing, talking and screaming, you glance over the top of your date's head and see a man made of right angles standing next to the waltzers. You catch his one good eye and realise it's too late; he's seen you. He starts barking at you and your date and beckoning with a twig like finger. His one milky eye seems to be like some hazy frayed rope that's been knotted around your neck and he draws you in. Over your date's protestations, he somehow convinces you both to sit inside a waltzer. No one else is here. The lights are flickering and the smell of sawdust and vomit become oppressive. He laughs like man gargling kitty litter and slams the safety bar down and spins the cab round as the ride starts up. You're stuck here with this awful date spinning round and round and round and round. You have the fear that you'll be here forever in some kind of carny limbo. This is the music that is playing over the speakers. The louder you scream the faster the ride. Remember: fun is the key but keep seated at all times or you may die. Best Tracks: 16 Shells from a 30.6; In The Neighbourhood; Down, Down Down

You know what? I hate Tom Waits.

Day 26 of Albums You Must Hear... Swordfishtrombones is an album released by one of the most interesting and abstract artists of the list thus far, Tom Waits. I first learned of Tom Waits several years ago while going down a YouTube rabbit hole. Heath Ledger largely took inspiration from Tom Waits for his role of The Joker in The Dark Knight. I will link the video that I watched below, the likeness is incredible. I must preface with this first, Tom Waits is not for everyone. He is abstract, off beat and, frankly, different. For those reasons, I really enjoy Tom Waits and Swordfishtrombone is a genius record. Waits is bound by no restraints, and the pace is up to him completely. In this album you get many sides of this mad genius. If I was to make a recipe for Tom Waits style, I’d say it’s 1 part jazz, 1 part circus clown, foaming from the mouth, 2 parts piss & vinegar, and 2 parts witty, spoken word poet. While having one of the most gravely voices in music, he can go rough and tough to sentimental and soft at the drop of a dime. My favorite song on Swordfishtrombone is In The Neighborhood, an almost national anthem version of Hometown, Anywhere. It’s nostalgic and melodic. On 16 Shells From a Thirty-Ought Six, I felt like a Hell’s Angel riding down a deserted highway with my grip tight on the ape-hangers handlebars. Vroom Vroom! I also love the use of non-traditional sounds in the instrumentation, like creaking of hinges or the steely slam of a sledgehammer knocking in railroad spikes. On Frank’s Wild Years, a spoken word piece, Waits tells a short story with words that slide out of his mouth with such ease and coolness that I totally didn’t expect the twist ending. I really love this cut from the album. Soldiers Things is sad and ironic, yet beautifully written. Tom Waits is a terrific pianist and brilliant songwriter. I look forward to delving deeper into his huge catalog. Please share your thoughts, opinions and memories!!

The amount of Tom Waits in this exercise is making me fucking hate Tom Waits

Tom waits is absolutely the worst. Nails on a chalkboard.

DON'T MIND IF I DO

I really don't like Tom Waits.

An excellent album and important transition in his career as he started collaborating with and being influenced by his wife Kathleen. She introduced him to Captain Beefheart who became a major influence, and you can hear that in this album. He started developing more voices and characters that continue to show up in later albums. I am reminded why I like his music so much listening to the first couple tracks - he creates such vivid scenes, you can imagine the loneliness, seediness and darkness of the places he inhabits. Sweet to hear a song about Kathleen (Johnsburg, Illinois). I think there are a number of masterpieces on the album - 16 Shells, Frank's Wild Years included. Other standouts for me are Swordfishtrombone, Down Down Down, and Gin Soaked Boy. Ultimately I find Rain Dogs to be a better album - certainly my favorite of the 80's trilogy and probably of all his albums - but for me it still deserves 5 stars.

It's not true that Tom Waits' music before this album contained no musical invention or experimentation. But, it is true that this is the point where he really let rip. Underpinning the bizarre sounds and vocal affectations is the great melodies you can hear on his earlier records. For such a wierd and wonderful collection, it ends up sounding and feeling really cohesive. I don't think it is quite his best work (that's Mule Variations, I think) but it is still a classic.

He sucks bad. Like anyone could do this shit

Critics are just making up shit to like this album. Nirvana’s Nevermind before there was a Nirvana? Bullshit. This album may be deep, but it is unlistenable.

Now I know for sure I don't like Tom Waits at all.

A beautiful but dangerous circus run by ghosts of soldiers with broken hearts. Lovely lovely lovely.

Arty music I don't understand or enjoy. Tom Waits sounds like he's doing a sarcastic impression of himself.

Good grief... I've already commented that I don't like Tom Waits's voice, but this album is labeled as "experimental rock." If you have to put it in a genre, I suppose that's as good as any, but there's quite a lot of this album that sounds like "drunken instrumentation." Imagine going to a carnival and hearing the background music played badly -- that's what the first three tracks sound like. Then at some point mid album bagpipes come in for a second? I felt slightly detached from reality after listening to this album, and not in a good way. I'm giving it a solid 1 star.

Thought I was out but he pulled me back in

Heard through the blue funk which has descended on every blue blooded Englishman and, I expect, all in their charge across the waves patrolled by those in service to the glory of crown and country since the crippling disappointment of the Euros 2020 final, this was a tonic. Capturing the spirit of jug bands - assembling new achievements from the scraps of whatever is lying around - and celebrating the once-fallen as heroes, it offers glints of hope glimmering at the end of dark alleys. Perhaps there is a way out. Perhaps it isn't interminable. And not just for the rogues and waifs here. I am talking also, of course, about our fallen heroes Bukayo, Kalvin, Kyle, the Harrys, et al. As for Waits' hoarse bark - 'tis surely the noise issuing forth from every true Three Lions fan's throat this week, after hours - nay, days - nay, weeks - of singing Three Lions, Sweet Caroline, and bellowing their support for our freedom-fighting soldiers of the football field. A real touch of class from Waits to record this tribute to the England team merely a day after their defeat.

It’s funny to me that the dislike of The Residents’ record on this site doesn’t get transferred over to Tom Waits’ music. The degree of separation between the two artists is minuscule. Sorry, but it’s about time some hear that hard truth.

Like a drunk grizzly bear in depression era New York trying to sing to you about its broken heart.

Favourite album from a favourite artist. Like the Ramones, who I listened to a few albums ago, he polarises listeners, and that's OK. You either buy into the world he has created over the decades, or you don't.

Listening to Tom Waits is like a reverse date rape - he'll drug you just to take you back to the bar.

damn this was a really cool album the more I listen to Tom Waits the more I can appreciate his style and the way he grows in his discography can’t decide what my favorite song is, I’m just gonna give this a 10/10, awesome album, please listen to it

This is a pretty good album to encapsulate a lot of styles of Tom Waits. You got your bastards, your brawlers, and your bawlers. This is definitely an album that keeps you thinking "What could be next?". I had not listened to the entire album for probably at least 7 years, but I had fav'd at least half the tracks, but discovered some new ones that I really like to add. The only duds for me are "Town With No Cheer", I don't think it adds anything to the album nor the Tom Waits catalog. Frank's Wild Years in isolation is just a little dumb-fun story, but if I recall Frank is a character throughout Wait's career, so there might be something more interesting there chronologically. I was thinking this would be a 4, but I am thinking it's probably a 5 actually. Not something I want to always throw on, but I can't deny it's a great album.

Tommy boy. Some would say his finest hour (depends on who you ask), but this is when he started to get really weird, which I dig. His voice is a point of contention for a lot of people but I really like it. This album has everything that Tom had done until that point: sultry ballads, driving blues, poetry, strange, world-influences and weirdo lyrics. I like this album a lot but I think Rain Dogs just edges it out for this era of Tom. Favorite track: 16 Shells From a Thirty-Ought Six Least favorite track: Trouble’s Braids

Tom Waits’s voice in “The Neighborhood” is my new favorite thing.

The instrumentation on this album is so good. The groove, the melodies, the music is absolutely fantastic. Moments of pure enjoyment and appreciation for how well the band plays each song, only to get interrupted by Tom Waits. Tom Waits is the villain in this album.

Was intrigued with this one as I know how much Waits is revered by true music lovers. Underground was not a good start - not sure what the allure is of angry Slipknot-like growling with Big Top circus musical accompaniment. I'd say one or the other but tracks 3 and 8 were the latter and I hated it. So need the right music with his voice - I quite liked 16 Shells from a 30.6 and Gin Soaked Boy so its doable. Shore Leave wasn't bad - still eclectic music but vocals not so off-putting (even the end of song warbling). In the Neighbourhood had some cool lyrics, Rainbirds was pretty, and the title track was alright. But his voice is just awful (it's like listening to the Cookie Monster) and there's way too much weird stuff and not enough good stuff that I'd want to listen to more than once (if that) or listen hard for the lyrics.

Goofy ahh music

Oh nah not this shit again

Don't get it, not an enjoyable listen

Just dire

"He's got his piano in the kitchen, and he only uses the kitchen range to light his cigarettes, and then there's this refrigerator where he keeps his hammers and wrenches and nuts and bolts and stuff like that. He opened the fridge door and with an absolute poker face he said, 'I got some cool tools in here.'" - Bette Midler on Tom Waits There's no other artist out there that makes me want to hop a train in the middle of the night to join a circus, drink whiskey, and eat cigarettes for breakfast. Seriously, though, Swordfishtrombones is already one of my all-time favourite albums. This is the album that really shifted him towards his junkyard persona and I love everything about it from his gravelly, whiskey-soaked, smoke-filled voice to the experimental sounds and song structures.

I remember being disappointed the first time I heard this. I was a fan of his earlier work and this was not that. Fast forward 25 years and I am able to appreciate this a lot more. I enjoy just about everything he's done. Tom Waits is a national treasure in my book.

251120 15:03 4.5

This is where Tom Waits started to become a WEIRDO

the sound of a cookie crumbling

I love the man. He has a carny appeal that really strikes me as folksy, authentic, and fun while still being grounded and deep at points.

Tom Waits is Tom Waits! He's an aquired taste, but i really like this album. He masterfully blends multible genres.

I thought for a long time that Tom Waits was not the artist for me and that I would not enjoy any of his works, but that was before I heard this album. Unlike the problems I had with Heartattack and Vine, this album I believe showcases where Waits' voice really shines. Abstract and weird in the best ways, this album was a colossal, strange, wondrous ride through Waits' mind. He doesn't let himself get shoehorned into that deep gravely voice that he is known for, and there are some quieter, smoother songs that showcase a range I didn't know he had. Sometimes you just get some quiet instrumentals or tracks where he just speaks, which is a nice palate cleanser between songs. Overall, an album that shocked me with how great it was.

Fuck yea

Swordfishtrombones was the beginning of Tom Waits' evolution into the figure he is today. Kathleen Brennan, Waits' most important collaborator (and wife) egged him into produce his own recordings and lean fully into his demented carny persona. Swordfishtrombones is the transitional album between the bar-room balladry of his early albums, with elements of the creepy circus, rubbish-bin-crashing production of his 90s albums. She describes Waits' songs as being either "grim reapers" (Underground, Swordfishtrombones, 16 Shells from a 30.6, Down Down Down) or "grand weepers" (In the Neighborhood, Soldier's Things, Gin Soaked Boy). I really dig Tom Waits' 'late' career, which starts here. Later albums are stronger (Rain Dogs, Bone Machine), but it all starts here. Many people under-estimate Ms Brennan's profound influence on Waits' songwriting and production. She exposed him to a range of new influences and possibilities, encouraged him to take control of his own production, and later became a powerful songwriting partner. Without her, it is hard to imagine that we ever would have heard this distinctive oeuvre. I think we have to understand Tom Waits' later career as the career of Tom Waits and Kathleen Brennan in partnership. Credit where credit is due, Ms Brennan, I doff my hat to you.

Круто. Чувак знает что делает.

It was good. Different but not unpleasant. I was entertained.

it's different and weird but not in an insufferable way

Intriguing oddball music.

Charming and unusual journey into strange piano bars that still somehow existed in 1983 having presumably been transplanted from 1920s Vienna.

Nr. 174/1001 Underground 2/5 Shore Leave 1/5 Dave the Butcher 2/5 Johnsburg, Illinois 2/5 16 Shells from a 30.6 3/5 Tom With No Cheer 3/5 In the Neighborhood 3/5 Just Another Sucker on the Vine 3/5 Frank's Wild Years 2/5 Swordfishtrombone 3/5 Done, down, down 3/5 Soldier's Things 3/5 Gin Soaked Boy 2/5 Trouble's Braids 2/5 Rainbirds 3/5 Average: 2,47 This is not really for me.

A friend introduced me to Tom Waits in the 90s. I believe we started with “pasties and a g-string” and then “diamonds on my windshield”. Because of that I’m already digging this album and the grooves. I absolutely love “shore leave”. This album has such a great jazz feel but also incorporates the best things I like about John Cage. “In the neighborhood” just grabs me. Like we should be singing it as a group at a bar toasting each other at closing time. This album is amazing.

Tom Waits will always get 5 stars from me. I realize he’s not for everyone, and for most folks there are too many of his albums on this list. I don’t know how many there are yet, but it’s all of them, that’s fine by me. Swordfishtrombones isn’t even my favorite of his albums, but it still has his quirky style of storytelling and some fantastic songs (I’m partial to Gin Soaked Boy and Soldier’s Things). And one thing that can definitely be said about this album that cannot be said of a great many others on this list, it’s not boring at any point. He mixes up styles almost as much as instruments. Classic album, and I’m glad people are getting exposed to this genius, even if they don’t see it.

Love the world-weary charisma of Waits here. It's an eclectic album, and not really for everyone. I put this on not expecting a flawless, perfect poppy album, but a human album that felt personal and beautiful.

While not as good as my introduction to Waits (that would be Rain Dogs), this has become one of the fundamental albums of my life.

I love Tom Waits but I'd only ever dug into this record once or twice before. This is really an incredible work of art.

First Tom Waits album I owned and loved then but had not listened in at least 3 decades… still wonderful and now I can understand how it prepared me for enjoying Captain Beefheart, the Fiery Furnaces, Minutemen and other bands that played by their own rules yet still were musically beautiful. My favorite album by him too.

The short interlude-like tracks prevent this being a perfect album for me, but it is so SO close. I love this project. The musicians are locked-in, grooving and elastic. Tom is sinister, vulnerable; and sharp-tongued as ever.

This album holds a dirty twisted mirror up to the dark underbelly of civilisation and kinda likes what it sees. One of the best ever recorded and my favourite Tom Waits album. Favourite tracks: Town Without Cheer, 16 Shells From A 30.6, Rainbirds, Frank's Wild Years, basically all of it

Like a second debut. I hadn't listened to it in a while. It's just incredible and might be my favourite of his 80s Island Records trilogy, although maybe if I'd just listened to either of the other two I'd pick one of those. I enjoyed reading some of the musicians bios off the Wikipedia page. I suppose I shouldn't be so surprised how accomplished a group of session musicians it is but it almost seems at odds with how otherworldly the music often is. You've got the bass player from Canned Heat and a guitarist from Little Feat here! It's easy to forget how just a little bit of grit or discordancy upsets people. These 1 star reviews read like slugs doused in salt.

An absolute killer album. Masterpiece. Everything works. By far the best album I've listened so far and probably one of the best albums of the eighties. And certainly Tom Waits' best.

Album is a journey

Swordfishtrombones marks Tom Waits’ bold departure from his familiar jazz-blues-barroom roots, plunging headfirst into a clattering, surreal carnival of sound. With clanging marimbas, woozy horns, and absurdist spoken-word vignettes, Waits conjures a shadowy world of drifters, grifters, and sideshow misfits. Drawing inspiration from Captain Beefheart’s dissonant blues and the grotesque wonder of Todd Browning’s Freaks—where he met Kathleen Brennan, his future wife and creative catalyst—Waits embraces experimentation with fearless abandon. Tracks like the chaotic “16 Shells From a Thirty-Ought Six” and the darkly comic “Frank’s Wild Years” revel in their lunacy, while more restrained pieces like the tender “Johnsburg, Illinois” and the mournful “Soldier’s Things” remind us of Waits’ gift for emotional intimacy. This is an album built on contrasts: industrial clang meets drunken jazz, growls melt into murmurs, and chaos dances with vulnerability. For all its eccentricity, Swordfishtrombones remains deeply human—a dreamlike travelogue through the back alleys of Waits’ imagination. It’s the sound of an artist breaking free, and in doing so, creating one of the most daring and unforgettable records of his career. Essential listening for anyone drawn to music that’s bold, bizarre, and vividly alive.

Tom Waits at is Tom Waits-iness

I can't describe this one, 5 stars

Emperor of weird and he does it the best.

For the longest time I only thought of Tom Waits as, like... Strange music. The kind you'd plug in alongside Primus, That Handsome Devil, and maybe The Residents on the extreme end of things. That was certainly always the impression I'd always gotten from the song of his included on the SHREK 2 soundtrack — and, yes, I'm bringing that up again in relevance to Tom Waits. Like, jeez, is that the only thing I think of when I hear his name? I promise I have a good reason, though. 'Coz the first three tracks sure fit into the preconception I had of him. Odd lyrics backed by odd instrumentation... Yeah, that's it. Honestly, it's what I expected Captain Beefheart to sound like — which is to say, its strangeness is outward and obvious, instead of having it mostly exist in,like, polyrhythms or whatever. I'm kinda dumb, y'see. I mean, goodness, "Dave The Butcher" straight-up sounds like it's coming direct from a dark, evil carnival. It did not surprise me too much to find out that this was the first album Waits produced himself, and if the whole thing sounded this way, I'd be perfectly happy. This stuff is wonderfully weird. But then we hit "Johnsburg, Illinois" — and it's here where the true album reveals itself. Y'see, looking back on those first three tracks with the whole album in context, they strike me as a "scaring the hoes" kind of deal. A way to weed out the people who, y'know, "if they can't handle me at my most extreme..." 'Coz while the rest of the album still keeps a lot of its oddball charms, it's for sure toned down from "Johnsburg, Illinois" on. I mean, heck, it's a stripped-down, straight-up piano song, where, like... Goodness, I am so surprised that someone who sings the way he does, like he's vomiting the words, can make his voice sound this beautifully emotional. Consider me mightily impressed by this. And after this is where I get my revelation. 'Cuz for the rest of the album, I could only imagine him as a singer in a dirty piano bar: sunglasses on indoors, slightly hung over, holding his 36th cigarette of the night between his fingers... There is such sincerity, earnestness and realness I get from his music. Despite all the strange turns this material takes (maybe because of it, honestly), it really sounds like it's "for the people," or at least some of the odder ones. That he's down there giving light and a voice to these people. Truly, a bizarro world Springsteen. So much of it is honestly so beautiful, too. I particularly wanna highlight "Town With No Cheer" with its soft accordion and plucked strings (as a matter of fact, it's where I had my revelation) and "In The Neighborhood". That song is a mournful march, and even not knowing what it was about, it felt like one I should cry to. If a song can make me feel like that based on nothing but how it sounds — I mean, jeez, it can't be doing too much wrong, can it? Plus, although it didn't get me personally, I can totally imagine "Soldier's Things" making someone just break down. Another big ol' highlight. (I'll also point out "16 Shells From A 30.6" and "Gin Soaked Boy" as groovier blues numbers so you don't think this whole album is just piano bar songs once it's done being all-out weird.) And it was after I was done listening to this album, thinking about the song he had in SHREK 2, that I had my second revelation. Frankly, I should have known that this is what Tom Waits was like all along, 'coz how what that song used? As the one being sung by a piano player in a dirty bar. It was staring me in the face the whole time, but I was too caught up in the weirdness to realize it. How about that, huh? It's like, I don't blame this album for having the average score it does (2.97). Without intending to sound judgemental, some people just don't have the ears for this kinda music. They're gonna hear how strange the first three songs are and refuse to think about it any deeper. "It's weird for weird's sake, and I don't like that." I'm not gonna fault them for not recognizing how much deeper and prettier this album gets as it goes on, although I really wish they could and would. They're really missing out. This album is a big 5 from me, no caveats. It's absolutely not for everyone, but for the people who get it — and I'm more than happy to count myself among them... Gosh, it's so wonderful.

You know what? I’m at a 4.5 that I’ll bump up to a 5. It took a little bit to get rolling, but after the sort of weird 3-track start (though Underground is fine), I think this album finally finds its voice by “Johnsburg, Illinois” and just kind of glides from there. This is not the same type of album as Rain Dogs, and I think it’s all the better for it – he’s not trying to mold his vocals to the heavier rock-influenced, vaguely Springsteen-ish instrumentals present on that album, but has instead made every track here work with his vocals to lean into his grittier strengths in a more cohesive way. Granted, my entire premise is a bit undermined by the fact that this album came BEFORE Rain Dogs, but I stand by it – this album feels more complete to me because it finds a better harmony between his vocals and the instrumentals, and that was my biggest thing holding me back before. It also helps that I think the lyricism is just better on these tracks – even when they make no goddamn sense at all (see: “16 Shells From a 30.6”), they’re still sort of captivating in their delivery & natural flow. However, when they do make sense (and they make sense plenty of times), I think some of the lyrics on these tracks feel like a sort of contemporary, mildly buzzed Bob Dylan for the 1980s – a little nonsensical at times, but when they need to lock in and truly tell a story, Tom Waits knocks it out of the park. Look no further than “Soldier’s Things”, which I think is a real highlight from any of the 438 albums we’ve gotten so far – that is a masterclass in lyricism, and it hit a little close to home for me. So, yeah, I’m at a 5 – once this thing gets rolling, it finds a sort of voice that speaks more for the “common” man, and going for a mostly local tone on a lot of these tracks lets their personality, humor, or sincerity shine through in a more authentic way than they did on Rain Dogs. That’s not to say Rain Dogs is a bad album, but this feels way more like the “real” Tom Waits to me. It’s a lovely album, and its abrasions work to Tom’s strengths to create a really cohesive 41 minutes (well, OK, 33 or so if you don’t count the first 3 tracks not clicking as well, but shh) that really worked for me. I can hear why this is at a 2.97 on the site, but I just don’t think they’re engaging with the album in the right way. I really, really enjoyed this, and I’m really glad this was on the list. Good job, Tom.

Brilliant - I love this sort of thing. I've known Wait's music for a time, also a big Captain Beefheart fan, so Wait's particular brand of off-kilter music, singing and story telling is right for me.

Tom is his own genre, felt like listening to the soundtrack of some movie, I really enjoyed it

Fantastic record, it's a great introduction to the weird ass Tom Waits era!

This sounds like what i think a safari soundtrack would be. Its rough, yet tender and soft, very entrancing. Incredible production and clarity of sound.

Always listen to Tom Waits on repeat. The more you listen to this cacophonous glory the more you fall under its spell. Then you hear Frank's Wild Years with the ultimate black humour sting at the end. That's when you realise you need to listen to every lyric for the surrealism and humour. I tend to open up a lyric sheet on my computer. Whatever you do, however you do it, just enjoy this bonkers man and his creations.

Such a silly dude. I love it.

Sounds like a haunted drunk circus which is my favorite kind of circus.

This is where Tom Waits really started to experiment with unconventional instrumentation and raw, unpolished production. The album has that quirky and playful instrumentation that I always enjoy, giving it a unique and offbeat atmosphere. The DIY production approach gives it a rough, organic feel that makes the music really stand out.

its the guy from robots yippie

Really interesting record. Love the instrumentation and his voice

The only Tom Waits song I've heard before this listen is his version of Heigh Ho, which felt very industrial and his rough voice felt perfect. What surprised me in this album is how much the same his style is and how much variety there is from song to song. It is all powerfully rhythmic and wonderfully sung with reduced melodic impact, but each song is clearly reaching for a different genre, while all of it, in the end, is simply Tom Waits. Perfect. 4.5/5

Captivating

Tom Waits is an American treasure. The throat clearing on Frank's Wild Years alone is enough for me to give this masterpiece of beautiful weirdness a five. LOVE!! 5

Easy, I am a huge Tom Waits fan and this album, along with Rain Dogs, first attracted me to him. So, a definite 5 for me. It's the creativity, the use of unorthodox "instruments", the rawness (but with a soothing song just when you need it - Downtown Train etc.). Waits is an amazing storyteller, both with words and musically. I also love his jazzier early work and his more recent work, but I'll always come back this album and Rain Dogs.

There just isn’t anyone like Tom Waits. He occupies a space in and out of time throughout all of America’s history. The songs on this album are both subversive nostalgic.

instantly loved this one. pretty healthy amount of contrasts & a particular taste for textures & musical narratives. cool intro to this guy!

Murky, vaudevillian, bat shit crazy. Loved it from start to finish. Underground sounds like it was produced by filthy trolls in the depths of a smelting plant. Booming drums, metal clangs, set to the marching trombone. A vocal performance that sounds like he's just gargled hot tarmac. Lyrically it paints a vivid picture of a dank underworld. Whispered stories weaved between, traditional blues, experimental noise, lacerated vocal chords, and a tatty chest of instruments, make this an eccentric masterpiece. Used jet trash! Halloween orange and chimney red! What a way to turn a phrase.

Glorious vocals, intense lyrics and beautiful tones grace this immortal album

The Robots feature!! More of what I loved from the first Tom Waits album, though I didn't feel the sparser ones so much. Probably just take longer to digest. I think I'm just incapable of not being drawn into his music, and my favourite might actually be the last track. Unexpectedly beautiful after everything that came before

I love Tom Waits and Swordfishtrombones is the album that broke the jazz lounge-y sound he had before and turned it on its head. As always his lyrics are great and the sounds he begins to create on this album are unique. I think I might like Rain Dogs a little bit more - but really this album can do no wrong. . . . never could stand that dog

Beck looks in the mirror and sees Tom Waits, but Tom Waits looks at Beck and sees a Michael Cera character.

Belter album. Can't wait to listen to it with the kids..... Best song for me is Frank's wild years. Blazing imagery.

I'm a fan of music that's "weird" or "different" so long as it can still be seen as music and doesn't lean TOO far into weird and different. As soon as I heard the vocals I knew people would either love them or hate them. They are very strange. But I really enjoyed them a lot! It definitely fits with the music. 'Underground' is a thudding plodding opener. Really sets the tone for the rest of the album. The next track 'Shore Leave' he is whispering menacingly. '16 Shells From a 30.6' had me tapping my foot, really grooves along nicely. 'In The Neighborhood' is, dare I say it, quite a lovely song. 'Down, Down, Down' is very rock 'n' roll. The music evokes images of a video game about cavemen but they're travelling aimlessly around an abandoned fairground. That is the only way I can describe it. It's bizarre and slightly over the top at times, but never takes itself too seriously. If it was described to me, it's not something I would have thought I'd have liked, but I'm glad it came up on this list! I wouldn't go as far to say that it's genius (or maybe I just don't get it) but I do know I really enjoyed listening to this a lot!

Very very cool album. I love the variety in style throughout, using the same Instruments (including voice) in a ton of different ways to create limitless Instruments. The spoken word style stuff never misses on this for me, even though it’s not usually my style of music, I’d say generally that my favorite parts of the album are the spoken word portions. Also extra points for heavy marimba usage and industrial percussion, honestly 5/5.

As most albums by Tom Waits this is simply great! It's not my favourite one but still wonderful.

The opening chapter of a deliciously twisted trilogy.

Waits has such a distinct style and it is growing on me. Some albums are more of a miss, but this one is definitely a hit.

I have almost every Tom Waits album and love them like children. No exception here - is Waits the most consistently interesting popular musician around?

This has become one of the most important albums I've ever listened to. I'll take any excuse to spin it again.

Absolutely amazing

The music world needs more Tom Waits, the innovators who beat to their own drum (or in this case, an African squeeze drum). This is unconventional pop music. It reminds me of the seediness of a Raymond Chandler plot, but also the little slices of miserable life that appear in a Raymond Chandler short story. Waits employs so many different instruments, its a tapestry of subtle sounds. The title track is one of my favorite Waits songs, it’s the intersection of all the great sounds and ideas that make this album a classic.

Cool, sleazy and Tom Waits own personal vaudeville at its best. The bizarre story telling and the rag tag instrumentation is a perfect combination and enjoyable throughout

God I love this album. I can’t decide on a favorite song but if I had to chose The Neighborhood or Franks Wild Years. I love how the instruments sound, especially all of the percussion. Truly the best.

Completely unique, often disharmonic with few moments of vivid sincerity and beauty. Perfect for a rainy day if instead of feeling cosy, you want to feel dread.