Tom Waits – Rain Dogs
Label: |
Island Records – ISL-1065 |
---|---|
Format: |
Vinyl
, LP, Album
|
Country: |
Canada |
Released: |
|
Genre: |
Rock |
Style: |
Blues Rock |
Tracklist
A1 | Singapore | 2:43 | |
A2 | Clap Hands | 3:45 | |
A3 | Cemetery Polka | 1:47 | |
A4 | Jockey Full Of Bourbon | 2:45 | |
A5 | Tango Till They´re Sore | 2:50 | |
A6 | Big Black Mariah | 2:43 | |
A7 | Diamonds And Gold | 2:32 | |
A8 | Hang Down Your Head | 2:30 | |
A9 | Time | 3:55 | |
B1 | Rain Dogs | 2:53 | |
B2 | Midtown (Instrumental) | 1:01 | |
B3 | 9th & Hennepin | 1:57 | |
B4 | Gun Street Girl | 4:37 | |
B5 | Union Square | 2:23 | |
B6 | Blind Love | 4:19 | |
B7 | Walking Spanish | 3:05 | |
B8 | Downtown Train | 3:50 | |
B9 | Bride Of Rain Dog (Instrumental) | 1:07 | |
B10 | Anywhere I Lay My Head | 2:47 |
Companies, etc.
- Manufactured By – Cinram
- Manufactured For – Island Records Of Canada Ltd.
- Distributed By – MCA Records (Canada)
- Published By – Jalma Music
- Phonographic Copyright ℗ – Island Records Inc.
- Copyright © – Island Records Inc.
- Recorded At – RCA Studios, New York
- Mixed At – Quadrasonic Studio
- Mastered At – Masterdisk
- Mixed At – RPM Studios
Credits
- Arranged By – Tom Waits
- Art Direction [Album Cover Direction] – Peter Corriston
- Coordinator [Production Coordination] – Valerie Goodman
- Double Bass – Larry Taylor (tracks: A1, A3, A4, A6, A8 to B1, B6)
- Drums – Stephen Arvizu Taylor Hodges* (tracks: A1, A2, A4, A6, B1, B2, B6, B7)
- Engineer, Mixed By – Robert Musso
- Guitar – Tom Waits (tracks: A2, A4, A6, A8 to B1, B6 to B8)
- Mastered By – Howie Weinberg
- Mixed By [Quadrasonic Assistant] – Tom Gonzales
- Mixed By [Rpm Assistant] – Jeff Lippay
- Percussion – Michael Blair (tracks: A1 to A4, A7, A8, B4, B8)
- Photography By [Back Cover Photo] – Robert Frank (3)
- Photography By [Cover Photo] – Anders Peterson*
- Producer, Written-By – Tom Waits
- Recorded By [Rca Assistant] – Dennis Ferrante
- Vocals – Tom Waits (tracks: A1 to B1, B3 to B8, B10)
Notes
Special Thanks to: Ellen Smith, Holly Ferguson. Dedicated to Kathleen.
TM owned by Antilles Communications Ltd.
TM owned by Antilles Communications Ltd.
Barcode and Other Identifiers
- Matrix / Runout (Etched Runout Side A): ISL 1065-A
- Matrix / Runout (Etched Runout Side B): ISL 1065-B ②
- Matrix / Runout (Stamped both sides): CR in a circle
Other Versions (5 of 195)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Rain Dogs (LP, Album, Stereo, ® On Lables) | Island Records | 207 085, 207 085-620, 207 085-8 | Europe | 1985 | |||
Rain Dogs (CD, Album) | Island Records | 610 486, CID 131, 610 486-222, 90299-2 | Europe | 1985 | |||
Recently Edited
|
Rain Dogs (LP, Album) | Island Records | ILPS 9803 | UK | 1985 | ||
Rain Dogs (LP, Album, Stereo, SP - Specialty Pressing) | Island Records | 90299-1, 7 90299-1 | US | 1985 | |||
Recently Edited
|
Rain Dogs (LP, Album) | Island Records | 10.207085.50 | Portugal | 1985 |
Recommendations
Reviews
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For my tastes this sounds better than the reissue. I feel the new mix has sacrificed brash and bite for clarity.
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They’ve re-released the entire Monkees catalogue...isn’t it time for a new vinyl version of Raindogs?
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Edited 4 years agoSo why is this the most popular Tom Waits album? For starters, it cemented the trajectory of Tom Waits for the next 30 years (and beyond). It established a new way of orchestrating music that made deep call-backs to Wehrmacht Vaudevillian forms that made it immediately interesting while also wholly singular to Tom Waits. It was clearly a popular album and established a style that nobody but Waits could pull off ever. Is there any better example of an artist establishing a "signature sound" than Waits? This album is also best evidence that Tom Waits was the only artist from the early 1970s that actually got better... much, much better... in the 1980s, a decade where all '70s rockers sold their soul for cheesy production tricks and slick, vapid songs. And with all the strangeness - songs like Signapore, Big Black Mariah, Rain Dogs, and Downtown Train - are actually quite poppy, each in their own mutated way. (Hell, Rod Stewart covered Downtown Train, so that goes to show just how strong Waits' songcraft was.) It was an album that could have spawned an entirely new genre of music but ended up only being the domaine of one, and we're all perfectly okay with that. A groundbreaking album that predictably left us all with some turned-up mud in a forgotten field somewhere. And there's a man still dancing in that mud-hole today.
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Recently Edited
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