Tom Waits I Dont Want Another Drink I Just Want That Last One Again

1973 studio album by Tom Waits

Closing Fourth dimension
Studio album past Tom Waits
Released	March 6, 1973 (1973-03-06)
Recorded	Early 1972
Studio	Sunset Sound (Hollywood) United Western (Hollywood)
Genre	Folk, jazz, dejection[i]
Length	45:46
Label	Aviary
Producer	Jerry Yester
Tom Waits chronology
Closing Time (1973) The Heart of Sabbatum Night (1974)
Singles from Closing Time
"Ol' '55" Released: 1973

Closing Fourth dimension is the debut album past American vocalist-songwriter Tom Waits, released on March 6, 1973 on Asylum Records. Produced and bundled by former Lovin' Spoonful fellow member Jerry Yester, Endmost Fourth dimension was the first of seven of Waits' major releases by Asylum.

The album is noted for being predominantly folk influenced^[2] although Waits intended Closing Fourth dimension to be "a jazz, piano-led album."^[three] Upon release, the album was mildly successful in the Usa, although it did non chart and received piddling attention from music press in the Great britain^[4] and elsewhere internationally. Disquisitional reaction to Closing Fourth dimension was positive.^{[five] [six]} The album'southward simply unmarried, "Ol' '55", attracted attention due to a cover version by Waits's more than pop label mates, the Eagles. Other songs from the album were covered by Tim Buckley^[7] and Bette Midler.^[8] The album was certified Gold in the Uk^[nine] and has gained a contemporary cult following amongst rock fans.^[10] Since its release, the anthology has been reissued on LP in 1976, on CD in 1992 and 1999, and 180 gram LP in 2010.

Background [edit]

The Troubadour was the site of many early on Waits performances

Tom Waits began his musical career in 1970, performing every Monday night at The Troubadour, a venue in West Hollywood, California.^[11] Waits' setlist at these series of shows, described every bit "hootenanny nights",^[12] consisted primarily of Bob Dylan covers,^[thirteen] although information technology included songs which would later appear on Endmost Time and its successor, The Heart of Saturday Night (1974). Amidst the songs performed were "Water ice Cream Human", "Virginia Avenue", "Ol' '55", "I Hope That I Don't Fall in Dearest with You", "Shiver Me Timbers" and "Diamonds on my Windshield." Around this fourth dimension, Waits began working as a doorman at a San Diego, California, club, The Heritage, which was a coffee house by day. In November 1970, Waits performed his first paid testify at The Heritage, earning $25 for his operation.^[14] At a Troubadour operation in summer 1971, Herb Cohen inadvertently spotted Waits and became his director. Through Cohen's contacts, Waits recorded demos in Los Angeles in tardily summer 1971 with producer Robert Duffey, later released equally The Early Years in two volumes, against Waits' wishes. In social club to focus on his career, Waits relocated from San Diego to Los Angeles in early 1972 and performed more than frequently at The Troubadour, where David Geffen discovered him performing "Grapefruit Moon."^[15] The functioning, which "floored" Geffen,^[sixteen] led Geffen to negotiate with Waits' managing director Cohen, and Waits signed to Aviary Records within a month.

Recording [edit]

Before recording the album, Waits became friends with his designated producer Jerry Yester and one afternoon in early on 1972 recorded a pre-production tape in Yester's residence.^[17] The instrumentation, recording arrangements, and musicians were likewise discussed during this session with Waits making it "absolutely clear he wanted a standup bass player."^[xviii] Drummer John Seiter, guitarist Peter Klimes, trumpeter Tony Terran and additional guitarist Shep Cooke were recruited through Yester and through Seiter, jazz bassist Neb Plummer was hired.^[18]

The main recording sessions for Closing Fourth dimension took place at Sunset Sound Recorders in Hollywood, California—where Buffalo Springfield, Joni Mitchell, Neil Young and The Doors had previously recorded—during spring 1972. Yester fronted production and the sessions were held about immediately after Waits' record bargain, and were described as "quick and efficient."^[19] Waits was "nervous, merely confident enough in his own material"^[19] during the showtime of the sessions; however, equally the sessions progressed, Waits and Yester "were pulling against each other" over the direction which the album would take, with Waits wanting a jazz-laden record and Yester more focused on producing a folk-based album.^[3] Despite this, Waits was "absolutely communicative"^[20] with his fellow musicians, articulating his direction and using metaphors to draw how he wanted the songs to sound. The sessions took a total of ten days, with the commencement two days focusing on "getting used to [the studio]."^[21] Both Waits and Yester wanted to tape during the evening, but as no slots were available, information technology was recorded through the morning and afternoon "from ten to v every solar day."^[21] During the recording of "Ol' '55", Seiter contributed backing vocals and "came up with a perfect harmony line that started faintly before the chorus even began."^[20] The sessions concluded with a total of 9 songs completed. Though unsatisfied with the number of songs, a second recording session was arranged the following calendar week in United Western Recorders. The final session for Closing Time began the following Dominicus, with guest musicians Arni Egilsson replacing Plummer and Jesse Erlich performing cello.^[22] The title rail, "Closing Time", was the only vocal recorded in total, and Yester after described the session as "the most magical session I've always been involved with. At the end of information technology, no one spoke for what felt like five minutes, either in the berth or out in the room. No one budged. Nobody wanted the moment to terminate."^[22] Cord overdubs were later cutting for "Martha" and "Grapefruit Moon" the following day. The final recordings were mixed and mastered at Wally Heider Studios in San Francisco.^[23]

Composition [edit]

	The album's opening track features distinctive use of piano with folk-led instrumentation, a fundamental factor to how the album eventually sounded.
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Endmost Time features an eclectic mix of musical styles. Songs such as "Ol '55", with its "gentle slipnote pianoforte chords",^[twenty] and "Erstwhile Shoes", "a country-rock waltz that picked up the feel of 'Ol' 55'", are ordinarily considered folk-like. Other songs such as "Virginia Artery", "Midnight Lullaby", whose outro features an instrumental segment of the plant nursery rhyme "Hush Little Baby", and "Grapefruit Moon" reveal a quieter, more jazz-like temperament. "Ice Cream Man" is ofttimes noted as being the about "up-tempo"^[24] vocal of the album, whereas "Lonely" is toned-down and slow-paced. The sophisticated piano melodies are oft accompanied by trumpets, typical of the jazz sound that Waits originally designated for the album.^[20] Noticeable string arrangements are also featured on the album, on "Martha" and the final song "Closing Time", the latter being purely instrumental.

The songs on Endmost Time are ofttimes noted for their lyrical content and vary in grade. "Ol' '55" narrates the story of a human being riding "lickety splitly" in a machine and is often seen as a vocal about escapism, "similar his near-contemporary Bruce Springsteen."^[25] This theme is also present in "Old Shoes" which narrates another story almost "a footloose immature stud striking the road and semi-sneering",^[26] peculiarly in lyrics such as "your tears cannot bind me anymore" and "my heart was not born to be tamed." Other lyrics on the anthology are described as melancholic, especially "Lone", "I Hope That I Don't Fall in Love with You" and "Grapefruit Moon", which are "both self-witting and lacklustre".^[25] The intro to "Midnight Lullaby" borrows lyrics from the English nursery rhyme "Sing a Song of Sixpence".^[26] This form of song-writing became a lifelong addiction of Waits following the writing of "Midnight Lullaby", in which he "assembled lyrics from fragments of oral tradition."^[26]

Packaging [edit]

Closing Time 's art was designed by Cal Schenkel. Schenkel's front comprehend art was inspired by "Waits' ain idea of how the album should sound." It depicts Waits leaning against a bar-room piano which is furnished with a shot of rye, a bottle of beer, cigarettes, an ashtray and a small-scale candle with a blueish pool table lamp above Waits' caput.^[21] The dorsum cover art is minimal and just features a photograph of Waits staring directly into the photographic camera, reputedly taken later on 1 of Waits' performances at The Troubadour.^[21] Both photographs were taken by Ed Caraeff.^[23]

Release [edit]

Endmost Time was released by Aviary on March six, 1973.^[27] The anthology's pb single, "Ol' '55", was released a month before the anthology for promotion. The single featured the same song pressed on both sides of the record, with the A-side in mono and the B-side in stereo. Waits' first national bout coincided with the album's release and ran from Apr to June 1973. The band consisted of Waits on vocals, acoustic guitar, and piano, Bob Webb on double bass, Rich Phelps on trumpet, and John Forsha on guitar. The tour started at The Cellar Door in Washington, D.C. with Waits opening for Tom Blitz. And then he played at venues such equally Max's Kansas City in New York City and The Boarding Business firm in San Francisco, opening for Danny O'Keefe, Charlie Rich, Buffalo Bob Smith—of Howdy Doody —and John P. Hammond.^[28] A second bout ran from November to December 1973 with Waits opening for Frank Zappa. This tour consisted of Waits on vocals, acoustic guitar, and piano, with Bob Webb on double bass. In 1999 Elektra Records reissued Endmost Time in Europe on limited edition CD, and in 2010 Elektra and Asylum reissued the anthology on CD and LP, respectively.^[29]

Reception [edit]

Professional ratings

Review scores
Source	Rating
AllMusic	[24]
Christgau's Record Guide	B+[30]
Classic Rock	8/x[31]
Mojo	[32]
Pitchfork	8.7/10[33]
Q	[34]
Tape Collector	[35]
The Rolling Stone Album Guide	[36]
Uncut	[37]

After its release, Closing Time was received positively by the American music press, although coverage was express. In Rolling Stone, critic Stephen Holden praised it as "a remarkable debut album" and branded Waits as "a boozier, earthier version" of Randy Newman who similarly "delights in rummaging through the attics of nostalgia".^[38] Holden nonetheless noted that "the persona that emerges from [Endmost Fourth dimension] is Waits's own, at once sardonic, vulnerable and emotionally charged".^[38] Hamlet Vocalisation critic Robert Christgau noted that with his "jazz-schooled piano and drawling delivery ... Waits exploits an honest sentimentality which he undercuts just enough to be credible".^[thirty]

The album received little coverage internationally, with its promotion in the UK being little more than a featured advert in the NME.^[4] Endmost Time did non chart upon its release although in 2000, the album peaked at number 28 in the Irish Albums Chart.^[39] The anthology was certified Silver in the United Kingdom in 2004 with shipments of over 60,000 copies and was later certified Aureate in 2012 with shipments of over 100,000 copies.^[9]

Legacy [edit]

Tim Buckley covered "Martha" the same year it was released

William Ruhlmann, in a retrospective AllMusic review, holds the album in high regard, describing Waits' "lovelorn lyrics" as existence "sentimental without being penetrating", while as well noting Waits' "gift for gently rolling pop melodies" and "self-conscious melancholy", the latter of which "can be surprisingly moving".^[24] In 2000, Endmost Time was voted number 880 in Colin Larkin'due south All Time Top 1000 Albums.^[forty]

Closing Time reached a wider audience through encompass versions of its songs past more successful artists and have since continued to accept been covered. Afterwards in 1973, Tim Buckley released the album Sefronia, with a encompass of "Martha,"^[7] the first always embrace of a Waits song past a known artist. Buckley'south version was also included in the 1995 tribute compilation Step Right Upwardly: The Songs of Tom Waits. "Martha" was covered once again in 1979 by Bette Midler on Saturday Night Live ^[8] and past Meat Loaf on Welcome to the Neighborhood (1995).^[41] "Ol' '55" was recorded by the Eagles for On the Border (1974).^[42] "Rosie" was recorded by The Shell Farmers for their anthology The Pursuit of Happiness. (1987)^[43] "Ice Cream Man" was covered in 1991 past Screamin' Jay Hawkins for Blackness Music For White People ^[44] and "Lonely" was covered live past Bat for Lashes and included on the palatial edition of her album Two Suns (2009).^[45] Covers of "I Hope That I Don't Fall in Dear with You" can be found on Footstep Right Up (past 10,000 Maniacs), The Prince and Me soundtrack (past Marc Cohn), Hootie & the Blowfish's Scattered, Smothered and Covered compilation, 10,000 Maniacs' Campfire Songs compilation, and "Heart and Soul," an episode of Marry McBeal, where it is sung by Jon Bon Jovi.

Track listing [edit]

All songs written and composed past Tom Waits.

Side one

No.	Title	Length
1.	"Ol' '55"	iii:58
2.	"I Hope That I Don't Fall in Love with You"	3:54
three.	"Virginia Avenue"	3:10
4.	"Old Shoes (& Moving-picture show Postcards)"	3:40
v.	"Midnight Lullaby"	3:26
half-dozen.	"Martha"	four:30

Side two

No.	Title	Length
seven.	"Rosie"	4:03
8.	"Alone"	three:12
9.	"Ice Cream Human"	3:05
10.	"Little Trip to Heaven (On the Wings of Your Love)"	3:38
eleven.	"Grapefruit Moon"	4:50
12.	"Closing Time" (instrumental)	iv:xx
Total length:		45:46

Personnel [edit]

Musicians [edit]

• Tom Waits – vocals, piano, guitar, harmonium, harpsichord, celeste
• Delbert Bennett – trumpet
• Shep Cooke – guitar, backing vocals on "Old Shoes (& Picture Postcards)"
• Peter Klimes – guitar, pedal steel guitar on "Rosie"
• Bill Plummer – double bass
• John Seiter – drums; backing vocals on "Ol' 55" and "Rosie"

Guest musicians [edit]

• Arni Egilsson – bass guitar on "Closing Fourth dimension" (Instrumental)
• Jesse Ehrlich – cello on "Martha"
• Tony Terran – trumpet solo on "Closing Time" (Instrumental)

Technical personnel [edit]

• Ed Caraeff – photography
• Richie Moore – additional engineering science
• Cal Schenkel – design, artwork
• Jerry Yester – production, engineering

Chart positions [edit]

Certifications [edit]

References [edit]

1. ^ Manno, Lizzie (January 19, 2018). "Tom Waits to Re-Release Entire 1970s Elektra Asylum Itemize". Paste . Retrieved March 21, 2019.
2. ^ Hoskyns, p. 87.
3. ^ ^{a b} Hoskyns, p. 49.
4. ^ ^{a b} "Tom Waits, Closing Time, His kickoff album on Asylum Records". NME. May 12, 1973.
5. ^ Hoskyns, p. 89–ninety.
6. ^ Humphries, p. 53.
7. ^ ^{a b} "Sefronia – Tim Buckley". AllMusic. Retrieved Apr 22, 2011.
8. ^ ^{a b} Jacobs, p. 318.
9. ^ ^{a b c} "British anthology certifications – Tom Waits – Closing Time". British Phonographic Industry. Retrieved July 27, 2012.
10. ^ "Artist: Tom Waits – Festival Information de Jazz de Montréal". Montreal International Jazz Festival. Archived from the original on May 25, 2011. Retrieved April 24, 2011.
11. ^ Humphries, p. 38.
12. ^ Humphries, p. 39.
13. ^ Hoskyns, p. 48.
14. ^ Humphries, p. xl.
15. ^ Hoskyns, p. 76.
16. ^ Humphries, p. 45.
17. ^ Hosykyns, p. 82.
18. ^ ^{a b} Hosykyns, p. 83.
19. ^ ^{a b} Humphries, p. 49.
20. ^ ^{a b c d} Hoskyns, p. 84.
21. ^ ^{a b c d} Humphries, p. l.
22. ^ ^{a b} Hoskyns, p. 86.
23. ^ ^{a b} Closing Time (CD). Tom Waits. Elektra Records. 1973. 7559-60836-2. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
24. ^ ^{a b c} Ruhlmann, William. "Endmost Time – Tom Waits". AllMusic. Retrieved Oct 6, 2020.
25. ^ ^{a b} Humphries, p. 51.
26. ^ ^{a b c} Hoskyns, p. 85.
27. ^ "Closing Time (Remastered) by Tom Waits". Apple Music. Retrieved October x, 2020.
28. ^ "Tom Waits Performances: 1970–1975". tomwaitslibrary.com. Retrieved January ix, 2007.
29. ^ Ishaq, Farah (November v, 2010). "Tom Waits to Reissue First Four Asylum Albums on Vinyl". Spinner. Retrieved April 23, 2011.
30. ^ ^{a b} Christgau, Robert (1981). "W". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor and Fields. ISBN0-89919-026-X . Retrieved March 21, 2019 – via robertchristgau.com.
31. ^ Johnston, Emma (May 2018). "Tom Waits: Reissues". Classic Rock. No. 248. p. 98.
32. ^ "Tom Waits: Closing Fourth dimension". Mojo. No. 200. July 2010. p. 76.
33. ^ Deusner, Stephen M. (March 24, 2018). "Tom Waits: The Asylum Era". Pitchfork . Retrieved March 24, 2018.
34. ^ "Tom Waits: Endmost Time". Q. No. 73. October 1992. p. 101.
35. ^ Staunton, Terry (March 2018). "Tom Waits – Closing Fourth dimension". Tape Collector. No. 477. Retrieved October 6, 2020.
36. ^ Coleman, Marker; Scoppa, Bud (2004). "Tom Waits". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Anthology Guide (fourth ed.). Simon & Schuster. pp. 854–55. ISBN0-7432-0169-8.
37. ^ Gill, Andy (December 2011). "What Is He Building in There..?". Uncut. No. 175. pp. 52–53.
38. ^ ^{a b} Holden, Stephen (Apr 26, 1973). "Closing Time". Rolling Stone . Retrieved Apr 23, 2011.
39. ^ ^{a b} "Discography Tom Waits". irish-charts.com. Hung Medien. Retrieved July 26, 2012.
40. ^ Larkin, Colin (2000). All Time Peak 1000 Albums (third ed.). Virgin Books. p. 270. ISBN0-7535-0493-six.
41. ^ "Welcome to the Neighborhood – Meat Loaf". AllMusic. Retrieved July 26, 2012.
42. ^ "On the Border – Eagles". AllMusic. Retrieved July 26, 2012.
43. ^ "Pursuit of Happiness – Beat Farmers". AllMusic. Retrieved July 26, 2012.
44. ^ "Black Music for White People – Screamin' Jay Hawkins". AllMusic. Retrieved July 26, 2012.
45. ^ "Two Suns [CD/DVD] (CD & DVD – Astralwerks #07897) – Bat for Lashes". AllMusic. Retrieved Oct six, 2020.

Sources

• Hoskyns, Barney (2009). Lowside of the Route: A Life of Tom Waits. Faber and Faber. ISBN978-0-571-24503-1.
• Humphries, Patrick (2007). The Many Lives of Tom Waits. Passenger vehicle Press. ISBN978-i-84772-509-vii.
• Jacobs, Jay S. (2006). Wild Years: The Music and Myth of Tom Waits . ECW Printing. ISBN978-ane-55022-716-1.

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Source: https://en.wikipedia.org/wiki/Closing_Time_%28album%29

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