Tom Ubukata

Consider The Best of Everything a companion piece to An American Treasure, the first posthumous Tom Petty compilation. Weighing in at four CDs, An American Treasure was designed as a gift to the devoted who were still in mourning. In contrast, The Best of Everything is aimed at the fan who didn't dig quite so deep, or perhaps to listeners who always liked Petty but never bothered to purchase an album. The Best of Everything relies on the hits that were largely absent on the box set but it takes a similar non-chronological approach to sequencing, a move that emphasizes Petty's consistency as both a songwriter and recording artist. This distinguishes The Best of Everything from 2000's Anthology: Through the Years, which also spanned two discs and contained four fewer songs than this 2019 set. Apart from that notable aesthetic choice, there is a considerable amount of overlap between the two double-disc collections – namely, all the hits Petty had with and without the Heartbreakers between 1976 and 1993, when he switched from his longtime home of MCA to Warner.

Tom Waits’ Glitter and Doom Live doesn't fall into the various traps that many other concert recordings do, though it does have its problems. This double-disc set marks his third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner, issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. Big Time, released during his tenure at Island in 1986, is hotly debated in fan circles. It is likely that Glitter and Doom Live will be too, but for different reasons. The musical performances here were culled from Waits’ historic sold-out tour of the U.S. and Europe. He compiled and sequenced the tracks himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label…

Between the release of Heartattack and Vine in 1980 and Swordfishtrombones in 1983, Tom Waits got rid of his manager, his producer, and his record company. And he drastically altered a musical approach that had become as dependable as it was unexciting. Swordfishtrombones has none of the strings and much less of the piano work that Waits' previous albums had employed; instead, the dominant sounds on the record were low-pitched horns, bass instruments, and percussion, set in spare, close-miked arrangements (most of them by Waits) that sometimes were better described as "soundscapes." Lyrically, Waits' tales of the drunken and the lovelorn have been replaced by surreal accounts of people who burned down their homes and of Australian towns bypassed by the railroad - a world (not just a neighborhood) of misfits now have his attention…

Perhaps Tom Waits' most cohesive album, Bone Machine is a morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative - and often harrowing - effect. In keeping with the title's grotesque image of the human body, Bone Machine is obsessed with decay and mortality, the ease with which earthly existence can be destroyed. The arrangements are accordingly stripped of all excess flesh; the very few, often non-traditional instruments float in distinct separation over the clanking junkyard percussion that dominates the record. It's a chilling, primal sound made all the more otherworldly (or, perhaps, underworldly) by Waits' raspy falsetto and often-distorted roars and growls. Matching that evocative power is Waits' songwriting, which is arguably the most consistently focused it's ever been…

Tom Petty & The Heartbreakers famously played 20 nights at the legendary Fillmore venue in San Francisco in 1997. 6 of the shows were professionally recorded and this release features many of the high points of the residency. The small venue allowed the band to vary their sets each night; they included re-arranged and distinctive versions of their hits, deep cuts, and many cover versions – paying tribute to the artists that Tom and the band had been influenced by. The 4 CD deluxe edition includes fifty-eight tracks pulled primarily from the last six concerts performed in the residency. Those six shows were professionally recorded and tracks from the setlists in those shows have seen previously release on The Live Anthology and the 2020 expanded reissue of Petty's 1994 album Wildflowers.

Big Time is an 18-track live album running nearly 68 minutes, its material drawn mostly from Tom Waits' trio of recent studio albums, Swordfishtrombones, Rain Dogs, and Franks Wild Years. (One track, "Falling Down," is a previously unissued studio recording. The performance of "Strange Weather" marks Waits' first recording of a song he and his wife, Kathleen Brennan, wrote for Marianne Faithfull.) It's challenging music, made somewhat more accessible in a live context. Waits' performances tended to be somewhat over the top on the studio versions of these songs, but before a live audience his theatrics seem more appropriate, and he even includes a mini-set of piano ballads. Still, it takes him until the seventh tune, "Way Down in the Hole," to bring the audience to life, and he rarely speaks, in marked contrast to the earlier live-in-the-studio album Nighthawks at the Diner…

To celebrate the 25th anniversary of the release of "She’s The One," we are releasing a remixed, remastered and re-imagined version of this album. The original album included several songs that were left off the original Wildflowers album (recently included as the "All The Rest" disc in the "Wildflowers & All The Rest" re-issue), so this re-release is an appropriate ending to the campaign celebrating the Wildflowers-era. Ryan Ulyate (Tom’s long-time engineer and producer) has remixed the audio, and the song selection is designed to work as a Tom Petty And The Heartbreakers album, rather than a soundtrack album. Four unreleased tracks have been added; the rocker “105 Degrees” (written by Petty), a cover of JJ Cale’s “Thirteen Days”, “One of Life’s Little Mysteries” (another Petty original), and an instrumental (“French Disconnection”) in the same vein as the instrumentals on the original album.

Rhino's three-disc box set The Remains of Tom Lehrer presents 75 tracks from the satirist's four decade career. The first disc concentrates on Lehrer's studio output, including pieces from his 1953 debut Songs by Tom Lehrer and his 1959 album More of Tom Lehrer, as well as a 1996 version of "I Got It from Agnes" and "That's Mathematics," a previously unreleased track from 1993. Disc two gathers his '59 performances at MIT and Harvard, captured on the albums Tom Lehrer Revisited and An Evening Wasted With Tom Lehrer (which offered many of the same selections as their studio predecessors). The third disc is a mix of live and studio tracks, including the material from the album That Was the Year That Was, songs written for PBS's The Electric Company in 1971-72, orchestral versions of songs conducted by Richard Hayman in 1960, and four new songs, including "Selling Out" and "(I'm Spending Hanukkah) In Santa Monica." Song-by-song notes by Lehrer, rare photos, and an essay by Dr. Demento add an extra depth to The Remains of Tom Lehrer making it the ultimate collection of his irreverent social commentary.