Glitter and Doom Live (Remastered)

rollingstone

Director Terry Gilliam recently cast Tom Waits as Satan; what better role for this seductively jive-talking fallen angel? Waits' second live retrospective plumbs his later LPs, especially 1992's Bone Machine and 2004's Real Gone; it misses classics like "Time" but shows off a deep oeuvre and a brassy, mischievous sextet — see "Metropolitan Glide," which […]

pitchfork

This live record is a de facto greatest hits of Tom Waits' fourth decade of music, during which his gnarly adventurousness only intensified.