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Tom Waits ?– Mule Variations

Label: Anti- ?– 87099-1, Anti- ?– 86547-1 Format: 2 × Vinyl, LP, Album, Limited Edition, Reissue, 180-gram
Country: US Released: 17 Apr 2010 Genre: Jazz, Rock, Blues Style: Blues Rock, Contemporary Jazz, Folk

Tracklist

A1 Big In Japan Bass – Les ClaypoolDrums – Brain Mantia*Guitar – Larry LaLondeGuitar, Vocals – Tom WaitsSaxophone, Trumpet – Ralph Carney 4:05 A2 Lowside Of The Road Cümbü? [Chumbus], Harp [Dousengoni] – Smokey HormelGuitar, Organ [Optigon] – Tom WaitsProgrammed By – Jacquire KingRecorded By – Gene CorneliusTrumpet – Chris Grady 2:59 A3 Hold On Bass – Larry TaylorGuitar – Joe Gore, Marc RibotGuitar, Organ – Tom WaitsPercussion – Stephen Hodges 5:33 A4 Get Behind The Mule Bass – Larry TaylorGuitar – Smokey HormelHarp – Charlie MusselwhitePercussion – Stephen HodgesVocals – Tom Waits 6:52 B1 House Where Nobody Lives Bass, Rhythm Guitar – Larry TaylorLead Guitar – Marc RibotPiano – Tom Waits 4:14 B2 Cold Water Bass – Larry TaylorDrums – Christopher Marvin*Guitar – Marc Ribot, Tom Waits 5:23 B3 Pony Dobro – Smokey HormelGuitar, Harmonium [Pump Organ] – Tom WaitsHarp – John Hammond* 4:32 B4 What's He Building? Percussion – Jeff SloanReeds – Ralph CarneyTurntables – DJ M. Mark “The III Media” Reitman* 3:20 C1 Black Market Baby Drums – Andrew BorgerGuitar – Marc RibotGuitar, Percussion, Chamberlin – Tom WaitsReeds – Ralph CarneyTurntables – DJ M. Mark “The III Media” Reitman* 5:02 C2 Eyeball Kid Bass Clarinet – Ralph CarneyBassoon – Larry Rhodes (2)Guitar – Marc RibotPercussion – Greg Cohen, Tom WaitsTurntables – DJ M. Mark “The III Media” Reitman* 4:25 C3 Picture In A Frame Alto Saxophone – Ralph CarneyBaritone Saxophone – Nik Phelps*Bass – Greg CohenPiano – Tom Waits 3:39 C4 Chocolate Jesus Bass – Greg CohenGuitar – Tom WaitsHarp – Charlie Musselwhite 3:55 D1 Georgia Lee Bass – Dalton Dillingham IIIPiano – Tom WaitsViolin – Linda Delucia-Gbidossi* 4:24 D2 Filipino Box Spring Hog Drums, Percussion – Andrew BorgerGuitar – Marc RibotGuitar, Bass – Larry TaylorHarmonica – Charlie MusselwhiteProgrammed By – Jacquire KingTrumpet – Chris GradyTurntables – DJ M. Mark “The III Media” Reitman* 3:09 D3 Take It With Me Bass – Greg CohenPiano – Tom Waits 4:24 D4 Come On Up To The House Baritone Saxophone – Nik Phelps*Bass – Larry TaylorDrums – Andrew BorgerGuitar – Joe GoreHarmonica – Charlie MusselwhitePiano – Tom WaitsSaxophone – Ralph Carney 4:36

Companies, etc.

• Lacquer Cut At – The Mastering Lab
• Recorded At – Prairie Sun Recording Studios
• Recorded At – Sputnik Sound
• Mastered At – Bernie Grundman Mastering
• Designed At – Supernatural Design
• Manufactured By – Epitaph
• Distributed By – Epitaph
• Phonographic Copyright (p) – Anti, Inc.
• Copyright (c) – Anti, Inc.
• Published By – Jalma Music

Credits

• Art Direction – Kristin Vanderlip
• Coordinator [Production (Before, During, After)] – Jeff Sloan
• Design – Christie Rixford
• Engineer [2nd] – Jeff Sloan (tracks: A1, A3 to D4)
• Mastered By – Chris Bellman
• Mixed By – Jacquire King, Oz Fritz
• Photography By [Album] – Matt Mahurin
• Producer – Kathleen Brennan, Tom Waits
• Production Manager [Pre-production Assistance] – Darren Kramer, Holly Ferguson
• Production Manager [Production Assistant] – Heather Fremling
• Recorded By – Jacquire King (tracks: A1, A3 to D4), Oz Fritz (tracks: A1, A3 to D4)
• Vocals – Tom Waits (tracks: A1, A2, A4 to B3, C2 to D4)
• Written-By – Brennan* (tracks: A1 to A4, B2, C1 to D1, D3, D4), Waits* (tracks: A1 to A4, B2, C1 to D1, D3, D4), T. Waits* (tracks: B1, B3, B4, D2)

Notes

Recorded at Prairie Sun Recording Studios except 'Lowside Of The Road' at Sputnik Sound.
Mastered at Bernie Grundman Mastering Studios.

"This LP recorded, mixed and mastered in analog"
Les Claypool, Larry LaLonde and Brain appear courtesy of Interscope Records
John Hammond and Charlie Musselwhite appear courtesy of Pointblank/Virgin Records America Inc.
Marc Ribot appears courtesy of Atlantic Recording Corporation.

?&© 1999
All songs © Jalma Music (ASCAP)

Major parts of this album were produced in a hen coop which was rebuilt into a production studio somewhere deep in the backwaters of California.
"Chocolate Jesus" features some of the chicken folk that was obviously around.

Comes in Gatefold sleeve.
Durations are taken from the CD version of the album.

Note: This is an 11th anniversary reissue, released for Record Store Day in 2010. Pressed on 180-gram vinyl. Comes with a digital download of the album and a Jim Jarmusch print of Tom Waits.

First cat# on labels, second on spine.

Barcode and Other Identifiers

• Barcode (sticker on the back cover): 0 45778 70991 5
• Matrix / Runout (Side A runout, etched): 86547-1 A
• Matrix / Runout (Side B runout, etched): 86547-1 B
• Matrix / Runout (Side C runout, etched): 86547-1 C
• Matrix / Runout (Side D runout, etched): 86547-1 D
• Matrix / Runout (All sides runouts, stamped): TML-M
• Rights Society: ASCAP

        *Mint [M]: Absolutely perfect in every way - certainly never played, possibly even still sealed. (More on still sealed below). Should be used sparingly as a grade, if at all.   *Near Mint [NM or M-]: A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly) that no record is ever truly perfect. The record shows no obvious sign of wear. An LP jacket has no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either. And of course, the same is true of any other inserts, such as posters, lyric sleeves, and the like. Basically, Near Mint looks as if you just got it home from a new record store and removed the shrink wrap.
*Very Good Plus [VG+]: Shows some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sound are OK. The label may have some ring wear or discoloration, but is should be barely noticeable. The center hole is not misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turn-up corners, or a slight seam-split. An LP jacket my have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple of minor things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.
 *Very Good [VG]: Many of the defects found in a VG+ record are more pronounced in a VG disc. Surface noise is evident upon playing, especially in soft passages and during the song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.   Good [G], Good Plus [G+]: Good does not mean bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear.