John Hammond — Heartattack and Vine
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Length: 4:38
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Liar liar with your pants on fire,
white spades hangin' on the telephone wire,
gamblers reevaluate along the dotted line
You'll never recognize
yourself on Heartattack and Vine.
Doctor lawyer beggar man thief,
Philly Joe remarkable looks on in disbelief,
If you want a taste of madness,
you'll have to wait in line
You'll probably see someone you know
on Heartattack and Vine.
Boney's high on china white,
shorty found a punk,
don't you know there ain't no devil,
there's just god when he's drunk,
Well this stuff will probably kill you,
let's do another line
What you say you meet me down
on Heartattack and Vine.
See that little jersey girl in the see-through top,
with the peddle pushers
sucking on a soda pop
Well I bet she's still a virgin
but it's only twenty-five 'til nine
You can see a million of 'em
on Heartattack and Vine.
Better off in iowa against your scrambled eggs,
than crawling down Cahuenga
on a broken pair of legs
You'll find your ignorance is blissful
every goddamn time
You're waitin' for the RTD
on Heartattack and Vine.
white spades hangin' on the telephone wire,
gamblers reevaluate along the dotted line
You'll never recognize
yourself on Heartattack and Vine.
Doctor lawyer beggar man thief,
Philly Joe remarkable looks on in disbelief,
If you want a taste of madness,
you'll have to wait in line
You'll probably see someone you know
on Heartattack and Vine.
Boney's high on china white,
shorty found a punk,
don't you know there ain't no devil,
there's just god when he's drunk,
Well this stuff will probably kill you,
let's do another line
What you say you meet me down
on Heartattack and Vine.
See that little jersey girl in the see-through top,
with the peddle pushers
sucking on a soda pop
Well I bet she's still a virgin
but it's only twenty-five 'til nine
You can see a million of 'em
on Heartattack and Vine.
Better off in iowa against your scrambled eggs,
than crawling down Cahuenga
on a broken pair of legs
You'll find your ignorance is blissful
every goddamn time
You're waitin' for the RTD
on Heartattack and Vine.
Comments (145)add comment
A wicked back to back - Clap Hands then this - PERFECT. 
We've done the loop for the 3rd time this week, time for a change!
Classic....
See that little jersey girl in the see-through top,
with the peddle pushers
sucking on a soda pop
Well I bet she's still a virgin
but it's only twenty-five 'til nine
See that little jersey girl in the see-through top,
with the peddle pushers
sucking on a soda pop
Well I bet she's still a virgin
but it's only twenty-five 'til nine
Jelani wrote:
...but in this one you can't hear the spit spraying on Tom Waits' microphone. That's a big loss.
Yeah, and this guy sounds like a just slightly more polished Waits. He really just "One-upped" him.
...but in this one you can't hear the spit spraying on Tom Waits' microphone. That's a big loss.
kcar wrote:
"I'm not sure if one needs to be "coherent" or "focused" when singing it."
It depends on whether the listener wants to be holding onto that greasy bottle of Night Train or swimming in it.
De gustibus non disputandum est, baby!
I am SO using that one!
c.
"I'm not sure if one needs to be "coherent" or "focused" when singing it."
It depends on whether the listener wants to be holding onto that greasy bottle of Night Train or swimming in it.
De gustibus non disputandum est, baby!
c.
fredriley wrote:
...but in this one you can't hear the spit spraying on Tom Waits' microphone. That's a big loss.
Waits is a genius street poet and songwriter but his voice is 'challenging' and sadly a taste I never acquired, but I do like covers by good singers of his work, and this is a corker which oozes sleaze from every syllable :o)
...but in this one you can't hear the spit spraying on Tom Waits' microphone. That's a big loss.
And the creator of Jurassic Park 
what a guy!
what a guy!I once played his guitar in a green room in Dayton Ohio. Seemed like a good guy. ❤️🎶❤️
Proclivities wrote:
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
"I'm not sure if one needs to be "coherent" or "focused" when singing it."
It depends on whether the listener wants to be holding onto that greasy bottle of Night Train or swimming in it.
De gustibus non disputandum est, baby!
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
"I'm not sure if one needs to be "coherent" or "focused" when singing it."
It depends on whether the listener wants to be holding onto that greasy bottle of Night Train or swimming in it.
De gustibus non disputandum est, baby!
kcar wrote:
To each his own. Hammond really sells the sleazy come-on of a strip-show barker. It's been quite a while since I've listened to Waits' original but I don't remember it having this kind of raunchy, grinding musical leer.
But you have to raise a glass of cheap rotgut to Tom. He brings to life the greasy, downhill-slide segment of American life. A Springsteen singing about people who don't the time or luxury to dream anymore. Hammond does a great cover, but it's a cover.
Great segue: Tom Wait's "Clap Hands" to this. Bill still has it.
It's safe to say Waits moved Hammond in such a way Hammond felt compelled to contribute. That's what's called "the artistic process".
To each his own. Hammond really sells the sleazy come-on of a strip-show barker. It's been quite a while since I've listened to Waits' original but I don't remember it having this kind of raunchy, grinding musical leer.
But you have to raise a glass of cheap rotgut to Tom. He brings to life the greasy, downhill-slide segment of American life. A Springsteen singing about people who don't the time or luxury to dream anymore. Hammond does a great cover, but it's a cover.
Great segue: Tom Wait's "Clap Hands" to this. Bill still has it.
It's safe to say Waits moved Hammond in such a way Hammond felt compelled to contribute. That's what's called "the artistic process".
I wonder if this is another Cincinnati song
Proclivities wrote:
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
To each his own. Hammond really sells the sleazy come-on of a strip-show barker. It's been quite a while since I've listened to Waits' original but I don't remember it having this kind of raunchy, grinding musical leer.
But you have to raise a glass of cheap rotgut to Tom. He brings to life the greasy, downhill-slide segment of American life. A Springsteen singing about people who don't the time or luxury to dream anymore. Hammond does a great cover, but it's a cover.
Great segue: Tom Wait's "Clap Hands" to this. Bill still has it.
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
To each his own. Hammond really sells the sleazy come-on of a strip-show barker. It's been quite a while since I've listened to Waits' original but I don't remember it having this kind of raunchy, grinding musical leer.
But you have to raise a glass of cheap rotgut to Tom. He brings to life the greasy, downhill-slide segment of American life. A Springsteen singing about people who don't the time or luxury to dream anymore. Hammond does a great cover, but it's a cover.
Great segue: Tom Wait's "Clap Hands" to this. Bill still has it.
No street intersection comes up, but apparently an establishment in Australia used the name.
Not that this is a bad cover but I thought something was off when this first came on..
Jelani wrote:
Yep, but it's also better!
It's just not the same without the sound of Waits spitting in the mic.
Yep, but it's also better!
Good Tune!
fredriley wrote:
A band that knows how to get this dirty is always welcome
Waits is a genius street poet and songwriter but his voice is 'challenging' and sadly a taste I never acquired, but I do like covers by good singers of his work, and this is a corker which oozes sleaze from every syllable :o)
A band that knows how to get this dirty is always welcome
More bluesy than Waits' version. I respect the talent of Hammond and don't mind his voice, but the slower(?)/stretched out(?)/inconsistent(?) tempo is messing with my mind.
It's just not the same without the sound of Waits spitting in the mic.
Waits' original blows this away.
Hammond singing with a Hammond ,-)
i have this Waits album on vinyl bought it back in the 80's. Love it to death. This is good but not quite there for me.
half listening while reading something else, initially thought it was Tom Waits...but gentler. Waits is worth covering but originals are generally standout. A unique talent
Outstanding album - all Tom waits covers - with Hammond expelling the lyrics & sound - beautifully.
it needs to be pointed out that Waits was Hammond's producer for this album
Slam wrote:
I've seen him a few times, but the last time was at least 10 years ago. I loved his shows - he can carry a room by himself quite well.
Saw John Hammond around the corner from me in Toronto the other night. He was playing and telling stories, including a couple about collaborating with Tom Waits. Lookin' good, playin' even better. John Hammond's played with so many greats it's crazy.
I've seen him a few times, but the last time was at least 10 years ago. I loved his shows - he can carry a room by himself quite well.
I do love the Blues.... 
Why? I love covers that have a new perspective. This is just a Tom Waites song with a different singer.
Waits is a genius street poet and songwriter but his voice is 'challenging' and sadly a taste I never acquired, but I do like covers by good singers of his work, and this is a corker which oozes sleaze from every syllable :o)
I really like this line:
don't you know there ain't no devil,
there's just god when he's drunk,
Typical Waits.
don't you know there ain't no devil,
there's just god when he's drunk,
Typical Waits.
This is great stripper music!!
Saw John Hammond around the corner from me in Toronto the other night. He was playing and telling stories, including a couple about collaborating with Tom Waits. Lookin' good, playin' even better. John Hammond's played with so many greats it's crazy.
kcar wrote:
"given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it."
You're not sure. But you want to be.
Lose your friends "coherent" and "focused" an' I'll meet you at that corner with a bottle of Night Train. We'll get your inner Tom unleashed.
Par-TAY.
C'mon, man, keep up: "coherent" and "focused" are your "friends" — or at least two of your reasons for preferring this sober cover to Tom's inebriated original. Nice set-up on that scooter though.
"given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it."
You're not sure. But you want to be.
Lose your friends "coherent" and "focused" an' I'll meet you at that corner with a bottle of Night Train. We'll get your inner Tom unleashed.
Par-TAY.
C'mon, man, keep up: "coherent" and "focused" are your "friends" — or at least two of your reasons for preferring this sober cover to Tom's inebriated original. Nice set-up on that scooter though.
kcar wrote:
Par-TAY.
That's just plain old amazing.
Par-TAY.
That's just plain old amazing.
Proclivities wrote:
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it.
"given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it."
You're not sure. But you want to be.
Lose your friends "coherent" and "focused" an' I'll meet you at that corner with a bottle of Night Train. We'll get your inner Tom unleashed.
Par-TAY.
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it.
"given the subject matter of the song, I'm not sure if one needs to be coherent or focused when singing it."
You're not sure. But you want to be.
Lose your friends "coherent" and "focused" an' I'll meet you at that corner with a bottle of Night Train. We'll get your inner Tom unleashed.
Par-TAY.
There is plenty of room in the world for multiple versions of this tune.
not Tom Waits. Was this cover necessary?
DD rabbi_phil wrote:
The entire album is all Tom Waits' compositions. A tribute of sorts.
Tom Waits gets production credits and his picture in the CD booklet notes.
Overall a very good album.
The entire album is all Tom Waits' compositions. A tribute of sorts.
Tom Waits gets production credits and his picture in the CD booklet notes.
Overall a very good album.
It's good but the original is much better. 6.
kcar wrote:
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
When Waits recorded this tune (1980) he was still relatively esoteric, or at least far from resting on any sort of laurels. To me, this version seems sterile and cold by comparison and given the subject matter of the song, I'm not sure if one needs to be "coherent" or "focused" when singing it.
For some reason I prefer the version that soaks you in spit.
kcar wrote:
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
Eureka!!! A cure for insomnia at last!!
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
Eureka!!! A cure for insomnia at last!!
PopKombo wrote:
what about Waits?
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
what about Waits?
I am sure that my preference is going to invoke a shit-storm
but generally I prefer the John Hammond covers to the Tom Waits originals. John is more coherent, focused and forceful than Tom who has rested too long on his laurels as the Crown Prince von Debauchery und Decay.
describes hollyweried perfectly.
kcar wrote:
Holy mother of Pearl, I have got to hear that.
(two minutes later): yeah, that was pretty good...at least the bit that iTunes let you listen to for free. I was hoping Jay would scream and wail some. He really goes to town in "Alligator Wine" and of course "I Put a Spell on You."
Still, John Hammond's version of "Heartattack and Vine" is my fave. Just the right mix of cynicism and carny barker.
what about Waits?
Holy mother of Pearl, I have got to hear that.
(two minutes later): yeah, that was pretty good...at least the bit that iTunes let you listen to for free. I was hoping Jay would scream and wail some. He really goes to town in "Alligator Wine" and of course "I Put a Spell on You."
Still, John Hammond's version of "Heartattack and Vine" is my fave. Just the right mix of cynicism and carny barker.
what about Waits?
Cleavose wrote:
Cleavose wrote:
Actually, it makes me laugh every time I hear it, God speed Jay.
Holy mother of Pearl, I have got to hear that.
(two minutes later): yeah, that was pretty good...at least the bit that iTunes let you listen to for free. I was hoping Jay would scream and wail some. He really goes to town in "Alligator Wine" and of course "I Put a Spell on You."
Still, John Hammond's version of "Heartattack and Vine" is my fave. Just the right mix of cynicism and carny barker.
The Screamin J Hawkins version of this song really captures the grit of the subject
Cleavose wrote:
Actually, it makes me laugh every time I hear it, God speed Jay.
Holy mother of Pearl, I have got to hear that.
(two minutes later): yeah, that was pretty good...at least the bit that iTunes let you listen to for free. I was hoping Jay would scream and wail some. He really goes to town in "Alligator Wine" and of course "I Put a Spell on You."
Still, John Hammond's version of "Heartattack and Vine" is my fave. Just the right mix of cynicism and carny barker.
DaveInVA wrote:
Spittle....Just not the same without it.
LOL!
Yep. Fine guitar but no cover does justice to Waits.
Spittle....Just not the same without it.
LOL!
Yep. Fine guitar but no cover does justice to Waits.
gumby wrote:
Originality?
Exactly
Originality?
Exactly
A fine album overall. Most excellent tune
It's so⊠clean.
I've really liked John Hammond since seeing him in Ann Arbor way back when ... or was it in the Village ...
aelfheld wrote:
Spittle....Just not the same without it.
Lacks something.
Spittle....Just not the same without it.
Cleavose wrote:
Actually, it makes me laugh every time I hear it, God speed Jay.
The Screamin J Hawkins version of this song really captures the grit of the subject
Actually, it makes me laugh every time I hear it, God speed Jay.
The Screamin J Hawkins version of this song really captures the grit of the subject
Waits version is so much better. Nice guitar though.
aelfheld wrote:
Originality?
Lacks something.
Originality?
Umberdog wrote:
Lacks Tom.
The entire album is all Tom Waits' compositions. A tribute of sorts.
Lacks Tom.
The entire album is all Tom Waits' compositions. A tribute of sorts.
aelfheld wrote:
Here's one:
Oh, you meant a cover version of this song performed by Mantovani...
Anaemic.
What next, a Mantovani cover?
Here's one:
Oh, you meant a cover version of this song performed by Mantovani...
Umberdog wrote:
Seconded. This ain't bad but it's hard to top Tom's "Drunken Sylvester" original.
Lacks Tom.
Seconded. This ain't bad but it's hard to top Tom's "Drunken Sylvester" original.
aelfheld wrote:
Lacks Tom.
Lacks something.
Lacks Tom.
Lacks something.
nagsheadlocal wrote:
Yeah, I've been a fan of Waits since the release of "Heart of Saturday Night" but I've gotten to the point where I just can't tell what he's doing these days.
I drove 5 hours to see Tom last summer and by the time the show was over I was positive that it was some kind of a joke... unfortunately the only logical conclusion was that I was in fact the butt of the joke.
Yeah, I've been a fan of Waits since the release of "Heart of Saturday Night" but I've gotten to the point where I just can't tell what he's doing these days.
I drove 5 hours to see Tom last summer and by the time the show was over I was positive that it was some kind of a joke... unfortunately the only logical conclusion was that I was in fact the butt of the joke.
songbirdfemme wrote:
Norah Jones has PLENTY of attitude. Listen to the group El Madmo (yeah, that's Norah Jones singing "Rock Your Balls Off"!)
I just want to tell Norah Jones... this is how you cover Tom Waits!!! ... and I think she could do it but she needs a little more ATTITUDE
Norah Jones has PLENTY of attitude. Listen to the group El Madmo (yeah, that's Norah Jones singing "Rock Your Balls Off"!)
Love this album but I miss the spit of the original in this tune
lmic wrote:
Quoted for the truth
The genius of Tom Waits:
Coldly honest about the darkest corners of life, but still pretty sure the world's not really such a bad place.
Coldly honest about the darkest corners of life, but still pretty sure the world's not really such a bad place.
Quoted for the truth
catsoup wrote:
I prefer this version. Tom Waits writes great stuff, but he's a little hard to understand. Hammond brings all the emotion without sacrificing clarity.
Yeah, I've been a fan of Waits since the release of "Heart of Saturday Night" but I've gotten to the point where I just can't tell what he's doing these days.
This is a great cover, I like the Chicago blues feel to the guitar.
I prefer this version. Tom Waits writes great stuff, but he's a little hard to understand. Hammond brings all the emotion without sacrificing clarity.
Yeah, I've been a fan of Waits since the release of "Heart of Saturday Night" but I've gotten to the point where I just can't tell what he's doing these days.
This is a great cover, I like the Chicago blues feel to the guitar.
great song, but man he is a mudduck on the guitar. take a lesson.
Good cover, but Wait's rough-edged voice still rules.
Uncle_Fenester wrote:
I prefer this version. Tom Waits writes great stuff, but he's a little hard to understand. Hammond brings all the emotion without sacrificing clarity.
It's fun to hear the cover versions, but I'm in the camp that believes Tom Waits' songs are best performed by Tom Waits. This IS a good cover, though.
I prefer this version. Tom Waits writes great stuff, but he's a little hard to understand. Hammond brings all the emotion without sacrificing clarity.
The genius of Tom Waits:
Coldly honest about the darkest corners of life, but still pretty sure the world's not really such a bad place.
I guess they call that having a sense of humor.
Nice cover.
Coldly honest about the darkest corners of life, but still pretty sure the world's not really such a bad place.
I guess they call that having a sense of humor.
Nice cover.
Anaemic.
What next, a Mantovani cover?
mandolin wrote:
The album is mostly Tom Waits covers—I actually think Tom had a hand in some of the production as well. Good stuff.
...wow - what a great cover!..
The album is mostly Tom Waits covers—I actually think Tom had a hand in some of the production as well. Good stuff.
I just want to tell Norah Jones... this is how you cover Tom Waits!!! ... and I think she could do it but she needs a little more ATTITUDE
Holy crap! NICE!
...wow - what a great cover!..
algrif wrote:
Ditto. Great sigue, Bill
You mean ''segue.'' This really is the post-literate generation.
Ditto. Great sigue, Bill You mean ''segue.'' This really is the post-literate generation.
Martino wrote:
is the man on the cover the voice i hear? =)
Yep...John Hammond JR. His dad was legendary record label guy who "discovered", among others, Bob Dylan, Bruce Springsteen and Stevie Ray Vaughan.
Haven't heard this in awhile, Thanks
One of the best blues albums ever made.
John should hook-up with Tom again.
Brilliant.
JC
much prefer the Tom Waits version....
Death march... 
This is one bad song!
This is neither better, nor worse that Tom Waits' own version, just different. I enjoyed it.
is the man on the cover the voice i hear? =)
A friend took me to see JH when he first toured this album. The amazing thing about the performance was the percussionist - he was AWESOME! (same guy on the album)
Anyway, by the end of the evening, I was left wondering, who the hell is this guy covering Tom Waits tunes? Where's the real deal?
JH pronounces the words too clearly for my taste, notwithstanding his excellent musicianship.
drtjdel wrote:
A great album of TW covers. Whould I be out of line if I felt Hammond does a better job on most of these than Tommy Boy hisself? Your thoughts, please.
Ouch. Completely disagree. Almost by definition, nobody can do a "better" version of a TW song than TW. In a way unlike almost any other songwriter I can think of, Tom Waits' performance of his own songs is what makes it a Tom Waits song.
I don't mean this as overgushing on TW. There are a lot of his songs that I *still* can't get ... but I recognize them all as unmistakeably his.
Kudos to JH for a great performance ... but this isn't a Tom Waits song ... this just happens to be a song written by songwriter Tom Waits ... in his case, *very* different.
It's fun to hear the cover versions, but I'm in the camp that believes Tom Waits' songs are best performed by Tom Waits. This IS a good cover, though.
Love the voice.....yum!
drtjdel wrote:
A great album of TW covers. Whould I be out of line if I felt Hammond does a better job on most of these than Tommy Boy hisself? Your thoughts, please.
Nope, I totally agree. This album sears and I love it. Some of the TW tunes are much improved, or at least different and very good.
SpaceCase wrote:
My thought would be, yes your outta line saying that, and outta your mind too...nobody does it better than Mr. Waits!
Well, I guess it's settled, then.
drtjdel wrote:
A great album of TW covers. Whould I be out of line if I felt Hammond does a better job on most of these than Tommy Boy hisself? Your thoughts, please.
My thought would be, yes your outta line saying that, and outta your mind too...nobody does it better than Mr. Waits!
Never heard of him, but it's a great cover
A great album of TW covers. Whould I be out of line if I felt Hammond does a better job on most of these than Tommy Boy hisself? Your thoughts, please.
next time play the Tom Waits version, please... this is just not IT :)
bigstory wrote:
Do you want to be the one to tell Kathleen Battle that she may not sing Opera?
I'd be willing to pay to see that. The theater would never see more searing drama and emotion.
I love this album! also many of JH older rockin stuff.Check out "I Can Tell" with Danko, Duane Alman and Bill Wyman for rad blues. 
bigstory wrote:
Unfortunately, that's a load of bullshit. Music cannot be constrained along racial lines. Do you want to be the one to tell Kathleen Battle that she may not sing Opera?
wow, man. it's comedy, that's all.
federico wrote:
Sorry, but Screaming Jay Hawkins' version is far superior ...
ok, let's hear it.
To the people who hijacked RP, thanks for this one and the Tom Waits before it. Please send more.
tony620d wrote:
white ppl have no buisness playing the blues. white people give black people the blues - george carlin
Unfortunately, that's a load of bullshit. Music cannot be constrained along racial lines. Do you want to be the one to tell Kathleen Battle that she may not sing Opera?
Yes, thank you! I was just checking to see when something off this album was last played, during Get Behind the Mule.
God damn, I love this album. Goes great with whiskey.
Any of Hammond's other albums as good?
This whole CD is very good.
Govi wrote: Ditto. Great sigue, Bill
Tom Waits' Get Behind the Mule and Hammond's (Waits') Heartattack and Vine!! KPIG playlisted and lovin' it! Oink! 
Ditto. Great sigue, Bill
Sorry, but Screaming Jay Hawkins' version is far superior ...
I like the Lydia Lunch version on New Coat of Paint waaaay better.
Tom Waits' Get Behind the Mule and Hammond's (Waits') Heartattack and Vine!! KPIG playlisted and lovin' it! Oink!
Waits, Hammond - just need a little Chuck E Weiss
Great song, great artist... 
I like Waits' original a lot better (you can't hear the humor in this)...but I have to admit that the transition from from Tom's "Get Behind the Mule" was seamless as could be...
OFF - OFF - OFF.
Mute that crap.
Heart attack and Vine...ooooohhh yeah! 
tony620d wrote:
does it ever end? geez
Patience is a virtue, my son.
greenighs wrote:
Er, um, Waits is a scrawny little white guy from LA. So, technically, John is another white boy playing the white man's blues.
white ppl have no buisness playing the blues. white people give black people the blues - george carlin
Spot1100 wrote:
This whole album rocks... Waits and Hammond... figures it took their wives to get them together and record...
An excellent album indeed. I like this a LOT more than some of his earlier efforts. This is just straight forward, primitive stuff. Non-fat, no waste in the music.
I like to listen to this ones when I'm grillin', chillin' and gettin' my drank on. :)
does it ever end? geez
This whole album rocks... Waits and Hammond... figures it took their wives to get them together and record...
I was given this album when it came out and never really listened to it. Now, after hearing it on RP, I can't get enough. I've played the hell out of it, it's incredible! I think they're all Waits songs covered by Hammond.
Spliff wrote:Er, um, Waits is a scrawny little white guy from LA. So, technically, John is another white boy playing the white man's blues.
I've listened to John for a very long time. I respect his devotion to the Blues and although he is very talented I always hear several glaring mistakes in every recording. Just another white boy playing the Black Man's Blues.
Spliff wrote:
I've listened to John for a very long time. I respect his devotion to the Blues and although he is very talented I always hear several glaring mistakes in every recording. Just another white boy playing the Black Man's Blues.
What?!?! People make mistakes? That sir, is a lie.