Engineers: Joe Marquez, Shawn Michael Morris, Biff Dawes.

Recorded at Prairie Sun Recording, Cotati, California.

Personnel: Tom Waits (vocals, guitar, piano, chamberlin, keyboards, percussion); Keith Richards (vocals, guitar); Richard Wachtel, Joe Gore, Waddy Wachtel (guitar); David Phillips (steel guitar); Joe Marquez (banjo, percussion); David Hidalgo (violin, accordion); Ralph Carney (bass clarinet, alto saxophone, tenor saxophone); Les Claypool (electric bass); Brain (drums); Kathleen Brennan (percussion).

Audio Mixer: Joe Blaney.

Recording information: Prairie Sun Studios, Cotati, CA.

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. Rich in strange and extraordinarily vivid imagery, many of Waits' tales and musings are spun against an imposing backdrop of apocalyptic natural fury, underlining the insignificance of his subjects and their universally impending doom. Death is seen as freedom for the spirit, an escape from the dread and suffering of life in this world -- which he paints as hellishly bleak, full of murder, suicide, and corruption. The chugging, oddly bouncy beats of the more uptempo numbers make them even more disturbing -- there's a detached nonchalance beneath the horrific visions. Even the narrator of the catchy, playful "I Don't Wanna Grow Up" seems hopeless in this context, but that song paves the way for the closer "That Feel," an ode to the endurance of the human soul (with ultimate survivor Keith Richards on harmony vocals). The more upbeat ending hardly dispels the cloud of doom hanging over the rest of Bone Machine, but it does give the listener a gentler escape from that terrifying sonic world. All of it adds up to Waits' most affecting and powerful recording, even if it isn't his most accessible. ~ Steve Huey

After completing the famed "trilogy" that consists of SWORDFISHTROMBONES, RAIN DOGS, and FRANK'S WILD YEARS, Waits took his time following it up. At the time, it was hard to imagine what crazed, exotic sonic vistas Waits had left unexplored. Further proving the mettle of his artistry, Waits pulled a masterstroke on BONE MACHINE. Instead of trying to reach new heights, he effectively plumbed the depths, stripping his sound down to the bare essentials (hence the title). At times, he sounds like a cross between an even more avant-garde Captain Beefheart ("Such a Scream") and a hip caveman banging out a song on a row of tuned skulls ("Earth Died Screaming"). Despite all this willful primitivism though, his craftsmanship is at a peak, with his thoughtful lyricism shining throughout.