This week sees the much antipicated release of the Tom Waits live album Glitter and Doom - which almost rhymes with moon. Much has been written about the seismic change in Tom Waits’ music that occurred around 1983 with Swordfishtrombones. Before that date Waits was just a bar-room blues kind of guy: double bass, brushed snare, and fumbled piano were the accessible backdrop to songs of unfulfilled love and drowned Saturday nights. This Tom was always hunched over the stained Formica, swathed in cigarette smoke, waiting for a new lover to walk in, or an old lover to return.