Tom Waits has released ‘The Fly’, his second piece of new original work this year, issuing the spoken word recording to streaming platforms ahead of a limited edition 12-inch vinyl with Massive Attack. The satirical piece continues Waits’ long tradition of blending beat poetry, surreal storytelling and black humour, while the physical release will raise funds for civil rights and community advocacy organisations.
The release marks another rare addition to Waits’ catalogue after an extended period without new original material. Earlier this year he reunited with Massive Attack for ‘Boots On The Ground’, his first newly recorded original music since the 2011 album Bad As Me. While that collaboration introduced Waits back into the recording studio, ‘The Fly’ shifts the focus to one of the defining elements of his career, his spoken word storytelling.
Illustrated with a lyric video created by Casey Waits, the recording centres on an ordinary housefly, with Waits delivering a mix of deadpan observation and sardonic humour. The narrator offers a reluctant admiration for the insect’s brief existence while reminding listeners of its ultimately forgettable fate.
Among the lines is the pointed refrain: “You have no house, well you have mine / You have no real friends, stay away from the wine / House fly go to sleep say goodbye, no one will weep when you die.”
Explaining the inspiration behind the recording, Waits said: “Today, as in all of mankind’s yesterdays, guarantees this type of song will never go out of style. Man’s folly of fiascos is a feast for the flies. Hence, the B side of Massive Attack’s upcoming 12 inch ‘The Fly’ features my appreciation for the winged nuisance.”
Although the recording is available through streaming services, the physical edition takes a different approach. Scheduled for release on 4 September, the 12-inch vinyl pairs Massive Attack’s ‘Boots On The Ground’ with Waits’ ‘The Fly’. The release has been produced using Massive Attack’s environmentally focused EcoSonic manufacturing process, designed to reduce the carbon footprint associated with traditional vinyl production.
The 180-gram pressing will be randomly distributed in red, white or blue vinyl variants. Massive Attack has also confirmed that the record has been priced as a fundraiser, with proceeds donated by the band and Waits together with longtime songwriting partner Kathleen Brennan to organisations supporting civil rights and community advocacy.
Spoken word has been central to Waits’ work for decades. Rather than treating narration as a novelty, he has consistently incorporated dramatic monologues, poetry and theatrical storytelling into his recordings, often blurring the line between music, literature and performance.
One of the earliest examples came with 1975’s Nighthawks At The Diner, where live performances unfolded through extended conversational passages and late-night observations that flowed between songs. His 1983 piece ‘Frank’s Wild Years’, from Swordfishtrombones, introduced the fictional character Frank O’Brien, a narrative that later expanded into both a stage production and an entire concept album.
Perhaps his best known spoken word recording remains ‘What’s He Building?’, featured on the Grammy-winning 1999 album Mule Variations. Built around unsettling percussion and ambient sounds, the track presents the increasingly paranoid thoughts of a neighbour convinced something sinister is unfolding next door. It has become one of the most frequently cited examples of Waits’ ability to construct vivid cinematic scenes using little more than voice, rhythm and atmosphere.
His 2006 box set Orphans: Brawlers, Bawlers & Bastards further explored that territory, particularly on the Bastards disc, which collected spoken performances, experimental pieces and literary readings including Charles Bukowski’s poem ‘Nirvana’. Outside his studio albums, Waits has also recorded standalone poetry readings, including Seeds On Hard Ground, reinforcing his reputation as an artist whose storytelling extends well beyond conventional songwriting.
With ‘The Fly’, Waits returns to that familiar territory, using humour and absurdity to examine everyday subjects through an unmistakable narrative voice. While the recording may centre on one of the world’s least celebrated creatures, it also reflects the style that has distinguished Waits throughout his career: finding poetry, satire and humanity in unexpected places.
The charity vinyl edition featuring Massive Attack’s ‘Boots On The Ground’ and Waits’ ‘The Fly’ is scheduled for release on 4 September.
The release marks another rare addition to Waits’ catalogue after an extended period without new original material. Earlier this year he reunited with Massive Attack for ‘Boots On The Ground’, his first newly recorded original music since the 2011 album Bad As Me. While that collaboration introduced Waits back into the recording studio, ‘The Fly’ shifts the focus to one of the defining elements of his career, his spoken word storytelling.
Illustrated with a lyric video created by Casey Waits, the recording centres on an ordinary housefly, with Waits delivering a mix of deadpan observation and sardonic humour. The narrator offers a reluctant admiration for the insect’s brief existence while reminding listeners of its ultimately forgettable fate.
Among the lines is the pointed refrain: “You have no house, well you have mine / You have no real friends, stay away from the wine / House fly go to sleep say goodbye, no one will weep when you die.”
Explaining the inspiration behind the recording, Waits said: “Today, as in all of mankind’s yesterdays, guarantees this type of song will never go out of style. Man’s folly of fiascos is a feast for the flies. Hence, the B side of Massive Attack’s upcoming 12 inch ‘The Fly’ features my appreciation for the winged nuisance.”
Although the recording is available through streaming services, the physical edition takes a different approach. Scheduled for release on 4 September, the 12-inch vinyl pairs Massive Attack’s ‘Boots On The Ground’ with Waits’ ‘The Fly’. The release has been produced using Massive Attack’s environmentally focused EcoSonic manufacturing process, designed to reduce the carbon footprint associated with traditional vinyl production.
The 180-gram pressing will be randomly distributed in red, white or blue vinyl variants. Massive Attack has also confirmed that the record has been priced as a fundraiser, with proceeds donated by the band and Waits together with longtime songwriting partner Kathleen Brennan to organisations supporting civil rights and community advocacy.
Spoken word has been central to Waits’ work for decades. Rather than treating narration as a novelty, he has consistently incorporated dramatic monologues, poetry and theatrical storytelling into his recordings, often blurring the line between music, literature and performance.
One of the earliest examples came with 1975’s Nighthawks At The Diner, where live performances unfolded through extended conversational passages and late-night observations that flowed between songs. His 1983 piece ‘Frank’s Wild Years’, from Swordfishtrombones, introduced the fictional character Frank O’Brien, a narrative that later expanded into both a stage production and an entire concept album.
Perhaps his best known spoken word recording remains ‘What’s He Building?’, featured on the Grammy-winning 1999 album Mule Variations. Built around unsettling percussion and ambient sounds, the track presents the increasingly paranoid thoughts of a neighbour convinced something sinister is unfolding next door. It has become one of the most frequently cited examples of Waits’ ability to construct vivid cinematic scenes using little more than voice, rhythm and atmosphere.
His 2006 box set Orphans: Brawlers, Bawlers & Bastards further explored that territory, particularly on the Bastards disc, which collected spoken performances, experimental pieces and literary readings including Charles Bukowski’s poem ‘Nirvana’. Outside his studio albums, Waits has also recorded standalone poetry readings, including Seeds On Hard Ground, reinforcing his reputation as an artist whose storytelling extends well beyond conventional songwriting.
With ‘The Fly’, Waits returns to that familiar territory, using humour and absurdity to examine everyday subjects through an unmistakable narrative voice. While the recording may centre on one of the world’s least celebrated creatures, it also reflects the style that has distinguished Waits throughout his career: finding poetry, satire and humanity in unexpected places.
The charity vinyl edition featuring Massive Attack’s ‘Boots On The Ground’ and Waits’ ‘The Fly’ is scheduled for release on 4 September.
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