"Heartattack and Vine" is the seventh studio album by American singer-songwriter Tom Waits, released on September 9, 1980, and his final album to be released under the Asylum Records label. The album marked the end of an era for Waits, as it was the last of his albums to feature the gritty, piano-based blues and jazz stylings that defined his early career before his transition to a more experimental sound with Swordfishtrombones (1983).
The album contains a mix of bluesy, rough-edged songs and ballads, showcasing Waits' evolving songwriting. The title track, "Heartattack and Vine," is a hard-hitting, bluesy number that exemplifies the raw, gravelly sound he had become known for. This track was notably covered by Screamin' Jay Hawkins, whose version was later used without Waits' permission in a Levi's commercial in 1993. Waits subsequently sued the company and won a settlement, further cementing his stance against the commercial use of his music without consent.
"On the Nickel" was written and recorded for the Ralph Waite film of the same name, a drama about homeless life on Los Angeles’ skid row. The song's heartfelt lyrics and melancholic tone fit perfectly with the themes of the film. It was later repurposed as the theme song for the 1985 miniseries The Atlanta Child Murders.
"Jersey Girl," one of Waits' best-known compositions from the album, is a tender ballad that was notably covered by Bruce Springsteen. Springsteen’s live version of the song became a fan favorite, and the two musicians performed it together on stage during a concert on August 24, 1981. Springsteen's version was later included in his live retrospective album Live/1975–85, further increasing the song's popularity.
The closing track, "Ruby's Arms," is one of Waits' most poignant ballads, a heart-wrenching farewell to a lover. The song was later used by director Jean-Luc Godard in his 1983 film First Name: Carmen, highlighting the emotional weight that the song carries.
Overall, Heartattack and Vine showcases Tom Waits at a critical juncture in his career, blending his signature bluesy, smoky sound with more introspective and vulnerable songwriting. It remains a beloved album for longtime fans and serves as a bridge between the earlier phases of his career and the experimental territory he would explore in the years to come.
