Thomas Alan Waits (born December 7, 1949) is a singer-songwriter, musician, composer and American actor. His distinctive voice is described by critic Daniel Durchholz who sounds as if "it was immersed in a bourbon barrel, left to hang in a smoke house for several months, and then taken out and crushed by car." Waits has built a distinctive musical persona with his distinctive grunts, amalgamation of pre-rock music styles such as blues, jazz, and vaudeville, and a widespread experimental trend in industrial music.
Waits grew up in Whittier, California, and moved to San Diego with his family at the age of 12. Inspired by Bob Dylan and The Beat Generation, as a teenager he started singing in San Diego folk music. Moving to Los Angeles, he earned a job as a songwriter before earning a recording contract with Asylum Records and producing his first album, Closing Time, in 1973. He has worked as a composer for movies and musicals and has a role in supporting roles in the film, including Paradise Alley and Bram Stoker Dracula . She also starred in Jim Jarmusch's 1986 film Down by Law . She was nominated for an Academy Award for her soundtrack on One from the Heart .
Waits lyrics often feature strange atmospheric portraits, characters and places that are often ragged, though it also shows a tendency for more conventional ballads. He has the following sects and has influenced the next songwriter despite having little radio support or music videos. His songs are best known through cover versions by commercial artists: "Jersey Girl" hosted by Bruce Springsteen, "Ol ''55" by Eagles, "Downtown Train" by Rod Stewart, and "Come On Up To The House" by Sarah Jarosz.
Waits' albums have met with mixed commercial success in their home country of the United States, though they sometimes achieve the status of selling gold albums in other countries. She has been nominated for a number of major music awards and has won Grammy Awards for Bone Machine and Various Mule albums.
In 2011, Waits was appointed Rock and Roll Hall of Fame.
She is among the 2010's list of the 100 Biggest Singer Singers, as well as the 2015's 'Rolling Stone' list of Biggest 100 Largest Songwriters.
Waits lives in Sonoma County, California with his wife and often collaborates Kathleen Brennan (married August 1980) and their three children.
Video Tom Waits
Initial life
Smaller age: 1949-1971
Thomas Alan Waits was born on December 7, 1949 in Pomona, California. His father, Jesse Frank Waits, was an ancestor of Skots-Irish descent, while his mother, Alma Waits, (Norwegian heritage) grew up in Oregon. Alma is a conventional housewife and a regular church congregation. Jesse teaches Spanish at a local school and an alcoholic; Waiting then told her that her father was "tough, always an outsider". The family lives on 318 North Pickering Avenue in Whittier, Los Angeles County. Waits is the second of three children, having older and younger sisters. Waits described having a very "middle-class" grew up and a "fairly normal childhood". He studied at Jordan Elementary School, where he was bullied. There, he learned to play trumpets and guitars, while his father taught him to play ukulele. During the summer, she visits relatives of mothers in Gridley and Marysville. He later recounted that it was a hoarse, hoarse uncle's voice that inspired the way he then sang.
In 1959, Waits's parents split up and his father moved away from the family home; it was a traumatic experience for a ten-year-old boy. Alma took her children and moved to Chula Vista, a middle-class suburb of San Diego. Jesse visits the family there, taking his children on a trip to Tijuana in Mexico. In Chula Vista, Waits attended O'Farrell Junior High School, where he led a school band, System, then described the group as "white boys trying to get Motown's voice". He developed the love of rhythm and blues and soul singers like Ray Charles, James Brown, and Wilson Pickett, as well as country music and Roy Orbison. Later, Bob Dylan becomes a powerful influence, with Waits placing the transcription of Dylan's lyrics on his bedroom wall. He is a heavy observer of The Alfred Hitchcock Hour and Twilight Zone. At the time he studied at Hilltop High School, he later connected, he was "a kind of mischievous juvenile delinquency", attracted to "evil criminals" and breaking the law. He later described himself as a "rebel against the rebels", as he distanced himself from the hippie subculture then became more popular and instead inspired by the Beat generation of the 1950s, having the love of Beat writers like Jack Kerouac, Allen Ginsberg, and William S. Burroughs. In 1968, he dropped out of school.
Waits worked at the Napoleone pizza restaurant in National City, and both here and in a local restaurant he developed an interest in the lives of customers, writing down the phrases and snippets of dialogue he heard. He also claimed that he worked in the forest service as a firefighter for three years. For the time being he also serves with the Coast Guard of the United States. He enrolled at Chula Vista Southwestern Community College to study photography, temporarily considering a career in the field. He continues to pursue his musical interests, taking piano lessons. He started frequenting the folk music scene around San Diego, attracted to the city music. In 1969, he got a job as an occasional door attendant for the Heritage coffee shop, which held regular performances from folk musicians. He also started singing in Heritage; its set originally comprised of Dylan and Red Sovine blankets "Big Joe and Phantom 409". In time she also displays her own material, often a parody of a country song or a bitter ballad influenced by her relationship with a boyfriend; this includes the initial song "Ol '55" and "I Hope That I Do not Fall in Love With You". As his reputation spreads, he plays in other San Diego places, supporting actions like Tim Buckley, Sonny Terry, Brownie McGhee, and his friend Jack Tempchin. Realizing that San Diego offers few opportunities for career development, Waits began traveling to Los Angeles to play at Troubadour in West Hollywood.
Early music career: 1972-1976
It was at the Troubadour that Waits came to the attention of Herb Cohen, who signed him for a publishing contract; that Cohen did not give her a recording contract showed that she was interested in Waits just as a songwriter rather than a player. After quitting his job at Napoleone to concentrate on his songwriting career, in early 1972, Waits moved into an apartment in Silver Lake, Los Angeles, a poor neighborhood known for his Hispanic and bohemian communities. He continues to perform at Troubadour and there meet David Geffen, who gave Waits a record deal with his Asylum Records. Jerry Yester was chosen to produce his first album, with a recording session taking place at Sunset's Hollywood Sound studio. The resulting album, Closing Time , was released in March 1973, though it did not sell well. Biography Barney Hoskyns notes that Closing Time "is widely in line with the singer-songwriter school in the early 1970s". An Eagles cover of his opening song, "Ol '55", on their album On Border, brought money and further recognition of Waits, though he considers their version as "a bit antiseptic".
To promote his debut, Waits and the three-piece band embarked on a US tour, mostly on the East Coast, where he was a support act for more established artists. As part of this, he supports Tom Rush at The Cellar Door Washington DC, Danny O'Keefe at Massachusetts's Passim Club, Charlie Rich in Kansas City Max in New York City, Martha Reeves and Vandellas in East Lansing, Michigan, and John P. Hammond in San Francisco. Waits returned to Los Angeles in June, feeling demoralized about his career. That month, she's the cover of a free music magazine, Music World . He began writing songs for his second album, and attended the Venetian Poetry Workshop to try this new material in front of the audience. Although Waits is excited to record this new material, Cohen convinced him to take over as a support act for The Mothers of Invention by Frank Zappa after previous support actions Kathy Dalton withdrew due to the hostility of Zappa fans. Waits joins the Zappa tour in Ontario, but as Dalton finds the audience hostile; while onstage he was scorned and pelted with fruit. Although he liked the band members of The Mothers of Invention, he found Zappa himself intimidating.
Waits moved from Silver Lake to Echo Park, spending most of his time in downtown Los Angeles. In early 1974, he continued to perform around the West Coast, as far as Denver. For Waits's second album, Geffen wants a more jazz-oriented producer, choosing Bones Howe for the job. The recording sessions for The Heart of Saturday Night took place at Wally Heider Studio Number 3, Cahuenga Boulevard in April and May, with Waits making the album concept as a sequence of songs about the nightlife in the US. This album is much more widespread than Closing Time has, reflecting the increase in Waits notation in the American music scene.
After recording The Heart of Saturday Night , Waits reluctantly agreed to tour with Zappa again, but once again the face of strong hostility audience. Praise for supporting the Zappa tour continues to support his image in the music industry and help his career. In October 1974 he first appeared as a headline before the East Coast tour; in New York City he meets and befriends singer Bette Midler. Back in Los Angeles, Cohen suggested Waits produce a live album. For this purpose, he performed two live performances at the Pant Studio Records in front of the audience. The tape was released as Nighthawks at the Diner in October 1975. He followed this with a residency week in Reno Sweeney in New York City, and in December appeared on the PBS concert Soundstage . From March to May 1976, he toured the United States, told the interviewer that the experience was difficult and she was drinking too much alcohol. In May, he embarked on his first European tour, performing in London, Amsterdam, Brussels, and Copenhagen. Upon returning to Los Angeles, he joined with his friend Chuck E. Weiss to move to the Tropicana motel in West Hollywood.
Maps Tom Waits
Careers
1970s
Waits signed a contract with Asylum Records in 1972 and his first recording was released in 1973, after several failed recording sessions: jazzy, folk-tinged . The album is produced and arranged by former Lovin 'Spoonful member Jerry Yester. It received positive reviews, but Waits did not get widespread attention until more famous artists covered a number of album tracks. Lee Hazlewood became one of the first major artists to cover the song Tom Waits, using a variation of the title "They Are Rose Days (Martha)" on his album for Capitol "Poet, Fool, or Bum". Also in 1973, Tim Buckley released the album Sefronia , which contains another cover version of the Waits "Martha" song from Closing Time . The cover then appeared in the 1995 compilation Right Step: Tom Waits Songs . The opening song of the album "Ol ''55" was recorded by Eagles in 1974 for their On the Border album.
He received critical acclaim and collected the following faithful sects with his next album. The Heart of Saturday Night (1974) featured the song "(Seeking) The Heart of Saturday Night" and revealed its roots as a nightclub player, with half-talk ballads and half-wolves often accompanied by a band jazz backup. Waits describes the album as:
a comprehensive study of some aspects of this search for a Saturday night center, to which Jack Kerouac relentlessly pursues from one end of this country to another, and I've tried to scoop up some of these magic diamonds that I see.
In 1975, Waits moved to the Tropicana Motel on Santa Monica Boulevard and released the double album Nighthawks at the Diner, which was recorded in a studio with a small audience to capture the scene of live performances. This record shows the phase of his career, including a long interlude spoken among the songs that interrupted his live acting. That year, he also contributed to supporting vocals for Bonnie Raitt "Your Sweet and Shiny Eyes" from his album Home Plate .
At this time, Waits was drinking a lot, and life on the street began to take its toll.
I was sick during that period... It started wearing me, all on tour. I have traveled a bit, stayed in hotels, ate bad food, drank a lot - too much. There is a lifestyle that exists before you arrive and you are introduced to it. It is inevitable.
In reaction to this difficulty, Waits noted the Little Changes (1976) who found him in a more cynical and pessimistic atmosphere, with songs like "The Piano Has Been Drink (Not Me) (One Night with Pete King) "and" Bad Liver and Broken Heart (In Lowell) ". With the album, Waits insisted that he "tried to solve a few things so far from the cocktail lounge, maudlin, my crying-in-your-beer picture I have... nothing funny about getting drunk... I'm really starting to believe that there something ridiculous and unusual America about being drunk.I finally told myself to cut that shit. "The album also includes" Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen) "; it featured jazz drummer Shelly Manne and was heavily influenced by jazz, like the previous album.
Small Change was accompanied by a double A-side single "Step Right Up"/"The Piano Has Drinking"; it was a critical and commercial success and far surpassed all of Waits's previous albums. With that, he entered the Top 100 Billboard Album Album chart for the first time in his career, a feat he did not repeat until 1999 with the release of Mule Variation. This results in a much higher public profile, which carries interviews and articles at Left , Newsweek , and Vogue . Waits collect the touring band The Nocturnal Emissions, featuring Frank Vicari on tenax saxophones, Fitzgerald Jenkins on bass guitar, and Chip White on drums and vibraphone. Tom Waits and Nocturnal Emissions toured the United States and Europe extensively from October 1976 to May 1977, including the show "The Piano Has Drinking" on BBC2's The Old Gray Whistle Test in May 1976.
Overseas (1977) is music in the same vein as Small Change , but shows artistic refinement and further exploration into jazz and blues styles. Particularly noteworthy is a long piece of cinematic words, "Potter's Field", set to an orchestra score. The album also featured Bette Midler singing a duet with Waits in "I Never Talk to Strangers." The album Blue Valentine (1978) features Waits' biggest musical departure to date, with more emphasis on electric guitars and keyboards than previous albums and almost no strings (with the exception of the "Somewhere" album release - a cover from Leonard Bernstein's song from West Side Story - and "Kentucky Avenue") for a darker, more blues-oriented voice. The song "Blue Valentines" is also unique to Waits as it features a solitary solo electric guitar arrangement played by Ray Crawford, accompanied by Waits vocals. Around this time, Waits has a relationship with Rickie Lee Jones (who appeared in the art of the arms of the album Blue Valentine ). In 1978, Waits also appeared in his first movie role, Paradise Alley as Mumbles the pianist, and contributed the original Meet Me in Paradise Alley and Annie's Back in Town to the movie soundtrack.
Heartattack and Vine , Waits' last studio album for Asylum, released in 1980, featured growing sounds including ballads ("Jersey Girl") and rough rhythms and blues. That same year, he started a long working relationship with Francis Ford Coppola, who asked Waits to provide music for his movie One of the Heart. For the Coppola movie, Waits originally wanted to work with Bette Midler; she was not available due to previous engagement, however. Waits eventually worked with singer-songwriter Crystal Gayle as his vocals for the album.
1980s
In August 1980, Waits married Kathleen Brennan, a screenwriter, whom she met while working on Francis Ford Coppola's movie One of the Heart. Brennan is regularly credited as co-author of many songs in his later albums, and Waits often cites it as a major influence on his work. He introduced it to the music of Captain Beefheart. Despite sharing a manager with Beefheart in the 1970s, Waits says, "I became more familiar with him when I got married." Waits then describes his relationship with Brennan as a paradigm shift in the development of his music. After leaving Asylum, the label released the first "Best of" Tom Waits album in 1981, a collection called Bounced Checks , famous for including an alternative version, "Striped Down" from "Jersey Girl" and others have yet to be released "Mr. Henry", as well as an alternative master "Whistlin 'Past the Graveyard" and live performances "The Piano Has Drinking". During this period, Waits appeared in a series of small film roles, including cameo roles in Wolfen (1981) as a drunken piano player, and his song "Jitterbug Boy" also appeared on the movie soundtrack. One of the Heart received his official theatrical release in 1982, with Waits appearing as a cameo as a trumpeter while receiving an Oscar nomination for the Original Song Score (eventually lost to Victor Victoria). , by Henry Mancini and Leslie Bricusse). It marked the first in a series of collaborations between Waits and Coppola, with Waits appearing in brilliant acting in Coppola's The Outsiders (1983), Rumble Fish (1983), and The Cotton Club (1984). Waits also donated two songs to the Streetwise documentary (1984), "Rat's Theme" and "Take Care of All My Children".
After leaving Asylum for Island Records, Waits released Swordfishtrombones in 1983, a recording that marked a sharp turn in the direction of his music. Although Waits had previously played a piano or a guitar, he was now interested in less common instruments, saying, "Your hands are like dogs, go to the same place.You have to be careful while playing no longer in the mind but with the fingers, go to happy places.You have to stop their habits or you do not explore them, you just play what is confident and fun.I learned to break those habits by playing tools that I did not know at all, like bassoon or mobile phone. "Swordfishtrombones also introduced instruments such as bagpipes and marimba (" Shore Leave ") to the Waits repertoire, as well as pumping organs, percussion (sometimes reminiscent of Harry's music Partch), the horn section (often featuring Ralph Carney playing in brass band style or soul music), experimental guitar, and obsolete instruments (many of Waits' albums have show the damaged and unpredictable Chamberlin, and newer albums have incorporated a little -using Stroh violin). The New Musical Express is named Swordfishtrombones of this year's album.
His songwriting shifted too, moving away from his traditional 1970s piano-and-string ballad sounds toward a number of mostly neglected styles in pop music, including primal blues, cabaret style, rhumbas, theatrical approaches in Kurt Weill's style, music tango, early country music and European folk music as well as Tin Pan Alley-era songs that influenced the initial output. He also recorded a piece of the spoken word, "Frank's Wild Years", influenced by the "jazz word" Ken Nordine records of the 1950s. Regardless of Captain Beefheart and several early outputs. John, there is little precedent in popular music.
Waits' new emphasis in experimenting with various styles and instrumentation continued in 1985's Rain Dogs, a vast collection of 19 songs, which received stunning reviews. Rolling Stone rated album No. 21 on the list of 100 greatest albums of the 1980s - and in 2003, they ranked the album number 397 on The 500 Greatest Albums of All Time list. The contributions of guitarist Marc Ribot, Robert Quine, and Keith Richards accompanied the move of Waits from piano-based songs, in alignment with increasing emphasis on instruments such as marimba, accordion, double bass, trombone, and banjo. The album also spawned 12 "single" Downtown Train/Tango Till They Sore/Jockey Full of Bourbon ", with Jean Baptiste Mondino shooting a promotional music video for" Downtown Train "(which became a hit for Rod Stewart), featuring a cameo from boxing legend Jake LaMotta, The album reached number 188 on Billboard's Top 200 album chart.
Franks Wild Years , a musical by Waits and Brennan, staged as Off-Broadway musicals in 1986, directed by Gary Sinise, in a success at the famous Steppenwolf Theater of Chicago. Waiting for him to play a major role. Waits developed his acting career with several supporting roles and a leading role in Jim Jarmusch's Down by Law in 1986, which also featured two Waits songs from Rain Dogs on the soundtrack. In the same year, Waits also contributed vocals for the song "Harlem Shuffle" on The Rolling Stones' Grossly Working album.
In 1987, he released the Franks Wild Years (subtitle "Un Operachi Romantico in Two Acts"), which included a studio version of the Waits game of the same name. Rolling Stone concluded many album styles in this way: "Everything from blues strip-show blues to cheesy waltz to lizardry lounge cheerful given reserves, rumbling arrangements using various combinations of horns clucking, bashed drums, picked banjo , double bass winding, carnival organ and accordion accordion. "Waits also continued his acting career with supporting roles as Rudy the Kraut in Ironweed (adaptation of Pulitzer Prize-winning novel William Kennedy) with Jack Nicholson and Meryl Streep, where Waits performed the song "Big Rock Candy Mountain", as well as the inside of Robert Frank's Candy Mountain , where Waits also performed "Once More Before I Go." In 1988, Waits performed at Big Time, a concert film and a surreal soundtrack that he wrote with his wife.
In 1989, Waits appeared in his last theatrical stage role to date, appearing as Curly in Thomas Babe Demon Wine, along with Bill Pullman, Philip Baker Hall, Carol Kane and Bud Cort. The drama opened at the Los Angeles Theater Center in February 1989 to various reviews, although Waits's appearance was chosen by a number of critics, including John C. Mahoney, who described it as "charming." Waits completed the decade with appearances in three films: as the voice of a radio DJ on Jim Jarmusch's Mystery Train ; as Kenny the Hitman at Robert Dornhelm Cold Feet ; and the main role of Punch & amp; Judy man Silva at Bearskin: An Urban Fairytale . His only musical output this year was to donate Phil Philill's 'Sea of ​​Love' cover to the soundtrack of the movie Al Pacino of the same name and contribute vocals to the song "Date to Church" Replacements, which emerged as B-side to their single "I'll Be You".
1990s
The Black Rider: Casting of the Magic Bullets - Waits's theater collaboration, director Robert Wilson, and author William S. Burroughs - premiered at Thalia Theater in Hamburg on March 31, 1990. The project is based on German folklore called "Der FreischÃÆ'¼tz", with Wilson responsible for design and direction, Burroughs for writing books, and Waiting for music and lyrics, strongly influenced by the work of Bertolt Brecht and Kurt Weill. That same year, Waits donated the cover of Cole Porter's "It's All Right with Me" to Red Hot Blue, the first in a series of compilation albums from the Red Hot Organization - one of the first major AIDS benefits in business music - which sold over a million copies worldwide. Jim Jarmusch directs promotional music videos for the song. Waits also collaborated with photographer Sylvia Plachy in the same year; his book Sylvia Plachy's Unguided Tour includes a short Wait note to accompany the photo and text.
Between 1991 and 1993, many of Waits's early works were assembled and released as Tom Waits: The Early Years . Waits is furious at this, describing many early demos as "baby pictures" that he does not want to be released.
The following year, Waits was very busy working on movie soundtracks, acting, and contributing to a number of music projects by other artists. First, Waits appeared on the album Primus Sailing the Seas of Cheese as the voice of "Tommy the Cat", which exposed him to a new audience in alternative rock. This is the first of several collaborations between Waits and the group; Frontman Les Claypool will appear on some of the next Waits releases. That same year saw Waits contributing oral words to The Submitting Catalyst , an album by one of Waits's greatest influences, Ken Nordine, on the songs "A Thousand Bing Bangs" and "The Movie." Waits also contributed vocals to a duet with singer Bob Forrest on the song "Adios Lounge" on the album Thelonious Monster Beautiful Mess. . She also contributed vocals for two songs ("Little Man" and "I'm Not Your Fool Anymore") to jazz tenor saxophonist Teddy Edwards' album Mississippi Lad . Edwards greatly praised Waits's contribution, saying:
Tom Waits is the guy who gave me a contract with PolyGram. sic He's amazing, he's the best American lyricist since Johnny Mercer. She came to the studio on the Mississippi Lad album, it was my first one for PolyGram, and she sang two of my songs, would not take the money, just trying to give me the best. push him.
The only collection of exclusive material that Waits made in 1991 came when Waits composed and performed almost all instrumental music for Jim Jarmusch's 1991 Night on Earth , which was released as an album the following year. In July 1991, Screamin 'Jay Hawkins released the album Black Music for White People , featuring the cover of two Waits compositions: "Heartattack & Vine" (later used later that year in Levi Europe ads unlicensed Waits, produce a lawsuit) and "Ice Cream Man". Waits continues to appear in film acting roles, the most significant of which is his uncredited cameo as a defective veteran at Terry Gilliam The Fisher King . He also appeared with Kevin Bacon, John Malkovich, and Jamie Lee Curtis at Steve Rash's Queens Logic, and opposite Tom Berenger and Kathy Bates in the movie Hector Babenco On Play in the Fields of Lord , adapted from Peter Matthiessen 1965 novel.
Bone Machine , Waits' first studio album in five years, was released in 1992. Loud recording featured many percussions and guitars (with a small piano or saxophone), marking another change in Waits sound. Critics Steve Huey called it "perhaps the most cohesive Tom Waits album... morbid, creepy nightmare, who applied his experimental 1980s classic habits with an intriguing - and often terrifying,... effect that affected Waits and strong recordings, even though it's not the most accessible. " Bone Machine was awarded the Grammy in the Best Alternative Album category. On December 19, 1992, Alice , Waits's theatrical project with Robert Wilson, aired at Thalia Theater in Hamburg. Paul Schmidt adapted texts from Lewis Carroll's (\ i> Alice's Adventures in the Wonderland
In 1993, he released The Black Rider, which contained a studio version of songs written by Waits for a musical of the same name three years earlier, with the exception of "Chase the Clouds Away" and " In the Morning ", which appeared in theatrical production but was not in the studio album. William S. Burroughs was also a guest on the vocals of "Tain't No Sin". In the same year, Waits lent his vocals to Gavin Bryars repeating his classical music in 1971 The Blood of Jesus Never Fails Me But ; appeared in Robert Altman's version of Raymond Carver's Short Cuts and Jim Jarmusch's Coffee and Cigarettes: Somewhere in California, a short, black-and-white movie with Iggy Pop; and her third child, Sullivan, was born. In 1997, Waits and Brennan wrote and performed music for the short animated Rabbit animated film by Blue Sky Studio 20th Century Fox, awarded the Best Animated Short Film by the Academy of Motion Picture Arts and Sciences.
In 1995, Holly Cole released Temptation , a tribute album consisting entirely of Waits covers.
The popular American punk rock group, Ramones, covered "I Do not Wanna Grow Up" in their last studio album, 1995's <Ã,¡Adios Amigos! . Waits then returned the favor by covering Ramones songs "Danny Says" and "The Return of Jackie and Judy", releasing them in a 2006 studio album.
Another Waits Cover was released in 1995, when Meat Loaf covered Martha for his concept album Welcome to the Neighborhood .
In 1998, after Island Records released the compilation of Beautiful Maladies: The Island Years, Waits left the label for ANTI-, whose president, Andy Kaulkin, said the label "blew up that Tom would even consider us. "Waiting for her full of praise for the label, saying" Rare tombstones are owned and operated by musicians, they have good taste and burden of enthusiasm, plus they're good people, and they give me a new Cadillac, of course. "
Waits's first album on his new label, Mule Variations , was released in 1999. Billboard describes this album as melting music "blues backwoods, oblique gospels, and uncontrolled art stomp into a great piece of sculpture statue. "The album is Waits' first release to feature a turntablist. The album won the Grammy in 2000; as an indicator of how difficult it is to classify Waits music, he was nominated simultaneously for Best Contemporary Folk Album (which he won) and Best Male Rock Vocal Performance (for the song "Hold On"), both different from the genre that he won the Grammy before. This album is also the highest charting album in the US to date, reaching no. 30.
That same year, Waits did plunge into producing music for other artists, working with his old friend Chuck E. Weiss to hack (along with his wife, Kathleen Brennan) Very Cool , as well as appearing on the Records as a vocalist and guest guitarist. She also donated the cover of "Book of Moses" from Skip Spence to More Oar: A Tribute to the Skip Spence Album , a cover of singer song on Birdman Records. That same year, Waits appeared in the movie superhero spoof Mystery Men, depicting a mad scientist as part of an ensemble cast that included actors such as Ben Stiller, William H. Macy, and Geoffrey Rush.
2000s
John Hammond Wicked Grin , collection of Waits cover songs, was released in 2001. Waits appeared on most songs, playing guitar, piano, and/or offering vocal backing. The album also includes the traditional song "I Know I've Been Changed", performed as a duet by Hammond and Waits.
Tori Amos included the cover of the song "Time", from Rain Dogs on 2001's Strange Little Girls album. They stop drinking alcohol at the same time.
In 2002, Waits simultaneously released two albums, Alice and Blood Money . Both collections have been written nearly 10 years earlier and are based on theatrical collaboration with Robert Wilson; former musical drama about Lewis Carroll, and the latter an interpretation of the work of Georg BÃÆ'¼chner fragment Woyzeck . Both albums reviewed tango, Tin Pan Alley, and the influence of words from Swordfishtrombones , while the lyrics were very cynical and melancholy, exemplified by "Misery is the River of the World" and "Everything Goes" to hell. "" Diamond in Your Mind, "written Waits for Wilson Woyzeck, does not appear on Blood Money, however, it appears on the album Solomon Burke Don ' t Give Up on Me in the same year.While Waits has played the song several times, the official version will not be released until 2007.
Waits donated "The Return of Jackie and Judy" version by The Ramones to a compilation album We are Happy Family: A Tribute to Ramones , released in 2003 at Columbia Records. That same year, Waits was the judge for the 2nd annual Independent Music Awards to support the career of independent artists, and he also appeared in Born into This, a documentary about Charles Bukowski, reading a poem entitled 'The Laughing Heart'.
Waits released Real Gone , her first nokheatrical studio album since Mule Variations , in 2004. This is the only Waits album to date to feature absolutely no piano on any of its tracks. Waiting for the beatbox in the opening song, "Top of the Hill", and most of the album's songs began with improvised "percussion vocals" from Waits. It's also more rock-oriented, with less blues influences than previously indicated. In the same year, Waits contributed backing vocals to the song "Go Tell It on the Mountain" at the Grammy Award (Best Traditional Gospel Album) - Winning an album of the same name by The Blind Boys of Alabama. He also donated the "King Kong" version of Daniel Johnston to the Great John Johnston's Lucky Great Discovered Covered album, released on Gammon Records.
At this time, Waits returns to acting after a five-year break, marked initially by a re-release of Jim Jarmusch directed in 1993 Coffee and Cigarettes: Somewhere in California , the Iggy Pop massacre , compiled in Coffee and Cigarettes . In 2005, Waits appeared in the movie Tony Scott Domino as an astrologer. That same year, Waits appeared as herself in the romantic comedy Roberto Benigni La Tigre e la Neve , stationed in Baghdad occupied during the Iraq War. In the movie, Waits appears in a dream scene as himself, singing a ballad song "You Can Never Hold Back Spring" and accompanying himself on the piano.
A stack of three-track box with three songs 54 songs, unreleased songs, and a new composition called Orphans: Brawlers, Bawlers & amp; Rogues was released in November 2006. The three discs were further divided in terms of their content: "Brawlers" featured more excited Waits rock and blues songs; "Bawlers", ballads and songs of love; and "bastards", songs not included in the category, including a number of songs spoken. The video for the song "Lie to Me" was produced as a promotion for the collection. Orphans also continued Waits's new interest in politics with "Road to Peace", a song about the Israeli-Palestinian conflict. The album is also notable for containing a number of covers by other artists, including The Ramones ("The Return of Jackie and Judy" and "Danny Says"), Daniel Johnston ("King Kong"), Kurt Weill and Bertolt Brecht ("What Keeps Mankind Alive "), and Lead Belly (" Not Goin 'Down to the Well "and" Goodnight Irene "), as well as renditions of works by poets and writers admired by Waits, such as Charles Bukowski and Jack Kerouac and a duet previously released with Mark Linkous of Sparkretorse entitled "Dog Door". Waits' Album Orphans: Brawlers, Bawlers & amp; Rogues and Alice are both included in Metacritic.com's list of "Top 200: Best-Reviewed Albums" since 2000 at No. 10 and No. 20, respectively (as of November 2009). That same year, Waits appeared on Sparklehorse album Dreaming for the Light Years at Belly of a Mountain, playing the piano on the track "Morning Hollow."
Five different versions of the "Way Down in the Hole" Waits song have been used as the opening theme song for the HBO television show The Wire. The Waits version itself, from Frank's Wild Years , is used for season two. Other versions used for this series were performed by, in season order, The Blind Boys of Alabama, The Neville Brothers, "DoMaJe" and Steve Earle.
Waits made numerous television shows and high profile concerts between 2006 and 2010. In November 2006, Waits appeared on The Daily Show and featured "The Day After Tomorrow." This is important because he only became the third guest star on the show, the first being Tenacious D and The White Stripes the second. On May 4, 2007, Waits performed "Lucinda" and "Is not Goin 'Down to the Well" from Orphans at the last show of the week Late Night with Conan O'Brien spending time in San Francisco. There was a brief interview after the last show. Waits also played at Bridge School Benefit on 27-28 October 2007 with Kronos Quartet.
On July 10, 2007, Waits released the only digital single "Diamond in Your Mind". This version of the song was recorded with Kronos Quartet, with Greg Cohen, Philip Glass, and The Dalai Lama at the "Healing The Divide: A Concert for Peace and Reconciliation" concert at Avery Fisher Hall, recorded on September 21, 2003.
The Waits song "Trampled Rose" (from Real Gone ) appears on the critically acclaimed album Raising Sand , a collaboration between Robert Plant and Alison Krauss. Waits also provides guest vocals on the song "Pray" by fellow ANTI-artists, The Book of Knots on their album Traineater .
She plays the role of Kneller in the movie Wristcutters: A Love Story , which was opened in November 2007.
On January 22, 2008, Waits made a rare life appearance in Los Angeles, performing on the merits for Bet Tzedek Legal Services - The House of Justice, a nonprofit poverty law center.
On May 7, 2008, Waits announced the Glitter and Doom Tour started in June 2008, a city tour in the southern United States and then announced a series of dates in the UK, Ireland and mainland Europe. Waits was awarded the key to the city of El Paso, Texas during a concert on June 20, 2008. In a generally positive review of the tour opening event, The Wall Street Journal Jim Fusilli describes Music Waits thus:
Mr. 58-year-old Waits... has compiled a piece of work that is at least comparable to any songwriter in today's pop. A shrewd, sensitive and sympathetic history writer who is hanged and oppressed, Mr. Waits creates a three-dimensional character that, even in their confusion and despair, is capable of surprising insights and point of view. Their stories are accompanied by different music from other pop histories.
On May 20, 2008, Scarlett Johansson's debut album, titled Anywhere I Lay My Head , featured a cover of ten Tom Waits songs. Waits made an appearance on The Spirit of Apollo's album by NASA's alternative hip hop project, on the track "Broad Mind."
Waits menulis pengantar berikut untuk kompilasi Tompkins Square People Take Warning - Murder Ballads & amp; Disaster Songs, 1913-1938 :
In the late 1920s and early 1930s, Depression gripped the Nation. That is the time when the song is a tool for life. The whole community will be saddened by losing members and sowing their songs like seeds. This collection is a wild garden planted from the seeds.
In 2009, music critic Barney Hoskyns published an unauthorized biography of Waits titled Lowside of the Road: The Life of Tom Waiting.
Terry Gilliam Movie The Imaginarium of Doctor Parnassus was released in late 2009, with Waits in Mr. role Nick. Production began in December 2007 in London. Star Heath Ledger's death in January 2008 cast doubt on the future of the film, but the production was saved by the addition of new actors who played his character in a scene he did not finish.
2010s
He works on a new music scene with longtime director and collaborator Robert Wilson and playwright Martin McDonagh.
In early 2011, Tom Waits completed a set of 23 poems entitled Seeds on Hard Ground, inspired by Michael O'Brien's portrait of homelessness in his upcoming book Hard Ground , which will include a poem next to the portrait. To anticipate the release of the book, Waits and ANTI printed a limited edition book of poetry to raise money for Redwood Empire Food Bank, a reference service and support for homeless families in Sonoma County, California. Starting January 26, 2011, four editions, each limited to one thousand copies for $ 24.99US, were sold out, earning $ 90,000 for the food bank.
It was announced on February 9, 2011, that Waits will be inducted into Rock and Roll Hall of Fame by Neil Young. The ceremony was held at the Waldorf-Astoria on Monday, March 14, 2011, at 08.30 EST. Waits received the award with his usual humor, stating, "They say I do not have a song and I'm hard at work... like that's a bad thing."
On February 24, 2011, it was announced through Waits official website that he has started work on his next studio album. Waits said via his website that on August 23 he would "set the record straight" in terms of rumors of a new release. On August 23, the new album title was revealed to be Bad as Me , and a new single, also titled "Bad as Me," began to be offered through Amazon.com and other sites. The album was released on October 24th.
In 2012, Waits has a supporting role in the film written and directed by Martin McDonagh called Seven Psychopaths, where he plays killer serial killer killer.
In 2013, the song "Shenandoah," recorded with Keith Richards, was included in the Son of Rogue Gallery compilation album: Pirate Ballads, Sea Songs & Chanteys. The album was released February 19th at ANTI-. On May 5, 2013, Waits joined The Rolling Stones on stage at Oracle Arena in Oakland, California for a duet with Mick Jagger on the song "Little Red Rooster". In the same year, the songs "Hold On" and "I Do not Want to Grow Up" were sung by Beth Greene (Emily Kinney) character in "I Is not a Judas" episode of The Walking Dead and "Infected." On October 27, 2013, Tom Waits performed at the 27th Annual Bridge School Benefit concert in Mountain View California. Rolling Stone calls it a "victory".
Pada bulan Juni 2014, lagu Waits "Come On Up to the House" digunakan dalam episode Orange Is the New Black "40 OZ of Furlough".
On May 19, 2015, Waits appeared on one of the last broadcasts of the Late Show with David Letterman to sing a song called "Take One Last Look". He was accompanied by Larry Taylor on upright bass and Gabriel Donohue on an accordion piano, with a horn section from the CBS Orchestra. In the fall of 2015, Waits's work featured in several songs adapted for stage performances in Shakespeare's theater production from Shakespeare's The Tempest .
Music styles
There are jazz elements in the early works of Waits.
Unlike the previous record, 1983's Swordfishtrombones moved away from the piano and string orchestra sequences in the late 1970s, replacing them with unusual instrumentation and somewhat abstract songwriting approaches.
Waits has stated that a show should be "spectacle and entertainment". He exemplified some of his early vocal behavior after Richard Buckley. Waits's work is influenced by his greedy readings and by the conversations he hears on the eating grounds. The main influences were the writer Beat Kerouac, although other authors who inspired him included Charles Bukowski, Nelson Algren, John Rechy, and Hubert Selby Jr. He is also inspired by comedian Lenny Bruce. Musically, he was influenced by Randy Newman, and considers James Brown as one of his musical heroes. He praised Dylan, noting that "for songwriters, Dylan is as important as hammers and nails and looking at carpenters".
Humphries describes "Waitsworld" as a place of "the romanticism of the form by the wider people who should know better, the bent psychotics, the loners, the losers."
Personal life
According to Hoskyns, Waits hides behind his person, noting that "Tom Waits is a character created for his fans because he is a real man." Among music journalists, there are many opinions that Waits are fake or fake. Hoskyns is considered a "persona" of boho/hobo skid, a young man from time and place "as" ongoing experiments in performing arts. "He added that Waits has adopted" self-appointed role as street poet. "Mick Brown, a a music journalist from Sounds who interviewed Waits in the mid-1970s, notes that "he has immersed himself in this character to the point where it does not act and has become an identity." Louie Lista, a friend of Waits' during the 1970s, stated that the singer's general attitude was that: "I am an outsider, but I will be having fun in being an outsider." Another friend of that period, Troubadour-manager Robert Marchese, recounts that Waits cultivated "the whole mystique of the really funky man and all of Charles Bukowski's nonsense" to give "an impression of how funky the poor are," while in In fact, Waits is "basically a high school kid, San Diego, mom-and-pop-school". Jarmusch describes Waits as "a very contradictory character, he has the potential for violence if he thinks someone is having an affair with him, but he is also gentle and kind."
Humphries refers to it as "a man who is basically quiet... reflective and surprisingly shy". Hoskyns describes Waits as "without a doubt - some would say almost roughly - heterosexual". During the 1970s, he was known as a heavy drinker and smoker but avoided any drugs harder than cocaine. He told an interviewer that "I found alcohol at an early age, and it guided me a lot." Hoskyns also noted that Waits took "grumpy" attitude towards the tour.
After marriage and having children, Waits becomes increasingly difficult to understand. During the interview, he fended off questions about his personal life. Waits refused to sanction any biography about him. When Hoskyns was researching a biography of Waits, Waits and his wife asked people not to talk to him. Hoskyn believed that it was Brennan who was responsible for the "inaccessible wall" around Waits.
Reception and inheritance
Hoskyns calls it "as important as American artists as anyone produced by the twentieth century", while Humphries describes it as "one of the best post-Dylan singers and songwriters". Among the celebrities who portray themselves as Waits fans are Johnny Depp, John Oliver, Jerry Hall, and Jordan Peterson.
Legal Charges
Waits has vehemently refused to allow the use of his songs in advertisements and joked about other performing artists (once commented "If Michael Jackson wants to work for Pepsi, why does not he just get a suit and office in their base and finish with it?" ). He has filed several lawsuits against advertisers who use unauthorized material, and said, "Apparently, the highest praise our culture provides to artists today is to be in an ad - ideally, naked and snoring on the new car hood.. I have persistently and repeatedly rejected this dubious honor. "
Waits filed his first suit in this vein in 1988 against Frito-Lay. The company has approached Waits to use one of its songs in an ad, which Waits reject. Frito-Lay hires a Waits like singing a jingle similar to the song "Step Right Up" from the album Small Change , which is a Waits song has been called "advertising indictment". Waits won the suit, becoming one of the first artists to successfully sue the company for using unauthorized copycats. The Circuit Court of Appeal 9 affirms the $ 2.375 million award that it benefits ( Waits v. Frito-Lay , 978 F. 2d 1093 (9th Cir. 1992)).
In 1993, Levi used the 'DeadHail and Vine' version of Screamin 'Jay Hawkins' in an ad. Waits sued, and Levi agreed to stop all use of the song and publish a full page apology on the Billboard .
Waits found himself in a situation similar to the one before with Frito Lay in 2000 when Audi approached him, asking to use "Innocent When You Dream" (from Franks Wild Years ) for commercial broadcasts in Spain. Waiting to be rejected, but the ads end up displaying music very similar to the song. Waits took legal action, and the Spanish court acknowledged that there were violations of Waits' moral rights other than copyright infringement. The production company, Tandem Campany Guasch, is ordered to pay compensation to Waits through its Spanish publisher. Waiting then joked that they got the wrong song name, thinking it's called "Innocent When You Scheme".
In 2005, Waits sued Adam Opel AG, claiming that, after failing to sign him to sing in their Scandinavian advertisements, they hired a voice-like singer. In 2007, the lawsuit was settled, and Waits gave money to charity.
In 2016, Waits started litigation against French artist Bartabas who has used several Waits songs as a backdrop of theatrical performances that in many respects paid tribute to Waits's work. Claims and counter claims were made, with Bartabas claiming to have sought and been given permission to use the material (and had paid $ 400,000 for the privilege) but with Waits apparently from the view that his identity had been stolen. The case in the French court was lost and the circus performance was allowed to continue, although the threat of further litigation meant that it was not done outside France and the resulting DVD release did not contain Waits material.
Source of the article : Wikipedia
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