Girls Generation Japan 2nd Tour Limited Edition 2013 BluRay 720p DTS X264
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Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos and the Ramones and he has written songs for Johnny Cash and Norah Jones, among others. In 2006, Waits and Brennan were ranked fourth on Paste's list of the hundred greatest living songwriters.[4] In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling... I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits said "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!"[5]
Girls Generation Japan 2nd Tour Limited Edition 2013 BluRay 720p DTS X264
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Thomas Alan Waits was born on December 7, 1949, in Pomona, California.[7] He has one older sister and one younger sister.[8] His father, Jesse Frank Waits, was a Texas native of Scots-Irish descent, and his mother, Alma Fern (ne Johnson), hailed from Oregon and had Norwegian ancestry.[9][10] Alma, a regular church-goer, managed the household. Jesse taught Spanish at a local school and was an alcoholic; Waits later related that his father was "a tough one, always an outsider."[11] They lived at 318 North Pickering Avenue in Whittier, California. He recalled having a "very middle-class" upbringing and "a pretty normal childhood". He attended Jordan Elementary School, where he was bullied. There, he learned to play the bugle and guitar. His father taught him to play the ukulele.[12]
During the summers, he visited maternal relatives in Gridley and Marysville. He later recalled that it was an uncle's raspy, gravelly timbre that inspired his own singing voice.[13] In 1959, his parents separated and his father moved away from the family home, a traumatic experience for the 10-year-old Waits.[14] Alma took her children and relocated to Chula Vista, a middle-class suburb of San Diego.[15] Jesse visited the family there, taking his children on trips to Tijuana.[16] In nearby Southeast San Diego, Waits attended O'Farrell Community School, where he fronted a school band, the Systems,[17] later describing the group as "white kids trying to get that Motown sound." He developed a love of R&B and soul singers like Ray Charles, and Wilson Pickett, as well as country music and Roy Orbison.[18] Bob Dylan later became an inspiration; Waits placed transcriptions of Dylan's lyrics on his bedroom walls.[19]
Waits recalls, "I was fifteen and I snuck into see Lightnin' Hopkins. Amazing show. Every time he opened his mouth he had that orchestra of gold teeth, and I was devastated... He walked through a door, and slammed the door behind him, and on the door it said, I swear to God, 'KEEP OUT. This room is for entertainers ONLY.' And I knew, at that moment, that I had to get into show business as soon as possible."[5] He recalls "I first saw James Brown in 1962 at an outdoor theatre in San Diego and it was indescribable... it was like putting a finger in a light socket... It was really like seeing mass at St. Patrick's Cathedral on Christmas."[20] By the time he was studying at Hilltop High School, he later related, he was "kind of an amateur juvenile delinquent," interested in "malicious mischief" and breaking the law.[21] He later described himself as a "rebel against the rebels", eschewing the hippie subculture which was growing in popularity for the 1950s Beat generation,[22] especially Beat writers like Jack Kerouac, Allen Ginsberg, and William S. Burroughs.[23] In 1968, at age 18, he dropped out of high school.[6] He was an avid watcher of Alfred Hitchcock Presents and The Twilight Zone.[24] Another influence was the comedian Lenny Bruce.[25]
Waits worked at Napoleone's pizza restaurant in National City, California, and both there and at a local diner developed an interest in the lives of the patrons, writing down phrases and snippets of dialogue he overheard.[26] He worked in the forestry service as a fireman for three years [27] and served with the Coast Guard.[28] He enrolled at Chula Vista's Southwestern Community College to study photography, for a time considering a career in the field. He continued pursuing his musical interests, taking piano lessons. He began frequenting venues around San Diego, being drawn into the city's folk music scene.[29]
In 1969 he gained employment as an occasional doorman for the Heritage coffeehouse, which held regular performances from folk musicians.[30][31] He also began to sing at the Heritage; his set initially consisted largely of covers of Dylan and Red Sovine's "Phantom 309".[32]In time, he performed his own material as well, often parodies of country songs or bittersweet ballads influenced by his relationships; these included early songs "Ol' 55" and "I Hope That I Don't Fall in Love With You".[33] As his reputation grew, he played at other San Diego venues, supporting acts like Tim Buckley, Sonny Terry, Brownie McGhee, and his friend Jack Tempchin. Aware that San Diego offered little opportunity for career progression, Waits began traveling into Los Angeles to play at the Troubadour.[34]In the autumn of 1971, at the Troubadour in West Hollywood, Waits came to the attention of Herb Cohen, who signed him to a publishing contract and a recording contract.[35] The recordings that were produced under that recording agreement were eventually released in the early 1990s as The Early Years and The Early Years, Volume Two. Quitting his job at Napoleone's to concentrate on his songwriting career, in early 1972 Waits moved to an apartment in Silver Lake, Los Angeles, a poor neighborhood known for its Hispanic and bohemian communities.[36]He continued performing at the Troubadour and there met David Geffen, who gave Waits a recording contract with his Asylum Records.[37] Jerry Yester was chosen to produce his first album, with the recording sessions taking place in Hollywood's Sunset Sound studios.[38] The resulting album, Closing Time, was released in March 1973,[39] although it attracted little attention[40] and did not sell well.[41] Biographer Barney Hoskyns noted that Closing Time was "broadly in step with the singer-songwriter school of the early 1970s";[42] Waits had wanted to create a piano-led jazz album although Yester had pushed its sound in a more folk-oriented direction. Buckley covered "Martha" on his album Sefronia later that year.[43] An Eagles recording of "Ol' 55" on their album On the Border brought Waits further money and recognition, although he regarded their version as "a little antiseptic".[44]
To promote his debut, Waits and a three-piece band embarked on a U.S. tour, largely on the East Coast, where he was the supporting act for more established artists.[45] He supported Tom Rush at Washington D.C.'s The Cellar Door, Danny O'Keefe at Club Passim in Massachusetts, Charlie Rich at New York City's Max's Kansas City, Martha Reeves and the Vandellas in East Lansing, Michigan, and John P. Hammond in San Francisco.Waits returned to Los Angeles in June, feeling demoralized about his career.[46] That month, he was the cover star of free music magazine Music World.[47] He began composing songs for his second album, and attended the Venice Poetry Workshop to try out this new material in front of an audience.[48] Although Waits was eager to record this new material, Cohen instead convinced him to take over as a support act for Frank Zappa's the Mothers of Invention after previous support act Kathy Dalton pulled out due to the hostility from Zappa's fans. Waits joined Zappa's tour in Ontario, but like Dalton found the audiences hostile; while on stage he was jeered at and pelted with fruit.[49] Although he liked the Mothers of Invention, he was intimidated by Zappa himself.[50]
Waits moved from Silver Lake to Echo Park, spending much of his time in downtown Los Angeles.[51] In early 1974, he continued to perform around the West Coast, getting as far as Denver.[52] For Waits's second album, Geffen wanted a more jazz-oriented producer, selecting Bones Howe for the job.[53] Howe recounts his first encounter with the young artist: "I told him I thought his music and lyrics had a Kerouac quality to them, and he was blown away that I knew who Jack Kerouac was. I told him I also played jazz drums and he went wild. Then I told him that when I was working for Norman Granz, Norman had found these tapes of Kerouac reading his poetry from The Beat Generation in a hotel room. I told Waits I'd make him a copy. That sealed it."[54] Recording sessions for The Heart of Saturday Night took place at Wally Heider's Studio 3 on Cahuenga Boulevard in Hollywood in April and May,[55] with Waits conceptualizing the album as a sequence of songs about U.S. nightlife.[56] The album was far more widely reviewed than Closing Time had been.[57] Waits himself was later dismissive of the album, describing it as "very ill-formed, but I was trying".[58]
After recording The Heart of Saturday Night, Waits reluctantly agreed to tour with Zappa again, but once more faced strong audience hostility. The kudos of having supported Zappa's tour nevertheless bolstered his image in the music industry and helped his career.[59] In October 1974, he first performed as the headline act before touring the East Coast; in New York City he met and befriended Bette Midler,[60] with whom he had a sporadic affair.[61] Back in Los Angeles, Cohen suggested Waits produce a live album. To this end, he performed two shows at the Record Plant Studio in front of a small invited audience to recreate the atmosphere of a jazz club.[62][63] Again produced and engineered by Howe (as all his future Asylum releases would be), it was released as Nighthawks at the Diner in October 1975.[64] The album cover and title were inspired by Edward Hopper's Nighthawks (1942).