Tom Waits (born Thomas Alan Waits, in Pomona, California, on December 7, 1949) is a prolific American singer, songwriter, composer, and actor.
He started his career in the early 1970s as a singer in spit 'n' sawdust bars. Initially, he was deeply influenced by the beat generation, novelists like Jack Kerouac and William S. Burroughs, and poets like Allen Ginsberg and Charles Bukowski. Waits is often compared to Charles Bukowski, being similar both in content and lifestyle Read Full BioTom Waits (born Thomas Alan Waits, in Pomona, California, on December 7, 1949) is a prolific American singer, songwriter, composer, and actor.
He started his career in the early 1970s as a singer in spit 'n' sawdust bars. Initially, he was deeply influenced by the beat generation, novelists like Jack Kerouac and William S. Burroughs, and poets like Allen Ginsberg and Charles Bukowski. Waits is often compared to Charles Bukowski, being similar both in content and lifestyle
Waits was unable to make a living from his music in the 70s because his classical bar music, based in pre-rock, and Americana, blues, and Vaudeville styles were not popular. Waits's voice back then was soft, warm and clear.
Waits subsequently developed a devoted cult following and has influenced subsequent songwriters, despite having little radio or music video support. In fact, his songs are perhaps best known to the general public in the form of cover versions of more visible artists, such as the Eagles, Bruce Springsteen and Rod Stewart.
Although Waits’s albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries.
Lyrically, Waits's songs are known for atmospheric portrayals of seedy characters and places; he sings about the losers on the streets: alcoholics, junkies, prostitutes and social outcasts, although he also includes more conventional and touching ballads in his repertoire.
While opening for Frank Zappa, the audience catcalled and refused to listen to him; he was an unsuitable match with Zappa's avantgarde style.
Countless cigarettes, gallons of alcohol and many all night parties eventually left their trace in his face and voice.
His more recent gravelly voice can be first heard on Small Change. This distinctive voice turned out to be his trademark. It is described by the Music Hound Rock Album Guide as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months and then taken outside and run over with a car". Small Change with its sentimental ballads, its bar-jazz attitude and Film Noir-oriented stories turned out to be his biggest commercial success in the 1970s.
Waits subsequently developed a more unique style. His songs have grown more abrasive since then, and the arrangements have turned more surreal and experimental with every new record. His life brings him to new visions, as indicated by the direction taken in his "Alice" release.
While composing the soundtrack for Francis Ford Coppola's One From The Heart Waits met Kathleen Brennan, his bride-to-be. They married in 1980 and she helped him quit drinking and smoking. Since their marriage they have been working together on his albums as co-producers and co-writers. It is hard to say which part belongs to her and which to him, but it's easy to see that they make a perfect team. Additionally, his eldest son Casey can be heard on turntables and percussion on Waits's album "Real Gone".
One of Waits's greatest successes was the album "Swordfishtrombones", released in 1983. It struck with his critics and fans alike. He achieved a new level of song writing and left former conventions (and his earlier career) behind. All songs, whether ballads, jive or jazz are played in a completely different way. It seems that Waits had taken the musical archetypes of these styles and made them his own. All tracks are in the quintessential Waits style. They have a striking rawness and listenability and they set the stage for his success and his future career.
The Bad As Me Songfacts reports that 36 years after the release of Waits' first album, Closing Time in 1973, Bad As Me became Waits's first ever top 10 album in the US when it debuted at #6 with 63,000 sales.
In the late 1980s Waits discovered an outlet for his creativity in composing musicals. His first Musical was named "The Black Rider", and is based on "Der Freischütz" by Carl Maria von Weber. It was co-produced by Robert Wilson and the lyrics come from William S. Burroughs. The story is slightly reminiscent of Kurt Weil's and Berthold Brecht's "Three Penny Opera" and the 1930s. The debut performance of the play was in 1990 at the Thalia Theater, Hamburg and has been played by various theatre groups since then.
Waits was also responsible for two other musicals, which later became albums released simultaneously in 2002. One was the musical "Blood Money," which covers the "Woyczek" theme of Georg Büchner. This one is one of the darkest works from Waits. The other musical is based on Lewis Carroll's classic children's novel, "Alice's Adventures in Wonderland". "Alice" is very romantic, dreamy and soft, and contains one of Waits most romantic songs. Even though they were released at the same time, the bootlegs of the "Alice" musical were long before traded between fans and were just rearranged and re-mastered for the official release.
Besides many film contributions as composer – the Internet Movie Database imdb.com lists 47 appearances of Waits as composer and 38 soundtracks containing songs by Waits - he also is an actor with a total of 25 appearances, ranging from some mini-roles as a trumpeter in "Heart of Saturday Night" and the R. M. Renfield in "Bram Stoker's Dracula" to the major role of Zack in Jim Jarmusch's "Down by Law". He recently appeared in Roberto Benigni's "The Tiger and the Snow", playing You Can Never Hold Back Spring at Benigni's wedding dream. Even more recently, Waits played Mr.Nick (the Devil) in Terry Gilliam's "The Imaginarium of Dr. Parnassus".
In addition to a number of concert videos, he also appeared in the critically-acclaimed concert feature film "Big Time" (1990).
Waits has always refused to allow the use of his songs in commercials. He has filed several lawsuits against advertisers for using his material without permission. Waits also successfully sued an advertiser for using a work that was stylistically similar to his work, after he had declined to sell them the rights to his song. He has been quoted as saying, "Apparently the highest compliment our culture grants artists nowadays is to be in an ad — ideally naked and purring on the hood of a new car. I have adamantly and repeatedly refused this dubious honor."
He started his career in the early 1970s as a singer in spit 'n' sawdust bars. Initially, he was deeply influenced by the beat generation, novelists like Jack Kerouac and William S. Burroughs, and poets like Allen Ginsberg and Charles Bukowski. Waits is often compared to Charles Bukowski, being similar both in content and lifestyle Read Full BioTom Waits (born Thomas Alan Waits, in Pomona, California, on December 7, 1949) is a prolific American singer, songwriter, composer, and actor.
He started his career in the early 1970s as a singer in spit 'n' sawdust bars. Initially, he was deeply influenced by the beat generation, novelists like Jack Kerouac and William S. Burroughs, and poets like Allen Ginsberg and Charles Bukowski. Waits is often compared to Charles Bukowski, being similar both in content and lifestyle
Waits was unable to make a living from his music in the 70s because his classical bar music, based in pre-rock, and Americana, blues, and Vaudeville styles were not popular. Waits's voice back then was soft, warm and clear.
Waits subsequently developed a devoted cult following and has influenced subsequent songwriters, despite having little radio or music video support. In fact, his songs are perhaps best known to the general public in the form of cover versions of more visible artists, such as the Eagles, Bruce Springsteen and Rod Stewart.
Although Waits’s albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries.
Lyrically, Waits's songs are known for atmospheric portrayals of seedy characters and places; he sings about the losers on the streets: alcoholics, junkies, prostitutes and social outcasts, although he also includes more conventional and touching ballads in his repertoire.
While opening for Frank Zappa, the audience catcalled and refused to listen to him; he was an unsuitable match with Zappa's avantgarde style.
Countless cigarettes, gallons of alcohol and many all night parties eventually left their trace in his face and voice.
His more recent gravelly voice can be first heard on Small Change. This distinctive voice turned out to be his trademark. It is described by the Music Hound Rock Album Guide as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months and then taken outside and run over with a car". Small Change with its sentimental ballads, its bar-jazz attitude and Film Noir-oriented stories turned out to be his biggest commercial success in the 1970s.
Waits subsequently developed a more unique style. His songs have grown more abrasive since then, and the arrangements have turned more surreal and experimental with every new record. His life brings him to new visions, as indicated by the direction taken in his "Alice" release.
While composing the soundtrack for Francis Ford Coppola's One From The Heart Waits met Kathleen Brennan, his bride-to-be. They married in 1980 and she helped him quit drinking and smoking. Since their marriage they have been working together on his albums as co-producers and co-writers. It is hard to say which part belongs to her and which to him, but it's easy to see that they make a perfect team. Additionally, his eldest son Casey can be heard on turntables and percussion on Waits's album "Real Gone".
One of Waits's greatest successes was the album "Swordfishtrombones", released in 1983. It struck with his critics and fans alike. He achieved a new level of song writing and left former conventions (and his earlier career) behind. All songs, whether ballads, jive or jazz are played in a completely different way. It seems that Waits had taken the musical archetypes of these styles and made them his own. All tracks are in the quintessential Waits style. They have a striking rawness and listenability and they set the stage for his success and his future career.
The Bad As Me Songfacts reports that 36 years after the release of Waits' first album, Closing Time in 1973, Bad As Me became Waits's first ever top 10 album in the US when it debuted at #6 with 63,000 sales.
In the late 1980s Waits discovered an outlet for his creativity in composing musicals. His first Musical was named "The Black Rider", and is based on "Der Freischütz" by Carl Maria von Weber. It was co-produced by Robert Wilson and the lyrics come from William S. Burroughs. The story is slightly reminiscent of Kurt Weil's and Berthold Brecht's "Three Penny Opera" and the 1930s. The debut performance of the play was in 1990 at the Thalia Theater, Hamburg and has been played by various theatre groups since then.
Waits was also responsible for two other musicals, which later became albums released simultaneously in 2002. One was the musical "Blood Money," which covers the "Woyczek" theme of Georg Büchner. This one is one of the darkest works from Waits. The other musical is based on Lewis Carroll's classic children's novel, "Alice's Adventures in Wonderland". "Alice" is very romantic, dreamy and soft, and contains one of Waits most romantic songs. Even though they were released at the same time, the bootlegs of the "Alice" musical were long before traded between fans and were just rearranged and re-mastered for the official release.
Besides many film contributions as composer – the Internet Movie Database imdb.com lists 47 appearances of Waits as composer and 38 soundtracks containing songs by Waits - he also is an actor with a total of 25 appearances, ranging from some mini-roles as a trumpeter in "Heart of Saturday Night" and the R. M. Renfield in "Bram Stoker's Dracula" to the major role of Zack in Jim Jarmusch's "Down by Law". He recently appeared in Roberto Benigni's "The Tiger and the Snow", playing You Can Never Hold Back Spring at Benigni's wedding dream. Even more recently, Waits played Mr.Nick (the Devil) in Terry Gilliam's "The Imaginarium of Dr. Parnassus".
In addition to a number of concert videos, he also appeared in the critically-acclaimed concert feature film "Big Time" (1990).
Waits has always refused to allow the use of his songs in commercials. He has filed several lawsuits against advertisers for using his material without permission. Waits also successfully sued an advertiser for using a work that was stylistically similar to his work, after he had declined to sell them the rights to his song. He has been quoted as saying, "Apparently the highest compliment our culture grants artists nowadays is to be in an ad — ideally naked and purring on the hood of a new car. I have adamantly and repeatedly refused this dubious honor."
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Tom Traubert's Blues
by Tom Waits
Wasted and wounded, it ain't what the moon did
I got what I paid for now
See ya tomorrow, hey Frank can I borrow
A couple of bucks from you
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
I'm an innocent victim of a blinded alley
And I'm tired of all these soldiers here
No one speaks English, and everything's broken
And my Stacys are soaking wet
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
Now the dogs are barking
And the taxicabs parking
A lot they can do for me
I begged you to stab me
You tore my shirt open
And I'm down on my knees tonight
Old Bushmills I staggered
You buried the dagger in
Your silhouette window light
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
Now I've lost my St. Christopher
Now that I've kissed her and the
And the one-armed bandit knows
And the maverick Chinaman, and the cold-blooded signs
And the girls down by the strip tease shows go
Waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
No, I don't want your sympathy
The fugitives say that the streets aren't for dreaming now
Manslaughter dragnets and the ghosts that sell memories
They want a piece of the action anyhow
Go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
And you can ask any sailor
And the keys from the jailer
And the old men in wheelchairs know
That Matilda's the defendant, she killed about a hundred
And she follows wherever you may go
Waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
And it's a battered old suitcase
To a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on
An old shirt that is stained with blood and whiskey
And goodnight to the street sweepers
The night watchman flame keepers
And goodnight Matilda, too
Lyrics © BMG Rights Management
Written by: Tom Waits
Lyrics Licensed & Provided by LyricFind
by Tom Waits
Wasted and wounded, it ain't what the moon did
I got what I paid for now
See ya tomorrow, hey Frank can I borrow
A couple of bucks from you
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
I'm an innocent victim of a blinded alley
And I'm tired of all these soldiers here
No one speaks English, and everything's broken
And my Stacys are soaking wet
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
Now the dogs are barking
And the taxicabs parking
A lot they can do for me
I begged you to stab me
You tore my shirt open
And I'm down on my knees tonight
Old Bushmills I staggered
You buried the dagger in
Your silhouette window light
To go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
Now I've lost my St. Christopher
Now that I've kissed her and the
And the one-armed bandit knows
And the maverick Chinaman, and the cold-blooded signs
And the girls down by the strip tease shows go
Waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
No, I don't want your sympathy
The fugitives say that the streets aren't for dreaming now
Manslaughter dragnets and the ghosts that sell memories
They want a piece of the action anyhow
Go waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
And you can ask any sailor
And the keys from the jailer
And the old men in wheelchairs know
That Matilda's the defendant, she killed about a hundred
And she follows wherever you may go
Waltzing Matilda, waltzing Matilda, you'll go waltzing Matilda with me
And it's a battered old suitcase
To a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on
An old shirt that is stained with blood and whiskey
And goodnight to the street sweepers
The night watchman flame keepers
And goodnight Matilda, too
Lyrics © BMG Rights Management
Written by: Tom Waits
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Alec Alexander
I heard the Rod Stewart version and thought it was pretty good. And then I heard Tom's original. I'm nearly 70 and been listening to music all my life (well nearly). This stopped me in my tracks (poor pun). I just burst into tears, as I have each time since. This is beautiful/tragic/emotionally shattering but makes me feel human. You're never as in touch with your emotions as when you cry and Tom can make you laugh and cry and sometimes at the same time. Thank you Tom.
Mikey Deloac
@Mark Rae It's almost a crime that Tom Waits is not mainstream...music.
Mikey Deloac
+ Alex Alexander, funny you say that. This is my first time hearing it and im litterally crying already..
Željko Bjeloš
Alec , big hug from Croatia. Beautiful comment......
PussnBoot2516
Same. Heard the Rod Stewart version and thought it was a nice pleasant song, then I happen upon Tom Waites. This is how it deserves to be sung with heart and soul in my opinion anyway for what ever that's worth
opalfish sparklequasar
No one should attempt this song.
NO ONE.
You wanna pay your respects?
Do so SILENTLY.
Silent respects.
I'm looking at you, Rod.
Willy R
SOME OF THE STRONGEST LYRICS EVER:
Wasted and wounded, it ain't what the moon did
I've got what I paid for now
See ya tomorrow, hey Frank, can I borrow
A couple of bucks from you?
To go Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
I'm an innocent victim of a blinded alley
And I'm tired of all these soldiers here
No one speaks English, and every thing's broken
And my Stacys are soaking wet
To go Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
Now the dogs are barking and the taxi cab's parking
A lot they can do for me
I begged you to stab me, you tore my shirt open
And I'm down on my knees tonight
Old Bushmills I staggered, you buried the dagger in
Your silhouette window light
To go Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
Now I lost my Saint Christopher now that I've kissed her
And the one-armed bandit knows
And the Maverick Chinamen, and the cold-blooded signs
And the girls down by the strip-tease shows go
Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
No, I don't want your sympathy, the fugitives say
That the streets aren't for dreaming now
Manslaughter dragnets and the ghosts that sell memories
They want a piece of the action anyhow go
Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
And you can ask any sailor, and the keys from the jailer
And the old men in wheelchairs know
That Mathilda's the defendant, she killed about a hundred
And she follows wherever you may go
Waltzing Mathilda, Waltzing Mathilda
You'll go Waltzing Mathilda with me
And it's a battered old suitcase to a hotel someplace
And a wound that will never heal
No Prima Donna, the perfume is on
An old shirt that is stained with blood and whiskey
And goodnight to the street sweepers
The night watchman flame keepers and goodnight to Mathilda too
Theresia Maria Weber
the perfume is on
Theresia Maria Weber
Willy R ☁️🤍☁️
안창용
Willy R ㅔ