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."
Putnam County
Tom Waits Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Around Putnam County
Kind of shy and sleepy as it clung to the skirts
Of the 2-lane, that was stretched out like an
Asphalt dance floor where all the oldtimers would
Hunker down in bib jeans and store bought boots
Lyin' about their lives and the places that they'd been
Suckin' on Coca Colas and be spittin' Days Work
And be spittin' Day's Work
Until the moon was a stray dog on the ridge and
The taverns would be swollen until the naked eye
Of two a.m., and the Stratocaster guitars slung over
Burgermeister beer guts, and the swizzle stick legs
Jacknifed over naugahyde stools and the
Witch hazel spread out over the linoleum floors,
The pedal pushers stretched out over midriff bulge
And the coiffed brunette curls over Maybelline eyes
Wearing Prince Machiavelli, Estee Lauder,
Smells so sweet
I elbowed up at the counter with mixed feelings
Over mixed drinks
And Bubba and the Roadmasters moaned in pool hall
Concentration as they knit their brows to
Cover the entire Hank Williams Song Book
And the old National register was singing to the
Tune of $57.57
Until last call, one last game of 8 ball
And Berneice would be putting the chairs on the tables,
Someone come in say "Hey man, anyone got
Any Jumper Cables, is that a 6 or a 12 volt?"
And all the studs in town would toss 'em down
And claim to fame as they stomped their feet
Boasting about being able to get more ass
Than a toilet seat.
And the GMCs and the Straight 8 Fords
Were coughing and wheezing and they
Perculated as they tossed the gravel
Underneath the fenders to weave home
A wet slick anaconda of a two lane
With tire irons and crowbars a rattlin'
With a tool box and a pony saddle
You're grinding gears, shifting into first
Yea and that goddam tranny's just getting worse
With the melodies of "see ya later"
And screwdrivers on carburettors
Talkin' shop about money to loan
And palominos and strawberry roans
See ya tomorrow, hello to the Mrs.
Money to borrow and goodnight kisses
The radio spittin' out Charlie Rich
Sure can sing that sonofabitch
And you weave home, weavin' home
Leaving the little joint winking in the
Dark warm narcotic American night
Beneath a pin cushion sky and it's
Home to toast and honey, start
Up the Ford, your lunch money's there on the
Draining board, toilet's runnin' shake the
Handle, telephone's ringin' it's Mrs Randal
Where the hell are my goddam sandals
And the porcelain poodles and the glass swans
Staring down from the knick knack shelf
With the parent permission slips for the
Kids' field trips
Pair of Muckalucks scraping across
The shag carpet
And the impending squint of
First light, that lurked behind
A weeping marquee in downtown Putnam
And would be pullin' up any minute now
Just like a bastard amber
Velveeta yellow cab on a rainy corner
And be blowin' its horn, in every window
In town.
Tom Waits's song "Putnam County" paints a vivid picture of life in a small town in America. The town is portrayed as sleepy and uneventful, with the only excitement being found in the local taverns. The oldtimers gather there and spin yarns about their lives and where they have been, all while drinking Coca Colas and Day's Work chewing tobacco. The scene is set with a description of the 2-lane that runs through the town - an "asphalt dance floor" - over which the moon rises and sets like a stray dog.
As the night wears on, the tavern becomes crowded with people drinking and playing pool. The men brag about their sexual exploits while others tinker with cars outside. The radio plays Charlie Rich and the patrons weave their way home, leaving the tavern to close for the night. The scene ends with a glimpse of the mundane domesticity of the town - toast and honey for breakfast, draining board stacked with dishes, porcelain poodles and glass swans on knick-knack shelves.
"Putnam County" is a commentary on the boredom and mundanity of small town life in America. It captures the essence of a place where nothing exciting ever happens and people spend their time drinking and reminiscing about the past. Despite this, Waits's lyrics are filled with memorable and evocative images that bring the town to life. The song is a reminder that even in the most uneventful places, there are stories to be told and memories to be made.
Line by Line Meaning
I guess things were always quiet
The singer reflects on the long-standing uneventfulness of Putnam County.
Around Putnam County
The singer clarifies the location of the setting.
Kind of shy and sleepy as it clung to the skirts
The atmosphere of the town is withdrawn and unenergetic, symbolized by the imagery used.
Of the 2-lane, that was stretched out like an
The artist compares the layout of the roads to a linear or geometrical structure.
Asphalt dance floor where all the oldtimers would
The artist attributes the roads to being a social gathering place, where elders would come together.
Hunker down in bib jeans and store bought boots
The dress code of the attendees is specified to be simple and unremarkable.
Lyin' about their lives and the places that they'd been
The singer reveals that the conversations at these gathering would revolve around self-glorifying tales.
Suckin' on Coca Colas and be spittin' Days Work
The attendees drink Coca Colas and chew tobacco, connoting working-class culture.
They's be suckin' on Coca Colas
The artist repeats the previous statement to emphasize its significance.
And be spittin' Day's Work
The artist repeats the previous statement to emphasize its significance.
Until the moon was a stray dog on the ridge and
The singer provides a time reference for the end of the event.
The taverns would be swollen until the naked eye
The artist emphasizes the majority of attendees being present until the end of the night.
Of two a.m., and the Stratocaster guitars slung over
The singer describes a musical performance to be taking place at the event.
Burgermeister beer guts, and the swizzle stick legs
The physical description of the attendees suggests strong indulgence in food and alcohol.
Jacknifed over naugahyde stools and the
The singer describes the sitting arrangement of the attendees.
Witch hazel spread out over the linoleum floors,
The artist adds a detailed visual of the surroundings.
The pedal pushers stretched out over midriff bulge
The fashion of the female attendees is detailed.
And the coiffed brunette curls over Maybelline eyes
The fashion of the female attendees is detailed further.
Wearing Prince Machiavelli, Estee Lauder,
The brands used by the females are stated.
Smells so sweet
The artist details a pleasant aroma, possibly from fragrances or food.
I elbowed up at the counter with mixed feelings
The artist expresses conflicting emotions regarding their own attendance.
Over mixed drinks
The artist clarifies that they're drinking alcoholic beverages.
And Bubba and the Roadmasters moaned in pool hall
The singer describes another group present at the event, involved in a different activity.
Concentration as they knit their brows to
The artist describes the intensity of the activity involving Bubba and the Roadmasters.
Cover the entire Hank Williams Song Book
The singer specifies the material being played by Bubba and the Roadmasters.
And the old National register was singing to the
The singer describes another auditory aspect of the event.
Tune of $57.57
The singer clarifies the sound being made by the National register.
Until last call, one last game of 8 ball
The artist indicates that the game being played ended after the event was closed.
And Berneice would be putting the chairs on the tables,
The artist suggests a possible attendee who works at the establishment.
Someone come in say "Hey man, anyone got
The singer introduces a character and their statement.
Any Jumper Cables, is that a 6 or a 12 volt?"
The character requests a tool, and specifies the version needed.
And all the studs in town would toss 'em down
The artist describes a group of people that owns the requested tool.
And claim to fame as they stomped their feet
The artist suggests the social currency that the group holds, likely due to their tool ownership.
Boasting about being able to get more ass
The artist implies a vulgar and false claim, made by the aforementioned group.
Than a toilet seat.
The singer emphasizes the vulgar nature of the aforementioned claim.
And the GMCs and the Straight 8 Fords
The artist describes the vehicles used to leave the event.
Were coughing and wheezing and they
The singer describes the sound of the vehicles starting.
Perculated as they tossed the gravel
The singer describes the effect the vehicle's movements had on its surroundings.
Underneath the fenders to weave home
The singer describes the appearance of being able to weave through obstacles.
A wet slick anaconda of a two lane
The artist uses creative comparison to describe the path taken by the vehicles.
With tire irons and crowbars a rattlin'
The artist describes the sounds of machinery being transported.
With a tool box and a pony saddle
The singer describes the miscellaneous items being transported.
You're grinding gears, shifting into first
The singer describes the movements needed to start the vehicle.
Yea and that goddam tranny's just getting worse
The artist conveys a negative attitude towards the vehicle's condition.
With the melodies of "see ya later"
The artist adds a hopeful tone to the line, suggesting that the driver will return later.
And screwdrivers on carburettors
The artist describes the activity the driver must do to maintain the vehicle's condition.
Talkin' shop about money to loan
The singer suggests the driver's interest in lending or borrowing money.
And palominos and strawberry roans
The artist introduces different types of horses, possibly as an analogy for the vehicles.
See ya tomorrow, hello to the Mrs.
The singer conveys the hopeful possibility of seeing the addressees the next day, and sending greetings.
Money to borrow and goodnight kisses
The singer implies a romantic aspect to the goodbye gestures imagined in the previous line.
The radio spittin' out Charlie Rich
The singer describes another audio element present during the drive home.
Sure can sing that sonofabitch
The artist offers their appreciation for the music being played.
And you weave home, weavin' home
The artist repeats the previous action in a different form.
Leaving the little joint winking in the
The singer provides a visual of the building left behind.
Dark warm narcotic American night
The singer describes the setting of the aforementioned visual, using extensive adjectives to convey the mood.
Beneath a pin cushion sky and it's
The artist describes the sky present during the drive home, using a creative comparison.
Home to toast and honey, start
The artist describes what awaits them at home.
Up the Ford, your lunch money's there on the
The artist leaves a message to their family regarding lunch money, implying trust in the audience to find it later.
Draining board, toilet's runnin' shake the
The singer offers instructions to solve two household issues.
Handle, telephone's ringin' it's Mrs Randal
The artist adds another observed due to the ringing phone.
Where the hell are my goddam sandals
The singer reveals a personal issue that they want to solve.
And the porcelain poodles and the glass swans
The singer describes elements present in their house, possibly as decoration.
Staring down from the knick knack shelf
The singer describes the location of the aforementioned objects.
With the parent permission slips for the
The artist suggests the presence of objects as practical uses in the house.
Kids' field trips
The artist clarifies the intended purpose of the aforementioned objects.
Pair of Muckalucks scraping across
The singer describes a noise emanating from an attendee's footwear.
The shag carpet
The singer specifies where the aforementioned noise occurs.
And the impending squint of
The artist describes another visual present in the culminating scene.
First light, that lurked behind
The artist specifies the source of the light.
A weeping marquee in downtown Putnam
The artist specifies the location of the marquee in relation to the setting.
And would be pullin' up any minute now
The singer suggests the likelihood of the light arriving soon.
Just like a bastard amber
The artist uses creative comparison to describe the light's color.
Velveeta yellow cab on a rainy corner
The singer uses creative comparison to describe another taxi, possibly being similar to the one carrying the light.
And be blowin' its horn, in every window
The singer suggests the sound produced by the taxi's action.
In town.
The singer clarifies the location of the window-dwelling audiences.
Lyrics © BMG Rights Management, JALMA MUSIC
Written by: TOM WAITS
Lyrics Licensed & Provided by LyricFind
David Carpenter
I bought this double LP when I was a freshman in college, but back then I somehow failed to notice how amazing this song was. It is one of his best: a warm, funny, well-observed portrait of a world that is now long gone.
Geezer Gonewild
Another Tom Waits masterpiece!
Max Azzopardi
the line "To lie about their lives and the places that they'd been" really got to me. people want to feel special but few are special
Harpoon
I've lived this night so many times. This song blows me away.
Frank Moyer
In 1980 I was driving a restored 1959 MGA from Miami to California, via Philly, Champagne Illinois, Kansas City. With only this Tape and a Joni Mitchell cassette.
And just outside of Indianapolis, I broke down on the outskirts of a town just like this. Pitched a tent beside a cow pasture. Woken up by the local sheriff, who fetched me a tow truck just as soon as he finished his coffee in town.
Joe Kokasko
Can he paint a picture or what? What a talented wordsmith
imminent hippo
warm narcotic american night
imminent hippo
@Strangersname @4:43