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."
Reeperbahn
Tom Waits Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A broken-down old movie star
Hustling and Easterner
Bringing out the beast in her
A high dive on a swimming pool
Filled with needles and with fools
The memories are short but the tales are long
When you're in the Reeperbahn
Oh, they called her Rosie when she was a girl
For her bright red cheeks and her strawberry curls
When she would laugh the river would run
She said she'd be a comedian
Oh what a pity, oh what a shame
When she said, â??come calling', nobody came
Now her bright red cheeks are painted on
And she's laughing her head off in the Reeperbahn
Now little Hans was always strange
Wearing womens underthings
His father beat him but he wouldn't change
He ran off with a man one day
Now his lingerie is all the rage
In the black on every page
His father proudly calls his name
Down there in the Reeperbahn
Now if you've lost your inheritance
And all you've left is common sense
And you're not too picky about the crowd you keep
Or the mattress where you sleep
Behind every window, behind every door
The apple has gone but there's always the core
And the seeds will sprout up right through the floor
Down there in the Reeperbahn
Down there in the Reeperbahn
Down there in the Reeperbahn
Tom Waits's song Reeperbahn, which is named after a street in Hamburg's red-light district, is a dark and gritty exploration of the seedy underbelly of urban life. The opening lines describe a faded movie star and an Easterner who bring out the beast in each other. The image of a high dive over a swimming pool filled with needles and fools is a haunting one that calls to mind the dangers that lurk around every corner in a place like the Reeperbahn. The memories of this place are fleeting, but the tales are long, and they tell of a world that is both captivating and terrifying, where the line between pleasure and pain is thin indeed.
The next verse tells the story of Rosie, a girl with bright red cheeks and strawberry curls who dreamed of being a comedian. Sadly, nobody came when she called, and she was left to paint on her red cheeks and laugh at the madness around her. Little Hans was another misfit on the Reeperbahn, wearing women's underthings and running off with another man. Despite his father's disapproval, Hans's lingerie became all the rage, and he was praised for his daring fashion sense.
The final verse speaks to the desperation and hopelessness that can come from life on the streets. When all you have left is your common sense and the willingness to sleep on any old mattress, the Reeperbahn offers a tempting escape. But like the proverbial serpent in the Garden of Eden, the temptations of the Reeperbahn come with a price, and the seeds of destruction are always lying just beneath the surface.
Overall, Reeperbahn is a haunting and evocative song that captures the spirit of a world most of us will never see. It paints a picture of a place where the rules are different, and the risks are high, where the line between pleasure and pain is blurred beyond recognition.
Line by Line Meaning
Around the curve of The Parrot Bar
The setting of the song is introduced, with The Parrot Bar and its surroundings being described.
A broken-down old movie star
An individual with a past notoriety in the acting industry, now in a state of disarray and ruin.
Hustling and Easterner
A person from the Eastern part of the world who actively engages in deceiving others for gain.
Bringing out the beast in her
The Easterner brings out a woman's most savage or uncontrolled tendencies.
A high dive on a swimming pool filled with needles and with fools
An incredibly perilous situation, likened to jumping off a diving board into a pool filled with dangerous objects and foolish individuals.
The memories are short but the tales are long
Although the memories of events that occur in the Reeperbahn are hazy, the fabled stories of the location have prolonged lifetimes.
When you're in the Reeperbahn
Reiteration that the song is focused on the area of the Reeperbahn.
Oh, they called her Rosie when she was a girl
A female individual previously known as Rosie is introduced, first identified during childhood.
For her bright red cheeks and her strawberry curls
Rosie is described with unique features that set her apart from others, such as reddish skin tone and curly hair.
When she would laugh the river would run
Rosie's laughter is described in grandiose terms, with the significance of her joy causing something as large as a river to move.
She said she'd be a comedian
Rosie had aspirations of becoming a comedian, which are now unfulfilled.
Oh what a pity, oh what a shame
An empathetic statement bemoaning the fact that Rosie's dreams were never realized.
When she said, 'come calling', nobody came
Rosie's attempt to commence with a comedy career lacked attendance of any kind.
Now her bright red cheeks are painted on
Rosie has adopted a sense of falseness through makeup, which mimics the bright red hue of her natural appearance.
And she's laughing her head off in the Reeperbahn
Rosie is still attempting to find joy in her situation, despite her unfulfilled ambitions and falsified appearance.
Now little Hans was always strange
The song transitions to the introduction of another individual, named Hans, who is deemed peculiar.
Wearing womens underthings
Hans wears clothing that is typically designated for females.
His father beat him but he wouldn't change
Hans's father physically punishes him, but the treatment ultimately does not result in a modification of behavior.
He ran off with a man one day
Hans leaves his initial household and engages in a romantic relationship with another man.
Now his lingerie is all the rage
Hans's women's clothing line is popular among a specific audience.
In the black on every page
The details of Hans's business are not widely known, kept in secrecy.
His father proudly calls his name
Even though Hans's father does not agree with his son's lifestyle choices, he still asserts pride in his family lineage.
Down there in the Reeperbahn
The location in which Hans engages in his unconventional activities is reiterated.
Now if you've lost your inheritance
The song transitions to a broad hypothetical scenario, presented as a cause for engaging in activities within the Reeperbahn.
And all you've left is common sense
The individual in question is only equipped with basic knowledge and resources.
And you're not too picky about the crowd you keep
The individual in question is not selective about the types of people they associate with.
Or the mattress where you sleep
The individual in question is also not discerning about the location in which they rest.
Behind every window, behind every door
The Reeperbahn is described as a location filled with numerous hidden opportunities.
The apple has gone but there's always the core
While certain events or individuals may no longer be available, underlying opportunities and individuals are still present.
And the seeds will sprout up right through the floor
New experiences and opportunities will continue to manifest themselves in the Reeperbahn.
Down there in the Reeperbahn
Final reiteration of the location that the song discusses.
Lyrics © Universal Music Publishing Group, JALMA MUSIC
Written by: KATHLEEN BRENNAN, THOMAS ALAN WAITS
Lyrics Licensed & Provided by LyricFind
Seleucus Nicator
"Reeperbahn"
Around the curve of The Parrot Bar
A broken-down old movie star
Hustling and Easterner
Bringing out the beast in her
A high dive on a swimming pool
Filled with needles and with fools
The memories are short but the tales are long
When you're in the Reeperbahn
Oh, they called her Rosie when she was a girl
For her bright red cheeks and her strawberry curls
When she would laugh the river would run
She said she'd be a comedian
Oh what a pity, oh what a shame
When she said, 'come calling', nobody came
Now her bright red cheeks are painted on
And she's laughing her head off in the Reeperbahn
Now little Hans was always strange
Wearing womens underthings
His father beat him but he wouldn't change
He ran off with a man one day
Now his lingerie is all the rage
In the black on every page
His father proudly calls his name
Down there in the Reeperbahn
Now if you've lost your inheritance
And all you've left is common sense
And you're not too picky about the crowd you keep
Or the mattress where you sleep
Behind every window, behind every door
The apple has gone but there's always the core
And the seeds will sprout up right through the floor
Down there in the Reeperbahn
Down there in the Reeperbahn
Down there in the Reeperbahn
Seleucus Nicator
"Reeperbahn"
Around the curve of The Parrot Bar
A broken-down old movie star
Hustling and Easterner
Bringing out the beast in her
A high dive on a swimming pool
Filled with needles and with fools
The memories are short but the tales are long
When you're in the Reeperbahn
Oh, they called her Rosie when she was a girl
For her bright red cheeks and her strawberry curls
When she would laugh the river would run
She said she'd be a comedian
Oh what a pity, oh what a shame
When she said, 'come calling', nobody came
Now her bright red cheeks are painted on
And she's laughing her head off in the Reeperbahn
Now little Hans was always strange
Wearing womens underthings
His father beat him but he wouldn't change
He ran off with a man one day
Now his lingerie is all the rage
In the black on every page
His father proudly calls his name
Down there in the Reeperbahn
Now if you've lost your inheritance
And all you've left is common sense
And you're not too picky about the crowd you keep
Or the mattress where you sleep
Behind every window, behind every door
The apple has gone but there's always the core
And the seeds will sprout up right through the floor
Down there in the Reeperbahn
Down there in the Reeperbahn
Down there in the Reeperbahn
Honk
Seleucus Nicator good hunting, stalker
Arox Gaming
...thanks for the lyrics...👍
Devlin Baker
I can only listen to Tom Waits every once in a while. If I listen to long I become engulfed in the man's music. It consumes you. Such an amazing individual.
Peter Petersen
I have been living close to the Reeperbahn for some years now and I think it's a pretty interesting place. St. Pauli is one of the most diverse neighbourhoods in Germany, has got more music history than anyone could take in (not talking about The Beatles here), some clubs that are run by the craziest music enthusiasts I have met anywhere that would rather (and sometimes do) make a whole crowd go home rather than playing one crappy song, and an anti-sexist football club in the midst of one of Europe's biggest red light districts. I agree that the Reeperbahn itself is an unpleasant tourist rip-off and we tend to avoid it but it somehow adds to the charming weirdness of the whole place. And in the back streets there are some nice places I think.
Peter Petersen
Peter Petersen This is in reply to ZZombyWooff.
FlashgodStift
+Peter Petersen Jau, Lunay for example.
Davy
I am visiting Hamburg today and I found out that Reeperbahn is a real place. Now I love this song even more. Alice is a work of art.
CreepInTheDeli
This is some of the best Waits ive heard to date. Especially lyrically! "Now little Hans was always strange Wearing womens underthings His father beat him but he wouldn't change"
WhatWentWrong22441
I know, incomparable songwriter and so overlooked. I mean i'm a fan of Dylan, Young, Cohen, Simon and Mitchell but Waits is easily on all of their levels - nobody can create a mood like a Waits with just his lyrics alone, let alone his voice on top of that.