Tom Waits (born Thomas Alan Waits, in Pomona, California, on December 7, 19… Read Full Bio ↴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
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
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."
Silent Night/Xmas Card from a Hooker in Minneapolis
Tom Waits Lyrics
Hey Charlie, I'm pregnant
Living on 9th Street
Right above a dirty bookstore
Off Euclid Avenue
I stopped taking dope
And I quit drinking whiskey
And my old man plays the trombone
And works out at the track
He says that he loves me
Even though its not his baby
He says that he'll raise him up
Like he would his own son
And he gave me a ring
That was worn by his mother
And he takes me out dancin'
Every Saturday night
Hey Charlie, I think about you
Every time I pass a fillin' station
On account of all the grease
You used to wear in your hair
I still have that record
Of Little Anthony and The Imperials
But someone stole my record player
Now how do ya like that?
Hey Charlie, I almost went crazy
After Mario got busted
I went back to Omaha
To live with my folks
But everyone I used to know
Was either dead or in prison
So I came back to Minneapolis
This time I think I'm gonna stay
Hey Charlie, I think I'm happy
For the first time since my accident
I wish I had all the money
We used to spend on dope
I'd buy me a used car lot
And I wouldn't sell any of 'em
I'd just drive a different car every day
Dependin' on how I feel
Hey Charlie, for chrissakes
Do you want to know the truth of it?
I don't have a husband
He don't play the trombone
I need to borrow money
To pay this lawyer
And Charlie, hey
I'll be eligible for parole
Come Valentine's Day
Living on 9th Street
Right above a dirty bookstore
Off Euclid Avenue
I stopped taking dope
And I quit drinking whiskey
And my old man plays the trombone
And works out at the track
He says that he loves me
He says that he'll raise him up
Like he would his own son
And he gave me a ring
That was worn by his mother
And he takes me out dancin'
Every Saturday night
Hey Charlie, I think about you
Every time I pass a fillin' station
On account of all the grease
You used to wear in your hair
I still have that record
Of Little Anthony and The Imperials
But someone stole my record player
Now how do ya like that?
Hey Charlie, I almost went crazy
After Mario got busted
I went back to Omaha
To live with my folks
But everyone I used to know
Was either dead or in prison
So I came back to Minneapolis
This time I think I'm gonna stay
Hey Charlie, I think I'm happy
For the first time since my accident
I wish I had all the money
We used to spend on dope
I'd buy me a used car lot
And I wouldn't sell any of 'em
I'd just drive a different car every day
Dependin' on how I feel
Hey Charlie, for chrissakes
Do you want to know the truth of it?
I don't have a husband
He don't play the trombone
I need to borrow money
To pay this lawyer
And Charlie, hey
I'll be eligible for parole
Come Valentine's Day
Lyrics © BMG Rights Management, JALMA MUSIC, Sony/ATV Music Publishing LLC
Written by: Tom Waits
Lyrics Licensed & Provided by LyricFind
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Beezegneeze
I feel that
it is important here
to remember
that people laugh
when they are uncomfortable.
Thank you Tom,
for making me uncomfortable.
I hope she got her parole
and found some peace
in that
silent night.
Rabih Bourji
(Rab zainab 3a rab tom waits)
Hey Charlie, I'm pregnant and living on 9th Street
Right above a dirty bookstore off Euclid Avenue
And I stopped takin' dope, and I quit drinkin' whiskey
And my old man plays the trombone and works out at the track
[Verse 2]
He says that he loves me even though it's not his baby
He says that he'll raise him up like he would his own son
And he gave me a ring that was worn by his mother
And he takes me out dancin' every Saturday night
[Verse 3]
And hey Charlie, I think about you every time I pass a fillin' station
On account of all the grease you used to wear in your hair
And I still have that record of Little Anthony and the Imperials
But someone stole my record player--now, how do you like that?
[Verse 4]
Hey Charlie, I almost went crazy after Mario got busted
I went back to Omaha to live with my folks
But everyone I used to know was either dead or in prison
So I came back to Minneapolis, this time I think I'm gonna stay
[Verse 5]
Hey Charlie, I think I'm happy for the first time since my accident
I wish I had all the money we used to spend on dope
I'd buy me a used car lot, and I wouldn't sell any of 'em
I'd just drive a different car every day, dependin' on how I feel
[Verse 6]
Hey Charlie, for chrissakes, if you want to know the truth of it
I don't have a husband, he don't play the trombone
I need to borrow money to pay this lawyer, and Charlie, hey
I'll be eligible for parole come Valentine's day
Matthew Jobe
"Charley I think I'm happy for the first time since my accident.
I wish I had all the money we used to spend on dope.
I'd buy me a used car lot, but I wouldnt sell any of them.
I'd just drive a different car each day, depending on how I feel."
That is the best bbn line in music I've ever heard lyric wise ever. It's perfect. The man established the character flawlessly and then throws this in. I feel, we all cant help but feel for this hooker in Minneapolis after this line.
The best line in music history IMO. Bob Dylan and Townes Van Zandt cant find that perfect place to put those lyrics. Tom Waits did effortlessly.
louka donz
Silent night, Holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in Heavenly peace
Sleep in Heavenly peace
Silent night, Holy night
Shepherds quake at the sight
Glories stream from Heaven afar
Heavenly hosts sing Hallelujah
Christ, the Savior is born
Christ, the Savior is born
Silent night, Holy night
Son of God, love's pure light
Radiant beams from thy Holy face
With the dawn of redeeming grace
Jesus, Lord, at thy birth
Jesus, Lord, at thy birth
Gnarwhal89
I show my friends this and they usually can’t take it seriously…they act like it’s a joke. To me, this is one of the most beautiful performances I’ve seen.
TurtlePower
People that don’t hear the heartbreak in this should be considered lucky; as they’ve never experienced the pain and loss that would make them feel the weight of this. Can only consider them lucky.
Drew London
You need new friends if they can't appreciate the amazing talent of Tom Waits and the true feeling of this performance
Isahiyella
It is a joke, until the knife goes in at the end. You could hear a pin drop when he closes with Silent Night.
anonymous anonymous
Your friends like some of my family, in-laws, are, out to lunch. To not, "dig" this poignant lyric, this, "talking blues" - what a shame- Tom is an artist of the highest order- inimitable- that alone is a rare quality in days of mass cloning, same, same, same, blah, blah, blah...Namaste
anonymous anonymous
Only regret regarding this "gorgeous" song- Marianne Faithfull never covered it...
Sean Mitchell
The most profund thing about this performance is as a 31 year old sober recovering heroin addict (8 years clean) I know the person he's telling this story about. I've loved and been loved by this person. I've been this person. The person telling a story of how life could be then by the end admitting it's not at all together like we just stated. The brutal honesty in this piece of art is really something else. I've lived this song. Anyone else who fought And survived addiction knows exactly what I mean.
Johnny P
👍 More power to you 👍
cahillgreg
Stay strong & merry xmas
Melody LaPier
I've loved this person too. Still love them. Always will. I like to call myself a survivor of addiction as well. The hell I've lived through because I love an addict almost broke me. It brought me to that rock bottom that addicts are supposed to have to hit before they're able to turn themselves around, before they're able to save themselves. That rock bottom never comes for an addict. It swallows up everyone who loves them, everyone they say they love, yet they keep going. My rock bottom is what it took for that person I love to stop. He's now married, has a great career & is the father of 2 beautiful little girls. That's all I ever wanted for him.