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A
gifted lyricist, composer and raconteur, Tom Waits began
performing in the late 60s, inspired by a spell working
as a doorman in a San Diego nightclub. Here he saw a miscellany
of acts - string bands, comedians, C&W singers - and
by absorbing portions of an attendant down-market patois,
developed his nascent songwriting talent. Having appeared
at the Los Angeles' Troubador "Amateur Hoot Nights",
Waits was signed by manager Herb Cohen who in turn secured
a recording deal with Asylum Records. Closing Time revealed
a still-unfocused performer, as yet unable to draw together
the folk, blues and singer/songwriter elements vying for
prominence. It did contain "Ol' 55", later covered
by the Eagles, and "Martha', a poignant melodrama of
a now-middle-aged man telephoning his first love from 40
years previously. The Heart Of Saturday Night was an altogether
more accomplished set in which the artist blended characterizations
drawn from diners, truckers and waitresses, sung in a razor-edged,
rasping voice, and infused with beatnik prepossessions.
Waits" ability to paint blue-collar American life is
encapsulated in its haunting, melodic title track.
Nighthawks
At The Diner and Small Change, closed the performer's first
era, where the dividing line between life and art grew increasingly
blurred as Waits inhabited the flophouse life he sang about.
Foreign Affairs unveiled a widening perspective and while
the influence of "Beat" writers Jack Kerouac and
Allen Ginsberg still inhabited his work - as celebrated
in "Jack & Neal/California Here I Come" -
a duet with Bette Midler, "I Never Talk To Strangers",
provided the impetus for his film soundtrack to One From
The Heart, featuring Crystal Gayle. Blue Valentine was marked
by its balance between lyrical ballads and up-front R&B,
a contrast maintained on Heartattack And Vine. A tough combo
prevailed on half of its content. Elsewhere, the composer's
gift for emotive melody flourished on "Jersey Girl",
later covered by Bruce Springsteen
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