Thomas Alan Waits (born December 7, 1949) is an American singer, songwriter, composer and actor. His lyrics often focus on society's underbelly and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, jazz, Delta blues, opera, vaudeville, cabaret, funk and experimental techniques verging on industrial music. Jim Fusilli calls him "A keen, sensitive and sympathetic chronicler of the adrift and downtrodden" who "creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view." His unique voice was described by Daniel Durchholz 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."
Tom Waits was born into a middle-class family in Pomona, California, who then moved to Whittier in 1949. His family lived on Kentucky Avenue (and briefly Pickering Avenue), a pivotal setting for his memories. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He moved to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His debut album was Closing Time (1973), followed by The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975). He toured the United States, Europe, and Japan, finding greater critical and commercial success with Small Change (1976), Blue Valentine (1978), and Heartattack and Vine (1980). In 1978, Waits entered the world of film, where he met Kathleen Brennan. He collaborated with Crystal Gayle on the soundtrack of Francis Ford Coppola's One From the Heart (1982) and made cameos in several Coppola films.
In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). In 1990, he collaborated with theater director Robert Wilson on the musical The Black Rider, the songs for which were released on the album of the same name. Waits and Wilson reunited for the musicals Alice (1992) and Woyzeck (2000). In 2002, the songs from the two musicals were released on the albums Alice and Blood Money. Waits won Grammys for Best Alternative Music Album and Best Contemporary Folk Album for Bone Machine (1992) and Mule Variations (1999). Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011). Waits has not toured since 2008 and has not issued a new album since 2011, though he continues to make isolated (and widely spaced) appearances guesting at concerts and special events. He also has published poetry and has continued his acting career, encompassing a range of offbeat character roles.
Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart, and the Eagles and he has written songs for Johnny Cash and Norah Jones among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling..." Accepting the honor, Waits mused: "They say that I have no hits and I'm difficult to work with. And they say that like it's a bad thing!"
Biography Childhood and adolescence: 1949–1968
Thomas Alan Waits was born on December 7, 1949, in Pomona, California, in the Los Angeles County metropolitan area. He has one older and one younger sister. His father, Jesse Frank Waits, was a Texas native of Scots-Irish descent, and his mother, Alma Fern (née Johnson), hailed from Oregon and had Norwegian ancestry. Alma, a regular church-goer, managed the household. Jesse taught Spanish at a local school and was an alcoholic; Waits later related that his father was "a tough one, always an outsider." The family soon moved to nearby Whittier where Tom spent most of his childhood years.Tomwaitslibrary blog, "Kentucky Avenue", archived. Waits once recounted from the stage in 1976: I grew up on a street called Kentucky Avenue in Whittier, California. My dad was teaching night school at Montebello. I had a little tree fort and everything. I had my first cigarette when I was about seven years old. It was such a thrill. I used to pick 'em up right out of the gutter after it was raining. My dad smoked Kents. Now, I never liked Kents - I tried to get him to change brands. I used to repair everybody's bicycles in the neighborhood. I was the little neighborhood mechanic. There was a guy called Joey Navinski who played the trombone, and a guy called Dickie Faulkner whose nose was always running. And there was a woman called Mrs. Storm. She lived with her sister. She used to sit in her kitchen with her window open and a twelve-gauge shotgun [sticking] out of it ... so we took the long way around. (Live at the Apollo Theatre, London, UK. March 23, 1976.)
In a 1979 interview, Waits added in a more humorous vein:
I used to walk down Kentucky Avenue collecting cigarette butts. And I finally got me a paper route. I used to get up at 1 o' clock in the morning so I could deliver my papers and still have time to break the law ...BBC's "Tonight in Person" TV show. July 26, 1979 He recalled having a "very middle-class" upbringing and "a pretty normal childhood". He attended Jordan Elementary School, where he was bullied. There, he learned to play the bugle and guitar. His father taught him to play the ukulele.
During the summers, he visited maternal relatives in Gridley and Marysville, both in California. He later recalled that it was an uncle's raspy, gravelly timbre that inspired his own singing voice. In 1959, his parents separated and his father moved away from the family home, a traumatic experience for the 10-year-old Waits. Alma took her children and relocated to Chula Vista, a middle-class suburb of San Diego. Jesse visited the family there, taking his children on trips to Tijuana. In nearby Southeast San Diego, Waits attended O'Farrell Community School, where he fronted a school band, the Systems, which he described as "white kids trying to get that Motown sound." He developed a love of R&B and soul singers like Ray Charles and Wilson Pickett, as well as country music and Roy Orbison. Bob Dylan later became an inspiration; Waits placed transcriptions of Dylan's lyrics on his bedroom walls.
Waits recalls: "I was fifteen and I snuck in to see Lightnin' Hopkins. Amazing show. Every time he opened his mouth he had that orchestra of gold teeth, and I was devastated... He walked through a door, and slammed the door behind him, and on the door it said, I swear to God, 'KEEP OUT. This room is for entertainers ONLY.' And I knew, at that moment, that I had to get into show business as soon as possible." He recalls: "I first saw James Brown in 1962 at an outdoor theatre in San Diego and it was indescribable ... it was like putting a finger in a light socket... It was really like seeing mass at St. Patrick's Cathedral on Christmas." By the time he was studying at Hilltop High School in Chula Vista, California, he later said he was "kind of an amateur juvenile delinquent", interested in "malicious mischief" and breaking the law. He later said that he was a "rebel against the rebels", eschewing the hippie subculture which was growing in popularity, for the 1950s Beat Generation, especially Jack Kerouac, Allen Ginsberg, and William S. Burroughs. In 1968, at age 18, Waits dropped out of high school. He was an avid watcher of Alfred Hitchcock Presents and The Twilight Zone. Another influence was the comedian Lenny Bruce.
Waits worked at Napoleone's pizza restaurant in National City, California, and both there and at a local diner developed an interest in the lives of the patrons, writing down phrases and snippets of dialogue he overheard. He worked in the forestry service as a fireman for three years and served with the U.S. Coast Guard. He enrolled at Southwestern Community College in Chula Vista to study photography, for a time considering a career in the field. He continued pursuing his musical interests, taking piano lessons. He began frequenting venues around San Diego, being drawn into the city's folk scene.
Early musical career: 1969–1976
In 1969, he was hired as an occasional doorman for the Heritage coffeehouse, which held regular performances from folk musicians.Montadon, Mac, "Timeline and Discography" in Innocent When You Dream, p. 385 He began to sing at the Heritage; his set initially consisted largely of covers of Dylan and Red Sovine's "Phantom 309". In time, he performed his own material as well, often parodies of country songs or bittersweet ballads influenced by his relationships; these included early songs "Ol' 55" and "I Hope That I Don't Fall in Love With You". As his reputation grew, he played at other San Diego venues, supporting acts like Tim Buckley, Sonny Terry, Brownie McGhee, and his friend Jack Tempchin.
Aware that San Diego offered little opportunity for career progression, Waits began traveling into Los Angeles to play at the Troubadour in West Hollywood. It was there, in the autumn of 1971, that Waits came to the attention of Herb Cohen, who signed him to publishing and recording contracts. The recordings that were produced under that recording agreement were eventually released in the early 1990s as The Early Years and The Early Years, Volume Two. In early 1972, after quitting his job at Napoleone's to concentrate on his songwriting career, Waits moved to an apartment in Silver Lake, Los Angeles, a poor neighborhood known for its Hispanic and bohemian communities. He continued performing at the Troubadour and there met David Geffen, who gave Waits a recording contract with his Asylum Records. Jerry Yester was chosen to produce his first album, with the recording sessions taking place in Hollywood's Sunset Sound studios. The album, Closing Time, was released in March 1973 although it attracted little attention and did not sell well. Biographer Barney Hoskyns noted that Closing Time was "broadly in step with the singer-songwriter school of the early 1970s"; Waits had wanted to create a piano-led jazz album although Yester had pushed its sound in a more folk-oriented direction. Buckley covered "Martha" on his album Sefronia later that year. An Eagles recording of "Ol' 55" on their album On the Border brought Waits further money and recognition, although he regarded their version as "a little antiseptic".
To promote his debut, Waits and a three-piece band embarked on a U.S. tour, where he was the supporting act for more established artists. He supported Tom Rush at Washington D.C.'s The Cellar Door, Danny O'Keefe in Cambridge, Massachusetts's Club Passim, Charlie Rich at New York City's Max's Kansas City, Martha Reeves and the Vandellas in East Lansing, Michigan, and John P. Hammond in San Francisco.