Tom Waits 2011.Pdf
WILLISEEYOUTCfNIGHTONADOWNTOWNTRAINEVERYNIGHTISJUSTTHESAMEYOULEAVEMELONELYNOW TOM WAITS BY ROB BOWMAN § IS THE CASE Lord Buckley, and Charles Bukowski; the pri with a select few mal rock & roll crunch of the Rolling Stones; genre-defining the German cabaret stylings of Kurt artists such as Weill; the postwar, alternate world of invented Miles Davis, Bob instruments and rugged individualism o f avant- Dylan, and Joni garde composer Harry Partch; the proto-metal MitcheH,Tom Writs, blues of 1950s and 1960s Howlin’ Wolf and over the course of his nearly forty-year their extension into the w orld o f Captain B eef- career, has operated under the maxim “He heart’s late-i96os avant-rock; the archaic for not busy being born is busy dying.” Refus malism o f 19th-century parlor ballads; Dylan’s ing to stay still and rest on his laurels, Waits early- and mid-sixties transformation of the has continuously sought new influences, possibilities of language in the worlds of both dramatically reinventing himself and his art folk and rock; the elegance of pre-war Irving along the way. In Berlin, Cole Porter, the process, he has WAITS SEEM S and Hoagy Carmichael; forged a highly the sophistication of original, personal, TO HAVE NO postwar Frank Sinatra; and idiosyncratic LIMITS TO HIS and, more recently, the musical lexicon, bone-crushing grooves resulting in one of IMAGINATION of 1980s and 1990s the most distinc funk and hip-hop. In tive, rich, and diverse bodies of recorded deed, the art of Tom Waits has altogether tran work in American popular music history. scended time and, to some degree, place.
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