Tom Waits on Tom Waits: Interviews and EncountersChicago Review Press, 1 серп. 2011 р. - 480 стор. Tom Waits, even with his barnyard growl and urban hipster yawp, may just be what the Daily Telegraph calls him: &“the greatest entertainer on Planet Earth.&” Over a span of almost four decades, he has transformed his music and persona not to suit the times but his whims. But along with Bob Dylan, he stands as one of the last elder statesmen still capable of putting out music that matters. Journalists intent upon cracking the code are more likely to come out of a Waits interview with anecdotes about the weather, insects, or medieval medicine. He is, in essence, the teacher we wished we had, dispensing insights such as: &“Vocabulary is my main instrument;&” &“We all like music, but what we really want is for music to like us;&” &“Anything you absorb you will ultimately secrete;&” &“Growth is scary, because you're a seed and you're in the dark and you don't know which way is up, and down might take you down further into a darker place . . .;&” and &“There is no such thing as nonfiction. . . . People who really know what happened aren't talking. And the people who don't have a clue, you can't shut them up.&” Tom Waits on Tom Waits is a selection of over fifty interviews from the more than five hundred available. Here Waits delivers prose as crafted, poetic, potent, and haunting as the lyrics of his best songs. |
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... give you a kick of being new, exciting, and different. Tom's an original. A nice guy who's getting somewhere without forgetting where he and his listeners have been. THE HERITAGE (a folk club in Mission Beach begun in the early 1960s ...
... give him full rein. Because any fine competent musician in L.A., a studio musician, can play any number of different styles, so you have to know exactly what you want and I guess that's the hardest thing. Because you realize that you ...
... give me something like this,” and snap his fingers to give me the tempo. He'd just sort of growl these words over the bass line that I was playing, and that became the tune. My complaint about it is when the record came out, it was ...
... give himself credit for, a very old- fashioned music background, where you're making music in the home. He got a lot of that from his mom and church songs. When we met, that's what we found ourselves doing, singing great tunes by ...
... give- a-shit shuffle that I've been doing for a few years. I'm aware that I cut a certain sort of figure onstage. It's the difference between lighting up a cigarette in your living room and lighting one up onstage—a whole different ...
Зміст
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27 | |
39 | |
63 | |
77 | |
93 | |
January 23 1979Tom Waits for No One | 107 |
Heartattack and Vine 1980 | 113 |
Swordfishtrombones 1983 | 129 |
Rain Dogs 1985 | 151 |
Late 1985Rain Dogs Tourbook | 164 |
Franks Wild Years 1987 | 181 |