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. |
З цієї книги
Результати 1-5 із 70
... sometimes got away with doing it twice. This continued through 1972—until Waits caught the attention of David Geffen one night at the Troubador. According to Jay S. Jacobs's 2000 biography of Waits, Wild Years, Geffen wasn't planning on ...
... Sometimes they come out easy; sometimes they don't come out at all. [Plays “The Heart of Saturday Night”] I spit it out in five minutes. It's a problem with writing songs, for me it's just conceiving the idea for a song, visualizing it ...
... sometimes Bob La Beau—or we'd go down to Saska's Steakhouse for a burger and beer after The Heritage closed and sit and talk, swap stories, bullshit about people, politics, etc., till the early morning hours or until they chased us out ...
... as what was going on inside. There was like two shows. There was the people that would come down at night, wouldn't even go inside sometimes. LC: The joke-telling session. Did you ever think of maybe CLOSING TIME (1973) 13.
... sometimes to get up and just introduce a song as “This one is called. ...” I feel real shaky about not trying to get a chuckle or two out of an audience. I guess it's important to make an audience feel at ease. At the same time I think ...
Зміст
12 | |
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 |