Gravel pit: The life and voice of Tom Waits 

by Sasha Frere-Jones (The New Yorker)

There is a cliché about Tom Waits, or, as he described it to me, an “oversimplification.” In his words, the received version is that he “growls about booze and gargles with nails and screws.” In keeping with this perception, an affectionate illustration called “Visible Tom Waits,” by the artist Jim Lockey, was posted on Tumblr about a month ago. Waits’s body, with fedora, is depicted in cross-section, like a scientific chart, with his brain tagged “Here be monsters,” his throat filled with sandpaper and “gravel & spiders,” and his lungs noted simply as the location of the furnace. 

 

Waits’s new album, “Bad as Me,” his twenty-second, has plenty of stone gargling. It was made with a vast constellation of new and old friends, the most prominent of whom is an often overlooked collaborator, his wife, Kathleen Brennan, who has been writing songs with Waits since his album “Swordfishtrombones,” from 1983 (for which she was uncredited). “She responds to things like she’s in an opium dream. I’m more of a sticks-and-wire guy,” he said. (Much of what he says in conversation could, with little intervention, become lyrics.) - (the whole enchilada)

Johnnykmusic note:  Sarah Borges & the Broken Singles covered Waits' Blind Love on their  Diamonds In the Dark album (2007).  See posting below.