These seven albums constitute the first act of a remarkable career, even as these reissues complicate that trajectory from assembly-line singer-songwriter to eclectic iconoclast. However, just because they show Waits getting comfortable in his own skin and learning how he could present himself to his fans, these albums comprise more than simply a prelude to his remarkable run of records in the 1980s and 1990s. Newly remastered but without any bonus material, they form something like a road trip through an America that maybe never existed except in Waits’ own head, or perhaps a novel about an artist defining himself against pretty much every major trend. Waits’ current label, Anti-, is reissuing his first seven records, first on CD and on LP over the next few months, chronicling his time at Asylum. If his peers and labelmates were Laurel Canyon, Waits was the more sordid Tropicana Motel. During it all, Waits maintained strict control over his craft-his music rarely seems haphazard-but bent his songs into new shapes to portray characters and convey emotions that didn’t have much of an outlet in pop music at the time. His songs sprawled into strange recitations about gutter characters: strippers and barflies, hucksters and grifters, vagrants holding up lampposts and waitresses slinging hash. With each album his voice curdled more deeply into a whiskey growl, often sounding like Louis Armstrong after a bender. Waits was plugged as a like-minded artist, based on songs like “Martha” (covered by Tim Buckley) and “Ol’ 55” (covered by labelmates the Eagles).Īs the decade progressed, Waits grew weirder and woolier, indulging his penchant for weapons-grade schmaltz as well as his fascination with Beat jazz and the seedier byways of Los Angeles. ![]() David Geffen and Elliot Roberts had just opened the label in 1971, but already it was a home to some of Southern California’s finest singer-songwriters, including Jackson Browne, Judee Sill, Joni Mitchell, and Neil Young. A regular presence in San Diego’s coffeehouse folk scene in the late 1960s, he was living out of his car when Herb Cohen, the manager for the Mothers of Invention and Linda Ronstadt, discovered him and helped to secure a record deal with the fledgling Asylum Records. Watch the new official trailer for HBO’s The Idol above.Tom Waits had one of the wildest trajectories of any rock artist in the 1970s-or possibly ever. Suzanna Son, Rachel Sennott, Troye Sivan, Dan Levy, Mike Dean, Moses Sumney, Da’Vine Joy Randolph, Hank Azaria, BLACKPINK’s Jennie and more are also in the show’s cast, though the new trailer includes less of their characters than previous The Idol teasers. The musical drama, which is billed as the “sleaziest love story in all of Hollywood,” will become available for streaming on HBO Max - now known as just Max after a recent name change - on June 4. ![]() You’re a star,” he then tells Jocelyn at the end of the new trailer, which also includes scenes of the pair engaging in Fifty Shades of Grey-esque foreplay that Tedros insists will help her become a better performer.Ĭo-created by The Weeknd and Euphoria‘s Sam Levinson, The Idol made its world premiere last week at Cannes Film Festival, where it received a standard five-minute standing ovation from the audience but was afterward tanked by largely negative early reviews. “He’s brainwashed her,” says a concerned, offscreen voice later on, followed by a creepy clip of The Weeknd’s Tedros cackling.
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