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Potter's Field - Tom Waits



     
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Potter's Field Lyrics


Well, you can buy me a drink and I'll tell you what I've seen
And I'll give you a bargain from the edge of a maniac's dream
That buys a black widow spider with a riddle in his yarn
That's clingin' to the furrow of a blind man's brow
And I'll start talkin' from the brim of a thimble full of whiskey
On a train through the Bronx that will take you just as far
As the empty of a bottle to the highway of a scar
That stretched across the blacktop of my cheek like that
And then ducks beneath the brim of a fugitive's hat
You'll learn why liquor makes a stool pigeon rat on every face
That ever left a shadow down on Saint Mark's placeHell, I'd double-cross my mother if it was whiskey that they paid
And so an early bird says Nightstick's on the hit parade
And he ain't got a prayer and his days are numbered
And you'll track him down like a dog
But it's a tough customer you're gettin' in this trade
'Cause the Nightstick's heart pumps lemonade
And whiskey keeps a blind man talkin' all right
And I'm the only one who knows just where he stayed last nightHe was in a wreckin' yard in a switchblade storm

In a wheelbarrow with nothin' but revenge to keep him warm
And a half a million dollars in unmarked bills
Was the Nightstick's blanket in a February chill
And the buzzards drove a crooked sky beneath a black wing halo
He was dealin' high Chicago in the mud
And stackin' the deck against a dragnet's eye
And the shiverin' Nightstick in a miserable heap
With the siren for a lullaby singin' him to sleep
And bleedin' from a buttonhole, and torn by a slug
Fired from the barrel of a two dollar gun
That scorched a blister on the grip of a punk by now
Is learnin' what you have to pay to be a hero anyhowHe dressed the hole in his gut with a hundred dollar bandage
A king's ransom for a bedspread that don't amount to nothin'
Just cobweb strings on a busted ukuleleAnd the Nightstick leaned on a black shillelagh
With the poison of a junkie's broken promise on his lip
He staggered in the shadows screamin', I ain't never been afraid'
And he shot out every street light on the promenade
Past the frozen ham-and-eggers at the penny arcade
Throwin' out handfuls of a blood stained salary
They were dead in their tracks at the shootin' gallery
And they fired off a twenty-one gun salute
And from the corner of his eye he caught the alabaster orbs
Of a dime-a-dance-hall girl and stuffed a thousand dollar bill in her blouse
And caught the cruel and unusual punishment of her smile
And the Nightstick winked beneath a rain soaked brim
Ain't no one seen hide nor hair of him since
No one 'cept a spade on Riker's Island and meSo if you're mad enough to listen to a full of whiskey blind man
And you're mad enough to look beyond where the bloodhounds dare to go
And if you want to know where the Nightstick's hidin' out
You be down at the ferry landin', oh let's say 'bout half past a nightmare
When it's twisted on the clock, and you tell 'em Nickel sent you
Whiskey always makes him talk
And you ask for Captain Charon with the mud on his kicks
He's the skipper of the deadline steamer
And she sails from the Bronx across the river Styx
And a riddle's just a ticket for a dreamer'Cause when the weathervane's sleepin' and the moon turns his back
You crawl on your belly 'long the railroad tracks
And cross your heart and hope to die, and stick a needle in your eye
'Cause he'd cut my bleedin' heart out if he found out that I squealed
'Cause you see a scarecrow is just a hoodlum
Who marked the cards that he dealed
And pulled a gypsy switch
Out on the edge of Potter's Field

Enjoy the lyrics !!!
Tom Waits (born Thomas Alan Waits, in Pomona, California, on December 7, 1949) is a prolific American singer, songwriter, composer, and actor.

He started his career in the early 1970s as a singer in spit 'n' sawdust bars. Initially, he was deeply influenced by the beat generation, novelists like Jack Kerouac and William S. Burroughs, and poets like Allen Ginsberg and Charles Bukowski. Waits is often compared to Charles Bukowski, being similar both in content and lifestyle, although Waits's views are more egalitarian than Bukowski's. Waits was unable to make a living from his music in the 70s because his classical bar music, based in pre-rock, and americana, blues, and vaudeville styles were not popular. Waits's voice back then was soft, warm and clear.

Waits subsequently developed a devoted cult following and has influenced subsequent songwriters, despite having little radio or music video support. In fact, his songs are perhaps best known to the general public in the form of cover versions of more visible artists, such as the Eagles, Bruce Springsteen and Rod Stewart.

Although Waits’s albums have met with mixed commercial success in his native United States, they have occasionally achieved gold album sales status in other countries.

Lyrically, Waits's songs are known for atmospheric portrayals of seedy characters and places; he sings about the losers on the streets: alcoholics, junkies, prostitutes and social outcasts, although he also includes more conventional and touching ballads in his repertoire.

While opening for Frank Zappa, the audience catcalled and refused to listen to him; he was an unsuitable match with Zappa's avantgarde style.

Countless cigarettes, gallons of alcohol and many all night parties eventually left their trace in his face and voice.

His more recent gravelly voice can be first heard on Small Change. This distinctive voice turned out to be his trademark. It is described by the Music Hound Rock Album Guide as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months and then taken outside and run over with a car". Small Change with its sentimental ballads, its bar-jazz attitude and Film Noir-oriented stories turned out to be his biggest commercial success in the 1970s.

Waits subsequently developed a more unique style. His songs have grown more abrasive since then, and the arrangements have turned more surreal and experimental with every new record. His life brings him to new visions, as indicated by the direction taken in his "Alice" release.

While composing the soundtrack for Francis Ford Coppola's One From the Heart Waits met Kathleen Brennan, his bride-to-be. They married in 1980 and she helped him quit drinking and smoking. Since their marriage they have been working together on his albums as co-producers and co-writers. It is hard to say which part belongs to her and which to him, but it's easy to see that they make a perfect team. Additionally, his eldest son Casey can be heard on turntables and percussion on Waits's album "Real Gone".

One of Waits's greatest successes was the album "Swordfishtrombones", released in 1983. It struck with his critics and fans alike. He achieved a new level of song writing and left former conventions (and his earlier career) behind. All songs, whether ballads, jive or jazz are played in a completely different way. It seems that Waits had taken the musical archetypes of these styles and made them his own. All tracks are in the quintessential Waits style. They have a striking rawness and listenability and they set the stage for his success and his future career.

The Bad As Me Songfacts reports that 36 years after the release of Waits' first album, Closing Time in 1973, Bad as Me became Waits's first ever top 10 album in the US when it debuted at #6 with 63,000 sales.

In the late 1980s Waits discovered an outlet for his creativity in composing musicals. His first Musical was named "The Black Rider", and is based on "Der Freischütz" by Carl Maria von Weber. It was co-produced by Robert Wilson and the lyrics come from William S. Burroughs. The story is slightly reminiscent of Kurt Weil's and Berthold Brecht's "Three Penny Opera" and the 1930s. The debut performance of the play was in 1990 at the Thalia Theater, Hamburg and has been played by various theatre groups since then.

Waits was also responsible for two other musicals, which later became albums released simultaneously in 2002. One was the musical "Blood Money," which covers the "Woyczek" theme of Georg Büchner. This one is one of the darkest works from Waits. The other musical is based on Lewis Carroll's classic children's novel, "Alice's Adventures in Wonderland". "Alice" is very romantic, dreamy and soft, and contains one of Waits most romantic songs. Even though they were released at the same time, the bootlegs of the "Alice" musical were long before traded between fans and were just rearranged and re-mastered for the official release.

Besides many film contributions as composer – the Internet Movie Database imdb.com lists 47 appearances of Waits as composer and 38 soundtracks containing songs by Waits - he also is an actor with a total of 25 appearances, ranging from some mini-roles as a trumpeter in "Heart of Saturday Night" and the R. M. Renfield in "Bram Stoker's Dracula" to the major role of Zack in Jim Jarmusch's "Down by Law". He recently appeared in Roberto Benigni's "The Tiger and the Snow", playing You Can Never Hold Back Spring at Benigni's wedding dream. Even more recently, Waits played Mr.Nick (the Devil) in Terry Gilliam's "The Imaginarium of Dr. Parnussuss".

In addition to a number of concert videos, he also appeared in the critically-acclaimed concert feature film "Big Time" (1990).

Waits has always refused to allow the use of his songs in commercials. He has filed several lawsuits against advertisers for using his material without permission. Waits also successfully sued an advertiser for using a work that was stylistically similar to his work, after he had declined to sell them the rights to his song. He has been quoted as saying, "Apparently the highest compliment our culture grants artists nowadays is to be in an ad — ideally naked and purring on the hood of a new car. I have adamantly and repeatedly refused this dubious honor."

Here is an archive of some of Tom's best quotes:
http://www.intercom.net/local/shore_journal/yas11015.html

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Tom Waits