http://www.abc.net.au/radionational/pro ... 14/3875066
TOM WAITS GUEST PRESENTER
Broadcast: Wednesday 14 March 2012 11:20PM
In his role as guest presenter on the Daily Planet, Tom Waits reveals his favourite recording ever, how Motown choreography is like Hula Dancing and how 'Everything is permitted' as he guest presents and programs the Daily Planet and chats with Lucky Oceans.
His playlist includes William Burroughs (singing, can you believe?), Otis Redding, Smokey Robinson and the Miracles, Bob Dylan, Mary Gauthier, Elvis Presley, Alex Chilton and Los Lobos.
Tom explains where he thinks wordless vocals come from, how he refuses to be the ‘everyman.' He speaks of the joys of having his son be the drummer in his band, how Bob Dylan is ‘a country to be explored,’ and how he loved Bob's music as a youngster and figured out that the way to learn how to write songs was to listen to them and try and figure out how they were put together. Listening to Dylan made him wonder ‘how do you get to the point when things come tumbling out of you.' He muses that everyone starts out as a bad imitation of someone else and inevitably finds their own voice.
In reaction to how he deals with finding new song ideas, he talks about thinking, 'O god, another train song, another goodbye song, another my mother died song but how it’s reassuring that there’s a path that’s been worn. Tom remembers being support artist to Jimmy Witherspoon, Richard Pryor, Fishbone, Link Wray, the Fugs, Chubby Checker, Rod McKuen, Martha and the Vandellas, Los Lobos and Bette Midler and how how he came to the conclusion that it could be a positive thing because people remember you out of the difference because you’re peculiar.
After playing Elvis Presley's 'Little Sister,' he talks about its co-writer, Doc Pomus, who 'was like a big wind, you couldn’t get away from him, you couldn’t say no to him.' (Tom went Doc's songwriting soirees in New York City)
He imagines how hard it would be being a songwriter in the 19th century, going from saloon to saloon, hoping to get a band to play it then the audience would listen to it and decide whether they liked it because the song couldn’t be played over and over on the radio.
How he thinks our heads will get smaller and computers will get bigger. How he doesn’t know what’s going to happen, how he doesn’t know anyone who knows what’s going to happen. Talks about his admiration for David Hidalgo, Marc Ribot and Hal Willner, how you want to open up the chakras when you’re beginning a song, let everything come out, write 7 verses, knock it down to 3. And says, 'You’ll never listen to a record as closely or as many times as when you make it, it’s under the microscope for months. Then you let it go and it flies away, then you have to ‘do the dishes.’