Time Line: 2001 - 2005

2001

2002

"Tom Waits attends the joint hearing on record label accounting practices in Los Angeles, which was called by members of the California senate judiciary committee and the senate committee on the entertainment industry.
"Numerous record company folks and members of the press and the public attended, as well as musicians such as Don Henley, Glenn Frey, Martie Maguire of the Dixie Chicks, Clint Black, Tom Waits, Kevin Richardson of the Backstreet Boys, Jennifer Warnes, Steve Vai, Ruben Blades, Lester Chambers, and many others. To make a long story short, the artists claimed that the labels were systemically accounting unfairly, and senior executives of the record labels (and their lawyers) categorically denied all charges, and went on the counterattack. The artists weren't the most organized and their messages were not as clear as they could have been. The record label executives felt that they had outdebated and outmaneuvered the artists." (Source: "Report from the CA Hearings on Accounting Practices" Future of Music Newsletter #19. October 23, 2002)

"The record companies are like cartels, like countries, for God's sake," singer/songwriter Tom Waits says. "It's a nightmare to be trapped in one. I'm on a good label (Epitaph) now that's not part of the plantation system. But all the old records I did for Island have been swallowed up and spit out in whatever form they choose. These corporations don't have feelings, and they don't see themselves as the stewards of the work. They are making shoes, and then they want to go to the Bahamas and get a suntan." He advises new artists to "get a good lawyer and don't ever sign away your publishing rights. Most people are so anxious to record, they'll sign anything. It's like going across the river on the back of an alligator." Waits joined the artists' coalition in hopes of exposing the industry's shadowy business practices. "Artists really do need to communicate and organize," he says. "Don Henley is willing to get a haircut and go to Washington. I'm all for that." (Source: "Rights issue rocks the music world". By Edna Gundersen, USA TODAY. September 16, 2002)

"Acclaimed songwriter Tom Waits said his first contract paid him only about 15 cents per copy sold in the United States. "I've spent more time in court than I have in the studio and more money on lawyers than I have on engineers. So what does that tell you?" Waits asked." (Source: "Recording Stars Challenge Music Labels' Business Practices" By Chuck Philips. Los Angeles Times. March 29, 2001)

2003

Tom Waits (2003): "I think music is going to miss him as one of the architects of bebop," ... "That tone of his is just unmistakable. He sounded like he was drinking champagne on a train, you know what I mean?" (Source: Los Angeles Times. Apr. 22, 2003). Tom Waits (2003): "Teddy Edwards always sounded like he was drinking champagne on a train and wise to the ways of the world. A consummate arranger and composer, Teddy Edwards was one of the original architects of bebop. An elegant man with a large heart and generous spirit, he always carried himself with poise and confidence. Kathleen and I have lost a friend, the world of music has lost one of the most innovative presidents of jazz and we all have the gift of the great music he left behind." (Source: "Teddy Edwards, Tom Waits' longtime Saxophonist has passed away..." By: Rob Partridge at Coalition in London Apr. 24, 2003)

Ruthe Stein (2003): "Waits met Hoffman almost 30 years ago, at a time when the actor had just separated from his first wife. Bette Midler brought them together at a cheap hotel room where Hoffman was staying. "Dustin was sitting at a piano playing, and there was a lot of alcohol involved," Waits recalled for the audience. Hoffman also shared his memory of the evening. "Tom sang all the songs from his album 'Closing Time' because my marriage was ending, and you know how you think your first marriage will last forever. And you know, Tom, there wasn't just alcohol involved." In another connection, Waits and Tomlin played husband and wife in "Short Cuts," directed by Altman. "Tom and Lily were there for the first five days of filming, and they set a standard for the rest of the film," (Source: "Hoffman's really big show", Ruthe Stein. Apr. 25, 2003. �2003 San Francisco Chronicle). Bruce Bellingham (2003): "When Dustin Hoffman spontaneously asked Tom Waits to come up on the stage and sing "Moonglow" at the Ritz-Carlton Wednesday night, everyone in the ballroom knew it was no ordinary evening. "I am the biggest Tom Waits fan," beamed the sagacious Rachel Benson. "This is just amazing." Waits performed two tunes, including "Waltzing Matilda," before Robert Altman was introduced by Lily Tomlin. As Altman accepted his Lifetime Achievement Award in Directing from the S.F. Film Society, he said, "I am not someone who can cry -- I mean, I don't think I'm physically able to cry. The only time I recall ever crying at all is when I was listening to Tom Waits sing." Altman then asked Waits to come back and sing "On the Nickel." ... Many were moved to tears as well. ... Waits played Lily Tomlin's husband in the Altman film, "Short Cuts." ... With all the formality -- cummerbunds and creases, girls in pearls with long, black evening gowns -- it didn't seem like a place where you'd find Waits, the sullen, wiry poet of the sordid saloon. He agreed: "If I were drinking, well, I guess I'd be drunk right now." But Waits added he hasn't had a drink in 10 years -- and seemed quite pleased when saying it." (Source: "Room to dream", Bruce Bellingham. The Examiner. Apr. 25, 2003)

2004

Angela Dias (2004): "On Sunday 23 May Robert Wilson presents an animated lecture which charts his prolific output from 1967 - 2004. To complement The Black Rider, Andrey Bartenev, a leading figure of the post-glasnost Russian avant-garde has been commissioned by the Barbican to produce a multimedia installation. Being Robert Wilson is a 'portrait' of Wilson's visionary world. Incorporating costumes, photographs and videos as well as a variety of objects from Wilson's own art collection, Bartenev will re-create Wilson's surreal world in his neo-constructivist style in the Barbican Pit Theatre from May - June 2004. There is also a complementary film season including documentaries about Robert Wilson and his work, films of past Wilson productions, and a programme of clips and archive footage featuring material by Marlene Dietrich, the 'Fred Astaire of Harlem' Charles 'Honi' Coles, and other artists and performers who have inspired Robert Wilson over the years." (Source: Barbican Theatre press release. Angela Dias. January 6, 2004)

Real Gone has been engineered by Mark Howard, whose previous credits include work with Bob Dylan and Lucinda Williams. The musicians featured on Real Gone are:
" Larry Taylor (bass and guitar). One of the original members of Canned Heat, Taylor is a veteran of Tom Waits' recordings since 1980's Heartattack & Vine album;
" Marc Ribot (guitar and cigar box banjo). Real Gone is Ribot's first full collaboration with Tom Waits since their classic pairing on 1985's acclaimed Raindogs album. Ribot is also the leader of Los Cubanos Postizos;
" Brain Mantia (drums). Brain is a former member of Primus and was most recently seen playing on the Guns N' Roses tour;
" Casey X. Waits (percussion and turntables). Casey also contributed to 2002's Blood Money album;
" Les Claypool (electric bass). Claypool is a member of Primus;
" Harry Cody (guitar and banjo). Cody made his reputation with the '90s Swedish band, Shotgun Messiah.

Follow-up (2006): "The movie was shot at the Fitzgerald Theatre in St. Paul in 23 days. The actors did their own singing, and Harrelson and Reilly, as singing cowboys Dusty and Lefty, played their own guitars. Altman wanted Lyle Lovett and Tom Waits to play the singing cowboys, but because the movie was shot during the summer concert touring season, they bowed out." (Source: "Altman's 'Prairie' one fitting finale Hollywood legend brings down house with his new film". By Donna Hartman. The Herald April 10, 2006)

First information on 2004 tour from: Anti website: "Tom Waits plays three Berlin shows; first dates announced in November European tour Tom Waits plays three shows at Berlin's Theater Des Westens on Monday 15th, Tuesday 16th and Wednesday 17th November 2004 -- the first concerts to be announced on the singer's eight-date European tour that follows the release of his new album, Real Gone, this autumn. Tickets for the German concerts go on sale this coming Saturday, 7th August. The tour '- Waits' first in Europe since 2000 '- will also include shows in the UK and the Benelux countries. The full details of these concerts, to be played in small and intimate venues, will be announced in the near future. Waits has not played in the UK since 1987. His new touring band features Marc Ribot (guitar), Larry Taylor (bass) and Brain Mantia (drums), the same musicians who also appear on the Real Gone album which is released through Europe in the week beginning Monday 4th October. Real Gone has been written and produced by Tom Waits and Kathleen Brennan, his longtime collaborator. The 15-track CD unveils Waits' new musical hybrid, crafted from primal blues, Jamaican rock-steady grooves, African and Latin rhythms and melodies and what Waits calls 'cubist funk'. The album is released on Anti Records.". Further reading: Performances: 2001-2005

"UCSD-TV and Malashock Dance have been awarded a platinum "Best of Show" Aurora Award for outstanding achievement and broadcast/cable excellence. The TV program that received the honor is "The Soul of Saturday Night," produced by UCSD-TV's John Menier and John Malashock, founder of Malashock Dance. "The Soul of Saturday Night" is a dance narrative set to the music of Tom Waits and was shot at various locations around San Diego." (Source: SignOnSanDiego.com. Compiled by arts/entertainment writer Preston Turegano. � Copyright 2004 Union-Tribune Publishing Co.)

US "Real Gone" pre-release listening party at The Knitting Factory Club - Hollywood/ LA(USA). Presented by: AntiI Records, KCRW.com and Filter Magazine

US "Real Gone" pre-release listening party hosted by: Filter Magazine, KCRW, the Onion and KEXP in Austin, TX - Club de Ville - 9pm and Chicago, IL - Delilah's - 8pm(Source: http://www.filter-mag.com/ . September 17, 2004)

Real Gone pre-release listening party at M�rkbar in Copenhagen -Vesterbrogade 106A (Denmark) (Source: www.//gaffa.dk/. September 18, 2004, � 1983-2004 GAFFA A/S)

iTunes (download music store) offers all the songs from "Real Gone" for download

Waits appears on "The Late Show with David Letterman" (US tv show). Interview and live performance of "Make It Rain". The band: Larry Taylor, Judah Bauer and Russel Simins.

US "Real Gone" pre release listening party hosted by: Filter Magazine, KCRW, the Onion and KEXP in New York, NY - Rothko downstairs lounge - 8pm (Source: http://www.filter-mag.com/ . September 17, 2004)

US "Real Gone" pre release listening party hosted by: Filter Magazine, KCRW, the Onion and KEXP in Seattle, WA - Hattie's Hat - 7-9pm (Source: http://www.filter-mag.com/ . September 17, 2004)

US "Real Gone" pre release listening party hosted by: Filter Magazine, KCRW, the Onion and KEXP in San Diego, CA - Transport - TIME TBD (Source: http://www.filter-mag.com/ . September 17, 2004)

2005

Tom Waits Objects to Another TV Ad: "Tom Waits, who has successfully sued in the past over the use of impersonations of his voice and musical style, is now taking on Opel, a European subsidiary of General Motors, in response to a new ad. "I have a longstanding policy against my voice or music being used in commercials," Mr. Waits said in a statement this week, "and I have lawyers over there investigating my options." Mr. Waits has sued Audi over imitations of his voice in commercials, and in 1993 he won a $2.5-million suit against Frito-Lay for a Doritos ad. In a statement, Opel responded, "We actually are surprised about the fact that Tom Waits considers the music that goes with the current TV commercial 'Lullaby' for a range of Opel cars as a potential misuse of his voice and style of singing." Opel said that the underlying music was by Brahms, that it had not approached Mr. Waits and that the only celebrity singer it had considered was Steven Tyler of Aerosmith. "But before even starting any negotiations, a Frankfurt-based singer was found who delivered an excellent rough voice interpretation for the 'Wiegenlied' theme in English," the company added, referring to the Brahms "Lullaby." Mr. Waits said: "If I stole an Opel, Lancia or Audi, put my name on it and resold it, I'd go to jail. But over there they ask, you say no, and they hire impersonators." (Source: "Arts, Briefly" Compiled by Lawrence Van Gelder. The New York Times, Ben Sisario. April 22, 2005)

New York Times: "But the night's most memorable performance came from perhaps the least jubilant performer: Tom Waits. "I'm telling ya right now, I wish New Orleans was dry and Washington was under water," he growled, and when he returned for the night's only encore, he did a squint-eyed version of "Make It Rain." He sounded a bit like the city he commemorated: old and weird and set in his ways and intent � no matter what � on staying the same." (Source: "Funk, Blues, and Jams That Were Big and Easy" By Kelefa Sanneh. The New York Times. September 21, 2005)

Further reading
Performances 2001-2005
Pictures 2001-2005
Interviews