Tom Waits during his career spanning almost half a century described various adjectives and coins, intended to evoke the ever-variable theater personality from standard songwriter opčinjenog nightlife American metropolis, to a wandering poet, circus musicians, blues with crossroads, minstrels oppressed, aged sinner … Thanks to constant experimentation in sound and concept of his album, he showed the ability to all his work is always new and refreshing experience in a sea of artists who refuse – or are unable – to change. Waits voice capabilities range from a whisper to a scream; instruments that accompany it ranges from a lone drum ( “Pasties and a G-string”), through ekscentričnijih design unique sound as musical saw ( “November”), bleh to the full composition of the orchestra ( “Anywhere I Lay My Head”). Waits in younger, bujnokosim days. Retrieved from billboard.com In its earliest album, Closing Time (1973) and Looking for the Heart of Saturday Night (1974), Waits is adhered to the Convention genres blues and country music. Followed by guitar, bass and drums, sang and recited to texts that talk about standard unfulfilled dreams and lost loves local alcoholics cirki front of cooperatives. However, for the third studio album, Small Change (1976), Waits’ voice was the rough, cracked baritone in which the singer now known, a music critic Daniel Durholc by the legendary described as a voice that was “immersed in bourbon, left on tanning for a few months and then brought out the car and run over. “Sharpen Vejtsovog vocal style signaled the beginning of a change that was quickly and completely performed. After a decade of drinks, prostitutes and other pleasures what gives life to the streets of Los Angeles in 1980, Waits met his future wife and artistic collaborator Kathleen Brennan – and everything changed.