Editing Tom Waits (section)

===''Blue Valentine'' and ''Heartattack and Vine'': 1978–1980===
[[File:Tom Waits (1979–80 publicity photo in kitchen by Greg Gorman).jpg|thumb|left|alt=|Publicity photo of Waits taken by [[Greg Gorman]], {{nowrap|{{circa}} 1979–80}}]]
In July 1978, Waits began the recording sessions for [[Blue Valentine (album)|''Blue Valentine'']].{{sfn|Hoskyns|2009|p=205}} Part way through the sessions, he replaced his musicians to create a less jazz-oriented sound;{{sfn|Hoskyns|2009|p=206}} for the album, he switched from a piano to an electric guitar as his main instrument.{{sfn|Humphries|2007|p=107}} For the album's back cover, Waits used a picture of himself and Jones leaning against his car, a [[Ford Thunderbird (fourth generation)|1964 Ford Thunderbird]], taken by Elliot Gilbert.{{sfnm|1a1=Humphries|1y=2007|1p=106|2a1=Hoskyns|2y=2009|2p=214}} Per Bowman, "Waits gradually began writing about junkies and prostitutes instead of skid-row drunks. In songs such as [[Christmas Card from a Hooker in Minneapolis|'Christmas Card From a Hooker in Minneapolis’]] and ‘Red Shoes by the Drugstore,’ his writing became ever more vivid, compact, and complex."{{Sfn|Bowman}} From the album, Waits's first single, a cover of [[Leonard Bernstein]] and [[Stephen Sondheim]]'s [[Somewhere (song)|"Somewhere"]] from ''[[West Side Story]]'', was released, but  failed to chart.{{sfn|Humphries|2007|p=106}} For his ''Blue Valentine'' tour, Waits assembled a new band; he also had a gas station built as a set for his performances.{{sfn|Hoskyns|2009|p=215}} His support act on the tour was [[Leon Redbone]].{{sfn|Hoskyns|2009|p=216}} In April, he embarked on a European tour, there making television appearances and press interviews; in Austria he was the subject of a short documentary.{{sfn|Hoskyns|2009|pp=222–223}} From there, he flew to Australia for his first tour of that country before returning to Los Angeles in May.{{sfn|Hoskyns|2009|pp=226–228}}
[[File:Francis Ford Coppola -1976.jpg|thumb|[[Francis Ford Coppola]] (pictured in 1976) convinced Waits to leave [[New York City]] and return to [[Los Angeles]] to score his film ''[[One from the Heart]]''.]]
Waits was dissatisfied with Elektra-Asylum, who he felt had lost interest in him as an artist in favor of their more commercially successful acts like [[Eagles (band)|the Eagles]], [[Linda Ronstadt]], [[Carly Simon]] and [[Queen (band)|Queen]].{{sfn|Hoskyns|2009|p=216}} After a phone call with their mutual friend Chuck E. Weiss, Waits told Jones, "Chuck E.'s in love". This was the inspiration for her song "[[Chuck E.'s in Love]]".<ref name=Saunders>{{cite video| author=Bret Saunders| title=Tom Waits Interview & Performance - KBCO| date=October 13, 1999| url=https://www.youtube.com/watch?v=rfCGvgswQpE}}</ref> Jones's musical career was taking off; after an appearance on ''[[Saturday Night Live]]'', "Chuck E.'s In Love" reached number 4 in the singles chart, straining her relationship with Waits.{{sfnm|1a1=Humphries|1y=2007|1pp=82–83|2a1=Hoskyns|2y=2009|2pp=220–221}} Their relationship was further damaged by Jones's [[heroin]] addiction.{{sfn|Hoskyns|2009|pp=228–229}} Waits joined Jones for the first leg of her European tour, but then ended his relationship with her. Her grief at the breakup was channeled into the 1981 album ''[[Pirates (Rickie Lee Jones album)|Pirates]]''.{{sfn|Hoskyns|2009|p=231}} In September, Waits moved to [[Crenshaw Boulevard]] to be closer to his father,{{sfnm|1a1=Humphries|1y=2007|1p=110|2a1=Hoskyns|2y=2009|2p=232}} before deciding to relocate to New York City. He initially lived in the [[Hotel Chelsea|Chelsea Hotel]] before renting an apartment on West 26th Street.{{sfnm|1a1=Humphries|1y=2007|1p=112|2a1=Hoskyns|2y=2009|2pp=235–236}} On arriving in the city, he told a reporter that he "just needed a new urban landscape. I've always wanted to live here. It's a good working atmosphere for me".{{sfn|Hoskyns|2009|p=236}} He considered writing a [[Broadway theatre|Broadway]] musical based on [[Thornton Wilder]]'s ''[[Our Town]]''.{{sfn|Hoskyns|2009|p=237}} A [[rotoscoped]] Waits performed "The One That Got Away" in the music video ''[[Tom Waits For No One]]'' (1979).

[[Francis Ford Coppola]] asked Waits to return to Los Angeles to write a soundtrack for his forthcoming film, ''[[One from the Heart]]''.{{sfnm|1a1=Humphries|1y=2007|1pp=124–125|2a1=Hoskyns|2y=2009|2p=238}} Waits was excited, but conflicted, by the prospect; Coppola wanted him to create music akin to his early work, a genre that he was trying to leave behind, and thus he characterized the project as an artistic "step backwards".{{sfn|Hoskyns|2009|p=239}} He nevertheless returned to Los Angeles to work on the soundtrack in a room set aside for the purpose in Coppola's Hollywood studios.{{sfn|Hoskyns|2009|pp=239, 241}} This style of working was new to Waits; he later recalled that he was "so insecure when I started&nbsp;... I was sweating buckets".{{sfn|Hoskyns|2009|p=244}} Waits was nominated for the 1982 [[Academy Award for Original Music Score]].

Waits still contractually owed Elektra-Asylum another album, so took a break from Coppola's project to write an album that he initially called ''White Spades''.{{sfn|Hoskyns|2009|p=247}} He recorded the album in June;{{sfn|Hoskyns|2009|pp=248–249}} it was released in September as ''[[Heartattack and Vine]]''.{{sfn|Hoskyns|2009|pp=251, 254}} The album was more guitar-based and had, according to Humphries, "a harder R&B edge" than any of its predecessors.{{sfn|Humphries|2007|p=135}} It again broke into the Top 100 Album Chart,{{sfn|Hoskyns|2009|p=254}} peaking at number 96.{{sfn|Humphries|2007|p=136}} Reviews were generally good.{{sfn|Humphries|2007|p=136}} Hoskyns called it "one of Waits's pinnacle achievements" as an album.{{sfn|Hoskyns|2009|p=254}} One of its tracks, "[[Jersey Girl (song)|Jersey Girl]]", was subsequently recorded by [[Bruce Springsteen]]. Waits was grateful, both for the revenue that the cover brought him and because he felt appreciated by a songwriter he admired.{{sfn|Humphries|2007|pp=136–138}} While on the set of ''One from the Heart'', Waits encountered [[Kathleen Brennan]], a young [[Irish-American]] woman working as an assistant story editor. The two had previously met while Waits was filming ''Paradise Alley''.{{sfnm|1a1=Humphries|1y=2007|1p=131|2a1=Hoskyns|2y=2009|2pp=244–245}}<ref>{{Cite book |last=Maher |first=Paul |url=https://books.google.com/books?id=fzDBAgAAQBAJ&dq=%22kathleen+brennan%22+songwriting&pg=PT212 |title=Tom Waits on Tom Waits: Interviews and Encounters |date=2011-11-01 |publisher=Aurum |isbn=978-1-84513-827-1 |language=en}}</ref> Waits would later describe this encounter with Brennan as "love at first sight"; they were engaged to be married within a week.{{sfn|Hoskyns|2009|pp=245–247}} In August 1980, they married at a 24-hour wedding chapel on [[Manchester Boulevard]] in [[Watts, Los Angeles|Watts]] before honeymooning in [[Tralee]], a town in [[County Kerry]], Ireland, where Brennan had family.{{sfnm|1a1=Humphries|1y=2007|1pp=134–135|2a1=Hoskyns|2y=2009|2p=255}}