In her teens, she too took to the road, her fractured childhood playing out in recklessness and risk-taking. Her childhood was marked by upheaval, her parents moving from Chicago, where she was born and where her mother hailed from, to Arizona and back again, her father disappearing from time to time. The book’s title comes from one of her songs, but she also chose it, she writes, “because I spent most of my life in cars, vans, and buses”. With Tom Waits, her partner at time, on Santa Monica Pier, California, in the late 70s. If Waits’s stumblebum persona relied to a degree on creative method acting, she was the real deal: a survivor who had, as she puts it in the prologue of Last Chance Texaco, “lived volumes as a young girl long before I was famous”. As a couple, they seemed to have emerged fully formed out of their own creative imaginations.
A brief but intense relationship with Tom Waits, whose creative sensibility fleetingly chimed with her own, added to her cachet of cool.
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It was difficult to know how to be a person when that was going on.”īack then, she was marketed as a boho songstress in a beret. “That was the biggest test,” she says, “For someone who always felt on the outside to suddenly have everyone treat me like I was above them, that was really hard. In 1979, when she gatecrashed the mainstream with her self-titled debut album and the buoyant, jazz-tinged hit single, Chuck E’s in Love, her sudden celebrity left her feeling all at sea.
An outsider by temperament, Jones has long walked to her own slightly off-kilter rhythm.
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