A few years back tryin' to make me a buck
Like everybody else, well you know
Times get hard and well I got down on my luck
And I got tired of just roamin' and bummin'
Around, so I started thumbin' my way
Back to my old hometown
You know I made quite a few miles
In the first couple of days, and I
Figured I'd be home in a week if my
Luck held out this way
But you know it was the third night
I got stranded, it was out at a cold lonely
Crossroads, and as the rain came
Pouring down, I was hungry, tired
Freezin', caught myself a chill, but
It was just about that time that
The lights of an old semi topped the hill
You should of seen me smile when I
Heard them air brakes come on, and
I climbed up in that cab where I
Knew it'd be warm at the wheel
Well at the wheel sat a big man
I'd have to say he must of weighed 210
The way he stuck out a big hand and
Said with a grin "Big Joe's the name
And this here rig's called Phantom 309"
Well I asked him why he called his
Rig such a name, but he just turned to me
And said "Why son don't you know this here
Rig'll be puttin' 'em all to shame, why
There ain't a driver on this
Or any other line for that matter
That's seen nothin' but the taillights of Big Joe
And Phantom 309"
So we rode and talked the better part of the night
And I told my stories and Joe told his and
I smoked up all his Viceroys as we rolled along
He pushed her ahead with 10 forward gears
Man that dashboard was lit like the old
Madam La Rue pinball, a serious semi truck
Until almost mysteriously, well it was the
Lights of a truck stop that rolled into sight
Joe turned to me and said "I'm sorry son
But I'm afraid this is just as far as you go
You see I kinda gotta be makin' a turn
Just up the road a piece," but I'll be
Damned if he didn't throw me a dime as he
Threw her in low and said "Go on in there
Son, and get yourself a hot cup of coffee
On Big Joe"
And when Joe and his rig pulled off into
The night, man in nothing flat they was
Clean outa sight
So I walked into the old stop and
Ordered me up a cup of mud sayin'
"Big Joe's settin' this dude up" but
It got so deathly quiet in that
Place, you could of heard a pin drop
As the waiter's face turned kinda
Pale, I said "What's the matter did
I say somethin' wrong?" I kinda
Said with 8a half way grin. He said
"No son, you see It'll happen every
Now and then. You see every driver in
Here knows Big Joe, but let me
Tell you what happened just 10 years
Ago, yea it was 10 years ago
Out there at that cold lonely crossroads
Where you flagged Joe down, and
There was a whole bus load of kids
And they were just comin' from school
And they were right in the middle when
Joe topped the hill, and could
Have been slaughtered except
Joe turned his wheels, and
He jacknifed, and went
Into a skid, and folks around here
Say he gave his life to save that bunch
Of kids, and out there at that cold
Lonely crossroads, well they say it
Was the end of the line for
Big Joe and Phantom 309, but it's
Funny you know, cause every now and then
Yea every now and then, when the
Moon's holdin' water, they say old Joe
Will stop and give you a ride, and
Just like you, some hitchhiker will be
Comin' by"
"So here son," he said to me, "get
Yourself another cup of coffee, it's on the
House, you see I want you to hang on
To that dime, yea you hang on to that
Dime as a kind of souvenir, a
Souvenir of Big Joe and Phantom 309"
Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on the underbelly of society and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, country, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. Per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.”
Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola's One from the Heart (1982) and made cameos in several subsequent Coppola films.
In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch's Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the "cowboy opera" The Black Rider (1990), the songs for which were released on the album of the same name. Waits and Wilson collaborated again on Alice (2002) and Woyzeck (2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Album and Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).
Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos and the Ramones and he has written songs for Johnny Cash and Norah Jones, among others. In 2006, Waits and Brennan were ranked fourth on Paste's list of the hundred greatest living songwriters. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling... I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits said "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!"
