of the early 1970s"; Waits had wanted to create a piano-led jazz album although Yester had pushed its sound in a more folk-oriented direction. An Eagles recording of its opening track, "Ol' 55", on their album On the Border, brought Waits further money and recognition, although he regarded their version as "a little antiseptic". To promote his debut, Waits and a three-piece band embarked on a U.S. tour, largely on the East Coast, where he was the supporting act for more established artists. As part of this, he supported Tom Rush at Washington D.C.'s The Cellar Door, Danny O'Keefe at Massachusetts's Club Passim, Charlie Rich at New York City's Max's Kansas City, Martha Reeves and the Vandellas in East Lansing, Michigan, and John P. Hammond in San Francisco. Waits returned to Los Angeles in June, feeling demoralized about his career. That month, he was the cover star of free music magazine, Music World. He began composing songs for his second album, and attended the Venice Poetry Workshop to try out this new material in front of an audience. Although Waits was eager to record this new material, Cohen instead convinced him to take over as a support act for Frank Zappa's the Mothers of Invention after previous support act Kathy Dalton pulled out due to the hostility from Zappa's fans. Waits joined Zappa's tour in Ontario, but like Dalton found the audiences hostile; while on stage he was jeered at and pelted with fruit. Although he liked the Mothers of Invention's band members, he found Zappa himself intimidating. Waits moved from Silver Lake to Echo Park, spending much of his time in downtown Los Angeles. In early 1974, he continued to perform around the West Coast, getting as far as Denver. For Waits's second album, Geffen wanted a more jazz-oriented producer, selecting Bones Howe for the job. Howe recounts his first encounter with the young artist: "I told him I thought his music and lyrics had a Kerouac quality to them, and he was blown away that I knew who Jack Kerouac was. I told him I also played jazz drums and he went wild. Then I told him that when I was working for Norman Granz, Norman had found these tapes of Kerouac reading his poetry from The Beat Generation in a hotel room. I told Waits I'd make him a copy. That sealed it." Recording sessions for The