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Real Gone

Tom Waits Audio CD
4.3 out of 5 stars  See all reviews (3 customer reviews)
Price: CDN$ 16.99 & FREE Shipping on orders over CDN$ 25. Details
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Customers Who Bought This Item Also Bought


Product Details


1. Top Of The Hill
2. Hoist That Rag
3. Sins Of My Father
4. Shake It
5. Don't Go Into That Barn
6. How's It Gonna End
7. Metropolitan Glide
8. Dead And Lovely
9. Circus
10. Trampled Rose
11. Green Grass
12. Baby Gonna Leave Me
13. Clang Boom Steam
14. Make It Rain
15. Day After Tomorrow

Product Description

Amazon.ca

There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs-- Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller--capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). --Aidin Vaziri

Product Description

Academy Award nominated and Grammy Award winner, Tom Waits has been long considered one of music's most influential artists because he has continuously created music outside of fad or fashion. With REAL GONE, his off-road adventures are taken into the further beyond. Mixing and mashing: worlds both sonic and ethnic, musical traditions both new and old, and rhythms both mouth-made and sampled from his own instruments, Waits has reached a new pinnacle. Written and produced by Tom Waits and Kathleen Brennan, his wife and long-time collaborator, REAL GONE features 15 tracks of funk, Jamaican rock-steady, blues both urban and rural, rhythms and melodies both Latin and African and, for the first time, no piano. Anti. 2004.

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4.3 out of 5 stars
4.3 out of 5 stars
Most helpful customer reviews
Format:Audio CD
When one wonders when songwriters will begin to bring home the sentiments of soldiers in Iraq and Afghanistan, it would take only one listening to the last song on this Tom Waits CD to realize that the quintessential "soldier song" of the year has arrived. "Day After Tomorrow" best captures what this soldier has experienced as the most basic thoughts of a pre-combat soldier, perhaps ever writen. It has been artfully crafted by a most unusual source in Tom Waits. It's personal perspective transcends pop music, offering the very specific intimate details of a Wisconson blue collar pre-soldier home life as only Tom Waits could capture. Given the anti-war sentiment of earlier songs on this CD (ie., "Hoist That Rag", "Sins of the Father"), the "Day After Tomorrow" is written from the perspective of the soldier himself, on the ever-hopeful, pre-eve of his departure from the combat zone to come home. The song left me stunned. This is the song which answers The Dixie Chicks, "Traveling Soldier" waiting-for-him-to-come-home ballad. Play them back to back on the radio and traffic will stop on the highway (well, maybe). But you get the picture.
Whatever inspired Tom Waits to produce this CD and add "Day After Tomorrow" as the last song, this trooper would like to know more. Tom, who in the world do you know over there? Who is the soldier in that song?
The CD's only drawback is the unapologetic raspy voice of Mr. Waits himself. Listeners unfamiliar with Tom Waits extreme hoarseness will find definite impatience in giving the CD its full consideration. What a shame. To me, it lends perfect honesty. How sublime.
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5.0 out of 5 stars Even Better! Nov. 19 2004
By A Customer
Format:Audio CD
It took me a couple of listens to really get into this album, and now, I tell you, I couldn't live without it! And neither can you! If you liked Mule Variations, you'll like this even more. And there is no way Tom Waits is losing his voice. In fact, he's even beat-boxing!
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4.0 out of 5 stars Amazing Album from an Amazing man Nov. 17 2004
Format:Audio CD
Tom Waits really shines through on his latest release, "Real Gone". If you are a fan of the Rain Dogs-era Tom Waits then there is a good chance you will enjoy this album. It is spooky, uplifting, and sometimes just plain puzzling. As with most of Tom Waits material, his use of imagery in his songs is captivating, as well as the character songs, I don't think anybody can sketch a human being better than Mr. Waits. Les Claypool plays bass on many of the songs on the album, but if you're expecting it to sound like some kind of primus release you'll be terribly mistaken. To the average ear you would not even be able to tell that les is playing. The only reason that this album gets 4 stars is that 2 or 3 of the songs sound somewhat similar. I wish I could give this album 4 1/2 or 4 3/4 stars, because that would be more accurate. If you want an album that will take you out of your body and into a world of Lonely soldiers, personal journeys, and dirty diners, then I strongly suggest that you pick up Real Gone as soon as possible. I got it on the day of it's release and am completely satisfied. Long live Tom Waits!
(PS: also check out the Shrek 2 soundtrack for a great Tom Waits piece entitled "Little Drop of Poison")
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.2 out of 5 stars  120 reviews
49 of 51 people found the following review helpful
5.0 out of 5 stars Another Tom Waits Classic Oct. 9 2004
By x - Published on Amazon.com
Format:Audio CD
Tom Waits, as usual, has produced another classic. It should be noted, however, that "Real Gone" is a really gritty, avant-garde effort. The sonic texture of the album is akin to some of the tunes on "Bone Machine" with a tinge of the sweaty grit of the more raucous parts of "Mule Variations" (e.g., the texture found on the rough and funky "Filipino Box Spring Hog"). If you are a fan of Waits' last few albums, you will enjoy "Real Gone." If what you enjoy about Waits' music is his piano playing, well, this is one you can skip--there is no piano whatsoever on this CD.

The music is oddly mixed and Tom's microphone sounds overloaded at times, but somehow it all fits together to make sense. The disc opens with "Top of the Hill," which is a great indicator of things to come with its funky rhythms with prominent percussive downbeats. If you enjoy this tune, you will likely enjoy "Metropolitan Glide," which comes up a few tracks later and uses turntables to great effect without dominating the musical landscape. There are a couple beautiful slow pieces as well in "Dead and Lovely" and "How's It Gonna End." The guitar duties are largely handled by the legendary Marc Ribot, whose playing is perfectly suited to Waits' music. He really shines on "Real Gone." His guitar brings a haunting quality to the slower pieces and razor-sharp gutter funk to the faster tunes.

All told, this is just another classic Tom Waits album. He is amazing. "Real Gone" is like walking down an old dusty road in Mississippi and noticing something shiny along the roadside. You walk over to the item, look down, and see a handle of a box buried halfway in the dirt. You dig out the box, open it, and find an old pistol, a flask of good whisky, and $3000 in circa 1920 hundred-dollar bills. You know there must have been some foul play long ago, and that the locals still probably know all about it, but you pocket the cash and the pistol and head on your merry way. There are gifts in the dirt. The music on "Real Gone" is gritty and mysterious, but just go with it, because you really wouldn't want to know the answers to any of the questions you might have about this music.
30 of 32 people found the following review helpful
5.0 out of 5 stars His loudest album yet Oct. 6 2004
By Jacob K. Allen - Published on Amazon.com
Format:Audio CD
If you took all the wonderfully abrasive moments framing Bone Machine, every crunchy pop and snarl that "All Stripped Down", "Such a Scream", and "Let Me Get Up On It" squeal with, turning them into full blown beat boxing epics of turntable scratch and echoed voice, Real Gone is close to exactly what would come out.

Relying less upon melody then shaky rhythm, song after song consist of one crumbling riff or two that Tom croaks out wildly along with, barking vocal percussion in strangulated yelps. Recorded in his bathroom at home, these human backbeats are as hilarious as they are frightening. He apparently didn't loop any of them either, like the intro to "Big in Japan", opting instead for the unpredictable accidental grunt that one would groan out after having screamed "Boo Boom, KUH KAK!" for four straight minutes.

Lyrically, this is as strong as any other Waits record, following the example of Blood Money and focusing less on narrative then bittersweet metaphor, ("He's not the kind of wheel you fall asleep at") complimenting the pitch black instrumentation perfectly. When not making wonderfully absurd commentary ("If I was a bed, I'd be an unmade bed"), he's barking along with the drums and his previously recorded percussion, the John Lee Hooker from hell groover "Shake It" and bleeding rock "Baby Gonna Leave Me" prime examples. Your foot won't not pound the floor in unision.

I don't know exactly what people who buy Real Gone for an introduction to Tom Waits will think, but longtime listeners will laugh and cry the whole way through, marvelling at the most undeappreciated musician of the last 50 years, somone having long ago deserved the respect and awe names such as Bob Dylan instantly conjure. At the very least, the coverage in magazines and newspaper. Anyone notice how small the mentions of his musical doings are these days?
37 of 43 people found the following review helpful
5.0 out of 5 stars The Blues Had A Baby, It Got Rabies And They Named Him.... Oct. 15 2004
By S. Finefrock - Published on Amazon.com
Format:Audio CD
...Tom Waits. REAL GONE is the latest chapter from the 30+ year career of Tom Waits. He has made a career of delivering his message wrapped in a variety of dressings, Skewed night club stylings, Beat derived jazz poetry, demented Tin Pan Alley tunes and experimental takes on Delta Blues. This release definately takes on the latter.

Backed by a talented crew featuring the welcome return of guitarist Marc Ribot( his dirty guitar tones are custom made for Waits material) and Primus' bass extrodinaire Les Claypool, Waits lays down what has to be his most primal set to date. Where BONE MACHINE's harshness was levened by the occasional ballad, REAL GONE is an unrelenting set of cacophony and insistant rhythyms, even the queiter moments are raw and filled with dread.

There are a number of fine songs that rank with the best in the Waits canon, including the 10 minute plus SINS OF MY FATHER, the primitive blues of SHAKE IT, the rustic flavored TRAMPLED ROSE, the deep-fried blues stomp of HOIST THAT RAG and sublime soldier's letter to home DAY AFTER TOMORROW (the album's tenderest moment).

On the other hand there are a few tracks that may not have passed the cut of an editor such as the incessant opener, TOP OF THE HILL(featuring Tom the human beatbox), and the mostly spoken tracks, CIRCUS and CLANG, BOOM, STEAM. While good, they are not essential, though they do fit in the general overall tone of the album. Also worth mention is that he his using the same templete used on both BONE MACHINE and MULE VARIATIONS. Some of the arrangements and topics feel familiar. Still these are minor quibbles.

All in all, this is a fine work by Waits that will be especially appreciated by those that came on board with either SWORDFISHTROMBONES or BONE MACHINE, and are undeterred by his more experimental timbres. It's been a long road from HEART OF SATURDAY NIGHT or CLOSING TIME to this, and those who are predispositioned to his early work may find this tough to swallow. Neophytes to Waits would be advised to aproach carefully. This is unusually harsh stuff from a man whose voice at it's most melodic makes a garbage disposal sound like Sam Cooke. Still this is an excellent work by an artist with a unique vision and approach, and a welcome addition to his fine catalog. 4 3/4 stars.
10 of 11 people found the following review helpful
5.0 out of 5 stars The Road To Perdition and The Highway To Hell. Oct. 28 2004
By Jason Stein - Published on Amazon.com
Format:Audio CD|Verified Purchase
When you open Tom Waits' newest cd you are greeted with a blurry silhouette of him howling like a beast might at a full moon. This sets the tone of what's coming next--the music. At times Tom can be a spluttering old jalopy ("Top Of The Hill"), or a menacing ex-convict ("Hoist That Rag"), or a reflective damned soul seeking redemption ("Sins Of The Father"), or a lunatic drill sargeant shouting out commands to his weary soldiers ("Don't Go Into The Barn"). Tom can be everything, and with his masterful ability to tell tales of woe and misery, and capture the human condition at its most destitute and forlorn stages gives Robert Johnson, Louis Armstrong, Muddy Waters and other famous bluesmen a run for their money.

"Real Gone" utilizes some new sonics such as vocal beatboxing and deranged guitars, experimental noises and found sounds to make and odd symphony that's just as rewarding as "Mule Variations", "Blood Money" and "Bone Machine". I particularly enjoyed the drunken deranged broken record player stylings of "Shake It" where it moves from one pace to another and one key to another key. Les Claypool of Primus certainly adds the right touches to Tom's already unique style. Be prepared like "Mule Variations" to sit through 72 minutes of whacked out experimental music in the form of blues, folk, ragtime and rhythm and blues Tom-style.

Certainly a pioneer of his own original sound, Tom Waits continues to be one of a few troubadors that won't bend to record company schlock. My hope is, at 55, that we don't lose such an original talent to cancer like we lost Warren Zevon. The smoking has certainly aided Tom in creating a voice to suit his brand of music very well. Here's to more experimental works, and maybe old Tom has a few more musical tricks up his sleeve yet. If you are new to Waits this is a decent place to start and work your way back, but really all of his albums are essential. He's one of the few artists to make decent albums throughout his career.
15 of 18 people found the following review helpful
5.0 out of 5 stars The Piano Has Been Sleeping It Off Oct. 6 2004
By K. H. Orton - Published on Amazon.com
Format:Audio CD
Fans of Tom Waits' whiskey soaked ballads might be a little stumped by his latest hat trick. Let's just say, he's finally let the piano sleep this one off.

This is Waits' most raw & spontaneous work to date, separating the regulars from the tourists. The devotees from the connoisseurs. Fans only of his melodic side will run screaming from the room. The more musically open minded will be thrilled. This is about as close as Waits gets to The Stooges FUNHOUSE.

The use of turntables & vocal beat boxing might be too much for some narrow minded listers, but "Top Of The Hill" is a jaunty, infectious opener to a record that more or less seems bent on stabbing it's way out of hell. Lyrically, Waits never lets you down. Love that line, "We're getting married in the pouring rain".

On the whole, REAL GONE sounds like a bunch of pissed off drunks kicking a dump yard's worth of rusty, old junk around. But Mark Ribot's Latin guitar stylings on "Hoist That Rag" mark a welcome return. Elsewhere he seems bent on ripping the flesh off what's left of The Blues.

"Sins Of The Father" clocks in at nearly 10 minutes but is a far cry from his answer to "Sad Eyed Lady Of The Lowlands". Though destined to become his least requested number, the groove is hypnotic. So don't drive or operate machinery while under the influence.

On "Don't Go Into That Barn" he sounds like a cross between Capt.Beefheart & Ethel Merman with her hair on fire. "Shake It" pretty much sums the whole album up with the line, "Feel like a preacher waving a gun around".

"How's It Gonna End" & "Dead & Lovely" are the kind of songs fans love him for. The kind of stuff that sneaks up on you in the dark. The same goes for "Trampled Rose" & "Green Grass", both of which capture Waits at his most haunting.

No Waits album would be complete without his signature "spoken word" selection. Let's just say it's not the sort of thing you bring home to mother. The don't call that orangutang "Tripod" for nothing.

For my money the best track on here is the Gospel barnstormer, "Make It Rain". Classic Waits. I can't get enough of it.

"Day After Tomorrow" is likely to court some controversy. And many could say this is Waits' most political album but regardless of your views, it's the perfect closer after all the chaos he unleashes here. A world weary shake of the head, before burying the whole bloody concussion of it all in a pair of soiled hands.

Waits has gone on record as saying alot of this was done in 1 take. Well, you can't believe everything he says in print. But REAL GONE certainly sounds that way. Part the curtains, & it's Waits at his vital best. Not only challenging himself, but longtime listeners as well. Best album I've heard in 2004. Being a near 20 year fan, I rank it up alongside his best work.
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