Tom Waits’s ‘Real Gone’

Tom Waits’s ‘Real Gone’ is an album co-produced with Kathleen Brennan and released on October 3, 2004 by Anti.

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Track Listing : 1.Top Of The Hill (Tom Waits, Kathleen Brennan) – 0:55 . 2.Hoist That Rag (Tom Waits, Kathleen Brennan) – 0:20 . 3.Sins Of My Father (Tom Waits, Kathleen Brennan) – 10:36 . 4.Shake It (Tom Waits, Kathleen Brennan) – 03:52 . 5.Don’T Go Into That Barn (Tom Waits, Kathleen Brennan) – 05:22 . 6.How’S It Gonna End (Tom Waits, Kathleen Brennan) – 0:51 . 7.Metropolitan Glide (Tom Waits, Kathleen Brennan) – 0:13 . 8.Dead And Lovely (Tom Waits, Kathleen Brennan) – 05:40 . 9.Circus (Tom Waits, Kathleen Brennan) – 03:56 . 10.Trampled Rose (Tom Waits, Kathleen Brennan) – 03:58 . 11.Green Grass (Tom Waits, Kathleen Brennan) – 03:13 . 12.Baby Gonna Leave Me (Tom Waits, Kathleen Brennan) – 0:29 . 13.Clang Boom Steam (Tom Waits, Kathleen Brennan) – 00:46 . 14.Day After Tomorrow (Tom Waits, Kathleen Brennan) – 06:56 . 15.Chickaboom (Tom Waits, Kathleen Brennan) – 01:17

Musicians : Tom Waits – Vocal, Guitar On (3 – 6 – 7 – 8 – 11), Percussion On (5), Chamberlin On (9), Shakers On (12) . Larry Taylor – Bass On (1 – 3 – 5 – 6 – 7 – 8 – 10 – 11 – 13 – 14), Guitar On (4 – 5) . Marc Ribot – Guitar On (1 – 2 – 3 – 4 – 8 – 12 – 13 – 14), Banjo On (3), Cigar Box Banjo On (10) . Brain – Percussion On (1 – 2 – 3 – 4 – 5 – 7 – 10 – 12) . Casey Waits – Turntables On (1 – 2 – 7 – 13 – 14), Claps On (4), Percussion On (5), Drums On (8 – 9) . Les Claypool – Bass On (2 – 4 – 12) . Mark Howard – Claps On (4), Bells On (9) . Trisha Wilson – Claps On (4) . Harry Cody – Guitar On (5 – 7), Banjo On (6)

Production : Produced By Kathleen Brennan, Tom Waits . Gavin Lurssen – Mastering . Mark Howard – Engineer, Mixing

Package : Dylan Barlow – Photography . Ronald M. Bean – Graphic Design . Chris Blum – Art Direction . Julianne Deery – Photography

Recorded 2004.

Released On October 3, 2004 By Anti.

Tom Waits

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Pitchfork
For Real Gone, Waits ditched his trademark piano and most of his rhythm section, opting instead to cough up man-made beats like hairballs and sputter abrasive scats. Waits relishes his vocal tics and impossibly gnarled pipes, shamelessly savoring his homemade racket, building more and more momentum with each new bark. […]

The Guardian
There was something distinctly underwhelming about imitating hip-hop rhythms with your voice when Doug E Fresh came up with idea in the early 80s. Twenty years on, it’s the province of irredeemably naff boy band members and nutcases on The X Factor. […]

Rolling Stone
The core of Real Gone, actually, is gospel music flipped inside out — an unholy voice, singing about the conspicuous absence of divine mercy. […]

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Tom Waits’s ‘Real Gone’

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