Tom Waits’ infamous “Real Gone” is easily one of the most disorienting and un-accesible albums in Waits’ discography, but I can confidently state that this results in one of Waits’ most unique creations to date.
Real Gone by all means is a lean, mean fighting machine with its dirty aesthetics and recording process. According to Tom Wait’s website, “Many of the tracks on Real Gone were built on Waits’ “human beatboxing” on a cassette ... read more
By no means his greatest record but this is Tom Waits at his challenging brilliant best. Beatboxing, scratching, industrial noise and beautiful poignant blues all rolled up into one bombastic, tremendous LP.
Essential Track - Day After Tomorrow
A really aggressive and rough sounding Waits album. Love how the really aggressive tracks are contrasted by some more low-key tracks.
Looking at the overall consensus on this record, I didn’t quite understand why this record’s don’t stack up with his best. That was, until I heard the original mix and realized what I was missing. Damn shame.
1 | Top of the Hill 4:54 | 70 |
2 | Hoist That Rag 4:20 | 85 |
3 | Sins of the Father 10:36 | 67 |
4 | Shake It 3:52 | 73 |
5 | Don't Go Into That Barn 5:22 | 69 |
6 | How's It Gonna End 4:51 | 74 |
7 | Metropolitan Glide 4:13 | 71 |
8 | Dead and Lovely 5:40 | 73 |
9 | Circus 3:56 | 61 |
10 | Trampled Rose 3:58 | 70 |
11 | Green Grass 3:13 | 73 |
12 | Baby Gonna Leave Me 4:29 | 72 |
13 | Clang Boom Steam 0:46 | 64 |
14 | Make It Rain 3:39 | 74 |
15 | Day After Tomorrow 6:53 | 76 |
16 | [untitled] 1:17 | 66 |
#27 | / | SPIN |