Real Gone
by Tom Waits
Released: October 04, 2004
Experimental rock, Alternative hip hop
Why This Album Matters
This album matters because its strongest editorial story is: Reissue.
The Album
Notably, this album marks the first time Waits recorded without piano. "Real Gone" is Tom Waits' sixteenth studio album, released on October 4, 2004, in Europe and October 5 in the United States under the ANTI- label. The album includes some of Waits' few political songs, with "Day After Tomorrow" serving as a poignant protest against the Iraq War.
Inside the Recording
Written and produced by Waits and his longtime collaborator and wife, Kathleen Brennan, Real Gone showcases a diverse blend of musical styles, including funk, Jamaican rock-steady, urban and rural blues, as well as Latin and African rhythms.
Interesting Facts
Harp Magazine named Real Gone the best album…
Harp Magazine named Real Gone the best album of 2004, and in 2017, a remixed and remastered version was released, overseen by Waits and Brennan.
Overall, Real Gone stands out for its eclectic…
Overall, Real Gone stands out for its eclectic sound and rich storytelling, further solidifying Waits' unique artistic voice.
Essential Tracks
"Top of the Hill"
Other tracks highlight his experimentation with beatboxing, influenced by hip hop, especially on songs like "Top of the Hill" and "Metropolitan Glide." Guitarist Marc Ribot contributes a Cuban style on "Hoist That Rag." The lyrics often reference real events and individuals; for instance, "Don't Go Into That Barn" is inspired by a New York Times article about a slave jail in Kentucky, capturing the haunting legacy of that history.
"Don't Go Into That Barn"
Other tracks highlight his experimentation with beatboxing, influenced by hip hop, especially on songs like "Top of the Hill" and "Metropolitan Glide." Guitarist Marc Ribot contributes a Cuban style on "Hoist That Rag." The lyrics often reference real events and individuals; for instance, "Don't Go Into That Barn" is inspired by a New York Times article about a slave jail in Kentucky, capturing the haunting legacy of that history.
"Day After Tomorrow"
The album includes some of Waits' few political songs, with "Day After Tomorrow" serving as a poignant protest against the Iraq War.
Explore the Album
Tom Waits - Real Gone
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Reception
The album was accompanied by the Real Gone Tour, featuring sold-out shows across North America and Europe.
Legacy
Other tracks highlight his experimentation with beatboxing, influenced by hip hop, especially on songs like "Top of the Hill" and "Metropolitan Glide." Guitarist Marc Ribot contributes a Cuban style on "Hoist That Rag." The lyrics often reference real events and individuals; for instance, "Don't Go Into That Barn" is inspired by a New York Times article about a slave jail in Kentucky, capturing the haunting legacy of that history.
The Complete Album Story
"Real Gone" is Tom Waits' sixteenth studio album, released on October 4, 2004, in Europe and October 5 in the United States under the ANTI- label. The album was accompanied by the Real Gone Tour, featuring sold-out shows across North America and Europe.
Written and produced by Waits and his longtime collaborator and wife, Kathleen Brennan, Real Gone showcases a diverse blend of musical styles, including funk, Jamaican rock-steady, urban and rural blues, as well as Latin and African rhythms. Notably, this album marks the first time Waits recorded without piano.
The album includes some of Waits' few political songs, with "Day After Tomorrow" serving as a poignant protest against the Iraq War. Other tracks highlight his experimentation with beatboxing, influenced by hip hop, especially on songs like "Top of the Hill" and "Metropolitan Glide." Guitarist Marc Ribot contributes a Cuban style on "Hoist That Rag."
The lyrics often reference real events and individuals; for instance, "Don't Go Into That Barn" is inspired by a New York Times article about a slave jail in Kentucky, capturing the haunting legacy of that history.
Harp Magazine named Real Gone the best album of 2004, and in 2017, a remixed and remastered version was released, overseen by Waits and Brennan.
Overall, Real Gone stands out for its eclectic sound and rich storytelling, further solidifying Waits' unique artistic voice.
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