|Tom Waits — Real Gone (2004, Remixed & Remastered 2017)|
Tom Waits — Real Gone (2004, Remixed & Remastered 2017) ★•→ Tom Waits reissues seven albums on vinyl. Newly remixed by Karl Derfler and remastered with Waits/Brennan. All six releases have been remastered by Waits and his wife and musical collaborator, Kathleen Brennan.
Birth name: Thomas Alan Waits
Born: December 7, 1949, Pomona, California, United States
Location: Sonoma County, California
Album release: October 5, 2004/December 8, 2017
Record Label: Anti–/Epitaph
01 Top of the Hill 4:00
02 Hoist That Rag 4:08
03 Sins of My Father 10:37
04 Shake It 3:58
05 Don’t Go Into That Barn 5:01
06 How’s It Gonna End 4:51
07 Metropolitan Glide 4:11
08 Dead and Lovely 5:41
09 Circus 3:56
10 Trampled Rose 3:58
11 Green Grass 3:12
12 Baby Gonna Leave Me 3:49
13 Clang Boom Steam 0:47
14 Make It Rain 3:39
15 Day After Tomorrow 5:58
16 Chick A Boom (Hidden Track) 1:18
★ Mason Baird Production Crew
★ Dylan Barlow Photography, Production Crew
★ Ronald M. Bean Graphic Design
★ Chris Blum Art Direction, Design
★ The Brain Clapping, Percussion
★ Brennan Producer
★ Kathleen Brennan Composer
★ Les Claypool Bass, Guest Artist
★ Harry Cody Banjo, Guitar
★ Julianne Deery Photography, Production Coordination
★ Mark Howard Bells, Clapping, Engineer, Mixing
★ Gavin Lurssen Mastering
★ Marc Ribot Banjo, Guest Artist, Guitar
★ Mike Richardson Production Crew
★ Larry Taylor Bass, Guitar
★ Casey Waits Clapping, Drums, Percussion, Production Crew, Turntables
★ Kellesimone Waits Group, Production Crew, Voices
★ Sullivan Waits Group, Production Crew, Voices
★ Tom Waits Chamberlin, Composer, Guitar, Percussion, Producer, Shaker, VocalsDescription:
”“★λ★”“ Tom Waits and longtime songwriting and production partner Kathleen Brennan, have returned to the original master tapes to remix the groundbreaking 2004 album Real Gone.
”“★λ★”“ The resulting version presents the acclaimed record with a sound and texture originally envisioned by the artist. It is a rare look into the creative process of the influential artist taking an opportunity to re~investigate a pivotal work. Some of the new mixes are radical transformations from the original versions and the whole album crackles and steams with fuller intensity and more vivid intimacy.
”“★λ★”“ Real Gone was a visionary mix of genres with Waits abandoning piano and a traditional rhythm section and utilizing an array of mouth made percussions and a beautifully cacophonous symphony of at times unidentifiable noises to create an alternately sad and jubilant re~imagining of folk, blues and hip~hop.
”“★λ★”“ Also being released on that same date are remastered versions of 2002’s Alice and Blood Money. Alice is a languid and mournful chamber piece, featuring piano, cello, violin and bass clarinet, highlighted by the titular jazz blues ballad. Blood Money is the tragic story of a conscripted soldier exploited by the Army and it is the first time Waits and Brennan tackle the world’s dark socio-political themes in song.
”“★λ★”“ These records are being released as part of a series of remastered versions of Tom Waits’ Anti– catalog, which will now sound better than ever on all of the digital music services.
•→ 10th November — Bad As Me
•→ 24th November — Real Gone
•→ 24th November — Alice
•→ 24th November — Blood Money
•→ 1st December — Glitter & Doom
•→ 15th December — Mule Variations
•→ 15th December — Orphans: Brawlers, Bawlers & Bastards
Review by Thom Jurek; Score: ★★★★
”“★λ★”“ On Real Gone, Tom Waits walks a fraying tightrope. By utterly eliminating one of the cornerstone elements of his sound — keyboards — he has also removed his safety net. With songwriting and production partner Kathleen Brennan, he strips away almost everything conventional from these songs, taking them down to the essences of skeletal rhythms, blasted and guttural blues, razor~cut rural folk music, and the rusty~edge poetry and craft of songwriting itself. His cast includes guitarists Marc Ribot and Harry Cody, bassist/guitarist Larry Taylor, bassist Les Claypool, and percussionists Brain and Casey Waits (Tom’s son), the latter of whom also doubles on turntables. This does present problems, such as on the confrontational opener, “Top of the Hill.” Waits uses his growling, grunting vocal atop Ribot’s monotonously funky single~line riff and Casey’s turntables to become a human beatbox offering ridiculously nonsensical lyrics. It’s a throwaway, and the album would have been better had it been left off entirely. But it’s also a canard, a sleight~of~hand strategy he’s employed before. The jewels shine from the mud immediately after. The mutated swamp tango of “Hoist That Rag” has stuttered clangs and quakes for drums, decorated by distorted Latin power chords and riffs from Ribot, along with thundering deep bass from Claypool. On the ten~plus minute “Sins of My Father,” Cody’s spooky banjo walks with Taylor’s low~strung bass and Waits’ shimmering reverbed guitar as he ominously croons, revealing a rigged game of “star~spangled glitter” where “justice wears suspenders and a powdered wig.” It’s part revelation, part East of Eden, and part backroom political culture framed by the eve of the apocalypse. It’s hunted, hypnotic, and spooky.
”“★λ★”“ In stripping away convention, Waits occasionally lets his songs go to extremes with absurd simplicity, such as on “Don’t Go into That Barn,” a musical cousin to his spoken “What’s He Building?” from Mule Variations. But there’s also the downright riotous squall of “Shake It,” which sounds like an insane carny barker jamming with R.L. Burnside, or the riotous raging blues of “Baby Gonna Leave Me.” There are “straight” narratives such as “How’s It Gonna End,” with its slow and brooding beat storyline, and the moving murder ballad “Dead and Lovely,” with its drooping, shambolic elegance. There’s the spoken word “Circus,” with its wispy spindly frame that features Waits on chamberlain. And “Metropolitan Glide” feels like a hell~bent duet between James Brown and Captain Beefheart’s Magic Band, followed by the fractured, busted~love, ranting~at~God pain that rips through “Make It Rain.” The tender “Green Grass” is among Waits’ finest broken love songs; it’s movingly rendered by a character who could have resided in one of William Kennedy’s novels. The set closes with “Day After Tomorrow,” featured on MoveOn.org’s Future Soundtrack for America. It is one of the most insightful and understated antiwar songs to have been written in decades. It contains not a hint of banality or sentiment in its folksy articulation. Real Gone is another provocative moment for Waits, one that has problems, but then, all his records do. His excesses, however, do nothing to cloud the stellar achievements of his risk~taking vision and often brilliant execution.
Website: http://www.tomwaits.com/ © Tom Waits. Photo credit: JB Mondino
|Tom Waits — Real Gone (2004, Remixed & Remastered 2017)|