|1||Top Of The Hill||4:55|
|2||Hoist That Rag||4:20|
|3||Sins Of The Father||10:37|
Handclaps – Brain , Casey Waits, Mark Howard, Trisha Wilson
|5||Don't Go Into That Barn
Percussion – Tom Waits
|6||How's It Gonna End
Banjo – Harry Cody
|8||Dead And Lovely||5:41|
Bells – Mark HowardChamberlin – Tom Waits
|12||Baby Gonna Leave Me
Shaker – Tom Waits
|13||Clang Boom Steam||0:46|
|14||Make It Rain||3:40|
|15||Day After Tomorrow||6:53|
|6678-1, 86678-1||Tom Waits||Real Gone (2xLP, Album)||Anti-, Anti-||6678-1, 86678-1||Europe||2004|
|7548-1||Tom Waits||Real Gone (2xLP, Album, RM, Rem)||Anti-||7548-1||Europe||2017|
|6678-1||Tom Waits||Real Gone (2xLP, Album, RE + CD, Album, RE)||Anti-||6678-1||Europe||Unknown|
|E 86678-2, E86678-2||Tom Waits||Real Gone (CD, Album, Dig)||Anti-, Shock||E 86678-2, E86678-2||Australia||2004|
|none||Tom Waits||Real Gone (CD, Album, Unofficial)||Anti- , East Records||none||Russia||2004|
Real Gone is the 15th studio album by Tom Waits, released October 3, 2004 in Europe, and October 5 in United States on the ANTI- label. The album was supported by the Real Gone Tour, playing sold out locations in North America and Europe in October and November 2004. The album features some of the few political songs Waits has written, the most explicit being "Day After Tomorrow", a song Waits has described as an "elliptical" protest against the Iraq War.
Real Gone, like most of Tom Waits' records, is teeming with all kinds of mysterious noises: clangs and spits, faceless hollers, squawks, irrational toots, not-quite-human coughs, vicious bangs, apologetic whispers. It lurches along like a junk-heap jalopy, unsteady and unsafe, bits flying off in every direction, stopping, starting, and bouncing in pain. It hasn't always been this way. Sometime in the early 1980s, Waits stumbled past a mirror, caught a quick glimpse of his knobby mug, and was slapped with a cosmic, knee-wobbling epiphany: Tom Waits saw Billy Joel.
16. Chickaboom (hidden track). Other productions from Tom Waits.
Real Gone also contains his first overtly political song, "The Day After Tomorrow", a plaintive letter home from a young soldier in the middle of a war. Taken as a whole, the experience is breathtaking. I've been a Tom Waits fan for 16 years. I don't say that lightly as I pretty much like everything he does. Anyways, its a great sorta combo sound of Rain Dogs Cool/Lyrics with the bang/thump/clank of Bone Machine/Mule Variations, minus some of the angst of Alice and Blood Money.
Tom Waits has made a career out of doing precisely the wrong thing. While the Beatles invaded America, he attempted to get a job as a Sinatra-style crooner at a San Diego golf club. As San Francisco turned psychedelic, he travelled to Haight-Ashbury with the intention of becoming not a hippy, but a be-bop-fuelled beatnik . Musically, Real Gone is as eccentric and obtuse as ever: quite aside from Waits's human beatboxing, the album features 11 minutes of muffled dub reggae (Sins of My Father) and a sort of Afrobeat sea-shanty (Hoist That Rag). Lyrically, however, it seems curiously direct.
Amongst Waits fans, the debate over his best album comes up often. For this album, Waits abandoned the piano.