Long Gone
The first point that needs to be made right away about Tom Waits’ newest Anti album Real Gone is that it will suit fans already fond of his signature sound but probably will not convert any who aren’t big on his signature raspy delivery. For those that remain, Real Gone follows up Waits’ two 2002 albums Alice and Blood Money with an organic approach, laden with dirty production and human beat-boxing. Nearly every track is co-written by Waits’ wife and collaborator Kathleen Brennan and features clang-y guitar by Marc Ribot and thumping bass from Primus’ own Les Claypool. Waits’ son Casey also provides work on turntables and percussion, all of which combine to make the record sound warm, quiet and disheveled, like if a hobo just jumped off a train with his band to sing you a song.Some of the best songs land right in the middle. “Trampled Rose” finds Waits belting his highest pitch conceivable with his crackled voice against a walking blues meander. The down-tempo and awkward “Circus” finds Tom delivering a spoken word story much in the style of an obvious predecessor Captain Beefheart. And just before those tracks, “Dead and Lovely” highlights Waits’ ability to shine above what one might think were vocal limitations drawing you closer with subtle intonations.
Elsewhere, in the beginning, a ten minute plus “Sins of My Father” lumbers forward with a reggae-drugged-by-downers approach. This along with the opener “Top of the Hill” show tremendous courage in eclectic style, but Waits’ signature drawl will make it tough for some more impatient listeners to find the chewy center here. Nevertheless, a must have for current Waits fans.
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