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Tom Waits, "Real Gone"
While maintaining the typical uncompromising method to creating music,which is after all much of what makes Waits what he is, he perhaps goesa bit too far. For the first time in his career, he abandons keyboardinstruments. Instead, he is accompanied by a drove of weird noises,from bells, whistles, hisses and what sounds like banging on pots andpans to industrial clanging and leaky pipes hizzing, to humanbeatboxing, which Waits performed and recorded on a cheap tape deck inhis bathroom.Anti
Turntablism courtesy of his son Casey is alsoincorporated, and while far short of anything DJ Shadow would put hisname on, it is the final nudge that pushes Real Gone'ssound from the eccentric to the borderline insane. Such tomfoolery attimes threatens to derail the album, but Waits and his trademark gravelthroat keeps Real Gone if not grounded at least focused.Sometimes a mere croak, Waits's war-weary pipes conjure up images oflate nights, hard drink and one carton of Marlboro Reds too many, whilesubtly revealing the true star of Real Gone, and indeed the keyto Waits's longevity: his skill as a songwriter. When mated to theyarns Waits is able to spin in the span of three to five minutes, themanic music becomes sublime. Waits matches tribal drumming andprimitive chanting to make an anti-jingoism anthem: "The sun is up theworld is flat/ Damn good address for a rat/ The smell of blood/ TheDrone of flies/ You know what to do if/ The baby cries/ HOIST THATRAG!" Waits's longstanding to downtrodden has not wavered at all, fromthe unlucky lover with "Green Grass" ("Lay your head where my heartused to be/ Hold the earth above me/ Lay down in the green grass/Remember when you loved me") to the unfortunate accessory on "Don't Gointo that Barn." His ability to create characters and tell compellingstories has not lost any of its uncanny power, as is evident on "How'sIt Gonna End": "There's a killer and he's coming/ Thru the rye/ Butmaybe he's the Father/ Of that lost little girl/ It's hard to tell inthis light." Waits does overdo things at times:- "Sins of the Father"is an egregious overindulgence, boring, preachy and tortuously long atnearly eleven minutes. The opening track, "Top of the Hill," is littlemore than a vehicle for Waits's newfound instrumentation choices, asthe lyrics are nothing more than a string of non sequitirs, madetolerable only by the fun Waits has with the turntables and beatboxing.On "Clang Boom Steam," Waits felt the need to imitate orally what couldbe either a steel foundry or a busy railway yard, with, just as thetitle suggests, clangs, booms, and hisses from his mouth, a pointlessmeandering that is wildly out of step with the rest of the album. Butit doesn't matter, as Waits does as he pleases, and whether it'sthrough luck, ability or something more sinister ("I'm not able, I'mjust Cain") he releases one of 2004's most compelling albums. -
Turntablism courtesy of his son Casey is alsoincorporated, and while far short of anything DJ Shadow would put hisname on, it is the final nudge that pushes Real Gone'ssound from the eccentric to the borderline insane. Such tomfoolery attimes threatens to derail the album, but Waits and his trademark gravelthroat keeps Real Gone if not grounded at least focused.Sometimes a mere croak, Waits's war-weary pipes conjure up images oflate nights, hard drink and one carton of Marlboro Reds too many, whilesubtly revealing the true star of Real Gone, and indeed the keyto Waits's longevity: his skill as a songwriter. When mated to theyarns Waits is able to spin in the span of three to five minutes, themanic music becomes sublime. Waits matches tribal drumming andprimitive chanting to make an anti-jingoism anthem: "The sun is up theworld is flat/ Damn good address for a rat/ The smell of blood/ TheDrone of flies/ You know what to do if/ The baby cries/ HOIST THATRAG!" Waits's longstanding to downtrodden has not wavered at all, fromthe unlucky lover with "Green Grass" ("Lay your head where my heartused to be/ Hold the earth above me/ Lay down in the green grass/Remember when you loved me") to the unfortunate accessory on "Don't Gointo that Barn." His ability to create characters and tell compellingstories has not lost any of its uncanny power, as is evident on "How'sIt Gonna End": "There's a killer and he's coming/ Thru the rye/ Butmaybe he's the Father/ Of that lost little girl/ It's hard to tell inthis light." Waits does overdo things at times:- "Sins of the Father"is an egregious overindulgence, boring, preachy and tortuously long atnearly eleven minutes. The opening track, "Top of the Hill," is littlemore than a vehicle for Waits's newfound instrumentation choices, asthe lyrics are nothing more than a string of non sequitirs, madetolerable only by the fun Waits has with the turntables and beatboxing.On "Clang Boom Steam," Waits felt the need to imitate orally what couldbe either a steel foundry or a busy railway yard, with, just as thetitle suggests, clangs, booms, and hisses from his mouth, a pointlessmeandering that is wildly out of step with the rest of the album. Butit doesn't matter, as Waits does as he pleases, and whether it'sthrough luck, ability or something more sinister ("I'm not able, I'mjust Cain") he releases one of 2004's most compelling albums. -
