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	Amazon.com: Real Gone: Music: Tom Waits
		Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years.
		On Real Gone, the up tempo tracks are some of the rawest and most kinetic he's ever laid down...He's never sounded like he's had this much fun...while the ballads are among his most beautiful and even chilling at times.
		REAL GONE is the latest chapter from the 30+ year career of Tom Waits.
	www.amazon.com /Real-Gone-Tom-Waits/dp/B0002SDKG6 (1277 words)

	Real Gone - Wikipedia, the free encyclopedia
		Real Gone is an album by Tom Waits, released October 3, 2004 in Europe, and October 5 in USA (see 2004 in music) on Epitaph Records (under the Anti- sub-label [1]).
		The album was supported by the Real Gone Tour, playing a few sold out locations in North America and Europe in October and November 2004.
		Real Gone is the only Tom Waits album to completely lack piano.
	en.wikipedia.org /wiki/Real_Gone (234 words)

	Tom Waits: Real Gone (2004): Reviews
		Real Gone may not rock your world in the way that 2002's musical one-two punch of Blood Money and Alice did, but you'll still be glad to hear it.
		Real Gone is another provocative moment for Waits, one that has problems, but then, all his records do.
		Real Gone is a great album, truly one of the most unique listening experiences in years.
	www.metacritic.com /music/artists/waitstom/realgone (1114 words)

	ANTI- Album - Real Gone
		Written and produced by Tom Waits and Kathleen Brennan, his wife and long-time collaborator, REAL GONE features 15 tracks of funk, Jamaican rock-steady, blues both urban and rural, rhythms and melodies both Latin and African and, for the first time, no piano.
		REAL GONE is a phrase that describes a place, a time beyond reach: a lost mind, a renegade leader, war love sublime, love lost, death, desire, escape.
		REAL GONE is also an expression used by musicians to describe the experience of playing and losing yourself to the place where you can finally be found.
	www.anti.com /catalog.php?id=1 (373 words)

	Tom Waits: Real Gone: Pitchfork Record Review
		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.
		Happily, Real Gone has its share of both-- although devious preference is, of course, purposefully paid to the former.
		For Real Gone, Waits ditched his trademark piano and most of his rhythm section, opting instead to cough up man-made beats like hairballs and sputter abrasive scats.
	www.pitchforkmedia.com /article/record_review/23068/Tom_Waits_Real_Gone (856 words)

	HYBRIDMAGAZINE.COM \| REVIEWS \| Tom Waits - Real Gone album review
		Gone are the days of "Heart Of Saturday Night", with its dark, but musical voice.
		On Real Gone, Tom Waits has crafted a rhythmic and melancholic record full of just the kind of madness that seems to bring the rest of life into sharp focus.
		There are moments of such severely pointed repetition that the listener will be forced to attempt to solve the conundrum that is being placed before him or her.
	www.hybridmagazine.com /reviews/1204/tomwaits.shtml (487 words)

	Gone - Biography - AOL Music
		Formed near the end of his tenure as the leader of Los Angeles hardcore legends Black Flag, Greg Ginn's instrumental group Gone walked the strange fine line between atonal jazz, riff-heavy rock and brief forays into funk stylings sporadically from 1986 onwards.
		Gone went quiet after their first two releases, not to return until 1994 with not one but two new full lengths released that year, Criminal Mind and All the Dirt That's Fit to Print.
		Get Gone biography information, download, listen and watch Gone music, mp3's, song lyrics, music videos, Internet radio, live performances, concerts, and use the music search function to find information on other new and established recording artists.
	music.aol.com /artist/gone/4382/biography (250 words)

	Amazon.co.uk: Real Gone: Music: Tom Waits (Site not responding. Last check: 2007-10-24)
		On Real Gone, Tom Waits and his band present a bold musical statement that is equally in tune with modern and traditional values.
		Throughout much of Real Gone, Waits sings of desperate situations in his trademark gravelly howl, conjuring images of emotionally haunted spaces that you would not wish to inhabit but may well be familiar with.
		Tom Waits has rarely been a versatile as he is on Real Gone, and the record is all the better for it.
	www.amazon.co.uk /Real-Gone-Tom-Waits/dp/B0002MRKTK (1683 words)

	Tom Waits Real Gone Review @ Serendipity Media www.serendipity.windwhispers.net
		With the first song, "Top of the Hill" starting with a stutter and a slap, Real Gone is not an easy return to form by any means.
		Gone are the poignant tear jerkers and studied heart breakers.
		The main key to the return to sounds and renewed enthusiasm from the past could be attributed to the return of guitarist, Marc Ribot to the fold, long absent and sorely missed.
	www.serendipity.windwhispers.net /reviews/waitstom-realgone.html (716 words)

	'Real Gone' drums it in - The Washington Times: Entertainment - November 02, 2004 (Site not responding. Last check: 2007-10-24)
		The soundscape of "Real Gone" is a dankly enclosed space of pots-and-pans percussion, primal rhythms and voodoo funk.
		The discordant timbre of "Gone" might be a reflection of the elder Waits' displeasure with the current administration.
		The world of "Real Gone" is not a happy place.
	www.washtimes.com /entertainment/20041101-100222-9076r.htm (446 words)

	Popjournalism :: Pop Reviews :: Tom Waits, Real Gone
		Waits' 19th studio release, Real Gone, sounds different on the surface but upon further plays it’s just Waits up to his usual tricks.
		Real Gone is influenced by Jamaican rock-steady, rhythm and blues, and contains the occasional turntable scratch.
		Waits’ growl adds depth to "Baby Gonna Leave Me" and "Don't Go Into That Barn." Real Gone is another intense and energizing release from Waits' already eclectic discography.
	www.popjournalism.ca /pop/reviews/2004/00093.shtml (196 words)

	Tom Waits: Real Gone
		Real Gone is Waits's most vital album in twelve years as he moves away from the feel of the last two.
		What marks Real Gone as a change of direction for Waits are two things he does or does not do.
		Real Gone is so distorted and frayed but it is actually the instrumentation that grabs you at the outset.
	www.allaboutjazz.com /php/article.php?id=15720 (579 words)

	Tom Waits 'Real Gone' reviewed on Official website of writer Laura Hird
		‘Real Gone’ is built from sounds that seem to originate from before the dawn of music — or beyond its extinction.
		The clack of wooden slats, stress metal clang, chain gang call and response, field hollers and boot camp chants, these are a few of his favourite things.
		Here he has re-envisioned those phantasms in a piece called ‘Hoist That Rag’, conjuring opium dreams of high seas terrorists boarding Bosch’s ship of the foolish and the mad, visions of frigging in the rigging, rotting cadavers hanging from the mast, mutineers hauled by ropes under the barnacled hull.
	www.laurahird.com /newreview/realgonewaits.html (892 words)

	* Dusted Reviews - Tom Waits *
		There’s only one real ballad on Real Gone, “The Day After Tomorrow,” a protest song that’s moving and pertinent but almost awkwardly so in the context of the album.
		Much of Real Gone has been stripped so bare instrumentally that its heavy accumulation of rhythmic noise — manipulated groans and grunts (“Metropolitan Glide”) what sounds like a cracking horsewhip (“Don’t Go Into The Barn”) — establishes a sustained, bristling mood that electrifies particular songs but bogs down the album as a whole.
		But Real Gone falls victim to one of the problems plaguing his 1999 record Mule Variations — the more downbeat tracks don’t ever justify their excessive lengths.
	www.dustedmagazine.com /reviews/1792 (648 words)

	Paste Magazine :: Review :: Tom Waits - Real Gone :: ANTI- (Page 1)
		Real Gone, his first batch of material written specifically for an album since the uneven Mule Variations (Alice and Blood Money were composed for theater productions staged by Robert Wilson), signals his most dramatic shift in sound since the '80s.
		But don’t take the minimal turn as a sign of mellowing; much of Real Gone is loud, rude and in your face, with Waits prodding his ragged croak to new extremes.
		The remainder of Real Gone consists mostly of solid mid-tempo ballads, and only once, on “Day After Tomorrow” (the painfully lovely closer about a soldier stationed in the Middle East), does Waits indulge his sweet and sentimental side.
	www.pastemagazine.com /action/article?article_id=945 (535 words)

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