Tom Waits - 2004 Real Gone
mp3 | 320Kb/s | 119MB
Part 1
Part 2
1. Top Of The Hill
2. Hoist That Rag
3. Sins Of My Father
4. Shake It
5. Don't Go Into That Barn
6. How's It Gonna End
7. Metropolitan Glide
8. Dead And Lovely
9. Circus
10. Trampled Rose
11. Green Grass
12. Baby Gonna Leave Me
13. Clang Boom Steam
14. Make It Rain
15. Day After Tomorrow
From Amazon.com
There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs–Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller–capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). –Aidin Vaziri
Part 1
Part 2
1. Top Of The Hill
2. Hoist That Rag
3. Sins Of My Father
4. Shake It
5. Don't Go Into That Barn
6. How's It Gonna End
7. Metropolitan Glide
8. Dead And Lovely
9. Circus
10. Trampled Rose
11. Green Grass
12. Baby Gonna Leave Me
13. Clang Boom Steam
14. Make It Rain
15. Day After Tomorrow
From Amazon.com
There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs–Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller–capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). –Aidin Vaziri