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Tom Waits Real Gone(2002)[FLAC][Colombo bt org]

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Tom Waits Real Gone(2002)[FLAC][Colombo bt org]

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Torrent info

Name:Tom Waits Real Gone(2002)[FLAC][Colombo bt org]

Total Size: 387.73 MB

Magnet: Magnet Link

Seeds: 0

Leechers: 0

Stream: Watch Online @ Movie4u

Last Updated: 2016-02-03 07:49:29 (Update Now)

Torrent added: 2009-08-27 19:48:21





Torrent Files List


01Top Of The Hill.flac (Size: 387.73 MB) (Files: 23)

 01Top Of The Hill.flac

27.13 MB

 02Hoist That Rag.flac

26.10 MB

 03Sins Of The Father.flac

56.90 MB

 04Shake It.flac

23.34 MB

 05Don't Go Into The Barn.flac

29.92 MB

 06How's It Gonna End.flac

25.42 MB

 07Metropolitan Glide.flac

22.11 MB

 08Dead And Lovely.flac

29.21 MB

 09Circus.flac

20.50 MB

 10Trampled Rose.flac

20.89 MB

 11Green Grass.flac

15.33 MB

 12Baby Gonna Leave Me.flac

28.97 MB

 13Clang Boom Steam.flac

4.30 MB

 14Make It Rain.flac

19.93 MB

 15Day After Tomorrow.flac

26.79 MB

 Real Gone.CUE

2.18 KB

 Real Gone.log

8.10 KB

 Tom Waits - Real Gone.m3u

1.01 KB

 tw rg-b.jpg

536.76 KB

 tw rg-cd.jpg

913.19 KB

 tw rg-f.jpg

669.17 KB

 tw rg-i.jpg

1.21 MB

 16Chick A Boom (hidden track).flac

7.59 MB
 

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Torrent description

Personnel: Tom Waits (vocals, guitar, chamberlin); Marc Ribot (guitar, banjo); Larry Taylor (guitar, bass guitar); Harry Cody (guitar); Les Claypool (bass guitar); Casey Waits (drums, percussion, turntables); Brain (percussion); Mark Howard (bells). There have been many incarnations of Tom Waits--the boozy piano balladeer, the arch Kurt Weill acolyte, the bold sonic experimentalist--but the one that pops up on REAL GONE is probably most akin to the raw, howling, modern primitive of BONE MACHINE. As he did on that 1992 album, Waits gets in touch with his inner Captain Beefheart on REAL GONE. Instead of employing arrangements that merely suggest the accompaniment of a FAT ALBERT-style junkyard band, Waits actually sounds like he's hooting and hollering in the middle of a Salvation Army scrapyard, albeit one populated by junkmen with an inherent simpatico for his medium. The absence of piano is significant--Waits's jazzy harmonic underpinning is entirely dismantled here, leaving only the most basic, blues-oriented structures atop which Waits hangs his distinctive poetic imagery, at once surreal and highly detailed. There's an overwhelming sense of darkness ("How's It Gonna End," "Dead and Lovely"), but there are also moments of pure unfettered glee "Metropolitan Glide," "Shake It"), which are often goosed along by Waits's son Casey on turntables and percussion. A perennial romantic, Waits does let in a little melodic sunshine on the poignant closing ballad, "Day After Tomorrow," but for the most part, REAL GONE is a deliriously wild ride.
Ola my friends

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