On This Day in 2004, an Obscure Album Is Named the Best of the Year (And I Bet You’ve Never Heard of It)

On October 4, 2004, a somewhat obscure album was released that Harp Magazine famously named as the best of the year in print, though evidence of this has been lost to time and the internet. And unless you’re a diehard Tom Waits fan, I bet you’ve never heard of it.

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The album in question is Real Gone by Tom Waits, released on this very day in 2004. An experimental rock album with a notable alternative hip hop edge, this record led to a sold-out tour of North America and Europe. And while it was praised by critics, it wouldn’t top any mainstream charts. Though, Real Gone did make it to No. 28 in the US and No. 1 on the Independent Albums chart. Waits’ follow-up, the famed 2011 album Bad As Me, became the gravelly-voiced musician’s first Top 10 album in the United States. The release even scored a Grammy nom, and it remains Waits’ most recent release.

But we’re here to talk about Real Gone. And it’s an album I think all new Tom Waits fans need to give a spin.

Tom Waits’ ‘Real Gone’ is an underrated gem that deserved more love back in 2004 from mainstream listeners

Real Gone is Tom Waits’ 15th album and a ground-shaking collection of songs, featuring a handful of political tracks. One song, “Day After Tomorrow”, is considered a protest song about the Iraq War.

The album was a somewhat collaborative release between Tom Waits and his frequent collaborator and wife, Kathleen Brennan. And there are so many genre elements on this album, you might just discover something new with each listen. It’s experimental and alternative, sure, but it also features elements of blues, funk, African traditional music, the Cuban sound, and more. And, surprisingly enough, there’s no piano on this album. That’s a rare one for Waits.

The album also features the bass-playing talents of Les Claypool and Canned Heat’s Larry Taylor, as well as avant-garde guitarist Marc Ribot. Waits also gives beatboxing a try on this album, notably on songs like “Metropolitan Glide” and “Top Of The Hill”.

Overall, Real Gone received mostly positive reviews from publications like Mojo and Pitchfork. However, I still think this album remains one of the most underrated gems of the mid-2000s. If you’re new to Waits’ work, I think this is a fine album to start with. But, really, you need to listen to everything he’s ever produced.

Real Gone was remastered and re-released by ANTI- in 2017.

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