Tom Waits ‎– Real Gone

Is it true that there are 2 different versions of this? one is a gatefold and the other isn't? If so, is there anyway to tell the difference if purcahsing online?

‘Real Gone' was described in the press release, as ‘cubist funk' whatever that means but it certain isn’t mainstream. Lots of examples of his love of the vocoder/megaphone thing (which is on ‘concrete mix' setting for many of the songs on the album) (see photo http://www.discogs.com/artist/Tom+Waits). Love it? More than likely hate it. Especially when the man has such a naturally great emotive and distinctive voice. Tom's early releases epitomised the smokin', gamblin', drunk, jazz piano playing bum, extraordinary poet that knew all the LA strippers in the dark side of town. For many fans his best work was the first eight albums on Asylum (see ‘Used Songs: 1973-1980' (released 2001). These are so ‘normal' compared to his latest material that it could be a different artist altogether. I initially found ‘Real Gone' hard work but he's nearly made the connection between accessible and leftfield. It opens with ‘Top Of The Hill', which is one of the best tracks (featuring son Casey on Turntables and Tom doing some beat box growling). This is followed by the (unusually for Waits) political ‘Hoist that Rag' which is a touch Latin/calypso/Cuban. ‘Sins Of The Father' follows which is a slower mellow track with guitar and banjo of Marc Ribot. The rest of the album sort of repeats these ‘styles'; ‘Shake It' and ‘Baby Gonna Leave Me' of beatbox/distorted vocal, ‘How's It Gonna End' and ‘Trampled Rose', ‘Make It Rain' are more typical of the rambling story telling. And there are two stand out tracks, ‘Circus' is spoken vocals over a scratched vinyl backtrack with some classic lines (e.g. “Topping the bill was Horse Faced Ethel and her Marvellous Pigs in satin”). The last track ‘Day After Tomorrow' is Dylanesque and is a moving anti-war story of a Dad reading a letter from his soldier Son longing to coming home. In total, we've got some sort of delta blues meets lo-fi hip-hop. I imagine that if Captain Beefheart were making albums today, it wouldn't sound to far away from the ‘harder' tracks on ‘Real Gone'; especially the 46 seconds of ‘Clang Boom Steam'. Does that help? Not really. I hated it the first time I heard it. However, after repeated plays, it is growing on me. Admittedly slowly, but it is. Fair play to Tom (aged 54).