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A superb example is the bed track underpinning the hellacious groove of Metropolitan Glide that Waits aptly described as cubist funk. In stark contrast, the album's closing track, 'Day After Tomorrow,' returned Waits to his singer-songwriter roots, and features a beautiful melody that sounds eerily similar to Dylan's early acoustic work." [1] After several years without film appearances, he played a gun-toting Seventh-day Adventist in Tony Scott's Domino (2005)

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