Mark Lanegan - Whiskey for the Holy Ghost

The Tune for Today is:

Mark Lanegan - Borracho

Album Version

Live Version

Oh....oh (4x's) 
Trouble comes in slowly 
A neverlasting light come to shine all over me 
Bright in the mornin' 
Like all of heaven's love come to shine on me 
And to you who never need 
Fuck yourselves, I need some more room to breathe 

Here comes the devil, prowl around 
One whiskey for evey ghost 
And I'm sorry for what I've done 
Cause it's me who knows what it cost 

It breaks and it breathes, and it tears you apart 
It bites and it bleeds 
And this desert turns to ocean over me 

Here come the devil, prowl around 
One whiskey for every ghost 
And I'm sorry for what I said 
I said I just don't care anymore 

A fool can feed on the notion 
Sees and believes 
And this desert turns to ocean over me 

Trouble comes in slowly 
A neverlasting light come to shine all over me 
At the dead end to mornin' darlin' 
With all of heaven's love come to shine on me 

The fool that feeds on the notion 
Sees and believes 
And this desert turns to ocean over me 

Here come the devil, buy the round 
One whiskey for every ghost 
And I'm sorry for what I done 
Lord it's me who knows what it costs 

The fool that feeds on the notion 
Sees and believes 
And this desert turns to ocean over me 

Here come the devil, prowlin' round 
One whiskey for every ghost 
And I'm sorry for what I said 
I said I just don't care anymore 
It breaks and it breathes and it tears you apart 
Gonna bite, gonna bleed 
Til this desert turns to ocean over me

Review by Mark Deming (allmusic)

Mark Lanegan's first solo album, 1990's The Winding Sheet, was a darker, quieter, and more emotionally troubling affair than what fans were accustomed to from his work as lead singer with the Screaming Trees. The follow-up album, 1994 's Whiskey for the Holy Ghost, used The Winding Sheet's sound and style as a starting point, with Lanegan and producer/instrumentalist Mike Johnson constructing resonant but low-key instrumental backdrops for the singer's tales of heartbreak, alcohol, and dashed hopes. While The Winding Sheet often sounded inspired but tentative, like the solo project from a member of an established band, Whiskey for the Holy Ghost speaks with a quiet but steely confidence of an artist emerging with his own distinct vision. The songs are more literate and better realized than on the debut, the arrangements are subtle and supportive (often eschewing electric guitars for keyboards and acoustic instruments), and Lanegan's voice, bathed in bourbon and nicotine, transforms the deep sorrow of the country blues (a clear inspiration for this music) into something new, compelling, and entirely his own. Whiskey for the Holy Ghost made it clear that Mark Lanegan had truly arrived as a solo artist, and it ranks alongside American Music Club's Everclear as one of the best "dark night of the soul" albums of the 1990s.

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Vincent Gallo - When

The Tune for Today is:

Vincent Gallo - When 

Vincent Gallo - When from Bianca Grapes on Vimeo.

Doo do doo do doo do doo
Do doo do doo

When you come near to me
I go away
What is not clear for me
I go away
What is not here for me
I go away
I go away
I go away

Doo do doo do doo do doo
Do doo do doo

Doo do doo do doo do doo
Do doo do doo

Doo do doo do doo do doo
Do doo do doo

When you come near to me
I go away
When things are clear to me
I go away
What is not here for me
I go away
I go away
I go away

Doo do doo do doo do doo
Do doo do doo

Doo do doo do doo do doo
Do doo do doo

Doo do doo do doo do dooDo doo do do

Review by Tim DiGravina

Vincent Gallo's first full-length album, outside of his various indie film scores, is a remarkably subtle and delicate collection of songs from the usually fiery, iconoclastic auteur. Where the soundtrack to Buffalo 66 raged with prog rock abandon, When never sees Gallo working his acoustic guitars and analog percussion with anything other than graceful restraint. Those who know Gallo mostly as a bizarre, mesmerizing thespian will be surprised to discover that his vocal stylings are as gentle as they are throughout When. The title track and the four other songs with vocal turns find Gallo sounding like a cross between Jimmy Scott, Pale Saint's Ian Masters, and Yo la Tengo's Ira Kaplan. Maintaining a mellow, somewhat creepy and sweetly endearing tone, Gallo sings of brittle love on the lullaby-like "Apple Girl," obsession on the haunting "Honey Bunny," and, somewhat humorously, how life can be "so nice" on "Yes I'm Lonely," a song that wouldn't seem out of place in a 21st century update of Mary Poppins. The five instrumentals that comprise the remainder of the album are primarily minimalist, moody, and jazzy. Gallo frequently conjures a fractured atmosphere of tender, uneasy bliss, strumming every guitar himself and layering each melodic element into an off-kilter look into the slow-burning emotional underbelly of modern existence. Trip-hop shuffles start, stutter, and stop; malevolent buzzing crops up and dissipates; and a guitar ratchets and moans like an electrified Etch-a-Sketch. When is entirely accessible, but it works its charm in dark ways that might be unsettling for some listeners. With its smart, confident arrangements, consistent tone, and fascinating personal themes, the album sees Gallo making a bold, confident, and mature musical step of considerable relevance.

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Screaming Trees - Dust

The Tune for Today is:

Screaming Trees - Halo of Ashes 

Studio Version:

LIVE VERSION (the red haired guy is Josh Hommes)

She wears a halo of ashes

Specter on the wind

Waits on me so patientlyI 

no longer can pretend

Sky lies a thousand mile below

Stars shine and the moon is clear

With nothing I can only warn

Won't you be left near here

I been a long long time away

With one foot in the grave

Glorified in the dying of the sun

My angel pulls me closer

As my poison she crawls thru

Walks with me so silentlyI 

no longer can refuse

Tomorrow my thousand miles behind

Star shine and the moon below

Wake me where you find me

Pretend you don't know

I been a long long time away...(repeat)

She wears a halo of ashes

Specter on the wind

Waits on me so patiently

I no longer can pretend

Tomorrow my thousand miles behind

Face painted in the moon below

Wake me where you find me

Pretend you don't knowI been a long long time away...(repeat 2x's)

Review by Stephen Thomas Erlewine

In many ways, the Screaming Trees missed their opportunity. They released Sweet Oblivion just as grunge began to capture national attention and they didn't tour the album extensively, which meant nearly all of their fellow Seattle bands became superstars while they stood to the side. After four years, they returned with Dust, their third major-label album, and by that point, the band's sound was too idiosyncratic for alternative radio. Which is unfortunate, because Dust is the band's strongest album. Sure, the rough edges that fueled albums like Uncle Anesthesia are gone, but in its place is a rustic hard rock, equally informed by heavy metal and folk. The influence of Mark Lanegan's haunting solo albums is apparent in both the sound and emotional tone of the record, but this is hardly a solo project -- the rest of the band has added a gritty weight to Lanegan's spare prose. the Screaming Trees sound tighter than they ever have and their melodies and hooks are stronger, more memorable, making Dust their most consistently impressive record.

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The Chosen Tune Week

The Chosen Tune Week
Monday	Tuesday	Wednesday	Thursday	Friday
The NightWatchMan - Stray Bullets	Suicidal Tendencies - Trip at the Brain	One Day as a Lion - Ocean View	At The Drive-In - One Armed Scissors	RATM - Freedom

The NightWatchMan - Stray Bullets

Suicidal Tendencies - Trip at the Brain

One Day as a Lion - Ocean View

At The Drive-In - One Armed Scissors

Rage Against the Machine - Freedom

Rage Against the Machine

The Tune for Today is:

Rage Against the Machine - Freedom 

ComeBring it on, bring it on now

Solo, I'm a soloist on a solo listAll live, never on a floppy diskInka, inka, bottle of inkPaintings of rebellionDrawn up by the thoughts I think

OhCome on, oh

You see a set up like a deck of cardsThey're sending us to early graves for all the diamondsThey use a pair of clubs to beat the spadesWith poetry I paint the pictures that hitMore like the murals that fitDon't turn away, get in front of it

Brotha, did you forget your name?Did you lose it on the wall playin' tic-tac-toe?Yo, check the diagonal, three brothers gone, come onDoesn't that make it three in a row?

Your anger is a giftYeah, yeah, yeah

Drop it

Sista, did you forget your name?Did you lose it on the wall playin' tic-tac-toe?Yo, check the diagonal, three million gone, come on'Cause you know they're counting backwards to zero

Environment, the environment exceeding on the levelOf our unconsciousnessFor example what does the billboard say?Come and play, come and play, forget about the movement

Forget about yourself'sForget about your cultureAnd forget about your history and just flyAnd just fly

Your anger is a giftYeah yeah

Bring that shit in

Freedom for the realFreedom for the realFreedom for the realFreedom for the realFreedom for the realFreedom for the real

Freedom, yeahFreedom, yeah rightYeah, freedom, yeah

Review by Eduardo Rivadavia (allmusic)

Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal,Rage Against the Machine's self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance -- though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the former's roots in '80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like "Bombtrack," "Take the Power Back," and "Know Your Enemy" were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as "Settle for Nothing," "Bullet in the Head," and the particularly venomous "Wake Up" (where Morello revises Led Zeppelin's "Kashmir" riff for his own needs) -- all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the band's unique clash of muscle and intellect were catered to, asRATM were able to convey their messages through stubborn repetition via the fundamental challenge of "Freedom" and their signature track, "Killing in the Name," which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of "Fuck you, I won't do what you tell me!" Ultimately, if there's any disappointment to be had with this near-perfect album, it's that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machine's vision. As such, it remains absolutely essential.

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At The Drive-In - Relationship of Command

The Tune for Today is:

At The Drive-In - One Armed Scissors 

Yes this is the campaign
Slithered entrails
In the cargo bay
A neutered is the vastness
Hallow vacuum check the
Oxygen tanks
They hibernate
But have they kissed the ground
Pucker up and kiss the asphalt now
Tease this amputation
Splintered larynx
It has access now

Cut away, cut away
Send transmission from
The one armed scissor
[x3]
Cut away, cut away

Banked on memory
Mummified circuitry
Skin graft machinery
Sputnik sicklese found in the seats

Self-destruct sequence
This station is non-operational
Species growing
Bubbles in an IV loitering
Unknown origin
Is this the comfort of being afraid
Solar eclipsed
Black out the vultures
As they wait
Unknown, unknown
Unknown, unknown, yeah

Cut away, cut away
Send transmission from
The one armed scissor
[x3]
Cut away, cut away

Dissect a trillion sighs away
Will you get this letter
Jagged pulp sliced in my veins
I write to remember
'Cause I'm a million miles away
Will you get this letter
Jagged pulp sliced in my veins
I write to remember [x3]

Cut away, cut away
Send transmission from
The one armed scissor
[x3]
cut away, cut away

cut away, cut away [x2]

Review by Blake Butler (allmusic)

Welcome to the breath-robbing, heart-pounding Relationship of Command, an album many have been waiting for with red-faced anticipation since their last EP, the brilliant Vaya. On this 11-track masterpiece, so full of adrenaline and swarming moods, ATDI has created one of the most infecting and mind-blowing rock albums in a long time. While most of the tracks are of the more aggressive edge, this is undeniably the band's most focused and well put together and, therefore, best all-around album yet. "Quarantined" and "Sleepwalk Capsules" alone make this album worth purchasing: This music is seamless and inspiring. Electronic movements meshed into "Enfilade" stretch the texture of the album further, into the unique backup vocals of Iggy Pop on "Rolodex Propaganda." Amidst all the rock, there is the undeniably unique edge about ATDI's sound, something that has permeated through their music from the Hell Paso 7". Beautiful vocals bursting passion in quirky, abstract, and often thrilling lyrics, youthful energy, driving melodies, and a sense of beyond-the-moment urgency. Moving from Relentless to Grand Royal, as well as to the notorious and mostly infamous producer Ross Robinson, has not killed the band's spirit or sound, as many loyal fans feared it would in the pattern of Jawbreaker, Jawbox, among others. If anything, it has allowed the band to push themselves to new limits, to fulfill what they have been working for relentlessly for so long. This is not a band that could ever be insincere. You can see it in their eyes and feel it in their music and work ethic. ATDI is one of the saviors of true emotional straight-up rock!

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