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.

Tune the Album

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.

Tune The Album

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.

Tune The Album

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!

Tune The Album

Suicidal Tendencies - How Will I Laugh Tomorrow When I Can't Even Smile Today

The Tune for Today is:

Suicidal Tendencies - Trip at the Brain

 

Trippin' (echo)

Ha ha ha ha ha ha...Tripping...

I gotta gotta take a trip, gotta take a trip out of this place
I gotta gotta get away, get away from the human race
I don't know what I'll see; don't even know what I'll find
I don't know what to pack, never been to a trip to the mind

Trip at the brain. Trip at the brain. Trip at the brain
Do you know what I'm saying?
Trip at the brain. Trip at the brain. Trip at the brain
Well I'm going insane

I took a wrong turn and ended up at my heart
It could barely even pump no blood, it was so thrashed and torn apart
Thanked it for working overtime in pain and misery
Then I set back on the trail, headed for my destiny

Trip at the brain. Trip at the brain. Trip at the brain
Do you know what I'm saying?
Trip at the brain. Trip at the brain. Trip at the brain
Well I'm going insane, well, fly with me...Flying free...

Tripping...tripping...
Trip Trip Trip Trip Tripping...Ya ya ya ya you're tripping

I cannot, cannot stop this trip I forgot to pack the brakes
Ran straight into a concrete wall of my mistakes
Ended up in a cemetery of a thousand wasted days
But that's alright with me ‘cos that's where most of my memory lays

Trip at the brain. Trip at the brain. Trip at the brain
Do you know what I'm saying?
Trip at the brain. Trip at the brain. Trip at the brain
Well I'm going insane

Take another take a body take it buddy take it and my mind is gonna, trip it gotta gotta gotta gotta gotta gotta~ fly with me~ flying free~

Gotta get away…Gotta, gotta, gotta get away
I gotta get away, gotta get away… I'm gonna take that trip.
Welcome, 'cause I'm the host with the most, now here a little toast, to take another taste to put you mind out cold, I'll situate your fear, make your knowledge disappear, you can talk all you want, but nothing you've admitted here~ 
It's situating, exasperating, a simple demonstration in experimentation, I slip, flip, flinch trip every little dip, it's not like it's complicated, of course your free to pay, I'm educated for your personal pain, well it's so insane, but won't you keep all the pain, as I slip fly flip, got caught up in another, try to pay another shrink, buy his wife another mink, let me tell what I think think I think I think~ I Gotta, gotta get away gotta get away, gotta get away, I'm just trippin' trippin' trippin' 
Never volatile, wanna sin with me, you gotta get away, they say they're gonna freak, but that between the cheek, gotta trip gotta trip gotta~ 
Gotta make a sound, its a dance mom, gotta take a trip, gotta take a trip, the real trip ain't about gettin' hip, gotta trip tripa tripa tripa tripa ha~ Sins go slam, goin down at the chest, gotta get away gotta get away away~ Gotta trip with no permission, mind evaluation, take your head, add a little crazy, take that trip to the brain, take that trip to the brain everybody gotta get get off, you gotta gotta gotta take the trip to the brain!

Review by Steve Huey (allmusic)

Suicidal Tendencies regrouped successfully for one of its best efforts, How Will I Laugh Tomorrow When I Can't Even Smile Today. The band's thrashy fusion of its hardcore roots with speed metal was fully developed by this point, and Mike Muir's social commentary and self-analysis were as ragingly compelling and by turns amusing as ever. Highlights include "Trip at the Brain," "One Too Many Times," and the title track.

Tune The Album

Beck - Odelay

The Tune for Today is:

Beck - Novacane

Keep on talking like a novacane hurricane
Low static on the poor man's short-wave
Stampede's got to dismantle
Code-red: what's your handle
Mission incredible undercover convoy
Full-tilt chromosome cowboy
X-ray search and destroy
Smoke stack black top novacane boy
Got so low your mom won't drum
Getting late with the suicide beat
Test-tube, still-born and dazed
Chump scum plays in the razor's haze
Got the momentum radioactive
Lowdown!
Circumcised for the operation
Don't expect some generation
Cyanide ride down the turnpike
Hundred hours on the miracle mic
Grinding the gears eighteen wheels
Rigs and robots riding on their heels
Fine tune robot making a sand box(?)
Heats and infernos burning like drano(?)
Down the horizon purple gasses
Semi-trucks hauling them asses
Novacane, hit the road expressway
Explode!
Novacane! Novacane!

Review by Stephen Thomas Erlewine (allmusic)

Unlike Stereopathetic Soul Manure and One Foot in the Grave, the indie albums that followed his debutMellow Gold by a mere matter of months, Odelay was a full-fledged, full-bodied album, released on a major label in the summer of 1996 and bearing an intricate, meticulous production by the Dust Brothersin their first gig since the Beastie Boys' Paul's Boutique. Odelay shared a similar collage structure to that 1989 masterpiece, relying on a blend of found sounds and samples, but instead of lending the album its primary colors, the Dust Brothers provided the accents, highlighting Beck's ever-changing sounds, tying together his stylistic shifts, making the leaps from the dirge-blues of "Jack-Ass" to the hazy party rock of "Where's It's At" seem not so great. Like Mellow Gold, Odelay winds up touching on a number of disparate strands -- folk and country, grungy garage rock, stiff-boned electro, louche exotica, old-school rap, touches of noise rock -- but there's no break-neck snap between sensibilities, everything flows smoothly, the dense sounds suggesting that the songs are a bit more complicated than they actually are. Most of the songs here betray Beck's roots as an anti-folk singer -- he reworks blues structures ("Devil's Haircut"), country ("Lord Only Knows," "Sissyneck"), soul ("Hotwax"), folk ("Ramshackle") and rap ("High 5 [Rock the Catskills]," "Where It's At") -- but each track twists conventions, either in their construction or presentation, giving this a vibrant, electric pulse, surprising in its form and attack. Like a mosaic, all the details add up to a picture greater than its parts, so while some of Beck's best songs are here, Odelay is best appreciated as a recorded whole, with each layered sample enhancing the allusion that came before.

Tune the Album

The Chosen Tune Week
Monday	Tuesday	Wednesday	Thursday	Friday
Atoms for Peace - Amok	Morphine - Super Sex	The Joy Formidable - Maw Maw Song	Parquet Courts - Master of My Craft	Beck - Novacane

Parquet Courts - Light Up Gold

The Tune for Today is:

Parquet Courts - Master of My Craft 

I got a gold medal record time, gold record, diamond mine,
Name in print, tongue, t-shirts and minds.
Thread count - high
Commissions - high
Hourly rates - high
A minute of your time?
Forget about it.

I didn't come here to dream or teach the world things,
Define paradigms, or curate no livin' days,
With high thread counts and staircases high.
Hourly rates - high
A minute of your time?
Forget about it.

Thread count - high
Commissions - high
Hourly rates - high
A minute of your time?
Forget about it.

People die I don't care, you should see the wall of ambivalence I'm building
I got no love for the living.
Thread count - high
Commissions - high
Hourly rates - high
A minute of your time?
Forget about it.

Death to all false profits around here we praise a dollar you f*ckin' hippie
Wanna walk around in my shoes and then tell me how it feels
Thread count - high
Commissions - high
Hourly rates - high
A minute of your time?
Forget about it.

From the hands of my mother, said I'm master of my craft

Thread count - high
Commissions - high
Hourly rates - high
A minute of your time?
Ya know Socrates died in the f*ckin' gutter!

Review by Fred Thomas (allmusic)

Passionate slackers Parquet Courts are from the same crew of Texas-to-Brooklyn transplants responsible for the Zappa-esque genre-bending conceptual weirdness of Fergus & Geronimo as well as the more straightforward basement pop-punk of Teenage Cool Kids. Songwriter Andrew Savage is clearly a prolific and multifaceted character, but with Parquet Courts, he taps into a focus and sense of mood cultivation missing in some of his other projects. Savage and fellow songwriter Austin Brown present a series of observational freeze-frames on debut album Light Up Gold, zeroing in on banal scenes, everyday events, and listless pondering during drifting times. Musically, Parquet Courts draw on some influences not commonly paired, but to great effect. Motoric indie rockers like "Borrowed Thyme" and "Stoned & Starving" call to mind the wandering rock of the Feelies or the inward-looking side of the first phase ofthe Modern Lovers. Contemporaries like Tyvek can be heard on the shouty poetry of tracks like "Donuts Only" and "Yonder Is Closer to the Heart," while the shadow of '90s staple artists like Pavement andSonic Youth colors the entire album. All these disparate influences don't show up in a way that feels jarring or derivative, which is perhaps the great strength of Light Up Gold. The album manages to sound like it's learning from its influences rather than stealing directly. Much like Pavement's "Two States" managed to blatantly ape the Fall and somehow still get a pass on its own merits, "Careers in Combat" apes Pavement aping the Fall in the most original way possible, and sounds great in the process. The patchwork of reference points becomes more about the way the band wears them than anything, andParquet Courts' approach to both melody and always-mutating guitar tones silently elevates them from being mere reflections of their record collections. While still early into the group's existence, the bandmembers dubbed their sound "Americana punk," possibly referring to the open landscapes of their Texan beginnings clashing with their present urban surroundings and the unique sonic results of that juxtaposition. Much more on the mark is a line from an early bio comparing the feel of the band to elements of Sonic Youth, Bob Dylan, and other acts not originally from the big city, but ultimately just as important a part of its musical landscape. Light Up Gold captures some of the excitement and perspective on city life that only transplants could feel, and filters it through a haze of laid-back '90s alt-rock influence. The album is sometimes languid, often jittery and beaming, but mostly an almost subconsciously storytelling collection of moments that would be boring and forgettable if they weren't captured in songs so accidentally perfect.

Tune The Album:

The Chosen Tune Week
Monday	Tuesday	Wednesday	Thursday	Friday
Atoms for Peace - Amok	Morphine - Super Sex	The Joy Formidable - Maw Maw Song	Parquet Courts - Master of My Craft	Beck - Novacane