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

The NightWatchMan - World Wide Rebel Songs

The Tune for Today is:

The NightWatchMan - Stray Bullets 

"Wooah oh oh
Ayy ee yay
I I I sail away
Wooah oh oh
Ayy ee yay
Slide on down
Wooah oh oh
Ayy ee yay
What is lost
You gave away
Stray bullets rainin' on
Down, down, down
Stray bullets rainin' on down

Me and Danny Lord and Steve
Were fuckin' drunk on New Year's Eve
Singin,' drinkin,' playin' guitars
Layin' 'round
We pulled the shotgun out the shed and
Fired it towards the heavens
Stray bullets rainin' on down

Wooah oh oh
Ayy ee yay
I I I sail away
Wooah oh oh
Ayy ee yay
Slide on down
Wooah oh oh
Ayy ee yay
What is lost
You gave away
Stray bullets rainin' on
Down, down, down
Stray bullets rainin' on down

Back of an Ace uncovered truck
The captain laughed and said, "Good luck"
As we rolled on through
Our first Iraqi town
From the rooftop we got blasted
Danny Lord's spine came unfastened
Stray bullets rainin' on down

Wooah oh oh
Ayy ee yay
I I I sail away
Wooah oh oh
Ayy ee yay
Slide on down
Wooah oh oh
Ayy ee yay
What was is lost
You gave away
Stray bullets rainin' on
Down, down, down
Stray bullets rainin' on down

Fifteen months lost in Iraq
We got stop-lossed, they sent us back
Why the fuck we're even here I'll never know
Me and Steve, we went out walkin'
A few of us have started talkin'
And now we've got a mission of our own

Wooah oh oh
Ayy ee yay
I I I sail away
Wooah oh oh
Ayy ee yay
Slide on down
Wooah oh oh
Ayy ee yay
What was is lost
You gave away
Stray bullets rainin' on
Down, down, down
Stray bullets rainin' on down

'Cuz now were comin' for the captain
To reap the seeds he's sewn
Everybody hit the deck
'Cuz his tent's about to blow
Tell the general when we find him
He'll be the next to go
We're coming for the captain
And then we're going home

Wooah oh oh
Ayy ee yay
I I I sail away
Wooah oh oh
Ayy ee yay
Slide on down
Wooah oh oh
Ayy ee yay
What was is lost
You gave away
Stray bullets rainin' on
Down, down, down
Stray bullets rainin' on down."

The Nightwatchman (Tom Morello) - Vocals, Guitar, Mandolin, Harmonica.
Carl Restivo - Guitar, Keyboards, Backing Vocals.
Chris Joyner - Keyboards.
Jonny Polonsky - Toy Piano.
Eric Gardner - Drums, Percussion.
Dave Gibbs - Backing Vocals.
Anne Preven - Backing Vocals.

When describing World Wide Rebel Songs, Morello stated, "Troubled times call out for troubled songs. World Wide Rebel Songs is an album of rousing hopelessness and this time The Nightwatchman has brought along his electric guitar to tip the scales. I wanted to capture a vibe midway between Johnny Cash and Che Guevera, murder ballads and Molotov anthems."

Review by Thom Jurek (allmusic)

Tom Morello's doppelganger the Nighwatchman issues World Wide Rebel Songs hot on the heels of his benefit EP Union Town. Rather than play solo as on previous offerings, he fronts a rock quintet. This is marching music. If you don't like your music political, where songs address class, race, and rage that comes from hopelessness, this isn't for you. That said, personal responsibility and accountability are paramount in Morello's universe. The album's first single, "Save the Hammer for the Man," a midtempo, anthemic, electric/acoustic number co-written with Ben Harper (who guests on it), is an admonition to those who've decided enough is enough, to focus their radical actions at those truly responsible. The music, layered with popping martial drums, rock-solid basslines, beautifully balanced acoustic and electric guitars, match the plain-spoken yet poetic forcefulness of Morello's language. The opening "Black Spartacus Heart Attack Machine," in its stop-and-start, half-chanted, half-sung lyric, reminds listeners that history is made by people, not power brokers. (And historical analysis reveals this to be largely true.)Morello's view is international -- check the songs "The Dogs of Tijuana" and the brooding "Facing Mount Kenya"; they assert that class war is being asserted globally -- and needs to be fought with that in mind. This band rocks on the furious "It Begins Tonight." "Speak and Make Lightning" is a stomping two-step; its "love covers all sins" conclusion may be surprising, but love is exposed as a powerful motivating factor throughout the album and seems to be inspired not only by the logic of his heart, but by an important historical figure with the same view -- Guevara: “Let me say at the risk of seeming ridiculous that the true revolutionary is guided by great feelings of love.”) Narrative songs are balanced by anthems throughout, with the haunting "The Whirlwind" and country-punk of "Stray Bulletts" illuminated by the crackling title track, and the scorching electric "Union Town" close the disc. As a songwriter, Morello's grown exponentially: he's tighter and he gets his points across without cynicism or naivete. He extends the topical (political) folk song tradition into the 21st century musically and lyrically. His arrangements and production -- large backing choruses, only-what's-necessary instrumentation, and clean, live-sounding sonics -- allow his songs to breathe fire into the questions, illuminating them clearly. World Wide Rebel Songs, is, without question, a welcome call to arms.

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

Morphine - Yes

The Tune for Today 

Morphine - Super Sex

(Sandman)
Taxi taxi hotel hotel
I got the whiskey baby
I got the whiskey I got the cigarettes
Automatic taxi stop
Electric cigarette love baby
Hotel rock'n'roll the discoteque
Electric super sex
Automatic taxi stop
Electric cigarette love baby
Hotel rock'n'roll the discoteque
Electric super sex
I got the whiskey baby I got the whiskey
I got the cigarettes
You are a super ultra maxi Mega super funkie love baby
Oh I need a super star
I need a candy bar
Automatic taxi stop
Electric cigarette love baby
Hotel rock'n'roll the discoteque
Electric super sex
Automatic taxi stop
Electric cigarette love baby
Hotel rock'n'roll the discoteque
Electric super sex
You want a super ultra maxi funkie American
Love baby (x3)
Hey there mama hey there pa
Got sexy googoo baby talk
Got california baby dolls
All right yes hello my name is Mark
And I'm super rich no super star
Did you know the president is super super super sexy
Automatic taxi stop
Electric cigarette love baby
Hotel rock'n'roll the discoteque
Electric super sex
Did you know the president has super super super sex
Ah wooh uh
I got it all year long ha ha 

Review by Greg Prato

On their third release, 1995's Yes, Morphine shied away from the more accessible direction they laid down on 1994's superb Cure for Pain, going for a more challenging (but just as rewarding) direction. While the singles/videos "Honey White" and "Super Sex" did contain a pop edge (and were the album's best), other tracks, such as "The Jury" and "Sharks" pushed the envelope by containing lyrics that sound as if they're stream of consciousness. Like its predecessor, it's a highly consistent album -- even the lesser-known tracks are integral to the album's overall makeup. "Scratch," "All Your Way," "I Had My Chance," "Free Love," and "Gone for Good" all sound like the observations of a broken-down man, steeped in despair. But the mood lightens up on such selections as "Radar" and the title track, plus the aforementioned singles. With nearly all alt-rock bands sounding identical and bashing angrily away at their instruments in 1995, Morphine proved to be in a league all by themselves. Yes is perhaps just a shade less spectacular than Cure for Pain, but certainly not by much.

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