06/27 – 07/01:

Tom Waits, Bawlers

The middle disc of his 3-disc rarities set, the mellow one. The appearance of this particular kind of Tom Waits album generally means it was like 11pm and I was winding down. And this is great music for that time of day.

Tom Waits, “Little Man”


Ghostface Killah, Apollo Kids

Ghost has peaks and valleys in his output, but this one is definitely a peak. One of the strongest albums in a catalog with several absolute classics.

Ghostface Killah, “2getha Baby”


Aesop Rock, Daylight EP

This is perhaps my favorite Aesop Rock release. I’m not sure why, exactly. I love the interplay between “Daylight” and “Nightlight.” I just love every song on it, I guess. Aesop hasn’t released a bad record yet, but this seems to be the one I come back to the most often.

Aesop Rock, “Daylight”


Mike Patton, Mondo Cane

Mike Patton isn’t known for being predictable, but a full album of 50s & 60s Italian pop performed with a full orchestra and a choir in Italian is about as far from what you’d expect from the man as possible. Even more surprising is that it’s one of the very best albums he’s ever released, alone or with any of the thousands of bands he seems to be in. Patton’s amazingly adaptive voice is truly on display here, going from crooning ballads to crazy screaming and never disserving the material. It’s a great album.

Mike Patton, "Deep Deep Down"


Lightnin' Hopkins, Mojo Hand

One of my very favorite blues performers. Hopkins never really compromised his sound as the world of the blues changed around him. He never really went pop, he kept playing the music that was true to him, and carved out an important place in the music of the 20th century.

Lightnin’ Hopkins, “Gin Bottle Blues”


Ani Difranco, Reveling

The more upbeat half of the 2-disc Revelling/Reckoning set from 2001. I guess this was the beginning of the end of my favorite period in her discography, where she was playing with more and more musicians and really exploring. She began to pull back and, I guess, “get back to basics” a few years later (And then flipped right back in the other direction most recently), but I loved that full-band sound.

Ani Difranco, “O.K.”


Future of the Left, Curses!

When Mclusky broke up, I was sad. When 2 /3s of their members merged with members of the also recently broken up band Jarcrew to become Future Of the Left, I was de-saddened. Future of the Left picks up where Mclusky left off, frantic, sarcastic, explosive music, but the new band sounds much cleaner, more streamlined and more precise than the old. It all works out splendidly on this, their debut album.

Future of the Left, “Manchasm”


Cannibal Ox, The Cold Vein

One of the most emotionally engaging hip hop albums I’ve ever heard. Dark, atmospheric, paranoid, every song a raw nerve getting pinched. It’s not party time music, but it’s quite an experience.

Cannibal Ox, “Iron Galaxy”


Faith No More, The Real Thing

Sometimes I wonder what it was like to be a Faith No More fan when Mike Patton came aboard. There’s no argument that Patton is a far more exciting and accomplished vocalist than the departing Chuck Mosley, but at the same time, he was what Faith No More vocals were supposed to sound like for two whole records. Like a lot of people, I guess, I’d heard “We Care A Lot” and thought it was funny, but didn’t really pay much attention to the band until “Epic.” But I bet there’s people out there that really resent the addition of Patton. Maybe swore off the band over it. And that’s hilarious.

Faith No More, “The Real Thing”


Yup.
--D