Glitter And Doom Live

Director Terry Gilliam recently cast Tom Waits as Satan; what better role for this seductively jive-talking fallen angel? Waits' second live retrospective plumbs his later LPs, especially 1992's Bone Machine and 2004's Real Gone; it misses classics like "Time" but shows off a deep oeuvre and a brassy, mischievous sextet — see "Metropolitan Glide," which fleshes out its James Brown allusions with skewed, JB-style horn stabs. The bonus CD is a 35-minute quilt of Waits' between-song rambling, a mix of bar-stool surrealism and Ripley's Believe It or Not! ephemera so bizarrely engaging you almost don't miss the music.

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