The final release in the Melvins' 1999-2000 trilogy, The Crybaby is a work of punk art, albeit one that's eclipsed by the majestic The Bootlicker, the second title of the trilogy. Where

Crybaby

The final release in the Melvins' 1999-2000 trilogy, The Crybaby is a work of punk art, albeit one that's eclipsed by the majestic The Bootlicker, the second title of the trilogy. Where The Bootlicker is a sprawling yet cohesive aural experiment, The Crybaby is an unapologetic-nay, proud-mutant of an album. Which Melvin is responsible for brain-farting the brilliant idea of having '70s teen idol Leif Garrett sing along to the Melvins' raucous cover of "Smells Like Teen Spirit"? Which Melvin persuaded Hank Williams III (Hank Jr.'s son!) to warble his way through "Ramblin' Man" and "Okie from Muskogee"? Jesus Lizard's David Yow and Mr. Bungle's Michael Patton are a good fit; their respective tracks take the Melvins' heavy sound to new heights. The jagged and raw rhythms of "Spineless," featuring members of Skeleton Key, are infectious and biting, but Tool's 15-minute opus, "Divorce," is sleep-inducing. Bliss Blood of Pain Teens conjures spirits with her funereal "The Man with the Laughing Hand is Dead," a bleak and spare treatment graced by a somber Melvins arrangement. The disc fades away with the arty and somewhat industrial "Moon Pie," featuring Kevin Sharp of Brutal Truth. This collection won't make the Melvins a household name, but it should propel Leif Garrett back into the rock arena. He sounds great! --Lorry Fleming

Crybaby