For those who've patiently waited for Neko Case to finally capture her ravishing live performances on record, The Tigers Have Spoken may initially disappoint. After all, with a mere 11 songs clocking in at barely 30 minutes, the album – culled from three spring performances with such friends as the Sadies, John Rauhouse, Kelly Hogan, and Carolyn Mark – is ultimately more a tease than a definitive document of the country crooner's considerable stage prowess. Still, it's one helluva half hour; blazing a trail through torch songs, noirish country, and raucous rave-ups, Case beautifully showcases her immense talent for interpretation as she stakes claim to old standards like "This Little Light" as well as songs by Buffy Sainte-Marie, the Shangri-Las, and Loretta Lynn, among others.

It's the originals, however, that truly captivate. Not only does Case offer stunning renditions of "Blacklisted" and "Favorite," but the two new compositions also hint that her next album could be her best yet. The exquisite title track uses a chained tiger as a metaphor for an old flame, while "If You Knew" finds Case pining for a man enamored with a callous, undeserving woman. "You're just another puppet, she's not even keeping score," she warns. "All the while my heart is breaking." And even if these songs can't quite keep Tigers from sounding like a frustratingly brief stopgap between 2002's Blacklisted (Bloodshot) and its follow-up, due this spring, it's hard to imagine a better way to bide your time. Neko Case and the Sadies perform Dec. 1-2, Bimbo's 365 Club, S.F. (415) 474-0365. (Jimmy Draper)

Nas
Street's Disciple (Columbia)

Arguably the most anticipated album of 2004, Nas's Street's Disciple was at the center of a whirlwind of speculation. Naysayers believed he'd bitten off more than he could chew with a double album, leading to industry rumors of it being whittled down to a single disc. Others said Nas had lost his competitive edge with the retirement of Jay-Z, though there's plenty of pressure this time around. The Queensbridge MC needed to be provocative yet familiar, regional yet universal.

Unfortunately, Nas doesn't exactly deliver, though he doesn't exactly disappoint either. On Disciple, he seems to be in the frame of mind that "if it ain't broke, don't try to fix it." Teaming up with Salaam Remi for a good chunk of the album, Nasiri Jones spits his rhymes over sample-heavy tracks reminiscent of the early days of hip-hop – think "Made You Look" and "Get Down." Not that the blueprint doesn't work. On the album's first single, "Thieves Theme," Nas flows effortlessly, hitting the mark with bizarrely contradictory topics that range from John Lennon's assassination to average tough-guy gun talk. On "You Know My Style," he rides a break beat, never shifting above second gear, utilizing a slow, old-school style that listeners will either love or hate. "Everybody's talkin' bout the new Nas song," he boasts on the hook. Whether the talk consists of praise or ridicule is yet to be determined.

"Good Morning," which sports an Isley Brothers loop, is entertaining in a straight-up "beats, rhymes, and life" way, as is the majority of the album. Herein lies the problem: Nas rarely pushes the envelope. A scratch or two beneath the surface would have done the thought-provoking MC a world of good. On his previous offering, 2002's God's Son, Nas was at his best when he tried new concepts. For instance, on "Book of Rhymes" he read directly from his notebook. On "The Cross" he took listeners on a journey through his tumultuous career. Granted, every track can't be a concept song, but those are truly Nas's strong suit. Anyone can brag and threaten MCs over a hot track. But can you run through a story backward? Can you tell a tale from a gun's point of view?

Nas does, however, go one step further than Common and André 3000, who sampled their parents' speech for their LPs: he actually made music with his dad, bluesman Olu Dara, on "Bridging the Gap." Father and son rocking out – a definite hip-hop first. Such innovation is key when taking on the daunting task of serving up a double album. OutKast excelled at it on SpeakerBoxxx/The Love Below (La Face). Jay-Z had a number of gems on The Blueprint2 (Roc-A-Fella), but too much uninspired filler weighed it down, although even those tracks are better than 90 percent of the hip-hop out there. Ultimately this is where we find Nas. It's not that the album sucks, though hardcore fans may be a bit peeved with Nas's complacent, 30-plus tracks of retro hip-hop. Much as a teacher might say to a straight-A student who just scored a B-, I'd say, "I expected more from you." (Juan Pablo)

Alex Attias Presents Mustang
Back Home (Compost)

The rough and the smooth – this mix has always been at the heart of Compost Records' best releases. Unfortunately, in recent years the label has fallen off a bit with some forgettable albums, but Swiss precision technician Alex Attias is here to save the day with an album of broken beat with balls.

Why does Attias strut where so many others stumble? For starters, he's got timpani, big and bold, adding cinematic bang to the beat. Timpani recall the ceremony of the symphony, but their distinctive, commanding tone also perfectly complements Attias's hard-hitting programming. Then there are vocalists like Vanessa Freeman soaring high with soul, Bémbé Ségué getting dramatic as the backup singers get operatic, and Colonel Red burnishing three tracks with his golden tenor. Their voices all arc smoothly over the frenetic beats and sub-bass pulses, pulling you through each song as wa-wa guitars, minor-chord strings, and keyboard stabs leap from all sides. The album's few weak moments come on instrumental numbers, like the meandering "Angels," which still sports Attias's excellent balance of detail in instrumentation and rhythm but sinks into repetition without the compelling vocal element. Yet these minor lapses are far overshadowed by the mellow but virile funk of "Help Me" and the thundering "Closer to Me," with its huge sawing synths and rolling bass shot through with Jessica Lauren's simple chorus. Despite his nationality, Attias is anything but neutral, conquering all with the sweet and dark. (Peter Nicholson)