This year’s recognition of the best in music comes with some nice changes. First and foremost is an acknowledgement that I am not a music magazine or legitimate critic with access to every album made in a year. So this is recognition of the best music that I’ve heard. I don’t attempt to break down the music by genre but clearly the music is based on rock n roll and pop music. Lastly, I have done away with the lame Nominees and winner…I simply list the top for each category with a special acknowledgement for the one or two best.
2005 imitated 2004 in that there was good rock n roll music if you knew where to look. Mainstream radio is as dead as Dillinger. Low-end of the dial stations provided some relief (WFMU provides two of the best Rock N Roll shows in the country – Cherry Blossom Clinic and Teenage Wasteland while Little Steven still does his thing on mainstream syndication), and the music snob magazines and webzines offered some kind of directory. The internet at large provided the biggest resource for discovering new music. You may be expecting me to say MySpace.com but you’d only be partially correct. Plenty of bands showcased their talents through their own sites. Above the web, the best tool is live shows. Touring gets the name out there, especially for opening acts.
The truth is, there was no major music shake-up in 2005 and there was no focal point from which to pontificate, unless you count the prevalence of indie pop as the definition of rock music by critics and the popularity that dance-rock has developed. But really, it’s anarchy out there. And that’s a good thing.
Best Artist with new album in 2005:
For the second year in a row, an alternative to garage rock and blues is the best record of the year. While there are plenty of good garage rock acts, the truth is that it’s becoming harder for these acts to separate themselves and stand out. It takes something special and different to be remembered. Last year, it was Blanche. This year it’s the Decemberists. While Sufjan Stevens and Bright Eyes grab all the critics’ lists with their indie pop domination, the Decemberists took Indie pop a step further. Unlike their kin, Colin Meloy and shipmates can offer crisp, foot-tapping melodies. And going a step further than his peers, Meloy’s lyrics are of a literary and creatively rich world unlike any other. A lot of indie poppers have thematic qualities to their music, but none sell theirs as convincingly as the Decemberists. Picaresque is the definition of lush and beauty without getting soppy and overdone. Meloy’s voice may be hard to get into at first, but somehow the vocals manage to get more entwined with the music as you keep listening. And you will keep listening…Picaresque sticks around like a little mole…just digging away at you, till you give in and praise the name of Meloy. Listen to two tracks off Picaresque (“16 Military Wives” and “Engine Driver” and 2 other Decemberists songs here.
Runner-Ups:
Scott H. Biram – The Dirty Old One Man Band
As said above, it’s hard for a lot of these garage rockers to stand out. Biram bucks that trend and not only stands out, he beats the shit out of everyone else. The most appropriate album title of the year, the Dirty Old One Man Band showcases Biram’s ability to burn past the solo-act trail in a cloud of dust. Ferocious blues guitar and damn-near metal vocals make for the ultimate definition of foot stomping (and providing a good distraction of the inane lyrics that are almost exclusively about women as “chickens”). And just when you think this is all Biram offers, he spins out an acoustic hillbilly shuffle or even a touching ballad (“Wreck My Car”). Listen to some Biram here.
The overnight indie sensation of 2005, Clap Your Hands Say Yeah self-released a record that through a couple of online reviews, particularly from Pitchfork, led to biggest buzz out of New York since the Yeah Yeah Yeahs. Unlike the Yeah Yeah Yeahs first full- length album, this self-titled little dealie actually delivered from beginning to end. A solid, consistent record, Clap Your Hands’ little odyssey recalls the vocals of David Byrne (like many of these New York acts do) with music best described as a more chipper version of the Pixies crossed with the more radio-friendly sounds of Modest Mouse (which basically just means “Float On”). And I’ll say this just for the sake of saying it: Anyone who thinks the Shins are good should get an education and get this record. Alex Ounsworth and crew actually have something worthy to offer: a great chill record that doesn’t put you to sleep. Being the first (and so far only known) Philadelphia-Brooklyn combo does lend some bias. My Space
It was a good year for Bloodshot Records. In addition to Scott Biram, the little label picked up the latest release from Rachel Lee Nagy and Maribel Restrespo, which had already been released in Britain. The Cobras are of the school of thought of not changing a thing and for them that works brilliantly. Whichever guys back up these two ladies always seem to make for a fun record. If Baby stands out for any reason, is that it has the first ever originally written song from Rachel and Mary. The silly, short, and rather pointless “Hot Dog (Watch Me Eat)” joins excellent rediscoveries of obscure classics like “Weak Spot”, “I Wanna Holler”, and “Mean Man”.
The Dirtbombs – If You Don’t Already Have A Look
By all accounts, let’s face it: The Dirtbombs are pretty much the greatest band in the world right now. They take chances, they try new things, and yet still sound like the same band. They are a workhorse in the studio and live without resorting to uninspired material. And though this double album is a compilation of all the singles and extras over the years, the cover says it all: The current line-up, the line-up of the last year and a half, 2 years, is the line-up. Don’t ask me why, but that’s just how it feels. It also helps to have seen them (a personal record) 5 times in one year. Not every track is exactly perfect, unless you like a lot of bombardment and distortion, and then the compilation is indeed truly perfect. I dare anyone to hear “Here Comes That Sound Again”, “The Sharpest Claws”, “Candyass”, “My Love For You”, and “All My Friends” and challenge the supremacy of Mick Collins and company. Listen to various Dirtbombs songs including a live “Candyass” here.
I almost wanted to join the hipster and rock snob chorus of saying “Detroit is over”. But two things need to happen…first, there needs to be a scene. And a scene is something that comes and goes in a city already used to scenes. A bunch of folks just playing tunes in one city hardly qualifies as a scene. It’s just a community that’s part of a music tradition. And the second thing that needs to happen is avoid a band like the Hard Lessons. They manage to keep the spirit going. Auggie, Ko Ko, and the Anvil are not only 3 of the nicest folks you’ll meet but also 3 of the hardest working rockers out there. Constant touring with their furiously intense performances, the trio manage to also soothe the soul with some…well…soul, as well as some pop. Their debut record is a lot of fun and surprisingly eclectic. Keep up the good work, kids. My Space
Certainly the best purely garage rock record of 2005, the self-titled debut of the latest incarnation of Mark Sultan and King Khan is what rock n roll is all about and no two ways about it. Loud, raw, crunchy, if there is any problem with this record is that it is sometimes too out of control. Boasting two of the greatest rock songs ever, the original “Fish Fight”, and Mark’s original “Shake Real Low” (which showcases his amazing vocal ability), the dynamic duo could be forgiven for getting a little out of hand. Take Chuck Berry and Sam Cooke, mix them together in the dirtiest garage you can find, and out comes King Khan & BBQ.
The Knitters – The Modern Sounds of the Knitters
This album should be credited merely for existing, let alone for being good. The country version of X would have to really deliberately try to stink…so they didn’t. Some cotton pickin’ fun from what would be a novelty album if the musicianship weren’t so damn good.
The White Stripes – Get Behind Me Satan
Yes it is a good album. Any musical act more popular than the White Stripes couldn’t make this album on their best day with personal help from God. But yeah the streak is over. It almost pained me to not think of this record as the best of the year. It simply wasn’t. It’s solid, if not quite consistent. It offers friendly catchy pop amidst truly alternative rock numbers, and does sport one pure blues song. It’s everything and anything, an Alpha and Omega of the mind of Jack White. But for the self-imposed rules of the Stripes, Get Behind Me Satan tested those rules and almost broke them. It came too close. This is the Icarus album. It also ironically has the distinction of sporting songs that go in reverse: The songs that seemed catchy and great at first lose their flavor while those that took some time getting used to really prove to be the best of the album. Go to Amazon.com to sample the album.
Dooley Wilson – Tuff Break for a Hand Job
Who is this guy? This Ohio blues crooner came from the musical collective that eventually spawned the Soledad Brothers. Wilson stuck to this pure Delta Folk blues mission and it paid off with flying colors. It’s safe to say no one has heard of this record except for a special few. We are the privileged and the proud.
Best Song/Single released by a band, group or duo, in 2005:
Maybe the greatest cover ever. I hate the original. Queen’s worst. I am sorry but that’s how I feel. Electric Six, however, took this song from the ashbin of history and turned that wretched ballad into a head-banging, hip-shaking song that should have been the number 1 single around the world. Disco-Rock at its finest, “Radio Ga Ga” is full of that energy that makes E-6 so unique. Watch the video.
As already mentioned, this is one of the greatest songs ever. I don’t care how much you like rock, what kind of rock you like, if you don’t like this song, you don’t deserve to live. Simple as that. A catchy riff that won’t drive you insane in a bad way, a Chuck Berry-ish rhythm, and BBQ’s vocals in gruff mode, Rock N Roll music never sounded so good…and it’s 2005! Watch the video
Believe me, I didn’t expect this either. Usually, when the Stones put out a new album there is always a song or two to remind folks why the Stones are who they are. But it’s been quite a long time since a Stones album received such large praise, and it’s certainly been a very long time since the Stones released a single that deserves award recognition. In typical “back to their roots” fashion, the Rolling Stones unleashed the rockin’ blues beyond all expectations in 2005 (it helps when there are no expectations – yes that’s a pun goddammit). “Rough Justice” belongs in the Stones’ all-time pantheon of great tunes. It’s been a generation since the Rolling Stones released a single that can actually excite people. The best thing they’ve done since Some Girls, hands down. Watch a live performance.
Runner-Ups:
Ditching their psychedelic pop rock for blues-gospel roots music, BRMC were maybe the most surprising act of the year. This single displayed the new sound better than any other cut on the record. Listen here.
The Caesars – It’s Not The Fall That Hurts
Getting airplay on Little Steven’s Underground Garage following the commercial success (literally) of “Jerk It Out”, this single again shows the Caesars’ knack for hauntingly good vibes. The garage symphony sounds of this Swedish export make them standout in an increasingly crowded field. Watch the video here.
The Darkness – One Way Ticket To Hell (And Back)
As much as I loved the Darkness’ debut album, and as much credit as I gave their musical talents, I never doubted they would be a one-album novelty wonder. And well…I was pretty much right. The new album has too much filler and theatrical bombast, but the first single is one of the few tracks that stand out. It’s the Darkness at their most fun without the pretentiousness. Ok a little bit of pretentiousness. But so what? It’s the Darkness. Listen and watch the video.
Though Picaresque is not a singles album by any stretch of the imagination, the Decemberists could not have let this one slip by. Powered by an effective video (see below for more), “16 Military Wives” takes America head-on with substance and merit. Watch the video in Quicktime.
Another Little Steven chestnut, Boston’s Downbeat 5 offered this garage throwback that deserved more attention than it got. Also, it provides a nice little tongue twister when pronounced with the band name. Listen to this Little Steven episode to hear the song.
Franz Ferdinand quickly rose to the top of the Dance-Rock ranks after their first smash album. The second album offers more of the same: a handful of hot numbers amidst filler, and once again the singles are killer. This first single is the best on the album and though it’s really just another version of “Take Me Out”, there is something about these Scottish boys that makes this repeat visit worthwhile. And let’s just be honest…with rock no longer capturing the public’s favor, if Franz Ferdinand is the biggest commercial rock act out there, it’s nothing to really complain about. Listen here.
One of the better Franz imitators (no offense guys), the Kaiser Chiefs tested the limits of a catchy song turning into annoying monstrosity. Fortunately, as it is rock, this song did not get the play it could have gotten even 10 years ago. Therefore, it is saved from its own annoyance. It gets you dancing…good enough. That’s rock n roll. Listen here.
The Raveonettes – Love In A Trashcan
The Raveonettes remain an uneven band. Their debut EP was too droll. The follow up full length was a happy pop masterpiece. They’ve contributed the best modern Christmas song of their generation. This year’s full-length, “Pretty In Black” felt like a failure. It lacked the consistency of the previous record. But you wouldn’t have known that from the first single. “Love In A Trashcan” picked up where the last album left off. A smart first single. Click the official site’s video section to see the video for this song.
Yet another Little Steven track, this rather hardcore band offered this balls-to-the-wall punk fit. It wasn’t a great year for hard rock, so it needed something, and this was it. Listen here.
It’s funny how things worked out. When this song first leaked, I questioned it as to whether it was indeed the Stripes. I thought it was Prince. No foolin’!. And I didn’t like it as a Stripes song. Yet for a song I didn’t like, I was sure listening to it a lot. And now, while I define all of Get Behind Me Satan as I defined this song, I no longer think the song fits the album’s definition, and is actually a true White Stripes song, even with Jack’s surprising vocals. Watch the video.
Best Song/Single released by a Female Artist in 2005:
Amy Rigby – Dancing With Joey Ramone
It was a rather weak year for solo females in 2005. There was no Norah Jones-ish ingénue to dominate, nor was there some more popular mainstreamer to offer decent tunes. It was a year for indie pop females, if it was any kind of year at all for women. Amy Rigby’s ode to the Greatest Misfit of All Time, a song that seems to itself be a misfit on Rigby’s album, and except for the topic would be a misfit on Little Steven’s show where it got heavy play, is touching enough to warrant the title of Best. Check the recent Little Steven archives to find the song.
Runner-Ups:
Rising Indie Pop star Kathleen Edwards had this suitable single played on stations such as WFPK in Louisville. Listen here.
Another WFPK favorite, this song isn’t really the best Missy Higgins has to offer, but for single release it works just fine. And to think, I wouldn’t have given this track the time of day if she hadn’t opened for Blanche and the Ditty Bops. Listen here.
Best Song/Single released by a Male Artist in 2005:
Brendan Benson – Cold Hands, Warm Heart
Usually when it comes to solo artists, it’s easier to pick one single for best of the year while the band category is too packed with different sounds and styles to pick just one. This year was too tough in the solo male artist field. And ironically, if Ryan Adams and his fans in the critics’ world knew of my award, they’d chastise me for not giving credit to Ryan’s band, the Cardinals, who share billing with him on all three of his albums released in 2005. Well…tough. It’s still Ryan’s show. Cold Roses was not the perfect brilliance a lot of folks have made it out to be…it’s impossible to make a double album flawless. Several songs, however, are up there with Ryan’s previous best work. “Let It Ride”, as the album’s single, deserves its role. It’s what all alt-country should sound like: a touching vocal leading a solid rock rhythm. “If I Am A Stranger” probably showcased Ryan’s vocals off better, but “Let It Ride” is the consummate singer-songwriter hit. Go to Amazon.com to sample it.
Meanwhile, just when it looked like Ryan was going to walk away with this damned thing, Brendan Benson came along. The Alternative to Love is far from perfect, but this single would fool you in a heartbeat. Soft in its pop way without being a soft-pop piece of trash, “Cold Hands, Warm Heart” deserved to be a bigger hit than background on some car commercial. Benson’s vocals are outstanding as a strong pop riff drives the song. This is simply the kind of song that gives you the warm fuzzies. Watch the video.
Runner-Ups:
Mr. Hansen was back at it in 2005, and this deliriously catchy alternate rock hit was the just the thing for the summer. The official site has the video.
Jack Johnson – Sitting, Waiting, Wishing
Jack Johnson’s understated cool needs no change, and this single was a good affirmation of a job well done. The video.
Best New Artist in 2005:
King Khan & BBQ Show
Yeah this is unfair, I know. Neither of these guys are new artists (especially to the small cult following that has known them for years), and they’ve even played together in the past (The Spaceshits). But I will utilize the power of the technicality (they’ve never teamed before as this duo and under this name) to give them the award. Sue me. I don’t care. If you could make rock n roll as good as these two guys, I may listen. Until then, go to hell.
Runner-Ups:
It’s all worth it for “Milk & Sugar”, a pop song that they give their all on the record and live. But the good news is, there is more to the Hard Lessons than one song. The album proved it and the live act proved it.
Australian waif Missy Higgins won some kind of national contest (that wasn’t some American Idol-type show, important to note) and is a fast-rising star. This is what pop music is supposed to sound like: a dash of soul, a dash of dark balladry, and a dash of folk. A potpourri, if you will. And don’t let her adorable beauty make you biased in any way. At least, try not to.
Best Live Act in 2005:
Bands of Detroit (The Avatars, Blanche, Demolition Doll Rods, The Detroit Cobras, The Dirtbombs, Electric Six, Gore Gore Girls, The Hard Lessons, Nathaniel Mayer, Outrageous Cherry, The Sights, The White Stripes)
The musical community that comes out of Detroit is so cavernous and perpetual it would actually do injustice to credit one or two bands. Pretty much every Detroit band I saw this year in New York (except a couple who shall go nameless) gave it their all (ah fuck it…the Von Bondies phoned their performance in, and Brendan Benson was too small to play Keyspan Park). As many of these guys interact and mix, it’s like one big disorderly family. The Avatars would be the greatest rock-pop band in the world if they could put a full album out already. Blanche is still unlike anything else out there and remain America’s best-kept secret. The Dirtbombs are just the greatest period. The Demolition Doll Rods’ lack of clothing would be a distraction if the music weren’t so good. The Detroit Cobras are the consummate garage band while Electric Six should be the biggest band in the world if people had taste. The Gore Gore Girls are intentionally campy fun while the Hard Lessons represent the future of live Detroit rock. Outrageous Cherry’s psychedelic pop proved that Detroit acts continue to offer something new with each incarnation. Nathaniel Mayer may not seem to fit in this with crowd, but considering who backs him up, he’s a welcome patriarch (maybe grandfather is a more appropriate title). The Sights’ organ-pop rock couldn’t be finer, and there’s this other duo, who don’t really seem to be part of this family anymore…until you see them live and know that Detroit is the only place the White Stripes could have come from. Why? See and hear for yourself.
The Greenhornes, though not directly from Detroit, are so meshed in with some of these characters they deserve a more than honorable mention. Three other bands worth noting: The Comes Ons remain Detroit’s best band to not come to New York. It’s high time already. Check out this year’s single “Higher” in addition to the previous albums for evidence. It would also be a crime to not mention the Prime Ministers. Motorcityrocks.com played “Sunday Volume” on their podcast this year, and though this band was not seen live here, and though this song was not a single by any definite sense, it would be wrong to let this slip by: “Sunday Volume” is the best bar band song of the year. The Sirens, meanwhile, would offer the glam rock fun that the country needs if they would tour outside of Detroit. Let’s go people!
Runner-Ups:
The Black Keys
This may be hard to believe, but one band – ONE band – nearly stole the title of Best Live Act from the Detroit bloc. The Black Keys define blues-rock. For those that felt abandoned by the White Stripes’ latest experimentations, or just wanted the best in blues-rock, one needs look no further than Akron’s greatest export (better than rubber!). Dan Auerbach’s expert guitar work and deft vocal work would be sufficient enough for anyone but then Patrick Carney has to come along and pound on the skins. Perfect.
The Decemberists
As if having the Best Album of the Year wasn’t enough, the Decemberists also offer a surprisingly high key live act, displaying their musical craft in fine form while relishing in the rock n roll aura of live performing.
Holly Golightly
The durable, diligent Miss Golightly is a blues queen live. And always having Bruce Brand around is a double plus.
King Khan & BBQ
What more can be said of these two? Live wise, it’s like a little localized AC/DC Sam Cooke party in your house.
Living Colour
A 3 hour spectacle, it’s amazing how Living Colour can still entertain a large crowd at Irving Plaza while managing to still play CBGB’s like it was 20 years ago.
Mondo Topless
After a couple of years of total regional domination, Mondo Topless seemed to take a breather in 2005, but before they did, they put on one hell of a show at the Trash Bar in Brooklyn.
Southern Culture on the Skids
Cornball gimmick? Sure. Rock N Roll fun? Absolutely. Get hungry and get down.
X
While they put out a new record with the Knitters, John, Exene, and DJ got together with ol’ Billy Zoom to put out a new live X record and tour Eastward again, including a monumental return to New York City. A night so good that people of all political persuasions were happy together; X’s show at Roseland could not have been better. There is something about seeing them live…hearing X live…not even live on a record…but live…actually being there…that makes an X show so superior to just about all other things. In fact, I can’t think of anything superior. So there.
Also worth noting the live performances of the Caesars, the Ditty Bops, Reigning Sound, and Triple Hex. It was a big year in terms of live gigs…I had so much fun this year it’s hard to keep track of it all…but these 4 acts more than did their share.
Best Music Videos
I am doing this category for the first time and not very seriously. But from what I saw:
Maliciously funny to watch the abuse of animated little cartoons during such a sweet song.
Rushmore meets the Bush Administration. Nuff said.
As darkly sexy a video can be, right to the disturbing final second. And Jack’s Scarlet Pimpernel look actually fits for once.
Labels: Avatars, Black Keys, Blanche, Bush, Dirtbombs, Greenhornes, Jack White, King Khan and BBQ Show, Knitters, media, Mondo Topless, Music Awards, New York, Philadelphia, religion, White Stripes, Yeah Yeah Yeahs
