The "Williamsburg" Confession

First a link to the piece that got me started on writing this - the toxic brew that it is there is something I haven't given much thought about, even after remembering this Lopate show about the decades-old oil leak in Greenpoint. But anyway...

This is the story of Williamsburg. Actually it isn't. It's the story of "Williamsburg". It's the story of me and my relation to this Brooklyn neighborhood not just as a location but as a concept, in the context of what I knew growing up, what my experience has been in the last few years, and what it all means now. So it's a story of my life with Rock N Roll and another city - Detroit - but it's really best to just call it the story of "Williamsburg".

When I first planned on writing this story, I thought the moment I would talk about happened in 2001 or 2002. But I was wrong. According to this, it happened in 2003 which means I must have known about it sooner. That link is good because it brings up the other city in this story.

But there I was - apparently in 2003 - sitting on the can, as I usually am, reading Maxim's Blender magazine when I discover that Williamsburg is the "Most Rock N Roll City" in the USA. What? I must have thought one of two things, depending on what I knew at that point. It was probably "A bunch of trendy hipsters have made a notorious Brooklyn neighborhood the Most Rock N Roll City in the USA?". But initially I thought this was the moment I discovered Williamsburg to not be a slum at all, let alone that the hipsters made it number 1. Let's backtrack:

Growing up on the complete opposite end of Brooklyn, I had always been told by my paranoid, enclosed, and hateful family that Williamsburg and Greenpoint were two of the many bad neighborhoods in Brooklyn and we would never ever go there for any reason ever. But I recall going once in the 80's or early 90's, and it did live up to those characterizations. As self-hating Jews, we felt uncomfortable around the Hasidim that lived up there, and as a bunch of racists, my family hated the dark skinned half of the population there even more. And that's talking specifically about Williamsburg. We never ventured to Greenpoint but we thought of it as the same.

Plow ahead to the early 2000's. Very early. I helped chaperon a trip for my old high school to Greenpoint. I was stunned. It was a nice, safe, clean long time Polish neighborhood. The irony of this was that my family comes from Poland. But since this wasn't Jewish Polish, it didn't count. For all my family knew, it was a ghetto. So this was the first stunning moment.

Now let's enlarge the story. It's 2002. After doing some reading, I learn over a short period of time that there is some sort of rock revival going on in the independent music scene. I see the same bands mentioned over and over - The Strokes, The White Stripes, The Hives, The Vines. Reads cool. So I checked 'em out and except for the Vines, I got into it. Suddenly I was - music wise but never in dress or attitude - Hipster Numero Uno. This was in college down in Philadelphia where most of my friends were peaking in their rock interests, primarily stopping at the mid-70's. Some moved on to other things, some of which I latched on to (Ween) and some things I did not (thrash metal). So my thing was the new garage rock.

In addition to seeing and hearing these bands, I learn about their friends and associates and I see that there are actual little scenes going on. Scandinavia seemed the biggest scene outside the USA (England was surprisingly lacking - having only produced The Libertines and later on the gimmicky but fun band The Darkness). In the USA, two cities seemed to be popping up again and again as scenes. New York and Detroit. And specifically in New York, the Lower East Side and Williamsburg.
Hold the phone. Detroit? That run down little Rustbelt relic? There are white people still living in Detroit? And they play rock n roll? I thought Eminem and Kid Rock were all that came out of the Motor City at that point. But nope, there was a whole cadre of garage bands that the Rock World was spying on after the impressive start of the White Stripes.
Hold the phone again. Williamsburg? What the....Williamsburg? Ok, I knew Greenpoint, right next door, was not what I thought it was but Williamsburg? Hasidim and ghetto thugs? Abandoned industrial factories (perhaps not surprisingly, it's own little Rustbelt Riviera)? A band called the Yeah Yeah Yeahs were "from Brooklyn". There are rock bands from Brooklyn? Since when? Certainly not while I was there. Right...? Right...? I thought all the artists and hip people were still in Soho and Chelsea. Holy cow!

So that's how it started. Before moving back from Philadelphia (which itself has/had a small but very immobile garage rock scene), I reacquainted myself with my hometown (and if you're wondering why Detroit matters in this story at all, just hold on). I learned about a lot of these good New York bands - the Strokes, YYY, the Mooney Suzuki - and I learned that not only was the Williamsburg/Greenpoint section of Brooklyn all the trendy rage, the Lower East Side was the twin city on the other side of the river. So I guess by the time I read that Blender article, I had known but was still stunned. And for the record, I still object to the designation of "city". It's a neighborhood.

I have a love and hate affair with these current crop of hipsters. I like a lot of the look (especially on the girls, and I myself am a sucker for a good blazer with slacks and a messenger bag) but it feels forced. The exorbitant amount of money flowing underneath felt obscene and made the scene feel false. But alas this is how many scenes happen. Someone has to have the money. Back over in Detroit, no one had the money, and that's why people left - to go to places like New York.

So back to Detroit. By late 2002, early 2003 - before I even moved back to New York to have more time experiencing this music scene - I fell in love with the White Stripes. More so than any other band. This was THE band. And it was only 2 people. The ability to change the sound and style without changing the aesthetic really appealed to me. But obviously it was the ability to sound good and write good songs in each different style that really made it work. I annoyed my friends with constant talk about them. On the day Elephant came out in 2003, I made a biiiiig stink about it. I was like a little fanboy. I was a little fanboy. Sue me. It felt good to be into something like that. And I had nothing to be ashamed of. Instead of being derided by my rock snob friends, I had done them one better. Now I was the snob. But I digress.

After moving back to New York that summer, I really got into the scene. And I started making trips up to Williamsburg. I had ONE friend who liked to go up there but not for live music. He did it just to feel trendy and get drunk, and he introduced me to some good bars there and on the Lower East Side and East Village. Live music was another matter. My first gig back in NYC was actually The Sounds at Club Luxx in Williamsburg. It couldn't get any more garage hipster than that folks. I even had an Ac/Dc shirt on (remember a couple years ago when all those bastards started wearing Ac/Dc shirts? I STARTED it. Ok I probably didn't - but as an actual fan of Ac/Dc for several years running by that point, it felt like I did).
I was totally blown away by the idea of the Village Voice doing an annual festival in Coney Island. Who would have thunk it? Coney Island was (and still mostly is) dreck. But there it was. A festival just a few stops down. What a time to be alive.

So that was almost four full years ago now. A lot has happened. As per New York, the scene never died. But it shifted and changed. The Strokes' rock n roll gave way to the Yeah Yeah Yeah's art rock. Art rock gave way to dance rock (and that went national and international - and this time, the Brits DID show up to the party, Franz Ferdinand and all their sub-par peers). For a brief period, the hipsters tried to engineer a new sound "electroclash" but it failed. After dance rock, came the return of indie pop. And nowadays, it appears what would have passed for mainstream bar band rock in the 90's is now the current hipster flavor (The Hold Steady). I like some of it. I don't like some of it. That's how it is and always will be. We're almost at the point of this story, let me just switch back to Detroit for a moment because things will start to come together now.

The White Stripes began to disassociate with their hometown sometime between Elephant and 2005's Get Behind Me Satan. Artistically, aesthetically, personally - the association that Jack White had with his hometown was draining away and eventually snapped completely. Why does this matter?
Because the whole time I was reveling in the New York scene, I had increasingly become obsessed with the Detroit bands. I liked other bands and other styles - but the Motor City garage thing was tops for me. A good dozen to two dozen (maybe even more, I hope not) bands were my biggest interests. It was obscene. And the perk of being in New York was that this was the one town that most of these bands would eventually come to.
Though while I was still in Philadelphia, I went to two shows at the little venue called the Balcony that had some significance in the long run: First was Mondo Topless, Philadelphia's own garage band. I loved them and still do. But the headliner that night was an Ohio group called the Greenhornes. Now, as I was an arrgoant jerk (and still am) but knew even less then, I said to myself "who are these White Stripes ripoffs?"). But I would come to know the Greenhornes better later on. The second gig was Electric Six. I went to see this band purely on a White Stripes-related reason. Jack had sung on one of their songs. It was a great damn show and the beginning of a mostly-love affair with the Six that still goes on to this day. And to help bring in some kind of full circle story, while the band is technically still based out of Detroit, the lead singer who essentially IS Electric Six, lives in Brooklyn (or at least he did the last time I heard).

So let's bring in some context now (thank you for sticking with me this far - YOU are crazier than I am for reading this, so take heart!). The Greenhornes would play important roles later on - particularly their bass player, Jack Lawrence. The Greenhornes were openers or playing on the bills at a LOT of shows that came to the Northeast that almost always featured Detroit bands. Two of these bands were the Dirtbombs and Blanche (the aforementioned Jack Lawrence became a member of Blanche right before I got into them). About a year after the Philly shows, I got into both bands heavily, far surpassing the other Detroit bands and rivaling if not even surpassing at many times, the White Stripes.

So there was my life. A New York scenester mostly interested in bands from Detroit. But particularly those 2 bands. Over the course of 2005, I started up MySpace pages for the bands on their behalf after I schoomzed 'em at gigs. This was my hobby, my break from my work life, and I enjoyed it. And I still enjoy it.

Ironically, Williamsburg played less and less a role. It was out of the way for me, and I only had 1 friend who lived in the neighborhood (not the same friend mentioned above, that one actually became a born again Hasidic Jew). So I focused on the Lower East Side, the bigger venues in the city, and Hoboken - if only for Maxwell's, the best venue in the metro area. But this is still the story of Williamsburg.

So let me quickly dispense with something I alluded to in a previous post. For the last four years I have spent a good deal on a White Stripes messageboard. Decreasingly talking about the band (which is natural) I became friendly with many people but also stirred lots of conflict due to my combative nature as I got into other topics.

The board matters for a few reasons: It held the nexus of the Stripes fan community together, it served as a hub for fans of other bands (including the Dirtbombs and Blanche), and it also resulted in affecting my actual physical real world social life in major ways (I.E. a relationship with someone I met from the board). As per the pathetic-ness of the internet, there was lots of needless drama, and a lot of unhealthy things going on. As the Detroit "scene" fell away, I was able to look at things with a fresh perspective. People were waaaaay too obsessed with the Stripes and anything related to Jack White. And I mean anything. Thankfully, the contingent of Detroit obsessives faded and shrunk (that included me as my interests expanded again and I moved on from a lot of the growing musical inadequacy and stupid gossipy drama coming out of that town onto the board) but those that remained gave me a wake up call. People have to move on. People have to expand their lives.

As I also mentioned in that previous post things got hairy for me at the time the Raconteurs opened shop (and once again there was Jack Lawrence in the band). I had some choice, hasty words for some "band policy" regarding wristbands and a free gig. Little did I know at that moment the reality that multi-millionaire rock star Jack White spent some portion of his free time on his fans' messageboard and fought with them (namely me) over multiple things. The wristbands were apparently the last straw and I raised the ire of his nephew, who is also the damn drummer for the damn Dirtbombs, which by that point was (and still is) my favorite band. AWKWARD CITY. I alienated everyone who already had tired of my confrontational attitude and I even lost some friends along the way.

Now people move on - or at least they should, but as pointed out in that previous post, said nephew drummer hasn't let it go (either in jest or seriousness, I can't tell).

At this point, I am done with the board. Just as well. My life has changed and moved on in other ways, including related ways. Whatever anyone wanted to think of Detroit in 2002, 2003, 2004 - is long over. Only Williamsburg remains. And by that, I mean only New York City remains. And that's where I remain, hipsters and all, god bless 'em and their Chuck Taylors.

I never got to my point. I just wanted an excuse to babble an odd personal and insanely written post on this blog. Forget politics and rock reviews for once (or twice now). But if I did have a point, it would be to say that I always feel like I missed out and then I feel like I don't move on. Though the scene in New York always changes but also never really dies, I feel like I missed out on it. I should have been here before the Strokes pissed off all the old fashioned purists out there who hated anything scenester. I should have been here when the Yeah Yeah Yeah's opened up for the Dirtbombs (years before it became the other way around). I should have been here when the Dirtbombs played the Siren fest. I should have been here when the White Stripes and the Strokes played the Bowery. I should have been where the Stripes headlined four nights at the Bowery. I should have been here when the Stripes played with Loretta Lynn at the Hammerstein and in the process, introduced Blanche to the world.
I came in at just the right moment and it peaked early. The apex night was not a Dirtbombs show funny enough - and it was not DirtBlanche back in 2005). It was October 2004, a CMJ show - Blanche, Greenhornes, The Sights, the Paybacks, Holly Golightly (aha! There's some England for ya!), Mr Airplane Man, and the Shout Out Louds at the Mercury Lounge. It was a host of great bands and it was everything. It was the Lower East Side hosting Detroit, the USA at large, and Europe. That was the only period of time where I felt I was actually with it, and not still learning and not living in the past. It was perfect. And I guess I just felt like reliving that moment one last time at the end of a long, pointless post.

So yeah that was it. I rarely felt like I was with it. I didn't quite get that I hadn't figured out all of New York, or other parts of America. And I still don't quite get it right now. I feel like I am always playing catch-up when I am not getting off the closed playground. Except for that one night at least.

And oh yeah, I will most likely be at the Hard Lessons show tomorrow night. That's the band who's style, quality, and performance were at the genesis of the nephew drummer's blog that included the swipe at me that caused me to post my post then, and in some ways is why we're here now. The Hard Lessons are a Detroit band that is young, and late to the "scene". They are good kids who work hard, love what they do, and don't take no guff. At the should-have-been-over period of my schmoozing days, I met them and they are great people but we have lost touch as these things happen. I hope to go tomorrow night and cheer 'em on. Someone still has to have a good time out there, even if it means we're a little late or a little too long at the party. "Williamsburg" will still be there.

Rising To The Rock N Roll Challenge

The Black Hollies
@Magnetic Field
Brooklyn, NY – April 15, 2006

With Mondo Topless canceling due to personal business, it was up to the Black Hollies to take it all on their own shoulders for a Saturday night of rock n roll and they lived up to the task. Showing marked improvement from the first time I saw them last September, the Hollies were tight on the riffs and smooth in execution though the lead singer still needs some work on the vocals. One of the guitarists showed off some unsuspecting soulful vocals for one number. In fact, the Hollies are sound almost identical to the band I saw them open up for last September, the Greenhornes. That’s not such a bad thing.

Plaid Cowboys

The Raconteurs; The Muldoons
@Irving Plaza
New York, NY – April 7, 2008

Talk about a night of full circle. The most anticipated project in recent history made it’s American debut in bombastic style but was humbled both by its own hubris and its opening act. Let’s delve into this. The Raconteurs are the first side-project for Jack White since Loretta Lynn’s Do-Whaters and the first to be taken as a serious stand-alone band to remain around for a long time. The rhythm section of the Do-Whaters, who are also the boys from the Greenhornes, drummer Patrick Keeler and bassist “Little” Jack Lawrence (whom we also know from Blanche), are now the rhythm section for this band. Co-leading the band with Jack in vocals, guitar work, and song writing is Brendan Benson. The ultimate Detroit (with respect to Cincinnati) Supergroup has arrived, though Jack has moved to Nashville and is hailing the band as coming from there (or at least, so it appears). The Raconteurs released their first limited edition single last month, cut a video for it, and then did a handful of shows in England (how any legitimate American rock artist must start out) and a couple of radio shows. Then they announced their North American debut with this show at Irving Plaza. The gig sold out amazingly quickly and the hype was on. So we come to the show. The bouncers are absolutely paranoid about picture taking, on orders of the “management” (and later changed to the “band”) and there is an unfortunate but understandable barrier set-up between the crowd and the stage. It is apparent that Jack White is prepared for the explosion of the White Stripes to happen all over again (or something less flattering is afoot). But the crowd turned out to be fairly decent, no moshing or crowd surfing, but far from dull. And so the band took the stage to the sounds of old Western cowboy themes (including the theme used in Kill Bill Vol. 2) dressed in plaid as they’ve been known to do, a giant lush “R” and huge metal lamps hanging behind them, and the Plaid Cowboys let the show rip with their grooving blues-rock number “Level”. All night the band fluttered between out-right hard-rocking 3-chord rock and almost-progressive jam-like arena rock, with a ballad or two thrown in for good measure. The Raconteurs are meant to recall the hard rock bands of the 70’s with a fresh perspective (though their covers of the Flamin’ Groovies, Love, and Ron Davies indicate a respect for the less commercial music that inspired these guys and their peers). The penultimate song “Blue Veins” is an ode to Zeppelin/Floyd blues but with a stark presence of latter-day blues men like BB King and Buddy Guy – it was a surprisingly smooth and soulful blues epic rather than the nitty gritty dirty raw nasty blues we’ve come to expect from Jack. And in less than an hour, the show was over. A packed, celebrity-filled crowd, rock snobs, hipsters, rockers, stringent rules – you couldn’t get more hyped than this…but the Raconteurs delivered and delivered more than what could be asked for.

Dan Fertita is the able keyboardist who plays with the band live but gets no credit.
(Photos by Amauriaguiar)

But how is this full circle? The opening act were the Muldoons. Drummer Brian Muldoon was Jack’s teacher in his upholstery shop lo’ those many years ago in the 1990’s and was Jack’s first recording partner in the band fittingly called The Upholsterers. Brian has two sons, one middle-school aged - Hunter, the other elementary school-aged – Shane and he has taught them well in the school of rock. Jack produced their first single for Ben Blackwell’s Cass Records, and the trio played their first shows ever for the White Stripes last year. And here they are, making their New York debut, opening for Jack’s latest thing. Little Shane may not have the soothing voice, but it is a treat live, especially visually – what with his little tie, his little fingers on the neck, the little strap falling off his little shoulder, and his great ability to emulate all the great rockers as he crashes to his knees and plays the guitar behind his head. Older brother Hunter is shaping up to be an excellent three-cord guitar monster, best showing his chops on “Red and Black” and similar sounding songs. When the band took things to an all-out punk level, it seemed a bit much after awhile, but there is nothing to scoff at with these kids and their Dad. This was a smart and fun way to open up this full circle night.

(Photo by Laura of The Modern Age)

Rob Jones Poster sold at the gig

Blue Republic's My Space Band of the Week: The Raconteurs

Oh what a wild Rock N Roll week it has been and will be. A packed week coming up and we all thought it couldn't get any bigger when last week the Raconteurs announced they were just going to go ahead and make their North American concert debut right here in New York City at Irving Plaza this coming Friday. Who are the Raconteurs? Just about the most anticipated project of the last few years. The White Stripes' Jack White and solo artist Brendan Benson have teamed up for a dual songwriting/dual guitar lead and have a solid rhythym section to make the band stick: The Greenhornes' Patrick Keeler on drums and The Greenhornes' bassist/Blanche's autoharp & banjo player, Little Jack Lawrence.

Check out the video for their first single, "Steady As She Goes" on my page. Then head over to their page, and their official site, for more visuals and sounds.

Getting Excited About A Band That Hasn't Been Heard Yet

The Raconteurs

L To R: Lawrence, Benson, White, Keeler

Yeah that's Jack White hiding in the background. He's gotten together with some talented friends of his to bring a new sound and new band to excite the Rock N Roll world. It looks promising to say the least: White is co-writing and sharing guitar and vocal duty with Detroit pop rocker Brendan Benson who has the smooth vocal talents (as evidenced on tracks like "Cold Hands, Warm Heart" and "Spit It Out") to fuse with Jack's guitar mastery. The rhythym section is no less impressive: Bassist Jack Lawrence and Drummer Patrick Keeler are, if you just scroll a little bit down below, 2/3's of Cincinnati's the Greenhornes, the current Band of the Week. Mister Lawrence is also of course in Detroit's Blanche, a band I never stop talking about.

The first music is coming out in February, but as for now, only in England. After that, it's only a matter of couple months before the band plays in their home country. I predict a gig at Irving Plaza...that seems the right size place, factoring in the names and the hype.

This is more exciting than when news of Velvet Revolver broke...because at least this promises to be worth it! Mwahahah.

Blue Republic's My Space Band of the Week: The Greenhornes

Dammit. 24 distracted me all last night (after my Bears failed to win)...so I forgot to do Band of the Week.

So I figured one band that could take the heat of being a band of the week for six days rather than seven would be The Greenhornes. Nothing fazes these guys. Cool as cucumbers, playing rock n roll smooth as silk, the Greenhornes could host a dance party or play a cafe...whatever they desire. Bass player Jack Lawrence does double duty as he's in Blanche. And he and drummer Patrick Keeler are part of the much anticipated Raconteurs, the new band with Jack White and Brendan Benson.



Check out "Pattern Skies" on my page, before going to the Greenhornes' My Space Page and their official site.

Blue Republic's Best In Music: 2005

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:

The Decemberists – Picaresque

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.

Clap Your Hands Say Yeah – Clap Your Hands Say Yeah

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

The Detroit Cobras – Baby

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.

The Hard Lessons - Gasoline

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

The King Khan & BBQ Show – King Khan & BBQ Show

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:

Electric Six – Radio Ga Ga

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.

The King Khan & BBQ Show – Fish Fight

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

The Rolling Stones – Rough Justice

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:

Black Rebel Motor Cycle Club – Shuffle Your Feet

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.

The Decemberists – 16 Military Wives

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.

The Downbeat 5 – Dum Dum Ditty

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 – Do You Want To?

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.

The Kaiser Chiefs – I Predict A Riot

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.

The Resistoleros – Rock N Roll Napalm

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.

The White Stripes– Blue Orchid

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:

Kathleen Edwards – In State

Rising Indie Pop star Kathleen Edwards had this suitable single played on stations such as WFPK in Louisville. Listen here.

Missy Higgins – Scar

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:

Ryan Adams – Let It Ride

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:

Beck – Girl

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:

The Hard Lessons

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.

Missy Higgins

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:

Brendan Benson – Cold Hands, Warm Heart

Maliciously funny to watch the abuse of animated little cartoons during such a sweet song.

The Decemberists – 16 Military Wives

Rushmore meets the Bush Administration. Nuff said.

The White Stripes – Blue Orchid

As darkly sexy a video can be, right to the disturbing final second. And Jack’s Scarlet Pimpernel look actually fits for once.

Hoboken, Brooklyn...It's all Rock N Roll

It's a hell of a weekend in rock n roll in New York this weekend. On the edge, in New Jersey, over an hour from here by train...were the Greenhornes. Here, 3 stops and 20 minutes away are two nights of that little ol' duo from Detroit...the White Stripes.


The Greenhornes; The Black Hollies; Tigers & Monkeys
@Maxwell’s
Hoboken, NJ – September 23, 2005

One of the more unlikely acts I have seen 4 times, the Greenhornes headline this nice, little intimate club show fresh off opening for the White Stripes around the world and in the States. The Greenhornes pounded away and smoothed through their songs. Drummer Patrick Keeler is particularly adept at his trade and when he, along with bassist Jack Lawrence, returns with Jack White and Brendan Benson in the Rancoteurs, it should be an amazing show (incidentally, White and Benson were on an off night of their tour and should have been around for some band practice). In a terrible moment, the crowd filed out before an encore, like a bunch of lame-o’s. Shameful. The Black Hollies were a mostly fun Jersey City band devoted to 60’s-ish garage rock and classic rock. Summoning the Yardbirds among other acts, the rather regular looking crew of dudes were fronted by a mod-looking bass player whose voice was so-so. More image than sound, the Black Hollies are suitable, but far from perfect. Tigers & Monkeys frankly stunk. Playing down-chord hard rock, with a boring, bad lead singer, this band was having a bad identity crisis. Are they punk? Are they garage? Are they downer rockers? Feh.

The White Stripes; The Shins; Brendan Benson
@Keyspan Park
Brooklyn, NY – September 24, 2005

Oh those White Stripes. Oh that pesky Jack White. His ability to let his music not be distracted by his antics (the good, the bad, and the curious), and his ability to not let his music be overshadowed by expectation and music snobbery from even his most devoted fans is something to behold. The new album, Get Behind Me Satan, is an exercise in study. As a fan willing to admit a band can screw up, one can also be overzealous in decrying the latest effort. The truth is, it is hard to judge Get Behind Me Satan. Experimentation is not something to boo but it can also be too risky. Jack White certainly experiments but it is hard to tell if he’s going beyond his self-imposed boundaries. And it’s also hard to decide if that even matters. In the end, it is a good album, worth listening to and enjoying, but it is not the kind of album that should recruit new fans (which doesn’t really matter) or blow away longtime fans. It’s an album to go “hmmm” to.
That all being said, there is no debate on the live show. None. It is an exercise in all-out rock n roll glory. Even when it’s the experimental stuff like “The Nurse” and its marimba nirvana, or the big piano smoothness of “My Doorbell” and “I’m Lonely But I Ain’t That Lonely Yet”, there is an air of rock n roll fun. And of course, when the Stripes dish out “Death Letter”, “Cannon”, “Screwdriver”, “Hello Operator” and “Let’s Shake Hands”, there is nothing to discern. It is the spirit and fervor of those old blues and blues-based tunes that still make a White Stripes show the best thing in the musical world. Above all, “Ball & Biscuit” remains the single greatest live song performed by anyone anywhere. It is the ultimate blues orgy. It is the ultimate period. The cover of Tegan & Sara’s “Walking With A Ghost” was a more than pleasant surprise. Jack’s ability to do pop is also disturbingly good, disturbing because it matches his blues and experimental abilities.
If there is one thing a little frustrating with a Stripes show it is not with the music but with the hoopla around it. The theatricality of a Stripes concert (and it is a concert, and not a gig) is for the taste of Main Event status. The elaborate fake trees, the little idols on the amps, the number of instruments, the tropical jungle theme, the Zorro outfit the large audience full of mainstreamers…this is all a far cry from just walking onto a small club stage, plugging in the guitar, and wailing away. And maybe that’s what makes the presence of Meg White so important. With her simple drumming, her delicately bad-but-touching voice, her lack of bombast, and her understated manner, she is the tie that binds Jack to his roots…to the blues, to the garage, to Detroit. Beyond all the magic and mysticism of new, intrepid songs, there is Meg, drumming away, and letting all the basics stick around for one rockin’ good time. Put this all together, and it is still evident why the White Stripes are number 1. One last thing: Last time I saw the band, it was in the chaotic drunken moshing frat crasher mess at Roseland. This time, it was a pot-filled, rather stiff affair. The lack of moshing, crowd surfing, and stage crashing was a welcome relief to fans like myself and to Jack for sure (remembering his tirade at Roseland), but this time it was almost too dull. Jack was visibly frustrated the other way…but in the end he was happy. And that’s what it is all about now, it’s about being happy. The White Stripes are just that.
Part of the reason the crowd may have been so dull lies with the Shins. Once again, the Stripes have a poor opening act in New York. The Shins are dull. Dull, dull, dull. Bad singing is fine when the songs are good and it fits. Here, the emo voice is lame. The songs are lame. The guys can certainly play, and they have a good attitude, but the songs are hollow. I don’t hate The Shins, and I don’t look down on anyone who likes them. But a White Stripes show? No. Brendan Benson has a few good numbers but the rest seem a bit sloppy (and not in that good Jack White way of being sloppy)…in pop, sloppiness is not good. The good songs though indicate potential. And when the Rancouters explode…that potential should manifest itself in decent songcraft.

CMJ Marathon Highlights: Uh Oh, It's Detroit again

My one participation in last year's CMJ Fest was a primarily Motor City affair. The all night cavalcade at the Mercury Lounge featured The Paybacks, The Sights, Blanche, and Cincinatti-Detroit wanderers the Greenhornes (along with friends Holly Golightly and Mr. Airplane Man) was my one CMJ show. This year I got the chance to see two. And while there were indeed more than a handful of intriguing non-Detroit acts to check out (Clap Your Hands Say Yeah, Brian Jonestown Massacre, Dressy Bessy, International Noise Conspiracy to name some), I wound up at two Detroit gigs.

Gore Gore Girls; Fireball Ministry; The Black Halos; Crash Kelly
@Continental
New York, NY – September 15, 2005

This is what the annual CMJ Marathon festival does. It slaps a 60’s garage retro throwback onto a night of another label’s set of bands…who have nothing in common with the headlining act. Granted, the musical and stylistic differences of these acts did make for an eclectic line-up, but all on a variation of metal. Metal. Nothing to do with the Gore Gore Girls for sure. The Gores (now armed with a Gore Gore Boy on bass) were much improved from their lackluster opening for the Cramps at Irving Plaza, which was when I saw them last. This much smaller club venue, the legendary Continental (think CBGB’s exactly, but with only half the commercialization inside), had the sound and appeal for the retro garage fun of Amy Gore and the gang. Amy’s leadership was more animated and fun and enthused from when they played Irving…considering they play clubs consistently, this was what I should have expected.
As for the multi-metal acts, southern hard rockin’ Fireball Ministry was surprisingly good (as they were not as thrash as they looked – in fact, they weren’t thrash at all) but the “other kinds of music suck and is for pussies” rants got a little old after awhile. The Black Halos were actually more hardcore punk than anything else but the Crow-look is done (and the aging lead singer was essentially Dee Dee Ramone…some combo)…and Crash Kelly were an 80’s hair metal throwback….they weren’t the Darkness…nuff said.

The Avatars
@Trash Bar
Brooklyn, NY – September 17, 2005

I have to admit the Detroit music…scene…has been getting a bit stale from an outsider’s perspective. There hasn’t been the constant flurry of bands to be discovered outside the city in over a year. One of the last bands to catch my eye were the Avatars, who had dynamite songs on their site…and were heavily pushed by Motorcityrocks.com. But they never toured outside their Ann Arbor-Detroit area circuit…until now. As part of the CMJ tour, this Get Hip Recordings/No Fun Records show in Williamsburg began with this quintet. I was expecting a good show…but I did not expect to be absolutely floored. The Avatars are utterly perfect. Ranking up there with Detroit’s best (and therefore the nation’s best and the world’s best)…the Avatars offer a mix of pop, punk, and garage rock (which are all music snob ways of saying they play Rock n Roll)…but what makes them stand out is their solid skill. While other bands revel in their sloppiness, including musically sharp and talented acts like the White Stripes and the Dirtbombs, the Avatars deliver on crisp, tight goodies (only the Paybacks really remind me of this band). It was stunning to listen to the synchronicity of this rock. But it isn’t polished! It isn’t slick! It is raw, loud, and hard. The Avatars perfectly combine tight, skilled melodic hooks with fierce, straight-outta-da-garage intensity. The guitar players remind rock n roll fans of Angus Young and Johnny Ramone (an awesome combination to be sure)…the bass is fun and noticeable…the drums are intense but controlled (which is an apt description of the whole band) and lead singer and tambourine shaker Mariah Cherem is a dynamic spitfire dishing out intoxicating vocals (on-key and everything). It will be too long before the Avatars come around the East Coast again…but when they do…you see this? I can’t finish the thought. That’s how good the Avatars are.