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"That song was about loving your bother…this song is about forgetting…where you buried your girlfriend.”

Scott H. Biram; Hazmat Modine
@Mercury Lounge
New York, NY – April 6, 2006

Opening up for the Legendary Shack Shakers, Mr. Biram returned to New York with a full-on beard, a little rubber chicken on his mic stand, and the same brash attitude of his “dirty old one man band”. Sporting a Jimi Hendrix t-shirt and singing a range of blues/country/metal songs which can best be described by Biram himself at one moment in the show: “That song was about loving your bother…this song is about forgetting…where you buried your girlfriend.” Last time Biram was here he was headlining a Monday night show, coming to town pretty much by his lonesome, which helped fuel his combative “fuck you all” attitude. On this night, he was surrounded by a bunch of Texas and Shack Shaker friends, so we got to see for the first time a happier, nicer, more comfortable Scott Hiram Biram, whom Jesus still loves, and we love probably even more.

(Photo by Roxxan H)

Opening act Hazmat Modine were an invite of the Shack Shakers and it’s not hard to see why: An eclectic 7-piece band, Hazmat Modine starts out playing music best described as a cross between Klezmer and Cajun before turning into a full-on Cajun jazz blues band. Featuring a great trumpet player, two harmonica players, and one wacky tuba, this was a fine opening act though they ran a little long and the lead singer’s interaction with the crowd was cornball.

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.

Tomorrow Night's Horton Heat Show...

Will be total Rock N Roll. Not only is there a threat of freezing rain turning Brooklyn into a sheet of ice before, during, and after the gig...the New York City Transit Workers Union is set to go on strike at 12:01AM Friday, right around the time Horton will be doing the encore. That means, New Yorkers stranded in the freezing rain...cabs? Park Slope is not cab country (in other words, it ain't Manhattan) and there is even talk of cabbies doing a brotherhood strike for night 1.

Transit workers, while I generally support their demands, should not be allowed to strike in New York, just like the Police and Fire departments. Public transportation is too vital...especially in this town where it is needed 24 hours a day (7 million people right the subways every day - 7 million!). But if they do it, we'll all be ice skating home from the Psychobilly Christmas tomorrow night. Oy.

Dirtblanche 2005 & The Rest of the Year

Well with Thanksgiving less than a week away, it's the first sign of yet another year of our lives coming to an end. And what a year for rock n roll. Yours truly has gone to a personal-best 36 gigs this year (blowing away last year's record setting 21 gigs). And we're not finished.

First up is the big one. The unbelievable one. Dirtblanche 2005 at the Beachland Ballroom in Cleveland. It will be my first time in Cleveland, and the first time I am seeing a gig in a place that isn't the New York City or Philadelphia metro areas. And I am taking a 12 hour 770 mile road trip to get there from little ol' Springfield, Missouri. I will be seeing the American Heartland for the first time...Missouri, Illinois, Indiana, Ohio. Or as I call it, Red State, Blue State, Red State, Fucked Up State. Ok no politics in this post, I promise.

So why is Dirtblanche so big? Not just because of the eclectic nature of the Dirtbombs playing the same gig with Blanche...but because these are the two bands I care so much about that I started My Space pages for them with my Roxxan of Freshgigs and Blanche Manual. I am glad to say both those pages have been well-received and are doing well. Dirtblanche 2005 will be a culmination of this Dirtblanche year (and who knows what next year will bring with a new Blanche album, and even more Dirtbombs shows).

As for the rest of the year, New York will be hopping straight through New Year's. Immediately after Dirtblanche, the Dandy Warhols will close out November at Webster Hall. Let it be said that I hate Webster Hall. It's hot, stuffy, and fucking expensive.

December is packed. Southern Culture on the Skids make their triumphant return to the Big Apple with two shows (Maxwell's and Southpaw). Iron & Wine will soothe the soul for 3 nights at Webster Hall. The Deadly Snakes will play Mercury Lounge then Maxwell's 3 days later with the Black Lips. And X - that's right - X....I will say it again....X....is playing Roseland Ballroom. Everyone and their grandma better be there. And all of those shows are within the first 10 days of the month!

The middle of December does not let up. The Sights are back to play Maxwell's before opening up for the Donnas at Irving Plaza the next night. I have never really been sold on the Donnas but having Eddie Baranek around will help the night out for sure. I won't be there because on the same night in Southpaw, Reverend Horton Heat returns to New York. The week finishes off with the Lemonheads playing two nights at Bowery Ballroom and Brooklyn heroes Living Colour playing their biggest New York date in a long time at Irving Plaza.

The last week of December, and the year, feature a week-long residency at Maxwell's for Yo La Tengo. It's a Hoboken Hanukah this year! Also, not a bad way to spend Christmas Night, New Year's Eve, and New Year's Night too. Also on New Year's Eve so far, will be in their hometown of Brooklyn to play Northsix and They Might Be GiantsClap Your Hands Say Yeah is doing it at Irving Plaza (wow talk about a meteroic rise eh?).

And just to show you, things are still ticking into the New Year's, The Yarrows - who should be getting a My Space page if they listen to their smart, sharp drummer (yeah yeah, he's a long time friend of mine, ok?)...are playing the Charleston in Williamsburg on January 28. And just a few weeks after that?....you guessed it....the Dirtbombs.

Those of you in the New York area, if you can't make any of these gigs, or want something else to do in the meantime, go to Terra Blues on Bleeker St. by Laguardia Place, and catch hot, jumpin' blues nightly.

Mick Collins for President in 2008! Or My Rock N Roll Weekend

The Raveonettes; The Dirtbombs; The Organ
@ Southpaw
Brooklyn, NY – April 28, 2005

Probably because of getting national airplay on Little Steven, more records sold, and having appeared on national TV here in the States, the Raveonettes headlined this consummate rock show in Brooklyn, but anyone with half a sense of rock n roll knows the Dirtbombs deserve top billing. Let’s face it, there’s only about 10 acts in the World who should get top billing above the Dirtbombs, and the Raveonettes ain’t one of them…so as far as this writer is concerned, this was a double bill show. But don’t take my word for it. The crowd, in a scene unlike any I have ever witnessed before, demanded an encore…from the penultimate act! We didn’t get one, and the Raveonettes were good doing their thing, but everyone knew who ruled the show (I could hear latecomers being greeted by their friends “You missed an awesome band”). Pumping out “Get It While You Can”, “Ode to a Black Man”, “Stop” and “Candy Ass” among other delights, Mick Collins and co. remain, arguably, the greatest thing in the world today. And I’ll even forgive Mick for bumping into me and not saying sorry. The Raveonettes, meanwhile, proved once for all what they are: Jesus and Mary Chain if they were produced by Phil Spector. This means it’s great music…but again, they were overshadowed. And the opening act, an all-girl quintet called The Organ, also were a direct reproduction of an 80’s pop act: Morrissey and The Smiths. Which means they were also quite good…but how excited can you get?

The Forty-Fives; Jennifer Gentle; Capitol Years
@ Knitting Factory
New York, NY – April 29, 2005

A late night show with no crowd and some problems. First act the Capitol Years had great garage riffs but mediocre follow through, and shitty ballads. Second act Jennifer Gentle was a terribly boring band that played bad jingle rock. Headliners the Forty-Fives are a great garage rock band from Atlanta, known via Little Steven’s playing of “Daddy Rolling Stone”. The problem here was the sound set-up. We couldn’t hear the fine vocals or the crunchy riffs…so if you didn’t know the band, you’d be more than disappointed.

The Dirtbombs; Ghetto Ways
@ Maxwell’s
Hoboken, NJ – May 1, 2005

Now this is how it is meant to be. Headlining, dominating the show at the top, the planets align and all is right with the world, when Mick Collins leads the charge of rock, garage, punk, soul, rhythm & blues. Ko Melina Zydeco and Troy Gregory slapping the bass like guitars from hell…while Benjamin Blackwell and Patrick J. Patano pound in an unhuman cohesion…except when they are going apeshit to their own tunes. Above all there is Mick. When the shades come on, the pleasant, genial UNIX programmer turns into King Slick, Mr. Cool, without actually changing his personality. It’s a persona, not an alter ego. Possessing the most soulful voice of any rock n roller in generations, surpassing the voice of Jimi Hendrix while paying concise but not overelaborate tribute to his clear inspiration (see the playing with the teeth and behind the head), no one sounds quite lick Mick. Others have the octive range…but no one can hold the note in each and every octive like Mick can. Playing virtually the same setlist from Thursday, the Dbombs snuck in a full, complete, and crisp version of “Motor City Baby”, and totally rampaged the sonic temple at Maxwell’s with non-album tracks like “My Love For You”, “Here Comes That Sound Again”, and “The Sharpest Claws”. Above all the songs they played from Thursday and again on this night, the one to focus on is “Stop”. Why? This is the song, in a just and right world, would be a smash number 1 hit from coast to coast: a soulful ballad of heartbreak, the amazing vocals, garage rock riffs, harmonies, and guitar solos. You can’t beat that.

I saw opening act Ghetto Ways (I finally get the name haha) a few weeks ago with Mondo Topless and this time they didn’t screw up their songs. A solid, hard-hitting band, they’d make great openers for Ac/Dc.