New York Music Daily

Global Music With a New York Edge

Tag: black joe lewis

The Revelations: Cashing In or Pioneering a New Soul Sound?

As Elvis Costello asked, have we come this fa-fa-fa to find a soul cliche? Three decades ago, being on a label was an imprimatur that implied, if nothing else, that a band was at least popular enough to get signed. After all, what label would invest in a band that didn’t have any shot at earning a significant audience? Today, we know that most of those bands never had any following to begin with, one reason why so many of them got dropped. There’s no little irony that these days, being on a label is immediate cause for suspicion, the implication being that you’re working for the man, willing to cede creative control and street cred and probably the lion’s share of whatever money might be coming in. Soul-funk band the Revelations may be on a label, and their new lead singer, like their old one, may come out of a corporate background, but damned if the band doesn’t establish itself as an interesting and ultimately fun group with an original sound, mashing up retro and current-day styles with an energetic expertise. You can see how well this works live when they play a free show at BAM Cafe on Saturday night, Nov 22 at 9 PM.

Their latest album The Cost of Living is streaming at Bandcamp. It kicks off with Mama, which sets oldschool soul tropes – a big suspenseful build at the beginining, echoey Rhodes piano, slinky wah guitar and big jazzy chords – to a hip-hop beat with lyrics whose feminist POV isn’t exactly convincing. Why When Love Is Gone takes a hard-hitting mid-60s pulse and turbocharges it with Wes Mingus’ growling, distorted guitar and hot brass from the Royal Horns. Higher is another solid track, hitching an ornate early 70s-style ballad to an irrepressible vintage disco groove with gospel tinges and bluesmetal guitar.

It’s OK opens with Ben Zwerin’s growly bass and Mingus’ eerily tremoloing guitar – it’s noir soul as written by guys who grew up with the Wu-Tang Clan rather than Little Milton. Money Makes the World Go Round blends gritty funkmetal, noir soul, hip-hop and straight-up heavy rock. The band goes back to 1973 or so for The Game of Love, fueled by Stax-Volt vet Charles Hodges’ organ and a delicious horn chart. With its slinky sway, jubilant horns and dancing wah guitar, This Time goes back another seven years or so. The album ends with a rocking Isley Brothers-inspired take of the Gladys Knight hit I’ve Got to Use My Imagination, Mingues capping it off with a searing guitar solo. It’s too bad that in an age where most of the best lyrics in the world are coming out of hip-hop, the ones here barely rise to the level of generic, and the vocals aren’t much better. It’s testament to how good the music is that this album succeeds as as well as it does: fans of acts like Black Joe Lewis ought to check it out.


First-Class Original Soul and Blues Sounds from Singer/Guitarist Hamilton Loomis

A protege of Bo Diddley, soul/blues singer and guitarist Hamilton Loomis met his mentor at Rockefeller’s blues club in Houston and joined him that night onstage at the age of just sixteen. Since then, Loomis has toured the south and Europe, where he has an avid following. His latest album is titled Give It Back: it’s a straightforward, no-nonsense recording, streaming at Spotify. Loomis’ purist riffage and unselfconsciously strong vocals are  backed by a hard-hitting rhythm section, keys, occasional backing vocals and horns. There are scores of women who are first-class retro soul singers: it’s good to hear a guy who can make the style his own without going over the top. He brings to mind a young, funkier Robert Cray, or a less punk Black Joe Lewis.

The opening track is Stuck in a Rut, evoking Hendrix’s Crosstown Traffic but more sparse and funky, with a wah guitar in each channel and a wry, allusive Hendrix vocal trick. Eternally, inspired by the media hype about the 2012 end of the Mayan calendar, is an upbeat, classic 60s soul tune with a rich blend of bright horns, echoey electric piano and delicious splashes of watery Leslie speaker guitar. The Texas shuffle She’s Had Enough comments sardonically on global warming-era natural disasters as payback for mankind’s abuse of the earth, while the title track, a mix of oldschool soul, newschool funk and hip-hop, addresses paying it forward to the next generation of musicians just as Loomis was mentored by a certain Mr. McDaniel along with Texas-born crooner Johnny “Clyde” Copeland (father of the great blues belter Shemekia Copeland).

Partner In Crime strips down peak-era 70s P-Funk to its bluesy basics. Likewise, A Woman Like You works a classic Bill Withers-style early 70s funk groove, Loomis beginning with just vocals and echoey electric piano before bringing in the guitars for something of a 80s Robert Cray feel: his knife’s-edge solo at the end hints at the kind of pyrotechnics he’s reputed for onstage. Loomis again echoes Cray on the catchy, bouncy Everything I Had, with purist oldschool chordal work set to similarly purist electric piano: it might be the album’s strongest track.

The heaviest number here is High, another George Clinton-influenced tune with a sludgy proto-metal sway and woozy talking guitar effects. Then Loomis goes back into the pocket with the warmly tuneful Fool Sometimes, evoking both Smokey Robinson and Al Green. One More Take opens with a riff nicked from Peter Tosh and then works a latin-tinged funk beat, with carefree sax from Fabian Hernandez. Castle, with its jaunty strut and sly allusions to both Pink Floyd and Harold Melvin & the Blue Notes, sends a shout-out to Loomis’ Galveston birthplace, The album winds up with Loomis’ briefest and funkiest track, the instrumental Peer Pressure.

Chicago Stone Lightning Band Warps the Blues

Is it an insult to say that the Chicago Stone Lightning Band’s debut album – just out on Chicago’s Downtown Records – sounds like a bunch of clandestine Estonian hippies circa 1971? It’s so NOT B.B. King, yet so incredibly inspired – and creepy, and trippy. These guys aren’t trying to be anyone but themselves. The obvious comparison, in terms of both chops and sheer energy, is Black Joe Lewis & the Honeybears, except that at the point where Lewis looks back to James Brown, these guys veer off in a direction closer to Hound Dog Taylor. Peter Green during his time in John Mayall’s band and then the embryonic Fleetwood Mac is also an obvious influence. Fans who expect a blues band to be aping Muddy Waters will have to look elsewhere, but if you want to know what the blues is all about in the 21st century, these guys – guitarists Ben Pirani and Nick Myers, bassist Gabe McDonough and drummer John Dugan – are it. Both guitarists play Gibsons through vintage amps with no effects pedals and have distinctive styles, Myers being the more frenetic, Pirani preferring a more fluid, legato attack. The whole album is streaming at their Bandcamp site.

The opening track, Girlfriend Gone, kicks off with a whiplash guitar riff, distorted rhythm and growly bass, a lo fi assault: Chicago through the prism of the Stooges. Like a lot of the tracks here, it’s more of a sway than a shuffle. Pirani takes a fat, sustained, bent-note solo that’s surprisingly thoughtful – and surprisingly, it works. Track two, White Girl is midtempo oldschool southern soul swing hitched to a growly Stonesy riff. Oh No works a slinky/careening Smokestack Lightning one-chord groove, Myers’ jagged strokes like lightning against Pirani’s simple, ominous, sustained cumulo nimbus ambience, with a deliciously long, murky, pitchblende buildup.

Do Yourself A Favor starts out as a lo-fi distorto boogie, JSBX style, the guitarists having a lively conversation trading fours. They hit a brief acoustic interlude, Dogpatch Blues, with a rustic Pallet on Your Floor vibe and follow that with the killer Gray Lady, a pounding, casually murderous minor-key psych/blues tune.

My Love Is a Good Look sounds like early Zep covering Mose Allison but with better vocals, then they go back to sunbaked Stoogoid riffage for the funky shuffle Talk Tough – it’s the closest thing to Black Joe Lewis here. The best song on the album is Tears and Sorrow, a macabre acid blues dirge, creeping and crawling with eerie, echoey electric piano, chilling Otis Rush-influenced fills from Pirani and a cool trippy outro. The album winds up with Dance on My Grave, a woozy acoustic track that could have been a Violent Femmes outtake circa 1983. From start to finish, the vocals here are laid-back and casual: nobody’s trying to be the Wolf (or Robert Plant). The lyrics fit the genre without being over-the-top: “Don’t be surprised if she tags along/Man, I’ll get your girlfriend gone.” And the rhythm section swings: who would have thought that the drummer from Ted Leo’s old band Chisel had such a great groove? Not a single disappointing track here: a lock for one of the best albums of 2012. Chicago Stone Lightning Band does their hometown proud.

The 100 Best Songs of 2011

All links here are to free downloads, streaming audio or video unless otherwise indicated. While this is an attempt to put these songs into some kind of order with the very best stuff at the top of the page, it doesn’t really make sense to even try to arrange them numerically. Consider: if  a song is good enough to be one of this year’s best one hundred, it has to be pretty special. You may find some dissonance with this year’s Best Albums list: the reason why a lot of songs from those releases aren’t on this one is because they were on this list in previous years.

#1: Erica Smith – Lucky in Love. This is a Paula Carino song from her Open on Sunday album, which topped the albums section of this list last year. And because nobody had the presence of mind to record the torchy, shattering version of this wryly haunting 6/8 lament that Smith sang at one of Carolyn AlRoy’s songwriter salons at the Parkside Lounge back in January, the link at the top of the page is to the Carino original. Which is only slightly less haunting. The link will be updated if and when audio or video becomes available; the same goes for the other songs here which haven’t made it to the web yet.

Laurie Anderson – Delirium. She debuted this achingly bitter, sweepingly atmospheric, elegaic suite at Lincoln Center last August: it may not have a title yet, and this segment may contain several individual songs.

Laurie Anderson – If You See Something, Say Something. A hilarious and spot-on dismissal of post 9/11 paranoia; it’s unreleased and may be part of a larger piece.

Laurie Anderson– The Real New York/Hard Times. As Anderson cynically explored the deterioration of a once-great city on an eerily calm, unexpectedly cool August night, a siren made its way north behind Lincoln Center. She played along with it: one of this year’s great live moments. As with the other Anderson tracks here, this is unreleased and possibly part of a larger piece.

Miramar– Di Corazon. The iconic Sylvia Rexach bolero, from the retro Puerto Rican band’s excellent Para Siempre album

Pinataland– Oppie Struck a Match. Historically rich southwestern gothic anthem from the Brooklyn chamber-rockers –  “Oppie” here is the evil nuclear scientist. From their excellent Hymns for the Dreadful Night album.

Trio Joubran – Masana. Towering, epic, elegaic suite for three ouds and percussion – it ends their new Asfar album on a wrenching, powerful note.

Marc Ribot– Scene of the Crime. Classic Andre Previn as done by one of the masters of noir guitar, live at the New School in April. Free download

Marc Ribot –Touch of Evil Theme. Classic Henry Mancini as done by one of the masters of noir guitar, live at the New School in April. Free download.

Mary Lee Kortes– Well By the Water. The darkest side of deadpan, secretive midwestern stoicism, powerfully depicted by the Americana chanteuse. From her latest album Songs of Beulah Rowley Vol. 1

Spottiswoode– Wild Goosechase Expedition. Beatlesque psychedelic travelogue as metaphor for the Iraq War and centerpiece of the art-rock songwriter’s album of the same name.

Laurie Anderson– Dark Downtown/Remembrance. As with the other Laurie Anderson tracks here, this may be a mix of individual songs: a contemplation on how much New York has changed for the worse, and how people tend to be dismissive of those who’ve died, in order to “travel lite,” emotionally speaking. Powerful stuff.

American Composers Orchestra– Andrew Norman: Unstuck. The highlight of this fall’s SONIC Festival of contemporary composers, this is a mammoth, intense noir suite. You’ll have to do some fast-forwarding to find it – the link is to the Q2 broadcast of the works from the festival voted most popular.

Either/Orchestra – Mambo #2. The second of four Ethiopian folk songs arranged for big band and rescued from obscurity – and played exhilaratingly, live this past November – at the New School. Look for a release, and a real title for this, sometime in 2012.

Beninghove’s Hangmen – H-Bomb. This macabre surf rock instrumental is the best song on the noir jazz group’s debut album from earlier this year.

Either/Orchestra – Mambo #1. This is a haunting traditional Ethiopian folk song arranged for big band and rescued from the vaults – and given a North American premiere this past Fall at the New School. Look for a proper release sometime in 2012.

Christopher O’Riley and Matt Haimovitz– Nightmare Scene from Vertigo. Harrowing Bernard Herrmann noir Hitchcock film sounds, a track from the pianist and cellist’s Shuffle Play Repeat album.

Trio Joubran– Asfar. Title track to the three oud-playing Palestinian brothers’ haunting, stately new album

Billy Bang/Bill Cole– Improvisation #1. Digeridoo drone and dark improvisation, this one with the late great jazz violinist playing against the multi-reedman’s low rumbling backdrop. From the Billy Bang Bill Cole live album recorded in 2009 and just released this year.

The Oxygen Ponies – Good Thing. It crescendos out of spare, plaintive folk-pop with a cynical fury: “This is a call to everyone/Wake your daughters, rouse your sons/Take your aim and shoot to kill/So your friends don’t hurt you/Cause others will. ” From the Exit Wounds album.

Ward White – Pretty/Ugly Town. The brilliantly sardonic, literate NYC powerpop songwriter at his most caustic and cynical, giving both barrels to a starstruck wannabe who’s new in New York. From his characteristically excellent Done with the Talking Cure album.

Dixie Bee-Liners– Restless. Hypnotic intense blues-based bluegrass reinvented as noir Steve Wynn style anthem. The Virginia bluegrass band absolutely killed with this last winter at the Jalopy.

Trio Tritticali– Ditty. The title is sarcastic – this is a powerful Midle Eastern flavored mini-suite from the eclectic Brooklyn string trio’s debut album Issue #1.

Ansambl Mastika– Memede Zlatna Ptica. The best song on the Brooklyn Balkan band’s exhilarating latest album Songs and Dances for Life Nonstop reaches a literally unreal crescendo.

Michel Camilo– Then & Now. A classic macabre Erik Satie theme done as piano jazz with Dominican sabor, from the pianist’s excellent Mano a Mano album.

Steve Wynn– Cloud Splitter. Vintage hypnotic bracing intense guitar artistry – it’s hard to tell which guitarist is Wynn and which is Jason Victor. From Wynn’s Northern Exposure album.

Trio Tritticali– Azizah. The string trio go deep into the Middle East for this slinky instrumental. From their new Issue #1 album.

Either/Orchestra– 1-5-0-9. Look for this sometime in 2012, probably under a new title: it’s yet another Ethiopian-flavored anthem from the unsurpassed Boston Ethiopian jazz group.

Trio Tritticali– Who Knows Yet. The most haunting, pensive instrumental on the Brooklyn string trio’s excellent debut album Issue #1.

Christopher O’Riley and Matt Haimovitz – Vertigo Suite Prelude. Creepy Hitchcock film suspense from the pianist and NPR host with the cello virtuoso. From their new album Shuffle Play Repeat

Rahim Alhaj – Qaasim. Plaintive, intense instrumental with the Iraqi oudist carefully building a tune over a hypnotic djeridoo drone. Not on the web anywhere, it seems. From the Iraqi oudist/composer’s latest album Little Earth.

Walter Ego – Satellite.  Wickedly catchy Ray Davies-style Britpop with one of the New York rocker’s most clever, casually dismissive lyrics.

Jennifer O’Connor – 7/12/09. Cruel summertime clinical depression perfectly captured in three vivid indie janglerock minutes. From O’Connor’s album I Want What You Want.

Pierre de Gaillande’s Bad Reputation– Ladies of Leisure. Pierre de Gaillande, frontman of lush art-rockers the Snow, has been busy translating many of legendary French songwriter Georges Brassens’ funniest, most vulgar songs; this is the classic Complainte des Filles de Joie, a metaphorically loaded defense of prostitutes.

The Devil Makes Three– All Hail. A caustically funny bluegrass song about the logical effects of the whole world being wasted on antidepressants – and a whole lot more. From their album Do Wrong, Right.

The Oxygen Ponies– Jellybean. Frontman Paul Megna being his usual insightful self, “Everyone around me is just sharing the same brain…I guess they find it’s easier to be part of the whole/Searching for a reason why they buy the shit they’re sold.” From this year’s Exit Wounds album

Swift Years– Old Man Santo. The witty Canadian worldbeat group put this one out a few years back, but who’s counting – it’s a twistedly funny nursery rhyme about GMO frankenfood.

Ward White –Radio Silence. A cruel and pretty hilarious dysfunctional road trip scenario set to catchy janglerock by the brilliantly sardonic rock songwriter. From his latest album Done with the Talking Cure.

Marc Ribot – Kill for Pussy. Classic John Barry as done by one of the masters of noir guitar, live at the New School in April. Free download

Sanda Weigl– Ani Mei Si Tinertea. At the 92YTribeca this past January, pianist Shoko Nagai gave this gypsy haunter an absolutely macabre edge. From Weigl’s Gypsy in a Tree album.

Miramar– En Mis Suenos. This is the classic Sylvia Rexach bolero done with creepy psychedelic funeral organ by the Bio Ritmo spinoff. They absolutely slayed with this at Barbes in May.

Beninghove’s Hangmen– Reject’s Lament. A sad, creepy waltz from the noir jazz guys’ debut album

Beninghove’s Hangmen– Hangmen’s Waltz. Twangy 1950s David Lynch-style noir doesn’t get any better than this – also from the band’s debut album.

Ansambl Mastika– Zurlaski Cocek. A funky, exhilarating showcase for the Balkan band’s excellent soloists – from their latest album Songs and Dances for Life Nonstop.

Pickpocket Ensemble – For Those Who’ve Left. This was a good year for sad waltzes and this is one of the best of them, the Bay Area gypsy jazz band doing brooding Belgian barroom piano music. From their album Memory.

Rahim Alhaj – Going Home. More haunting oud over a low, sinister drone: gorgeously intense Middle Eastern sounds, also from his latest album Little Earth

A Hawk & a Hacksaw– No Rest for the Wicked. A blistering mini-suite of gypsy music from the Neutral Milk Hotel spinoff; from their latest album Cervantine.

Sanda Weigl – Toderel. Shoko Nagai’s creepy/icy piano lights up this dramatic gypsy ballad. From the album Gypsy in a Tree.

A Hawk & a Hacksaw– At the Vultural Negru. The Bay Area gypsy band encored with this intense, ecstatic gypsy music vamp at their killer concerrt at the Bell House this past summer; also from their latest album Cervantine.

Rahim Alhaj – Dance of the Palms. The great Iraqi expat oud player methodically building a haunting composition over ominous percussion. From his latest album Little Earth – happily this one has made it to youtube.

Mary Lee Kortes– Someplace We Can’t See. Sweeping, majestic, angst-driven anthemic literate rock by one of the great artisans in the field. Also from Songs of Beulah Rowley Vol. 1

Pierre de Gaillande’s Bad Reputation– I Made Myself Small. An original English translation of the Georges Brassens classic Je Me Suis Fait Tout Petit, which could be a love song – or it could be about being totally pussywhipped.

Karen Dahlstrom– Galena. A haunting Gold Rush tale from the Americana multi-instrumentalist’s great new Idaho-themed album Gem State

The Dirty Urchins – Don’t Let the Bastards Grind You Down. This oldtimey shuffle is one of those songs that needed to be written, and it’s a good thing these folks were the band to do it.

Stephane Wrembel – Toute la Vie. The gypsy jazz guitarist wrote this one after watching footage of the 3/11 catastrophe – it’s haunting bordering on morbid, and hasn’t made it to the web yet.

Drina Seay– I Don’t Even Know What I’m Doing. The New York Americana chanteuse at the top of her intense, torchy game: this one is a staple of her live show but hasn’t made it to the web yet. She slayed with this one several times this year, particularly in October at Lakeside

The Brixton Riot – Hipster Turns 30. This GBV-style powerpop number might sound sympathetic at first but it’s really not. From the band’s forthcoming new album.

Rachelle Garniez – Jean-Claude Van Damme. Ostensibly the campy character actor has sunk to hawking antidepressants on tv – this one features a hilarious faux-operatic outro among other things. From Garniez’ forthcoming 2012 album Sad Dead Happy Alive.

Ward White – 1964. Retro fashion gets very subtly savaged by the great literate songshark. From White’s latest album Done with the Talking Cure.

Edward Rogers– Fashion Magazine. The most corrosive track from Rogers’ stunningly diverse new Porcelain album looks at trendy posers in gentrified NYC, set to hypnotically ominous Syd Barrett rock.

The Reid Paley Trio – Take What You Want. Late one night on the Lower East Side, after scaring the crowd at the club half to death, the charismatic retro rocker blasted through an unselfconsciously exhilarating version of this oldschool soul/blues lament: charisma defines this guy.

Oxygen Ponies– I Don’t Want Yr Love. How to tell a starfucker to kiss off, in three perfect minutes: the outgoing mantra of “nobody loves you anymore” is just plain brutal. From the Exit Wounds album.

Black Joe Lewis & the Honeybears– You Been Lying. Snide, dismissive, anti-authoritarian punk funk: the band absolutely slayed with this in the middle of the summer at their show with Those Darlins here.

American Composers Orchestra– Ryan Gallagher: Grindhouse. Long, cinematic, frequently noir suite, another highlight of this year’s SONIC Festival of indie classical music. This one hasn’t made it to the web yet.

American Modern Ensemble – Robert Paterson: Sextet. A noir afternoon in the life of a man on the run – it doesn’t end on a happy note. From the new music ensemble’s collection of works by the eclectic percussionist/composer

Either/Orchestra– No Price for a Ride. Inspired by haggling over cab fares in Addis Ababa, this is another unreleased gem by the Boston-based Ethiopian jazz crew.

Beninghove’s Hangmen– Jack Miller. This is the spooky opening mini-suite from the noir jazz band’s excellent debut album

Either/Orchestra – Bati Lydian. A lush, sweeping new spin on ancient riffs: the Boston Ethiopian jazz group’s show at the New School in November featured a whole slew of excellent new pieces including this one from bandleader Russ Gershon’s forthcoming suite The Collected Unconscious.

Ansambl Mastika– More Tri Godini. A classic Macedonian tune done with slow, tricky expertise by the ferocious Brooklyn Balkan/gypsy rock band

Christian McBride Big Band– Science Fiction. This is an intense, cinematic instrumental brilliantly rearranged for big band by the iconic jazz bassist – and it’s nowhere to be found online. What a shame!

Tiken Jah Fakoly– Quitte le Pouvoir. The title means “leave office” in French – it’s the Ivoirien freedom fighter and roots reggae star’s signature song, most recently re-released on the excellent Listen to the Banned anthology.

Baseball Project– Twilight of My Career. Sympathy for the devil, in this case Roger Clemens. Steve Wynn has a career as a sportswriter waiting for him if he ever gets sick of writing great songs like this Byrdsy janglerock gem.

Spottiswoode – All My Brothers. Death on the battlefield via grim, hypnotic psychedelic rock; also from the Wild Goosechase Expedition album.

A Hawk & a Hacksaw– Cervantine. A slow, eerie, chromatic gypsy waltz with a nice jagged tremolo-picked guitar solo. Title track from their latest album.

Rahim Alhaj– The Searching. With Alhaj’s oud in tandem with an accordion, this dirge is one of the slinkiest and most haunting pieces on his latest album Little Earth. It’s also impossible to find online, strangely enough.

Randi Russo– Alienation. Scorching noiserock with Russo and guest Don Piper blasting back and forth throughout this characteristically resolute outsider’s anthem. From her Fragile Animal album, ranked best of 2011 here.

Taj Weekes & Adowa– Drill. Remember “Drill, baby drill?” The roots reggae star savagely makes fun of the idiocy of the idea in the wake of what happened in the Gulf.

Brian Landrus’ Kaleidoscope – 71 & On the Road. A haunting mid-60s style psychedelic soul vamp inspired by a veteran jazz drummer who’s stuck playing live dates in his 70s just to get by. From the baritone sax player/composer’s Capsule album.

Beware the Dangers of a Ghost Scorpion– Denton County Casket Company. Noir surf rock doesn’t get any better than this unhinged instumental by the Boston band. From their Legend of Goatman’s Bridge ep.

Dastardly – Middleground. The Chicago indie/Americana band’s hilarious and spot-on look at trendy shallowness on the small-club circuit. From their album May You Never

A Hawk & a Hacksaw – Uskudar. A tricky Turkish vocal tune from the intense gypsy band’s latest album Cervantine.

Mark Sinnis– Peep Hole in the Wall. A towering, ominous individualist’s anthem originally done by Sinnis’ band Ninth House in 2000 and resurrected here even more darkly and intensely.

Steve Wynn– St. Millwood. This is a classic example of Wynn’s pensive, jangly, evocative side. From the Northern Aggression album.

Stephanie Rooker & the Search Engine – When We Gon Care. Over seven and a half minutes of hypnotic vamping, the soul siren insightfully and wrathfully goes off on drug companies who invent diseases to market new products, and similar stunts that the 1% try to pull off to keep the other 99% of us disempowered. From her album The Only Way Out Is In

Shanghai Love Motel– The Universal Skeptical Anthem. A typical savage, corrosive anthem from the hyper-literate New York rockers. “Hang me with your velvet rope, but don’t wrap it around my brain.”

Spottiswoode – Wake Me Up When It’s Over. Irresistibly and blackly amusing look at the psychology of denial even in the most dire circumstances – yet another great song from the Wild Goosechase Expedition album.

Mark Sinnis– Fifty Odd Hours. A bitter, vengeful update on the Merle Travis classic Sixteen Tons. From Sinnis’ latest album The Undertaker in My Rearview Mirror.

Andy Akiho– To Run or Walk Through West Harlem. A noir cinematic suite complete with sirens and a brief escape from a chase scene; from the pioneering steel pan virtuoso/composer’s latest album No One to Know One.

American Modern Ensemble – Robert Paterson: Star Crossing. Otherworldly, noir, cinematic flute-and-percussion instrumental; title track from the indie classical ensemble’s amazing album of Paterson compositions.

Evanescent– Blackwater. Retro chanteuse Bliss Blood revisits the best song from her late great Nightcall band in a torchy duo with guitarist Al Street.

Laurie Anderson – Directions from Westchester. Anderson premiered this at Lincoln Center Out of Doors this past August, a LOL-funny satire of the kind of people who go to concerts there. Unreleased and possibly part of a larger suite.

Walter Ego– The Adventures of Ethical Man. Ethical Man is a cartoon character; he battles even more cynical underwear heroes in this extremely funny powerpop tune by the NYC literate rock songwriter.

Frankenpine– Blackwell Island. From the dark NYC bluegrass band’s excellent new album The Crooked Mountain – this one commemorates Nellie Bly’s undercover expedition to the nuthouse in New York Harbor in the 1890s.

Beware the Dangers of a Ghost Scorpion– Heads Will Roll. Another macabre blast of surf rock from the band’s Legend of Goatman’s Bridge ep.

Dina Rudeen– Hitting the Town. The NYC retro soul chanteuse at the top of her game: a metaphorically loaded tale of almost falling off the edge. From her excellent new album The Common Splendor.

Sanda Weigl– Un Tigan Avea O Casa. The gypsy singer/bandleader blasted through this wryly ironic song at the 92YTribeca last January. From her latest album Gyspy in a Tree.

Rahim Alhaj – Waterfall. This nine-minute oud-and-flute piece reminds of the great New York-based composer Bassam Saba. Also from Aljaj’s latest album Little Earth. The link here is to the track at Slacker radio.

Walter Ego– Made of Holes. This is another of the songs here that’s so new that it hasn’t been youtubed yet, a characteristically metaphorically-charged janglerock tune.

Vespertina – Girl in the Basement. Gothic art-rock from this collaboration between haunting chanteuse Lorrie Doriza and Stoupe from conscious hip-hop group Jedi Mind Tricks.

The Marcus Shelby Orchestra – Birmingham. A scorching, ornate big band jazz tribute to the freedom fighters of the American civil rights movement.

The Best NYC Concerts of 2011

Of all the year-end lists here at New York Music Daily, this one is the most fun to put together since it’s the most unique. Everybody has a different one: this is an attempt to be REALLY different and stay as faraway as possible from duplicating the other blogs. That’s why Sharon Jones, or the Brooklyn What, or Gogol Bordello aren’t on this list. Everybody else went to those shows – and had a good time, and more power to you if you were one of those people.

Considering how many incredible live performers play around town, and pass through over the span of a year, choosing the year’s best New York concert is usually like shooting fish in a barrel. But in 2011, there was one show that stood out over all the others, and that was one by a familiar presence, someone who’s been a force in the downtown scene for a long time, who gets more and more vital as the years go by. Laurie Anderson’s concert at Lincoln Center Out of Doors on August 11 brought an air-conditioned highrise chill, a calmly matter-of-fact indictment of post-9/11 paranoia and gentrifier cluelessness, laced with deadpan wit and set to hypnotic, pensive, icily ambient atmospherics. Though much of the concert was a requiem for an edgy New York that’s been bulldozed out of existence, it offered some hope that new version can rise again from the ashes of the old one.

In any other year, Marc Ribot’s April 3 performance of classic noir film music along with his own equally dark matter at the New School would be a no-brainer for best concert of the year; the same could be said for Either/Orchestra’s November 9 marathon two and a half-hour concert there featuring bandleader Russ Gershon’s new suite of moody Ethopian jazz as well as new arrangements of rare Ethiopiques, never before performed outside Ethiopia and probably not since the 1960s.

As far as the rest of the year is concerned, that it was impossible to whittle this list down to any fewer than 26 shows speaks for itself:

Sanda Weigl, Razia and Very Be Careful at the 92YTribeca, January 8 – Shoko Nagai was the star of this one, playing creepy, surreal, crashingly and virtuosically intense piano and accordion in the gypsy singer’s band. The Malagasy chanteuse and LA cumbia party band who followed weren’t bad either.

The Dixie Bee-Liners at the Jalopy, February 13 – since relocating from New York to the hills of Virginia, Buddy Woodward and Brandi Hart’s cutting-edge bluegrass band have made a living on the road with their Bible Belt noir. Pretty impressive in these hard times.

Miramar at Barbes, March 5 – new and classic Puerto Rican boleros, haunting and psychedelic, fueled by Marlysse Simmons’ creepy funeral organ.

Svetlana Berezhnaya at St. Thomas Church (5th Ave.), March 27 – the Russian organist played her own even more macabre arrangement of Moussorgsky’s Pictures at an Exhibition.

Caithlin De Marrais, the Oxygen Ponies and Randi Russo at the Mercury, April 17 – the former Rainer Maria chanteuse/bassist followed by two of New York’s darkest, most literate rock bands, those two groups both using two drummers.

Ward White at Bowery Electric, April 19 – the literate rock tunesmith was under the weather but still delivered a soaring, understatedly snarling cd release show for his latest one, Done with the Talking Cure , backed by keyboard maven Joe McGinty and a killer band.

Ryan Truesdell’s Gil Evans tribute at the Jazz Standard, April 22 – the composer/arranger is a major Evans scholar, and assembled an A-list big band to recreate the legendary 1961 Out of the Cool album plus a couple of surprises.

Dark & Stormy at the Tank, April 28 – the duo of Adrian Morejon and Rebekah Heller played pretty much the entire known repertoire for two bassoons, as lively and entertaining as it was sonically luscious.

Barbez at the Austrian Cultural Center, May 12 – playing mostly material from their most recent album Force of Light, a Paul Celan homage, they mixed brooding, klezmer-fueled instrumentals with spoken-word passages featuring work by the late Holocaust poet.

The JD Allen Trio at le Poisson Rouge, May 18 – the tenor saxophonist and his longtime collaborators, bassist Gregg August and drummer Rudy Royston, hit dark and forcefully again and again, airing out three-minute “jukebox jazz” songs from their darkly triumphant new album, VICTORY!

Those Darlins and Black Joe Lewis at Madison Square Park, June 12 – swirling jangly psychedelia with a little country from the 3/4 female rockers, followed by a marathon performance by the charismatic punk/funk guitarslinger and his purist, bluesy band.

Brooklyn Rider at Pace University, July 12 – a characteristically eclectic set by one of the world’s most adventurous string quartets, with works by Philip Glass and Kojiro Umezaki along with a bluegrass romp by Colin Jacobsen and several scorching gypsy tunes.

Pierre de Gaillande at Barbes, July 14 – the Snow’s frontman played a bunch of brand-new English translations of classic,smutty, wickedly literate Georges Brassens songs.

The Universal Thump at Barbes, July 16 – keyboardist Greta Gertler’s lush art-rock band brought along a string quartet for this exhilarating, majestic show featuring new songs from their brand-new First Spout album.

The New York Arabic Orchestra at Lincoln Center Out of Doors, August 5 – a rich mix of Egyptian and Lebanese classics as well as intriguing, cinematic works by bandleader/multi-instrumentalist Bassam Saba

Rachelle Garniez, Vera Beren’s Gothic Chamber Blues Ensemble and Thomas Simon at Small Beast at the Delancey, August 15 – the weekly dark rock event, which has been running on fumes lately, had a rare good night since charismatic chanteuse Beren – who booked the bands this time around – brought along both the equally charismatic and even more inscrutable Garniez as well as swirling soundtrack crafter Simon.

The Chiara String Quartet at Trinity Church, September 8 – the ensemble revisited Robert Sirota’s anguished, chilling 9/11-themed Triptych where they’d premiered it less than a year later after the attacks. Seconds after they finished, sirens echoed outside just a couple of blocks away: eerie coincidence!

And the Wiremen and the Reid Paley Trio at Small Beast at the Delancey, September 19 – this time out Lynn Wright of southwestern gothic mavens And the Wiremen booked the night, bringing along charismatic retro rocker Paley, who was not amused by the chatty bar crowd and delivered what might have been the most deliciously assaultive show of the year

Chicha Libre at Barbes, October 3 – the surfy, psychedelic cumbia band plays pretty much every Monday here on their home turf – this time they went deep, deep into dub with a swirling, deliriously fun mix of classics and a lot of new original material.

Amour Obscur and Copal at R Bar, October 5 – blazing gypsy punk and noir cabaret, followed by gorgeously slinky violin-and-cello dance grooves from Hannah Thiem, Isabel Castellvi and their hypnotic rhythm section.

Drina Seay at Lakeside, October 7 – she came out of nowhere – a year ago she was singing backup vocals with a bunch of country bands – to lead one of New York’s most versatile, smartest Americana groups. Watching her soaring through a mix of torchy, intense ballads and more upbeat songs reminded a lot of seeing Neko Case right before she got popular.

The American Composers Orchestra at the World Financial Center, October 22 – closing night of this year’s SONIC Festival featured intense, majestic new works by Paul Yeon Lee, Ruby Fulton, Ryan Gallagher, Suzanne FarrinAndrew Norman, and an unexpectedly thoughtful, pensive one by the National’s Bryce Dessner.

Walter Ego at Otto’s, November 19 – switching from guitar to piano and back again, the literate rock tunesmith was at the top of his wryly amusing game.