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Tag: tammy faye starlite

A Killer Triplebill Foreshadows a Great Psychedelic Show on the LES

This Thursday, March 30 at 8 PM there’s a rare, intimate performance by second-wave Los Angeles psychedelic legends the Jigsaw Seen at Bowery Electric. They’re followed by the much louder New York Junk, whose retro sound moves forward in time another ten years to the Max’s Kansas City early punk rock scene. Cover is a ridiculously cheap, CBGB-era $8.

The Jigsaw Seen’s latest album, streaming at Spotify, is aptly titled For the Discriminating Completist. It’s a collection of B-sides and rarities. There’s an album of new material in the works, and frontman Dennis Davison has also recently immersed himself in a brand-new dark acoustic project, Witchfinder Witch, a duo with New York folk noir icon Lorraine Leckie. Speaking of which, she has an incendiary new protest single, America Weeping, just out and available as a free download at Bandcamp

The two made their debut at Pete’s Candy Store on a Saturday night in January, Davison on acoustic guitar and Leckie on piano. The highlight of that gig was Cave Canem, a witheringly lyrical anthem that casts the history of dogs – and centuries of canine abuse – as a metaphor for humans’ crimes against their own species.

A few days later at Maxwell’s, the duo were the centerpiece of what’s arguably been the best triplebill of the year. Debby Schwartz opened the show, jangling adn clanging through a series of arcane British folk turnings on her hollowbody Gretsch, bolstered by Bob Bannister’s nuanced, artfully jeweled, Richard Thompson-esque Strat work, Rose Thomas Bannister supplying lush harmonies and percussion. Through neo-Britfolk and more dreampop-oriented material, Schwartz sang with her her soaring, diamond-cutter delivery, dreaming New York City in the middle of LA and finally closing with a stunning take of the psych-folk anthem Hills of Violent Green.

By now, Witchfinder Witch had shaken off whatever early jitters they might have had: they’d come to conquer. Davison spun bittersweet, pun-infused psych pop gems weighing the pros and cons of clinical depression (do it right and you get tons of songs out of it) and a couple of darkly allusive, mystically-tinged co-writes with Leckie. She charmed and seduced the crowd with blue-flame red-light cabaret tune or two, a jaunty S&M piano number that was so deadpan that it was creepily plausible, and a mysterious, hypnotic folk noir tableau that could have been about heroin, or simply death itself. The crowd was rapt.

The Pretty Babies headlined, putting a deliriously fun coda on what had been a low-key, entrancing evening up to then. Professional subversive and rockstar impersonator Tammy Faye Starlite – who’s channeling Nico on Thursdays in April at 7:30 PM at Pangea – led the world’s funniest Blondie cover band through a stampeding take of Dreaming as well as a surprising number of deeper cuts from the band’s early days when they rocked harder. If memory serves right, Tammy took a hilariously politically-fueled detour that eventually drove Call Me off the rails. Everybody in the band has a funny, punny Blondie name. Was bassist Monica Falcone – who absolutely nailed the wry disco lines in Heart of Glass – newly christened as Chrissie Stein? It’s hard to remember who else everybody else was: Heidi Lieb and Keith Hartel as Frank Infantes separated at birth, and expert standins for Jimmy Destri on keys and Clem Burke on drums. Hearing the Pretty Things and watching the crowd on their feet and bopping along was a jab in the ribs that said, hey, the original outfit was pretty good too. 

The 100 Best Songs of 2014

If you count youtube clips, how many songs were “released” in 2014? Five million? Ten million? Considering the vast amount of material that’s out there, you can’t consider this page to be gospel any more than you can any other blog’s best-of-2014 list.

But it is a seriously good playlist. At first it seemed like a good idea to simply pull all of these songs into a Spotify playlist and call it a night, but that didn’t work since a lot – perhaps the majority – of the artists here aren’t on Spotify. But you can follow the links on this page and hear every song except for one mystery track which is one of the best of them all. Bookmark this page and enjoy!

As was the case last year with Matthew Grimm’s West Allis, one song stood apart from the pack this year as far as sheer visceral impact is concerned and that’s The Great Escape by artsy New York Americana band the Sometime Boys. Kurt Leege’s guitar provides an elegant, elegaic intro for frontwoman/guitarist Sarah Mucho’s carefully modulated, wounded, brittle vocals, which rise to a full gospel wail as the song hits a peak. It’s a bitter reflection on the lure of victory and the harsh reality of defeat, from the perspective of someone gazing into the night from a window in lower Manhattan. If you’ve ever faded away into yourself, scowling out at the glimmer in the distance and wishing you were there and not slaving away at some stupid dayjob – or contemplating suicide – this could be your theme song. It’s from the band’s album Riverbed, streaming here.

As with this year’s Best Albums of 2014 and Best NYC Concerts of 2014 pages, there’s no ranking here other than the #1 song of the year. For the sake of fairness, songs are listed in rough chronological order by the date they first got some attention at this blog, irrespective of release date. Which means that the last songs on the list aren’t the ass end of the list: they just made their first appearance here in December. To be clear: Karla Moheno’s mysterious Time Well Spent, which leads the rest of the pack here, is a lot different than Jennifer Niceley’s uneasily balmy Land I Love, the last song here. But they’re both worth a spin. Here we go!

Karla Moheno – Time Well Spent
A slinky, cruel noir blues dirge about deceit and revenge. Moheno’s genius is that her narratives are allusive; you have to brave the shadows to figure out what’s going on and who’s being killed. If the Sometime Boys hadn’t put out an album this year, this song, from her album Gone to Town, would occupy the top spot. Listen here.

Jessie Kilguss – Red Moon
The folk noir bandleader’s brooding, Spanish Civil War-inspired tableau could also be a present-day account of freedom fighters on the run from just about any gestapo – the NSA, Mossad or ISIS. It’s all the more powerful for Kilguss’ portrayal of the political as personal. From the album Devastate Me. Spotify link

Ward White – Bikini
This swaying, snarling art-rock narrative isn’t about beachwear: it’s a cruelly sardonic narrative set on a now-uninhabitable South Pacific atoll right after an atom bomb was set off there, gently ominous guitar multitracks subtly going awry over keyboardist Joe McGinty’s pillowy mellotron. From the album Ward White Is the Matador. Listen here

Marianne Dissard – Am Lezten
A portrait of total emotional depletion so vividly detailed it’s scary. And you don’t need to speak French to understand it – although that makes it all the more poignant. From her gorgeously orchestrated art-rock album The Cat. Not Me. Listen here

The Wytches – Gravedweller
Don’t let this song’s apparent references to zombies – which could simply be metaphorical – scare you away. Drenched in toxic reverb, this is a morbid, Middle Eastern-tinged horror surf number, and it’s genuinely evil. From the album Annabel Dream Reader. Listen here, free download

Willie Watson – Rock Salt & Nails
One of the year’s biggest buzz songs. Everybody covered this morose old murder ballad from the 1800s, nobody more starkly or hauntingly than the former Old Crow Medicine Show guitarist. It’s a version worthy of Hank Williams, no joke. From the album Folk Singer Vol. 1. Listen here

Ember Schrag – William for the Witches
At her Trans-Pecos show in October, the gothic Americana bandleader dedicated her careening Macbeth-inspired anthem to “all the Republicans back home,” ramping up the menace several notches with her litany of spells as guitarist Bob Bannister veered from monster surf, to ominous jangle, to a little skronk,  captured here on this video.

LJ Murphy – Fearful Town
At the Parkside back in May, noir rocker Murphy’s show was a going-away party of sorts for pianist Patrick McLellan, who took out his angst on the piano keys, gently and elegantly exchanging creepy, lingering noir tonalities with guitarist Tommy Hoscheid as Murphy drew a morosely surreal portrait of a DiBloomberg era East Village of tourist traps and the grotesqueries who congregate there. This youtube clip is the studio version.

Benmont Tench – You Should Be So Lucky
Tom Petty’s organist released his debut album this year and this is the title track, as viciously brilliant a kiss-off anthem as anyone’s ever written, set to tersely murderous, bluesy Laurel Canyon psychedelia. Watch the video 

Big Lazy – Human Sacrifice
The cult favorite NYC noir soundtrack trio makes horror surf out of a flamenco theme, with its savage clusters and sudden dips and swells, and allusions to a famous Duke Ellington tune (via the Ventures). From the album Don’t Cross Myrtle, rated #1 for 2014. Listen here

Gord Downie & the Sadies – Budget Shoes
An ominously reverb-drenched southwestern gothic tale fueled by Mike Belitsky’s artfully tumbling, Keith Moon drums. Singer and longtime Tragically Hip frontman Downie traces the steps of a couple of desperados “walking through the valley of ghosts,” one with his eyes on the other’s superior footgear. From their album Gord Downie, the Sadies & the Conquering Sun. Listen here

Ernest Troost – Old Screen Door
A wailing, electrifying murder ballad. Troost succeeds with this one since the only images he lets you see are incidental to what was obviously a grisly crime, “lightning bugs floating through a haze of gasoline” and so forth. A teens update to the Walkabouts’ vengeful anthem Firetrap, from the album O Love. Listen here

Changing Modes – Ride
The band keeps the menacing chromatics going over a brisk new wave pulse, frontwoman/keyboardist Wendy Griffiths’ venomous lyric driven to a crescendo by a snarling Yuzuru Sadashige guitar solo. From the New York art-rockers’ album The Paradox of Traveling Light. Listen here

HUMANWINE – Our Devolution Is Televised
Tthe closest thing to the Dead Kennedys that we have these days: macabre chromatic Romany punk rock set in an Orwellian nightmare that very closely resembles today’s world. The recurrent mantra is “Can’t you feel the lockdown?” From the ep Mass Exodus. Listen here, free download

The Brooklyn What – Too Much Worry
Almost nine minutes of white-knuckle intensity, relentless angst and psychedelic guitar fury. A serpentine homage to early Joy Division, there’s an interlude where it evokes a tighter take on that band doing the Velvets’ Sister Ray, then a long, volcanic guitar duel worthy of the Dream Syndicate. From the year’s best short album, Minor Problems. Listen here

Briana Layon & the Boys – Cut My Man
The dark metal/powerpop rockers open the song with an icy, watery guitar lead over a sketchy, muted riff, frontwoman Layon joining in the ominous ambience and then rising toward murderous rage, airing out her wounded low range and in the process channeling the Sometime Boys‘ Sarah Mucho. They take it out as a waltzing danse macabre. From their album Touch & Go. Listen here

Cheetah Chrome – Stare into the Night
It’s the closest thing to the Dead Boys (right around the time of their mid-80s comeback) on that band’s iconic lead guitarist’s new album, Solo, most of its searing tracks recorded almost twenty years ago and seeing the light just now. It’s about time. Spotify link

The Annie Ford Band – Buick 1966
A cinematic, noir mini-epic that shifts from a creepy bolero to a waltz to scampering bluegrass and then back, fueled by Tim Sargent’s knee-buckling, Marc Ribot-like reverb guitar lines. From Ford’s debut album. Listen here

Golem – Vodka Is Poison
Over a rampaging circus punk stomp, bandleaders Annette Ezekiel Kogan and Aaron Diskin trade verses about why it either “Makes you round, makes you soft, makes it hard to get aloft,” or “Makes you happy, makes you free, makes you wish that you were me!” From the album Tanz. Spotify link 

The Fleshtones – Hipster Heaven
A hellish, Chuck Berry-flavored chronicle of the band’s old New York neighborhoods being swallowed by hordes of narcissistic gentrifiers fresh out of college but acting like kindergarteners. From their album Wheel of Talent. Watch the video

Guess & Check – Some DJs
An aptly downcast janglepop tale that will resonate with anybody who’s walked into a party all psyched and then realizes in a split second that it’s really going to suck. In other words, that it’s full of trendoids who are all a-twitter since some DJ just plugged his phone into the PA system! From their album Entanglement. Listen here

Orphan Jane – Lost Mind
A menacingly theatrical circus rock tune that builds from a sarcastically whiny, vaudevillian verse to an explosive choir of voices on the chorus. From their album A Poke in the Eye. Listen here

Mitra Sumara – mystery song
Mitra Sumara are one of New York’s most fascinating bands. Singer Yvette Perez’s group plays obscure psychedelic rock and funk covers from Iran in the 1960s and 70s. This particular number was the highlight of this year’s annual Alwan-a-Thon, a celebration of sounds from across the Middle East held at downtown music mecca Alwan for the Arts. But nobody seems to know what the song is called. It sounds like Procol Harum but more upbeat, with some seriously evil funeral organ. If anybody knows the title, please pass it on! It was the third song on the setlist that night.

The Reigning Monarchs – Thuggery
Sort of a Peter Gunne Theme for the teens, an intense, explosive monster surf instrumental with a slashing, off-the-rails guitar solo midway through. From the album Black Sweater Massacre. Listen here

Curtis Eller – The Heart That Forgave Richard Nixon
A riverbed grave, a Cadillac stalled out on the tracks and Henry Kissinger shaking it all night long serve as the backdrop for this snarling parable of post-9/11 multinational fascism. From the historically-inspired Americana cult favorite banjo player’s album How to Make It in Hollywood. Listen here

The Jitterbug Vipers – Stuff It
A co-write with Elizabeth McQueen from Asleep at the Wheel, this sassy oldtimey swing tune by the Texas stoner swing band has the sardonic wit of a classic, dismissive Mae West insult song. From the album Phoebe’s Dream. Listen here

Della Mae – Heaven’s Gate
A bitter, ghostly newgrass tale that begins with the fiddle mimicking the ominous low resonance of a steel guitar, then eventually goes doublespeed. Is this about a suicide, a murder, or both? Either way, it’s a great story. From the album This World Oft Can Be. Watch the video (WARNING – you have to mute the audio ad before the whole album streams)

Bad Buka – Through the Night
A big, blazing, full-on orchestrated minor-key Romany art-rock epic, the title track from this searing, theatrical Slavic art-punk band’s new album. Listen here

The Devil Makes Three – Hand Back Down
The wild punkgrass crew take an unexpected detour into surrealist stoner swamp rock with a cynical antiwar edge, from their album I’m a Stranger Here. This video is a live take.

Marissa Nadler – Firecrackers
A menacingly opiated, reverb-drenched, mostly acoustic Nashville gothic ballad, painting a booze-fueled Fourth of July scenario that does not end well. From the folk noir icon’s album July. Listen here

Aram Bajakian – Rent Party
This instrumental by the former Lou Reed lead guitar genius kicks off with a bouncy funk riff into a minor-key tune that’s part newschool Romany rock, surf music and Otis Rush blues – then the band hits a long, surreal, muddy interlude reminiscent of 80s noiserock legends Live Skull as Shahzad Ismaily’s bass growls to the surface. From the album There Were Flowers Also in Hell. Listen here

The Delta Saints – Crazy
The centerpiece of the Americana jamband’s Drink It Slow ep is a nine-minute epic that works a slow, slinky noir blues groove with all kinds of up-and-down dynamics, a precise, angst-fueled guitar solo and every keyboard texture in this band’s arsenal. Listen here

Rosanne Cash – World of Strange Design
An harrowing Appalachian gothic tale that could be about a returning soldier’s family falling apart, or maybe just metaphorical, about a guy who “Set off the minefield like you were rounding first.” From the album The River & the Thread. Watch the video

Laura Cantrell – Washday Blues
This era’s most poignant, compelling voice in classic country music at her aphoristic best, cleaning up a lifetime’s worth of disappointed metaphors against a backdrop of steel guitar and mandolin. From the new album No Way There from Here. Spotify link

The New Mendicants – High on the Skyline
An enigmatically alienated folk-rock anthem that’s equal parts Strawbs Britfolk and lushly clangy, twanging Byrds from this psychedelic pop supergroup. “I’ll show you how deadly close faraway can be,” Teenage Fanclub frontman Norman Blake intones in his stately delivery. From their album Into the Lime. This live acoustic take isn’t the album version but it’s still really good.

Ihtimanska – Hicaz Hümayun Saz Semaisi
The most gripping and most distinctively Middle Eastern of all the tracks on the Montreal Turkish traditional music duo’s debut album. Listen here

Siach HaSadeh – Kuni Roni/Maggid’s Niggun
A darkly dancing North African-tinged diptych: the oud’s ironically triumphant run down into the abyss midway through might be the high point of the improvisational klezmer band’s album Song of the Grasses. Listen here

Son of Skooshny – Untold History.
This intense, richly arranged, artsy janglerock anthem traces an uneasy early atomic age childhood with an offhanded savagery: with Steve Refling’s keening slide guitar, it’s the hardest-rocking and most overtly angry song on the new album Mid Century Modern. Listen here

New Electric Ride – Marquis de Sade
This trippy vintage 60s psych tune casts the old philosopher as a stoner, from a funky Cream intro, through a little early Santana and then a galloping proto-metal interlude fueled by Craig Oxberry’s artful drums before some very funny vocals kick in. From the album Balloon Age. Listen here

Tammy Faye Starlite – Sister Morphine
A showstopper by the irrepressible chanteuse who’s carved herself out a niche for sardonic but spot-on reinventions of songs by brilliant and difficult people: Nico, Iggy, and others. She slayed with this one live at her Marianne Faithfull tribute/parody at Lincoln Center back in March. Watch the video

Isle of Klezbos – Noiresque
Shoko Nagai dazzles with her glimmering, darkly neoromantic and blues-tinged piano on this bracing latin- and Middle Eastern-tinted theme, shifting seamlessly between waltz time and a swing jazz groove. From the album Live from Brooklyn. Listen here

Jenifer Jackson – All Around
This flinty anthemic backbeat rock tune builds a mood of quiet apprehension via a wintry seaside tableau – it wouldn’t be out of place in the Steve Wynn catalog. From the stunningly eclectic Austin songwriter’s album Texas Sunrise. Listen here 

The Baseball Project – 13
Arguably the best song on the new album, 3rd – frontman Steve Wynn takes unsparing aim at at the A-Roid scandal over a corrosively sarcastic spaghetti western backdrop. Watch the video

John Zorn’s Abraxas – Metapsychomagia
Guitarists Aram Bajakian and Eyal Maoz and bassist Shanir Ezra Blumenkranz juxtapose puckish wit with flickering menace, building from an uneasy bolero groove to a staggered Middle Eastern monster surf stomp, both guitarists ranging from lingering and twangy to frenetic and crazed, epic art-rock infused with swirling noise. Title track from the new album. Watch the video

Martin Bisi – Invite to Heaven Hell
One of the most deliciously tuneful things the dark art-rocker has ever done, building a stygian spacerock ambience, like the Chuch or the Byrds at their most psychedelic, with hints of peak-era Sonic Youth peeking through the pulsing guitars, with disembodied vocals, soaring trumpet and a dead-girl chorus in the background. From the album Ex Nihilo. Listen here

Ichka – Glaziers Hora
This Alicia Svigals tune is a showcase for soaring solos from everyone in this fiery klezmer band, over a misterioso staccato rhythm. From their album Podorozh. Listen here

Jaro Milko & the Cubalkanics – Herido
A mix of Del Shannon noir with a creepy bolero: it’s arguably the strongest track on the psychedelic cumbia band’s creepily slinky new album Cigarros Explosivos. Listen here 

Holly Golightly & the Brokeoffs – For All that Ails You
With its mournful train-whistle guitar and stalking, noir blues sway, it’s uncommonly dark for even this creepy gutter blues/noir Americana band. From the album It’s Her Fault. Watch the video

The Mystic Braves – There’s a Pain
A briskly scampering noir blues recast as period-perfect 60s Laurel Canyon psychedelia, from the album Desert Island. Listen here

Barbez – Mizmor Leasaf
Italian poet Alfonso Gatto’s bitter wartime elegy, Anniversary, recast as an eerily reverberating, dirgelike noir soundtrack piece from the album Bella Ciao, which explores haunting Italian Jewish themes. Watch the video

Spottiswoode – Butterfly
With its anxiously fluttery, tremoloing intro, swooping clarinet and elegant electric harpsichord, it’s a characteristically moody, richly orchestrated chamber pop anthem. From the album English Dream. Listen here

Action Beat & G.W. Sok – Sentence Machine
A noisier take on what Joy Division did with Atrocity Exhibition, seemingly a Kafkaesque account of a tortuous execution machine, set to a choir of sawing, stabbing, frantically pinwheeling guitars. From the ex-Ex frontman and British noiserock band’s collaborative album A Remarkable Machine. Spotify link

Karikatura – Eyes Wide
A bracing latin reggae tune and the title track to the band’s new album, frontman Ryan Acquaotta chronicling what happens when the real estate mob decides to take over a sketchy part of town: “With the luxury developments they’re packing in, propaganda that the neighborhood is back again, watch whoever is moving in after, blowing their cover.” And then the displacement of the people who call it home begins. Listen here

The Skull Practitioners – Another Sicko
An out-of-focus vocal from guest Tom Derwent, long drones, allusions to funk, twisted bent-note mental asylum screams from Steve Wynn lead player and frontman Jason Victor going on for what seems minutes and an ending that the band finally allows to completely disintegrate. From the New York noiserockers’ ep ST1 – also available on cassette. Listen here

Zvuloon Dub System – Alemitu
An ominously organ-fueled minor-key instrumental that blends otherworldly Ethiopiques into a moody Israeli roots reggae groove. From their album Anbesa Dub. Listen here

The Last Internationale – We Will Reign
The fearless, politically-fueled Bronx rockers slayed with this snarling, defiant, Patti Smith-style anthem at the Mercury back in June, the title track from their new album. Watch the video

Hannah Thiem – Phavet
If you listen very closely, you’ll realize that the cinematic, intense violinist/composer’s slinky electroacoustic mood piece is a one-chord jam, as it shifts from an echoing, dancing, hypnotically bracing theme to a thicket of overdubs where Thiem becomes a one-woman string sextet.. From the ep Brym. Listen here

Amanda Thorpe – Willow in the Wind
With its haunting, subdued anguish, the intense Britfolk/art-rock chanteuse’s noir tropicalia version of Tin Pan Alley wordsmith Yip Harburg’s song surpasses any other take on it, fueled by drummer Robert di Pietro’s ominous tom-toms and misterioso cymbal work. From the album Bewitching Me. Spotify link 

Nick Waterhouse – Sleeping Pills
With echoey Rod Argent electric piano and baritone saxophonist Paula Henderson’s smoky lines, this was the most lurid song of the night at the LA psychedelic soul music maven’s show in Greenpoint back in June. From the album Holly. Watch the video

Puss N Boots – GTO
The darkest and arguably best song on the album No Fools, No Fun, a detour toward Eilen Jewell-tinged ghoulabilly by the the Americana super-trio of Norah Jones, guitarist/singer Sasha Dobson and bassist Catherine Popper. Watch the video

People – Supersensible Hydrofracked Dystopia
Fiery jazz guitarist Mary Halvorson, irrepressible drummer Kevin Shea (of NYC’s funnest jazz group, Mostly Other People Do the Killing) and bassist Kyle Forester (from Crystal Stilts) toss off this barely minute-long but cruelly spot-on punk jazz miniature from the album 3xaWoman. Watch the video

Coppins – Great Day for Living
A sarcastic dystopic pre-apocalyptic narrative set to a reggae-tinged groove from the eclectic, funky, rootsy Toronto band known for their bagpipe funk. From the album The Prince That Nobody Knows. Listen here 

Marah – The Old Riverman’s Regret
A sad, vividly resigned oldtimey folk waltz, looking back nostalgically on 19th century commercial river rafting. From the album Mountain Minstrelsy of Pennsylvania, a mightily successful detour into Americana by the highway rock band. Listen here

Carsie Blanton – Don’t Come Too Soon
Sly, innuendo-fueled oldtime hokum blues from the torchy New Orleans chanteuse. Listen here, free download

Millsted – Televangelist
Over an uneasy, hammering pulse, the New York punk/metal band work murderously direct East Bay Ray-style horror-surf riffage that spirals out in acidic sheets of reverb, hits a misterioso interlude and then rises again. From the album Harlem. Listen here

The Butcher Knives – Could Be the End
The New York Romany/latin rockers’ slinky shuffle kicks off by nicking the intro from Elvis Costello’s Watching the Detectives and morphs into steady brisk spaghetti western rock, with a cool, offcenter Ethan Cohen banjo solo out. From their album Misery. Listen here 

The Bakersfield Breakers – Longing
A sad, spiky mix of honkytonk, incisive blues and Britfolk licks and moody ranchera rock via guitarist Keith Yaun’s virtuoso multitracks. From the album In the Studio with the Bakersfield Breakers. Listen here

The Jones Family Singers – Bones in the Valley
A funky update on an ancient, eerie spiritual livened with a combination of graveyard imagery and a message that’s ultimately hopeful, a launching pad for some impassioned call-and response. From the Houston gospel-soul band’s album The Spirit Speaks. Listen here

The Old Crow Medicine Show – Dearly Departed Friend
As much as the bluegrass road warriors are best known for explosive party music, this is a somber graveside requiem for an Iraq War casualty, with a creepy, spot-on redneck surrealism. From their album Remedy. Listen here

Andrew Bird – So Much Wine Merry Christmas
The funniest of the Handsome Family covers on Bird’s tribute to the iconic Americana surrealist duo, Things Are Really Great Here, Sort Of. One brilliantly twisted, literate Americana songwriter deserves another. Listen here

The Grisly Hand – Western Avenue
A ringer here, the title track from the Kansas City band’s 2012 debut, sounding like the Jayhawks circa Sound of Lies backing Neko Case. Yeah, that good. Their new album Country Singles is pretty damn good too. Listen here

Edward Rogers – What Happened to the News
Fueled by Byrdsy twelve-string guitar, it’s a snide swipe at how the media-industrial complex distracts us from what’s really going on. Fron the Britrock maven’s Kevin Ayers-inspired new album Kaye. Watch the video

Bombay Rickey – Pilgrim
Frontwoman Kamala Sankaram’s wickedly precise, loopy accordion winds through a misterioso, lingering, surfy stroll with ominous bass and alto sax solos, the latter building to a spine-tingling coda. From the psychedelic Bollywood-inspired band’s album Cinefonia, the year’s best debut release. Listen here

Sharon Jones – Retreat
The brooding, practically exhausted version that this era’s definitive soul-funk singer delivered out back of the World Financial Center back in June was considerably more ominous and menacing than the version on the record. From the album Give The People What They Want. Listen here

The Immigrant Union – Anyway
The epic title track from the lush Australian psych-pop janglerockers’ latest album has plaintive harmonies and a slow psych-pop sway much in the same vein as the Allah-Las. Listen here

Debby Schwartz – Hills of Violent Green
A lushly luscious folk noir anthem and a showcase for some literally breathtaking, swooping upper-register vocals by the former Aquanettas frontwoman (and current Ember Schrag bassist). Fron the Satan You Brought Me Down ep. Listen here 

Wormburner – Drinks At the Plaza Hotel
Fiery Stiff Little Fingers style punk-pop, a couple of smalltime scam artists trading faux-sophisticated banter and having a great time seeing how much they can get over on the snobs. From the album Pleasant Living in Planned Communities. Listen here

Banda Magda – Trata
A gorgeously swaying Middle Eastern-tinged Greek party tune with rippling hammered dulcimer, cheery brass and animated guy/girl vocals that builds to a towerine, majestic peak. Frmo the pan-global New York art-rock/jazz/Middle Eastern band’s album Yerakina. Listen here

Alsarah & the Nubatones – Bilad Aldahb
A bristling, broodingly expansive oud solo by the late, great Haig Magnoukian leads into a dusky lament lowlit by Rami El Asser’s stately frame drum work. From the New York Nubian funk revivalists/reinventors’ album Silt. Listen here

Mary Lee Kortes – Big Things
An irrepressibly jaunty hi-de-ho swing tune: the intense, soaring Americana tunesmith/singer slayed with this at the Rockwood a couple of months ago. From the album Songs from the Beulah Rowley Songbook ep – and possibly appearing on her forthcoming, long-awaited Songs of Beulah Rowley album, a thematic collection centered around a tragic, talented 1930s/40s cult favorite songwriter. Listen here

Mark Rogers & Mary Byrne – Green Gold Violet
A starkly vivid, hypnotic, wounded late-afternoon folk noir tableau, Rogers’ luminous dobro paired against Byrne’s tensely fingerpicked stroll. From the album I Line My Days Along Your Weight. Listen here

Matt Ulery – The Farm
The lively flair of this harmony-driven, climactic chamber pop number understates its corrosive portrayal of rural hell. From the eclectic, cinematic bassist/composer’s album In the Ivory. Listen here

The Larch – Mr. Winters
The jangliest track on the ferociously lyrical New York psychedelic new wave rockers’ new album In Transit is a metaphorical, nonchalantly ominous sort of a mashup of Squeeze and powerpop legends Skooshny. Listen here

Lachan Bryan & the Wildes – The CEO Must Die
A brutally insightful look at the psychology of going postal from the Australian Americana songwriter/bandleader’s purist, impeccably crafted album Black Coffee. Listen here

The OBNIIIs – No Time for the Blues
The closest thing to Radio Birdman that we have right now, lead guitarist Tom Triplett ripping through volleys of chromatic. Surprisingly, the studio version on the Third Time to Harm album is even more volcanic t han the live version on their Live in San Francisco album. Listen here

Jay Brown – Fox News (Jesus Save Me).
Snidely hilarious faux gospel from the Americana songwriter. Anybody who watches that channel should be tied to a chair and forced to listen to this on loop. LMFAO. From the album Beginner Mind. Listen here

Lorraine Leckie – The Everywhere Man
This song about a party-hopping serial killer originally appeared on the album Rudely Interrupted, her elegant chamber pop collaboration with social critic Anthony Haden Guest. But the simmering, noir version on her latest album Rebel Devil Rebel takes the energy up several notches. Listen here 

Mesiko – Mockingbird
A distantly disquieting, pastorally-tinged art-rock anthem with early 70s Pink Floyd resonance: “Put away the mockingbird inside your lungs, keep your cellular calls to a minimum,” drummer Ray Rizzo sings as the band rises to a squall. From the album Solar Door. Listen here

Kelley Swindall – The Murder Song
A talking blues destined to become a Halloween classic. The dark Americana songstress credits her acting coach for helping her get in touch with her dark side on this one – yikes! From her album Pronounced [KEL-lee SWIN-dul] or something like that. Listen here

O’Death – Isavelle
The most ornate, and arguably most menacing track on the individualistic, creepy circus rock/Americana/noir cabaret band’s new album Out Of Hands We Go, a murder ballad fueled by Bob Pycior’s icepick violin. Listen here

Dina Regine – Broken
A brooding yet brisk latin-tinged groove with Steve Cropper-esque guitar: “You beat the wall for your past oppressor – sometimes spirits treat you real kind but most of the time they mess with your mind,” Regine sings with a gentle unease. From the New York soul-rock cult figure’s long-awaited album Right On, Alright. Listen here

Wounded Buffalo Theory – You Have Left Me
A gorgeously angst-fueled art-rock anthem that builds to a thicket of chiming guitars; axeman Kurt Leege takes a rare turn on lead vocals and knocks it out of the park. From the New York art-rockers’ album A Painting of Plans. Listen here, free download

Sam Llanas – To Where You Go From
The elegant, regret-laden final cut from the soulful BoDeans frontman’s new solo album The Whole Night Thru, a vivid, broodingly nocturnal highway theme. Watch the video (be careful – you may have to mute an ad at the beginning since this is a full album stream)

Jessi Robertson – You’re Gonna Burn
Deep inside this volcanic noir soul anthem, it’s a bitter, menacing blues, resonant, sustained lead guitar lines fueling its big upward trajectory as the New York noir Americana singer airs out her powerful voice. From the album I Came From the War. Listen here

Opal Onyx – Arrows Wing
The atmospheric New York art-rockers’ anthem begins as folk noir before rippling keys and atmospheric washes of cello take it even further into the shadows. From the album Delta Sands. Listen here 

Metropolitan Klezmer – Baltic Blue
The shapeshifting klezmer/latin/psychedelic cumbia group cleverly move between grooves as alto saxophonist Debra Kreisberg’s slow, haunting theme heats up, mashing up the blues and Hava Nagila with soulful solos from throughout the band. From the live album Mazel Means Good Luck. Listen here

The Yiddish Art Trio – Guilt
Clarinet powerhouse Michael Winograd wrote this evocative, enveloping theme that pairs his wary, airy lines with dark, full-throttle washes from Patrick Farrell’s accordion, evoking the majesty of a classical organ prelude. From the group’s debut album. Listen here

Mark Sinnis – Your Past May Come Back to Haunt Me
Originally released by the dark country crooner’s original band, art-rockers Ninth House, this reinvents this haunting, crescendoing anthem as low-key but no less intense Americana. From the album album It’s Been a Long Cold Hard Lonely Winter. Here’s a live version

Robin Aigner – Greener
This pensive oldtimey number’s Gatsby-era setting is the exact opposite of what it seems to be, Rima Fand’s violin and Ray Sapirstein’s trumpet flying over a tensely flurrying, flamenco-tinged beat. From the brilliantly lyrical, deviously funny New York tunesmith/chanteuse’s album Con Tender. Listen here, free download

Jennifer Niceley – Land I Love
Swooshes and gentle booms from the drums and gorgeously lingering pedal steel color the song’s Lynchian Julee Cruise atmospherics, the Tennessee songstress brooding over her pastoral imagery and how that beauty “is never coming back.” From the album Birdlight. Listen here

If you missed the explanation on the Best Albums page, all the classical and most of the jazz is more likely to be found at this blog’s older sister blog Lucid Culture.

The Best New York Concerts of 2014

Of all the year-end lists here, including the best albums and best songs of 2014 lists, this one is the most individual, and the most fun to put together. But as amazing a year for live music as it was, there were twice as many enticing shows that this blog never had the chance to cover as there are on this list. It’s called having a life – or trying to, in between concerts, anyway.

So consider this an informed survey rather than anything definitive, and ultimately, a reason for guarded optimism. Much as gentrification destroys the arts like Walmart destroys local economies, neither one has killed us. Yet.

What was the single best show of the year? Four multi-band bills stand out from the rest. Back in October at Trans-Pecos, charismatic Great Plains gothic bandleader Ember Schrag played a wickedly lyrical mix of mostly new material, some of it with a string section, the rest fueled by the snarling, spectacular lead guitar of Bob Bannister. Also playing that night: rapturously hypnotic, melancholic cellist/songwriter Meaner Pencil, dark art-rock duo Christy & Emily, plus a starkly entrancing set by two jazz icons, guitarist Mary Halvorson and violist Jessica Pavone.

A month earlier, renaissance woman Sarah Small put together a similarly magical night at Joe’s Pub featuring her Middle Eastern-inspired trio Hydra with Rima Fand and Yula Beeri as well as her otherworldly Balkan choral trio Black Sea Hotel with Willa Roberts and Shelley Thomas. There were also brief sets from the reliably entertaining all-female accordion group the Main Squeeze Orchestra and a trio version of one of NYC’s original Romany bands, Luminescent Orchestrii.

In mid-November, the Bowery Electric triplebill of hauntingly catchy Nashville gothic tunesmith/singer Jessie Kilguss, similarly lyrical and vocally gifted art-rock songwriter Ward White – both playing an album release show – and well-loved literate Americana rocker Matt Keating was pretty transcendent. And let’s not forget the Alwan-a-Thon back in January, the annual celebration of cutting-edge sounds from across the Arabic-speaking world held at financial district music mecca Alwan for the Arts. This one featured two floors of amazing acts including intense Lebanese-born pianist Tarek Yamani and his trio, luminous Balkan chanteuse Eva Salina, amazingly psychedelic 1960s Iranian art-dance-rock revivalists Mitra Sumara, sizzling Romany party monsters Sazet Band, and the all-star Alwan Ensemble, who played bristling jams on classic themes from Egypt, Syria and Iraq.

Rather than trying to rank the rest of these shows, they’re listed in chronological order:

Avi Fox-Rosen and Raya Brass Band at Rock Shop, 1/9/14 – Fox-Rosen had just released an album every single month in 2013, so this was a triumphant sort of greatest hits live gig for the sharply lyrical, catchy art-rock tunesmith followed by a wild vortex of Balkan jamming, the group down on the floor in front of the stage surrounded by dancers.

LJ Murphy & the Accomplices at Parkside Lounge, 2/1/14 – the charismatic, nattily dressed noir rocker led his explosive, blues-fueled band through a careening set of intensely lyrical, distinctively New York narratives.

Siach Hasadeh and Ichka in the basement at Stephen Wise Free Synagogue on the Upper West Side, 3/4/14 – every Tuesday, more or less, drummer Aaron Alexander – a prime mover in Jewish jazz circles – books a series of reliably excellent bands here. This twinbill kicked off with a rapturously haunting set by Montreal’s Siach Hasadeh followed by another Montreal outfit, the high-energy Ichka and then a jam with members of both bands joined by audience members.

Tammy Faye Starlite singing Marianne Faithfull’s Broken English at the Lincoln Center Atrium, 3/13/14 – a counterintuitive, sardonically hilarious reinterpretation of a haphazardly iconic new wave era album.

Jenifer Jackson at the Rockwood, 3/26/14 – the eclectic Austin songwriter brought her new band from her adopted hometown, reinventing older material and newer stuff as well with Kullen Fuchs’ rippling vibraphone as the lead instrument.

Gord Downie & the Sadies at Bowery Ballroom, 5/2/14 – a furious, often haunting sprint through the Canadian gothic Americana band’s most recent collaboration with the Tragically Hip frontman, ending with an explosively psychedelic Iggy Pop cover.

Hannah Thiem at Mercury Lounge, 5/29/14 – the haunting violinist/composer teamed up with an A-list string section to air out soaringly ethereal, cinematic new Nordic and Middle Eastern-tinged electroacoustic material from her latest album.

Nick Waterhouse at the Brooklyn Night Bazaar in Greenpoint, 6/13/14 – the LA noir soul bandleader and a killer pickup band featuring Burnt Sugar’s Paula Henderson on baritone sax brought moody Lynchian sounds to this grotesquely trendoid-infested space.

Kayhan Kalhor and Jivan Gasparyan at the World Financial Center, 6/14/14 – the legendary Iranian-Kurdish spike fiddle virtuoso and composer joined the similarly legendary Armenian duduk reedman for a rapturous, otherworldly duo set of improvisations on classic themes from each others’ traditions.

No Grave Like the Sea at Ramirez Park in Bushwick, 6/21/14 – after a day running around aimlessly trying to find bands playing daytime shows during the annual Make Music NY buskerfest, the volcanically sweeping, epic set by bassist Tony Maimone’s cinematic postrock band made it all worthwhile.

Karen Dahlstrom at the American Folk Art Museum, 6/27/14 – while she may be best known as one of the four first-rate songwriters in Bobtown, arguably the best gothic Americana harmony band around, Dahlstrom is also just as captivating as a solo performer. She took advantage of the museum’s sonics and sang a-cappella and ran through a tantalizingly brief set of haunting, historically rich original songs from her Idaho-themed album Gem State.

Serena Jost at the Rockwood, 6/29/14 – a lush, sweeping, richly enveloping, tuneful show by the art-rock cellist/multi-instrumentalist singer and her band. The all-too-brief, eclectic set by southwestern gothic bandleader Sergio Mendoza y la Orkesta about an hour beforehand at South Street Seaport – with psychedelic cumbias, rumba rock and the most twisted Fleetwood Mac cover ever – got the evening off to a great start.

Changing Modes at Bowery Electric, 7/19/14 – keyboardist/bassist Wendy Griffiths’ slinky, shapeshifting art-rock band has never sounded more anthemic or intense. And earlier that afternoon, scorching sets by the noisily atmospheric VBA, pummeling postrock/metal band Biblical and dark garage punks Obits at Union Pool kicked off what might have been the year’s single best day of music.

Jacco Gardner at South Street Seaport, 8/15/14 – he sort of plays the same song over and over, a dreamy, gorgeously chiming, psychedelic sunshine pop number straight out of London, 1967. But it’s a great song, and it was worth sticking around for what were essentially variations on a theme.

Bliss Blood & Al Street at Brooklyn Rod & Gun Club, 8/27/14 – the lurid but plaintive and haunting torch song icon teamed up with the brilliant, flamenco-inspired guitarist for a riveting, Lynchian set of mostly new material from their phenomenally good forthcoming album.

Gemma Ray at Rough Trade, 9/13/14 – the British noir songwriter played a similarly Lynchian set in a stark duo show, just guitar and drums, a showcase for her smart, individualistic, creepy playing and macabre songwriting.

The Dances of the World Chamber Ensemble at St. Marks Church, 9/14/14 – the improvisationally-inclined, cinematic instrumentalists ran through a magical blend of African, Middle Eastern, tango and jazz pieces by frontwoman/pianist/flutist Diana Wayburn.

Chicha Libre at Barbes, 9/15/14 – sadly, NYC’s funnest band have since gone on “indefinite hiatus,” whatever that means. At least they were on the top of their game when they played a wild, darkly psychedelic mix of trippy, surfy Peruvian psychedelic cumbia sounds in one of their last shows of the year.

Wounded Buffalo Theory playing Genesis’ The Lamb Lies Down on Broadway at Rock Shop, 9/19/14 – the art-rockers joined with a revolving cast including members of the Sometime Boys, Afroskull, 29 Hour Music People, and the Trouble Dolls for an impressively spot-on, epic recreation of the cult favorite 1974 art-rock album, WNYC’s John Hockenberry reading Peter Gabriel’s drolly surreal album liner notes in between songs.

Souren Baronian’s Taksim at Barbes, 9/23/14 – this isn’t the show reviewed at this blog back in June. That show featured the octogenarian multi-reedman and his hypnotic but kinetic band playing an unselfconsciously deep, soulful blend of Armenian music and incisive American jazz. His next gig there was even better!

Sherita at Barbes, 9/30/14 – the Brooklyn Balkan supergroup of sorts – reedman Greg Squared of Raya Brass Band, violinist Rima Fand of Luminescent Orchestrii, percussionis/singer Renée Renata Bergan and oudist Adam Good – played an alternately sizzling and sepulchral mix of originals and classic themes from Turkey, Greece and here as well.

Mary Lee Kortes at the Rockwood, 10/7/14 – the brilliant Americana songwriter and chanteuse and her band, feauturing John Mellencamp guitarist Andy York, aired out dazzlingly eclectic, intensely lyrical songs from her forthcoming album, The Songs of Beulah Rowley, a mix of saloon jazz, torch song and plaintive Americana.

The Skull Practitioners at Pine Box Rock Shop in Bushwick, 10/31/14 – it was the ultimate Halloween show, Steve Wynn lead guitar monster Jason Victor’s otherworldly, pummeling noiserock trio building a menacing but wickedly catchy vortex. That their half-hour set was as good as some of the four-hour bills on this list testifies to how volcanically good it was.

Karla Moheno at the Rockwood, 11/18/14 – the inscrutable noir songwriter and guitarist led a killer, Lynchian band through a mix of low-key, murderous, mysteriously lyrical narratives and more upbeat but no less shadowy material.

Mamie Minch at Barbes, 12/20/14 – this is why it always pays to wait til the very end of the year to finish this list. The charismatic resonator guitarist/singer and oldtime blues maven teamed up with Kill Henry Suger drummer Dean Sharenow for a killer set of blues from over the decades along with similarly edgy, sardonically aphoristic original material

If you’re wondering why there isn’t any jazz or classical music to speak of on this list, that’s because this blog has an older sister blog, Lucid Culture, which covers that kind of stuff in more detail.

A couple of things may jump out at you here. Nineteen of these shows were in Manhattan, eleven were in Brooklyn and one in Queens, which is open to multiple interpretations. More instructive is the fact that nineteen of the thirty-one were free shows where the audience passed around a tip bucket rather than paying a cover at the door. Most interestingly, women artists dominated this list. 26 out of of the 42 acts here were either women playing solo or fronting a group. That’s a trend. You’re going to see more of that here in the next couple of days.

Tammy Faye Starlite – From Lakeside Lounge to Lincoln Center

As an artist, you make your Lincoln Center debut – assuming you can get one – by bringing a polished program that’s going to knock out the critics, right? If you’re Tammy Faye Starlite, you bring a raw if tightly rehearsed work in progress – and pack the house, and blow them away with it. Thursday night the insurgent comedienne/chanteuse/agitator led a poised yet gritty six-piece rock band through a characteristically irreverent, often hilarious and just as shattering set of Marianne Faithfull songs, including the cult singer’s iconic 1979 album Broken English in its entirety.

Beyond her work in film, the theatre and tv, Tammy Faye Starlite has won a devoted following for her unsparing, often caustically funny but revealing portraits of complicated rock personalities. She’s come a long way since her days at the now-defunct Alphabet City hotspot Lakeside Lounge, where she led the Mike Hunt Band through a series of snarky Rolling Stones album cover nights, pillaging the Glimmer Twins catalog for both gems and duds. Her most popular revue both lampoons and celebrates the music of Nico. Likewise, Tammy has used music and albums by the New York Dolls, Blondie and the Runaways as well as her own alt-country songwriting as springboards for stingingly literate, historically informed, uproariously amusing political commentary.

As usual this time out, the comedy was merciless. Tammy mocked Faithfull’s socialite snobbery as well as the acid-fueled hippie mysticism with which much of her work from the 70s is laced. In an impressively faithful Tory accent, Tammy channeled the British singer garbling her Biblical references, quoting from the “Book of Seth.” A little later, in introducing an aching, vividly bitter version of John Lennon’s Working Class Hero, she pondered whether a child of privilege such as Faithfull, or for that matter, Rick Perry and the rest of the Fox News cabal, could understand a 99-percenter’s rage and frustration. Her wryly meandering conclusion was that they could, even if they’re not exactly working-class and hardly heroes. But the music just as often took centerstage.

Early on, the sheer strength of Tammy’s voice threatened to subsume the elegant hesitance, not to mention the drug-damaged melismatics, that are Faithfull’s signature vocal tics. But as the show went on, the evocation became more eerily accurate, culminating in a rivetingly surreal, jangly rock version of Times Square. That song quickly became just as much an elegy for an edgy early 80s New York priced out by mallstore sterility and Disney tastelessness as it was a portrait of heartbroken alienation set against a backdrop of menace and decay. Lead guitarist Kevin Salem rescued the lesser tracks on Broken English – “the filler,” as Tammy acknowledged – with nonchalantly savage, expertly unhinged, judiciously placed acid blues licks. Multi-instrumentalist Keith Hartel channeled another guy with the same name on electric guitar, later switching to keyboards, finally turning in a spot-on, absolutely haunting take of Sister Morphine on acoustic, which was the night’s most memorable song and the point at which the personalities of Tammy and Marianne fused as one.

Getting there was a lot of fun. As usual, Tammy sprinkled snide bits of trivia and razorwire improv in with the songs. Folksinger Tim Hardin, co-writer of Brain Drain, the prosaically bluesy ode to scoring dope, had become known as “Tim Heroin” in New York circles by the time he penned the lyrics. As the show went on, the way Tammy handled a persistently vocal audience member who once was a neighbor of Hardin’s, and still revered him, became a clinic in how to finesse the most unwilling subject to set up a cruelly perfect punchline. She finally let down her hair with a raging, aptly punked-out, expletive-strewn version of Why’d Ya Do It, complete with faux-orgasmic vocalese which became a very physical shout-out to Penny Arcade, whose performance piece Bitch! Dyke! Faghag! Whore! Faithfull had made a cameo in back in the 90s.

Bassist Jared Michael Nickerson gave the album’s seemingly interminable stoner new wave title track an unwaveringly circular groove in tandem with drummer Ron Metz. Salem fueled Shel Silverstein’s would-be suicide epic The Ballad of Lucy Jordan with some unexpected U2 riffage, while keyboardist David Dunton switched from fluid organ lines to more sardonically woozy synth voicings. And Craig Hoek built an unexpected but effectively optimistic ambience on some of the later material in the set on both alto and soprano sax. “We wanted to play as long as we could, considering that we probably won’t be invited back,” Tammy snidely averred before an attempt to get an audience singalong going with As Tears Go By, but the crowd seemed too stunned and overwhelmed to respond. And it wouldn’t be wishful thinking to hope for a return engagement: as both the performance and brave choice of artist made clear, this isn’t your father’s Lincoln Center anymore. In the meantime, Tammy and the band are going to reprise most of this show on May 13 at Joe’s Pub.

The Pretty Babies Do Blondie Better Than the Originals

Some cover bands are actually better than the original because the music they cover is so horrible. That the Pretty Babies‘ Blondie covers might be better than the originals is a lot more impressive. Subversive cabaret personality/chanteuse Tammy Faye Starlite pulled this group together as one of her snarkily hilarious but musically spot-on all-female cover projects, after savaging the Rolling Stones in the Mike Hunt Band and then taking a stab at the New York Dolls with Prima Ballerina. Beyond the nonstop, cruelly sardonic and usually LMFAO stream-of-consciousness banter, what makes this band so good is that they absolutely nail the music. Last week at Arlene’s their drummer had Clem Burke’s machinegun rumble down cold, their bassist (who apparently had been brought in to pinch-hit on short notice) had Chris Stein’s agile lines in his fingers, and both “Frannie Infante” and Sit N Spin’s Heidi Lieb on guitars pulled off their parts like their hair was still feathered (yeah, they might go back that far) and it was 1983.

Another cool thing about this band is how deeply they go into the catalog. What do you do if you’re a Blondie cover band and your keyboardist is AWOL? You play the powerpop songs. That meant no Rapture, or Heart of Glass, or The Tide Is High – and the set was better for it. They opened with Hanging on the Telephone, Tammy wailing with a power that Deborah Harry would have killed for in 1977, Lieb completely deadpan as she played her leads through a chorus pedal for the perfect, watery new wave guitar tone. There were technical difficulties on One Way or Another, and Tammy seized the opportunity to wordlessly harrass the sound guy – hasn’t every band that’s ever played this venue wanted to do that?

Their titular song, Tammy explained, was about a thirteen-year-old girl having sex and was ostensibly written for Brooke Shields, who “had the eyebrow thing to bond on” with Chris Stein, a joke the band’s two blonde women ran with until it was beyond tasteless. And their take on the song was as sad and pretty as Blondie ever got, maybe more so: name a goth band that hasn’t done something influenced one way or another by that tune. From there they cannonballed through Dreaming, went back to ethereal and pretty for Touched by Your Presence, Dear, channeled the Dolls on Rip Her to Shreds and then the Ramones on I’m Gonna Love You Too. The funniest moment of the night was the intro to Call Me, where they launched into another song that sounds exactly like it – but it wasn’t Children of the Grave. The joke is too good to spoil – if you’re lucky you’ll get to see them do it again. Watch this space for upcoming shows, always a possibility when Tammy’s not doing her poignant/hilarious Nico revue Chelsea Madchen (which earned a rave review here).

Tammy Faye Starlite Plays Nico to the Hilt in Chelsea Madchen

Tammy Faye Starlite’s chillingly evocative musical portrait, Nico: Chelsea Madchen has two more nights to run, June 17 and 24 at the opulently renovated Cutting Room  (44 E 32nd St. just west of Park Ave.) at 8 PM. Tickets for both nights are still available as of today, June 14. This past Monday’s performance was as hauntingly sad as it was hilarious, illuminating the life of the iconic gothic songstress against a pitch black backdrop, both literally and figuratively. Much as Tammy Faye Starlite is best known for her searingly funny, spot-on political humor, she’s also had a lot of fun over the past few years leading snarky cover bands playing the Rolling Stones, Blondie and the New York Dolls. This revue is a step in a different direction, a distinctly tragicomic role that more than does justice to Nico in all her many guises: muse to scores of musicians and filmmakers, pop singer, darling of the avant garde, goth icon, hardcore junkie and existentialist.

Tammy has Nico’s voice down so cold it’s scary. That brittle little vibrato, the wide-angle vowels and inescapable German accent are so perfect that, listening back to a recording of this week’s show, it’s as if Nico had risen from the grave. In a more or less chronological narrative whose doomed foreshadowing never relents, the story and the songs trace the grim, self-defeating path that led her there  A fascinating mix of both obvious and obscure material from throughout Nico’s career gets a surprisingly lively interpretation from a first-class art-rock band: Dave Dunton on piano, Rich Feridun on guitar, Keith Hartel on bass and acoustic guitar, Craig Hoek on sax, flute and trumpet, Ron Metz on drums and Tammy on harmonium. In between songs, Jeff Ward plays the role of a befuddled Australian dj trying to keep an interview – clearly set in Nico’s later years – on the rails.

Tammy has the research down just as much as the accent. Via dialogue constructed from actual Nico interviews and conversations, along with some deliciously ribald improv, a little audience-baiting and a fourth wall waiting to be smashed to bits, Tammy creates a portrait that’s as stunning in its verisimilitude as its depth – and sordidness. One minute Nico is articulate and philosophical, the next she’s bashing Jews or fixated on an unseen adversary. The proto-feminist wishes she’d been born a man. For someone who time and time again perceives herself all alone in a hostile world, there always seems to be a guy lurking nearby. Gloom and doom notwithtanding, there’s a light flickering inside: this Nico is funny! Her putdowns of the men who ran through her life, from Dylan, to Iggy Pop, John Cale and Lou Reed among them, are hysterical: the latter is “a usurper of souls…like a cat.” All this and more makes her all the more tragic, the girl who had everything and ultimately wanted to be nothing.

Tammy’s wardrobe harks back to the early new wave/goth era Nico: many shades of black, scarf forlornly draping her shoulders, face ashen (although unlike her subject, Tammy does not mute her own natural beauty). While an air of apprehension lingers – Ward gamely if hopelessly trying to build a repartee with his subject – Tammy lets off steam with moments that seem to be completely off the cuff. This time out, one of them was an extended, rather violent Freudian interlude involving a flute.

And the music is lush and diverse and sensationally good. Some of the obvious choices – Femme Fatale, which opens the show; I’ll Be Your Mirror; Chelsea Girl; All Tomorrow’s Parties; These Days (featuring some nonchalantly brilliant guitar work from Hartel) and Frozen Borderline (performed solo on harmonium) stick close to the originals. Others take unexpectedly rewarding liberties. The End shifts not into raga-rock but a snidely funky interlude. Nico’s pre-Velvets single, a cover of Gordon Lightfoot’s I’m Not Saying, has an almost alt-country feel. David Bowie’s Heroes is transformed into a roaring stadium rock anthem, My Funny Valentine into wrenchingly beautiful, elegaic chamber pop. The closing number, an unexpected treat. is so apt that it wouldn’t be fair to give it away here. Go see the show and find out for yourself, then leave, thrilled and haunted and wishing that Nico was still alive.

Three More Chances to Watch Tammy Faye Starlite Channeling Nico

Irrepressible, subversive blonde cabaret personality Tammy Faye Starlite plays Nico in Chelsea Madchen, her wildly popular evocation of the iconic ice queen on Mondays in June at 8 PM at the lushly redesigned new Cutting Room on 32nd Street just west of Park Avenue. Serena Angelique Williams’  rave review of Tammy’s performance during a sold-out run at the Duplex originally appeared at NY Music Daily’s sister blog Lucid Culture a couple of years ago:

I happen to be partial to divas, so it was with great fanfare and enthusiasm that I set out to see Tammy Faye Starlite’s new work, “Chelsea Madchen,” a self-styled performance piece she has put together from scratch. Though pleased that anyone had been brave enough to tackle the task of taking on the Teutonic temptress, and particularly a woman, rather than a drag queen, I was hesitant to believe that it could really be pulled off while eliminating the potential for excess camp. Impersonating Nico is a seemingly uphill climb for even the most accomplished actress. Were it not for Tammy Faye Starlite, a modern day diva in her own right, my skepticism may have won out – especially since my first attempt to see the show was thwarted. In true Nico style, it had been cancelled – in this case, on account of the unexpected October snowstorm of a few weeks ago.

I knew Tammy Faye Starlite from her noteworthy performances at Lakeside Lounge, fronting the Mike Hunt Band, the all-girl Rolling Stones cover group, as well as her hilarious turn as a country music songstress in Tammy Faye Starlite and the Angels of Mercy, where she croons original country songs as shocking as they are humorous. She has the chops to do many things very well, and had previously put this piece up at Joe’s Pub and Theater 80 at St. Marks Place. The Duplex’s cabaret is a much smaller house – it only seats 77 at full capacity – so I was aware that this would be a rare chance to see her perform in a more intimate venue, with hopes that it would add to the authenticity of the experience. It had long been my dream to see Nico, in whatever way I could get her, and I had never imagined my wish would ever surface as a reality. Still, I kept my expectations from brimming over, though I had read that Danny Fields, Nico’s former manager, had been impressed with Tammy Faye’s interpretation, a stamp of approval that carries considerable weight. In spite of this, I entered the cabaret more curious than hopeful, wondering how in the world she would manage to pull off this daunting task.

This piece could be described as a play within a play, though there are no programs distributed, which dispels the notion that we are seeing anything but a live and improvised performance. Tammy Faye cites that her inspiration to create this piece emerged in adolescence, listening to Nico obsessively as many a teenage girl (including myself) was wont to do before music so radically shifted gears. It was Nico who paved the way for many experimental musicians, a rare female innovator overshadowed by her predominantly male contemporaries. She was irreverent, an outlaw, a conjurer of emotionally charged sound from an era that unforgettably changed the way we perceive and listen to music. Yet she put out a relatively small body of work, and it still is a challenge to track down many of her more obscure recordings.

The band is onstage before Tammy Faye makes her grand, if understated entrance. They are a cohesive ensemble, and utterly faithful to reproducing the Velvet Underground’s signature sound. They start the set with the appropriately titled “Femme Fatale” while Tammy Faye as Nico quietly assumes her place, hesitating before beginning the set with an overlong pause, in character, while keeping everything in the moment. Then she starts to sing.

Though she resembles Nico, she is not a clone. Rather than attempting to present the “Dolce Vita” image of physical perfection that is characteristically associated with Nico, she seems instead to emulate Nico in her later life. This is a wise choice, although at that point, Nico had stopped dyeing her hair, and Tammy Faye retains the hallmark blonde tresses. In an all-black ensemble, wool sweater and heavily lined eyes, she is transformed into a version of Nico that is both aloof and believable, without inviting potentially unfavorable comparisons.

In fact, she is infinitely better-looking than Nico became in her hardcore junkie years, when her beauty was ravaged by self-destruction and bloated with excess. Tammy Faye’s voice is also stronger. However, it is not her intent to fall back on the timeworn stereotype of Nico as a drug addict – a wise decision, as it does not diffuse the focus of the work. Nico, as I’ve mentioned, is difficult, if not impossible to imitate, but the beauty of her vocals is also aided by certain imperfections, and a visceral, hollow resonance, unique unto her alone. Tammy Faye’s German accent, inflections, and phrasing are on point, her timing impeccable, but the better-known numbers from her days with the Velvet Underground lack the dark cultivation of Nico’s original recordings. Still, this does not seriously detract from the performance, and after the first song, she quickly settles into character. As the show progresses, her rhythm as Nico continues to gain momentum, and it is compelling to watch this transformation as it unfolds.

The premise of the piece is an interview – a skillfully assembled pastiche of actual Nico interview quotes from over the years – with a cheerfully inquisitive, if somewhat inept Australian (Jeff Ward deserves a big hand for this role) providing the necessary tension for Nico to play against. His queries are met with a series of blatant non-sequiturs and unabashed haughtiness, revealing an austere and singularly self-involved woman. Her intellect is equally apparent, despite many, many prejudices, echoed with a candid, sometimes beyond-the-pale precision that is surprisingly droll. Tammy Faye proves once again to be a gifted comedienne, and manages to balance these perceptions with such refreshing honesty that she is able to captivate the audience without alienating them with excessive arrogance or an obliquely slanted worldview.  We observe a Nico who is simultaneously astute, eccentric, opinionated, and flawed, a mosaic of contradictions which serve as the basis of her persona as blighted, yet gifted artist of infinite potential.

Nico was one of the great muses of her time. At one point, she explains that her one regret in life is that she “was born a woman instead of a man”. It may seem ironic that she would make such a remark, considering that her classically feminine style of beauty is so integral to her iconic status. She did not embrace feminism, yet she gradually cultivated a level of androgyny emphasizing her more masculine traits. She seems to have regarded her sex to be an extreme handicap, which she perpetually strove to overcome in spite of her attractiveness. She rebelled against her good looks, waging a later campaign that now seems a deliberate attempt to destroy them entirely. Her battle was a long-hidden struggle to desexualize herself in a quest for artistic self-realization. But equating creativity with masculinity, she fell victim to a rigidly established system of chauvinistic ideals. Consequently, nearly all of her work would become heavily influenced by the men in her life while she searched for her true voice as a singer. Handing over the reins, she allowed them to dictate and compose much of her material.

As Nico, Tammy Faye recounts her several collaborative efforts and relationships with Warhol, Lou Reed, Bob Dylan, Jackson Browne, Jim Morrison, and even Gordon Lightfoot (one of the most poignant, confessional songs in her repertoire, is her cover of Lightfoot’s “I’m Not Sayin’,” describing her view of herself in relationships with affecting accuracy). She trusted them more than she could trust herself, and in turn, they used her as an inspiration for their own work. There are traces of bitterness in Nico’s harsh delivery of her side of some of these stories, yet she never makes an appeal for our sympathy. In their respective ways, it could be argued that each used the other. The difference lies in that Lou Reed, for example, would have remained Lou Reed with or without Nico: he brought her into the Velvets to serve as eye candy as much as to sing. She would never again achieve the same level of fame as she’d enjoyed with them after going solo, most of her best-known work being laid out during her earlier sessions with the band. When she objectively recalls her problems with Reed, deducing that “he could never get over what my people had done to his people–I can’t make love to Jews anymore,” this is beyond a mere catty or oblivious indictment. Reed’s excuse that they separated under the premise of cultural differences is unlikely. What is more believable is that they could no longer work together because he felt her to be his creative inferior. She simply moved on, to Dylan, and later John Cale, and other musicians, placing them all upon pedestals, and following their respective leads. Forever searching out mentors, lovers, and assistants, she unfortunately undermined her own talent. Dominated by a string of more successful male artists, Nico was all but swallowed whole. She literally fell to the wayside, eventually dying much too early, impoverished, obscured by her more famous friends and colleagues.

And therein lies the true genius of Tammy Faye’s opus as Nico. Tammy Faye is able to vividly capture the woman’s genius, while exposing her weaknesses, providing a completely three-dimensional portrait of a woman often marginalized, and one who continued to persevere despite a long history of folly and failed relationships. She is unapologetic for all of it. Ultimately she ended up with a beautiful catalogue of material that defines her as a modern chanteuse. These songs are timeless. When Tammy Faye sings them, we are reminded of their lasting value as groundbreaking contributions to the evolution of postmodern trends in music, art and performance art. When she sits before the piano and begins the first strains of “Frozen Borderline” from The Marble Index, for all intents and purposes, we are seeing art that is as stunning in originality as it is arresting in its realism. Resurrected from the great beyond, this diva commands her audience with such mastery that by the time she launches into her haunting version of Jim Morrison’s “The End” I was no longer conscious of Tammy Faye “channeling” Nico; the two had harmonically converged.

The show ended all too soon, though it clocks in at nearly ninety minutes, without intermission.  Nico left the stage abruptly after delivering the explosive denouement, a vengeful rendition of Lou Reed’s “I’m Waiting for My Man,” a powerful statement to conclude this story. There was no encore. No introduction of the superb backup band – Claudia Chopek, Dave Dunton, Rich Feridun, Keith Hartel, Craig Hoek and Ron Metz, nor of the brilliant interviewer. No greeting of the audience after the show. Like a dream, she seemed to have evaporated almost immediately, leaving me feeling overexposed as the house lights turned on. What was left was the lingering sense that I had just experienced the rare good luck to have been transported through time to a place forever obsolete, in the supreme presence of a living phantom. Tammy Faye Starlite–singer, writer, performance artist, comedienne and actress extraordinaire, has offered us a glimpse into the past, giving us a final chance to pay homage to a spirit we should honor and respect. These performances should not be missed. This diva will haunt you.

Tammy Faye Starlite is Nico in ”Chelsea Madchen” on Mondays in June at 8 PM at the Cutting Room, 44 E 32nd St. just west of Park Ave. Advance tickets are $20 and still available as of today, June 5.