When Del the Funkee Homosapien came to Slowdown a few weeks ago, I got plenty of shit about not posting anything about the show on my site. Fact is, I’m not a follower of Del’s. I barely know who he is. That doesn’t mean I don’t like hip-hop. Au contraire. I like hip-hop, I’m just excruciatingly choosy as to what hip-hop I listen to. You can count the number of hip-hop albums I own on two hands, and it’s mostly old school stuff by N.W.A., Ice Cube, Ice-T, Public Enemy, as well as some stuff by Brother Ali, Justin Warfield (years and years before She Wants Revenge), Danger Mouse and those old white guys, the Beastie Boys.

And Blue Scholars. I got a copy of their debut in the mail back in 2004 and reviewed it in the matrix, saying: “I don’t know a lot about hip-hop — that’s well documented. But I do know what I want when hip-hop comes to mind. Good, clean beats. The ability to understand at least some of the lyrics. A clear flow. I turn off bad hip-hop almost immediately. It better hold my attention. This did. It’s well-produced. I like them horns. Reminds me of Pharcyde. From Seattle, with attitude.”

I figured no one knew who they were, but I was wrong, as per usual. Blue Scholars have something of a cult following in the Pacific Northwest. Their songs are about life and living in Seattle; their name is a play on the phrase “blue collar,” which is what they’re all about. Their most recent full-length, Bayani, is a head trip rhymed in the language of a guy you’d meet riding the 49 Metro (Seattle’s equivalent to a MAT bus) cross town — with the same concerns and frustration of anyone just trying to make ends meet. Forget all the gangsta and bling-isms, Blue Scholars is honed, accurate social commentary from two very smart guys — DJ Sabzi and MC Geologic — who know their history and can tell you about it in a way that won’t let you to sit still. They were named the best hip-hop act in Seattle Weekly‘s 2006 Music Awards Poll. Their just-released EP, Joe Metro, charted on CMJ. I never thought I’d see them on an Omaha stage, yet here they come tonight, opening for Psalm One and Articulate at The Waiting Room. $10, 9 p.m. Go!

In other news:

At Saturday’s birthday party for Feirin down at Slowdown, Saddle Creek Records executive Robb Nansel told me that Slumber Party Records just signed a distribution deal with Saddle Creek that will dramatically increase the reach of that label, whose roster has included Capgun Coup (now on Team Love), Bear Country, April in Andalusia, Conchance, FTL Drive and Honeybee .

In addition to distributing their own products, Saddle Creek also distributes products for Range Life Records (White Flight, 1,000,000 Light Years, Fourth of July) and Team Love — all of which, are in turn, distributed by ADA. Go to the Saddle Creek online store and there’s already a link to the new Slumber Party Records online store. Nansel said the first release under the new distro deal will be Baby Walrus on Feb. 5.

* * *

According to an item at the Minneapolis Star-Tribune website, Conor Oberst will be performing for three back-to-back nights at The 400 Club in Minneapolis — not as Bright Eyes, but only as Conor Oberst. According to the Trib article (here), “Word from 400 Bar management is that Oberst wants it explicitly known these won’t be Bright Eyes shows – i.e., he won’t be doing any of those songs! He will be playing new material with a different backing band.” Is that the band with M Ward or the solo project with Jake Bellows that Omaha City Weekly‘s Hildy Johnson referenced in last week’s issue (here, scroll to the bottom of the page)? Guess we’d have to go to Minneapolis Dec. 27-29 to find out.

Tomorrow: Domestica. Be here.

–Got comments? Post ’em here.—

I snuck into The 49’r last night just in time to see The Coffin Killers’ set. It’s the first time I’ve been in the Niner in probably a year or more. The only thing that’s changed is the lighting. It was darker in there than I remembered, as if the overhead lights had been turned off. I liked it. What hasn’t changed is the enormous crowds. As always is the case, if you get there late (as I did) you’re going to have a tough time finding a place to watch the band without being in someone’s way. I lucked out and noticed that no one was standing in front of the trashcan along the wall by the pickle machine and found my spot for the evening, just a foot or so from the band — actually, a great spot.

Coffin Killers play old school punk with a guitar rock attitude. In other words, there’s plenty of melody and actual singing that float on top of the constant barrage of classic punk guitar riffs. While I love punk rock, I’ve never had an encyclopedic knowledge of the genre. Sure, I know the usual dozen or so British and NYC ’70s punk bands that everyone else knows, but I don’t know the obscure stuff by rote like I assume most of the people who were standing in the first three or four rows did. Or maybe I’m just assuming they were punk experts by their tattoos. Regardless, my forced comparison for CK comes by way of ’90s-’00s rock act The Explosion, who actually had a similar sound to The Loved Ones, U.S. Bombs and Strike Anywhere, and who counted Social Distortion among their biggest influences. Any band fronted by Lee Meyerpeter is going to get a few Social D comparisons because his voice so closely resembles Mike Ness’ voice. That said, of all the bands I’ve seen Meyerpeter play in, this one was the least Ness-ian of the bunch. It’s also my favorite. Don’t get me wrong, I like Bad Luck Charm and The Filter Kings, but I enjoy listening to this straight-out melodic punk more than BLC’s cacophony and FK’s southern-fried rural punk. This is power rock with a punk snarl, the kind of music that gets people in the mood to fight. The set-up is simple — Meyerpeter on lead guitar and vocals, looking like a construction guy, his eyes covered by dock worker’s stocking cap. Backing him were bassist Ryan McLaughlin (Race for Titles) and drummer Matt Baum (ex-Desaparecidos, ex-89 Cubs). Baum replaced legendary drummer Jeff Heater, who was celebrating his birthday somewhere in San Diego last night. Meyerpeter toasted Heater in his absence, and the crowd joined in. Few people can match Heater for his over-the-top all-over-the-place drumming style that cranks up the sweat and energy to 11. Baum pumps things up just as effectively, but does it more simply. He’s got a rugged drumming style, bashing the cymbals as hard as he can while wearing what appears to be shooting range ear muffs. Baum is well known for getting up between songs and yelling at the band and the crowd, but he never got up last night, and he didn’t do any yelling until the final song. Rounding out the four-piece was another guitarist, a young guy that looked like a member of The Clash. I don’t know his name, but I’m told he either is or was a member of Cruisin’ Rosie — blazing second guitar that churned it out while Lee did his solos. The band only played for about a half-hour and closed with rocker doused in feedback that still buzzed through the monitors while Baum began to tear down his drum set. Great stuff, indeed.

So what’s going on tonight?

If you’ve been to a One Percent show, chances are you’ve met Feirin, who’s been known to take your money down at Sokol Underground. Well, Feirin and her brothers are celebrating their birthdays tonight at Slowdown with a stellar lineup that includes a slew of the city’s hottest new bands: Conchance, Capgun Coup, Bear Country and Honeybee. It looks like they’re hosting it in the big room, so this may be the best chance you’ll have of seeing Omaha’s Next Wave of indie bands all in one night. $5, 9 p.m.

Meanwhile, down at The Saddle Creek Bar, Sarah Benck (acoustic) and Bleeding Ophans (apparently a derivative of No Blood Orphan) are opening for the Big Al Band CD release party. The Big Al Band is Al Hatfield on guitar and vocals and Metal Barbie on bass and vocals playing noise metal. The first 100 through the door get a free CD. $5, 9 p.m. Other than a Dec. 15 benefit show, this is the last gig currently scheduled for the Saddle Creek Bar, according to their website. Enjoy it while you can.

–Got comments? Post ’em here.—

Here’s tonight’s best bets.

At The 49’r: The legendary Coffin Killers, a band that features Filter Kings frontman (and ex-Cactus Nerve Thang member and Bad Luck Charm member) Lee Meyerpeter at the helm. I’m told this is a departure from the Filter Kings’ twang-punk to something that’s more punk-punk. As we all know, CK’s drummer, Jeff Heater, has moved to fire-prone San Diego (Is it a coincidence that the town was set ablaze shortly after his arrival?). Taking his place is the equally incendiary Matt Baum (ex-Desaparecidos, ex-’89 Cubs). The Killers get it rolling at 10 and are followed by School of Arms. No idea on the door, but probably $5 or less. Go.

Meanwhile, down at Slowdown Jr, it should be a tad more mellow with Eric Bachmann (Crooked Fingers), Kyle Harvey and Adam Hawkins. Bachmann came through here a year ago with Richard Buckner and it was a terrific show (review). $10, 9 p.m.

It’s twang night over at The Waiting Room, with Lincoln honky-tonk rockers Forty Twenty, The Black Squirrels and Western Electric. $7, 9 p.m.

And last but not least, down at Filmstreams, it’s opening night for the Joy Division biopic CONTROL. Directed by Anton Corbijn, the film has been getting rave reviews all over the world. Do not miss this limited engagement. 4:30, 7, 9:30. Go to Filmstreams.org for more info.

I’ll give you the run-down on the rest of the weekend tomorrow morning. Check back!

–Got comments? Post ’em here.—

It been kind of quiet the past few days musicwise. Something worth mentioning… Remember how I said there were only four shows slated for O’Leaver’s for the balance of the year? Turns out the bar just hadn’t gotten around to updating their myspace calendar. That number has doubled (actually, one of those dates is a chili cookoff), and includes a Cloven Path show tomorrow night, which should be interesting as the band recently lost its singer and was contemplating either finding a new singer or going without one as they had for so long before Kat showed up.

And… that’s all, folks. Tomorrow’s column discusses the bleak vision so many people seem to have for the future of the music industry. As pre-reading, go find the current issue of Rolling Stone. You can’t miss it, it’s the magazine with the giant holograph for a cover.

–Got comments? Post ’em here.—

I didn’t get rolling until 10 on Saturday, so it came down to: 1) I’ve never liked Trail of Dead, 2) That Nirvana Tribute will be packed/require waiting in line to get in, 3) that touring band at SCB probably already played (as SCB has touring bands open so as not to get Omaha’d). That left The Rayguns/Sleep Said the Monster at O’Leaver’s, which is where I intended to go in the first place, specifically to see the Rayguns. I got there just in time for their last song — a Jazz Odyssey-style noise symphony that reveled in its own improvisational excess. I’m told it wasn’t a typical Rayguns’ song, and made a note to make sure I get to The Waiting Room early on Nov. 30 when they open for McCarthy Trenching.

Reagan and friends were followed by Nashville band Happy Birthday Amy, a four-piece fronted by a woman seated behind a keyboard. By her side, a bassist, drummer and a guy who plays a variety of horns (trumpet, trombone, other brass that I wasn’t familiar with). The music felt like indie cabaret, with leader Amy Smith belting out one rousing ballad after another, sort of like an alt-Bette Midler meets Joanne Newsom. Rocking enough where you didn’t miss the lack of electric guitar.

Sleep Said the Monster played last. A guy watching the set next to me screwed up my evening by saying, “Don’t they sound just like Coyote Bones?” I’ve seen SStM a few times and that comparison never dawned on me. Afterward, it was all I could think of, though honestly, their songwriting style is somewhat different. Coyote Bones’ songs have a stronger central melody; SStM sounds more closely married to traditional indie rock. The biggest similarity sonically comes from their keyboard arrangements; whereas similarities performance-wise come from their frontman (don’t know his name/it ain’t on their myspace) who’s stage presence is equal to or eclipse’s CB’s David Matysiak’s. SStM’s frontman pushes his music with his eyes and facial expressions — I mean, when was the last time you saw a singer’s eyes at O’Leaver’s? He sings well, too, but his performance style makes you think he’s belting it out in front of a TV camera, reaching out to those viewers watching at home. On the minus side, I can remember what SStM sounds like, but I can’t remember a single song from their set. They still need to write that song where, when you’re talking to someone about them, you can say, “They’re the guys that do that song about…” Halfway through the set, someone asked me what I thought. I passed on that Coyote Bones comment, and afterward, he told me that’s all he could think about, too. Sorry dude.

Looks like a quiet week ahead…

–Got comments? Post ’em here.—

Another lonely night at The Saddle Creek bar. Like O’Leaver’s, SCB isn’t getting out of the live music business altogether, they’re just going to become extremely choosy as to who they let perform on their stage, a stage that unfortunately never lived up to its potential. I was hugely excited when I heard more than a year ago that someone was taking over the venue and turning it into a club that would cater to all types of music, including indie. The size and location are made to order. You can come up with your own list as to why so few people ever came to shows there. I point to the booking, the ever-changing sound system and the fact that the club was launched by a guy who came from outside the current music scene. Mike Coldewey is a musician who’s played in rock bands for years, but none of them were part of Omaha indie collective. As a result, most of the bands that I talked to about SCB always looked at the club as an oddity among all the other clubs doing shows these days. So, as I said, Coldewey says he’ll still do music, but only shows that he thinks are positively going to draw well. He can’t afford nights like last night, where by the end of the evening, the headlining band was essentially only playing to the other bands on the bill and a couple stragglers like myself. The irony of it all is that the PA never sounded better. Part of the reason has to do with the bands themselves, who know how to make the best out of any PA.

I only caught the last three Scott Severin and the Milton Burlesque songs, which included a cover of Ian Hunter’s “Once Bitten Twice Shy” (you probably remember the version covered by Great White). I need to see an entire Severin set, but from what I could glean from last night, he’s trying to create something in the purest essence of rock ‘n’ roll (and he has the history and chops to pull it off). I’m redundant with this comment: The Matt Whipkey Three is the best band that Whipkey’s ever been involved in, and after last night, that includes The Movies. I’m an enormous fan of perfectly balanced trios. It doesn’t get more balanced than this. If you like alt-Americana rock, you’ll be hardpressed to find a better band. Last might was more proof that they should have been in The Reader top-20. Something tells me that if they get this new album recorded and get out on the road (all three work at Dietz, so there’s nothing stopping them other than booking the tour), I have no doubt they’ll be on that list next year.

As for the Saddle Creek Bar, well, they’ve got another show going on tonight — Midwest Dilemma and the Southpaw Blues Band, and according to the Saddle Creek website, St. Louis band Grace Basement, which was chosen as the Best New Band of 2007 by The Riverfront Times. The band’s new album, New Sense, recalls Wilco, Kinks, and laidback indie rockers like The Reivers. Grace Basement frontman Kevin Buckley’s work includes contributions to the new New Pornographers album. Check out their myspace. $5, 9 p.m. It would be a shame if they played to 10 people, but with everything else going on tonight, that’s what will probably happen. The only things left on the SCB calendar is Sarah Benck next Saturday and a benefit show Dec. 15.

So your choices again tonight:
— the SCB show just mentioned,
— Reagan and the Rayguns opening for Sleep Said the Monster and Birthday Amy at O’Leaver’s
— the Nirvana tribute showcase at Slowdown
— and Trail of Dead with Virgasound at The Waiting Room.

Something tells me I’ll be doing some bar-hopping…

–Got comments? Post ’em here.—

Well, if you missed the show last night or got there late like I did, then you missed the last-ever performance by Kite Pilot (for real this time). Whether the band is breaking up or not isn’t the question. Todd and Erica Hanton and Jeremy Stanosheck have instead decided to simply quit playing Kite Pilot music. Call it a long-term hiatus, though the chances of the three of them playing again as Kite Pilot are slim outside of a reunion show in eight years. They aren’t giving up music altogether. Instead they say they’re going to explore new sounds that are a long way from conventional guitar/drum/bass rock music. Erica also said that she’s tired of fronting a band, preferring to simply be in the background. What will they come up with next? Stay tuned.

I showed up halfway through Aqueduct’s set. I thought I’d seen them before, but I would have remembered their style — straight-up melody-driven rock (indie or otherwise). The highlight was their cover of Warren G’s “Regulate,” (You know, the one with the sample from Michael McDonald’s “I Keep Forgettin'”). It’s a perfect example of why a band shouldn’t cover a song that’s more memorable than their own material. Afterward, I heard a couple people say how much they liked the cover, but neither mentioned Aqueduct’s own songs, which included a number of tunes off Or Give Me Death, their latest album. Aqueduct is a great match for a band like Georgie James — both bands obviously have a love for ’70s rock.

This was the first night back for Georgie James after a break due to illness. They sounded tight, running through songs off their new Saddle Creek album, Places, essentially replicating the recording almost too much to a T. Maybe it was because they haven’t stepped into the ring for awhile, but they seemed to be going through the motions, finishing the last song and then saying goodnight somewhat abruptly.

* * *

You’ve got a lot of choices this weekend, starting tonight. Let’s just go down the list:

At The Waiting Room it’s Toronto band Do Make Say Think, yet another act coming through town associated with Broken Social Scene. Their music is moody instrumental fare, and to be honest with you, I like the opening band, Apostle of Hustle, a little more. Lead apostle, Andrew Whiteman, also has played with BSS. $10, 9 p.m.

At Sokol Underground it’s Portland punk trio The Thermals with Reporter and Thunder Power!!!. Judging from the scuttlebutt the past few weeks, this one will be well attended. $10, 9 p.m.

Finally, over at The Saddle Creek Bar, it’s The Whipkey Three, Scott Severin and the Milton Burlesque, and Kyle Harvey. The Third Men originally were on this show but apparently had to cancel. $5, 9 p.m.

Saturday is just as crowded:

Slowdown Jr. is hosting a Nirvana tribute featuring more than 11 bands including Baby Walrus, Flowers Forever, Coyote Bones, Bear Country, The Shanks, Thunder Power!!!, Outlaw Con Bandana., Steph Drootin, Jake Bellows, Flamboyant Gods, and Ascetics. Each band has chosen a different Nirvana song to cover (there will be no duplicates). Should be interesting and you can’t beat the price — FREE. Starts at 9.

Still not sold out (surprisingly) is … And You Will Know Us By The Trail of Dead at The Waiting Room with Virgasound. Odd, considering that this band has drawn huge over the past few years. $12, 9 p.m.

Sadly, if you look at O’Leaver’s online calendar, there are only four shows listed through the end of the year. Saturday night it’s Sleep Said the Monster with Happy Birthday Amy (from Nashville) and Reagan and the Rayguns. $5, 9:30 p.m.

Of course Sunday you’ve got your Meat Puppets with Ha Ha Tonka at The Waiting Room. $13, 9 p.m.

–Got comments? Post ’em here.—