A dozen gems BY BOB GULLA

Regardless of what records were released this year, 2003 will forever be known around these parts as the Year of the Station Fire. So, much of what happened musically will be overshadowed by that horrible night and its devastating aftereffects. That said, life does indeed go on, no matter how senseless and unfair it seems sometimes. There were a ton of good records that came out this year, efforts that, like the fire and its victims, won’t soon be forgotten.

WHEAT, Per Second Per Second Per Second . . . Every Second (Aware/Columbia)

The " local " record of the year, this third full-length Wheat disc is all it’s cracked up to be and more. Everything about it is stunning, from the illogical progression in the band’s sound to the tunes themselves, which are remarkable and memorable, and the record label it’s printed on, which says: Sony. The same label as, uh, John Mayer and Train.

ERIN MCKEOWN, Grand (Nettwerk)

Each passing day, Erin becomes less a local artist and more a national one, and for that we should be grateful. Erin’s a fast-growing treasury of worthwhile song, with a wit, wisdom, and panache not heard much since Randy Newman’s heyday. Not only that, she can play a million instruments in as many styles, from swing and pop to cabaret, folk, and rock. On Grand, her label debut for the Canadian Nettwerk label (Avril, Sarah McLachlan), Erin begins to scratch the surface of her immense and profound abilities.

BARN BURNING, Weatheredbound (Catamount)

Since Barn Burning signed with Catamount, a label down in Nashville, things have really started looking up. Frontman Anthony Loffredio, who along with Erik Wohlgemuth (electric and acoustic guitars, mandolin, banjo, vocals), Travis Lawton (drums, drums, drums), Emily Myers (viola, vocals), jack-of-all-instruments Corwin Butterworth (mandolin, dobro, lap-steel), and Mark O’Brien (bass) form Barn Burning, have a lot going for them besides a supportive label, though. This debut, with backporch traces of the Jayhawks and Tupelo, is without question the start of something beautiful.

THE HAYMAKERS, Why We Can’t Have Nice Things

Like I said when I first heard the Haymakers’ disc, it’s " part Tom Waits, part Rockpile, part Oingo Boingo, part Madness, part Clash, part — oh, forget it — too many parts. " The Haymakers’ mosaic of influences is a gorgeous thing to behold, especially considering the fact that when you listen to it all at once, it somehow sounds " together. " Too bad they didn’t think enough of themselves as a band to stick it out.

ROOMFUL OF BLUES, That’s Right (Alligator)

Still the standard by which all other contemporary jump blues bands are measured, Roomful of Blues is as relevant as ever. Their recent Grammy nomination for this disc is a pretty good indication of that. The new label deal with blues imprint extraordinaire Alligator has breathed new life into this old machine, which has managed to stay all greased up for more than three decades. " That’s right, " indeed, boys. Take it around one more time.

DUKE ROBILLARD, Exalted Lover (Stony Plain)

DUKE ROBILLARD/HERB ELLIS, More Conversations in Swing Guitar (Stony Plain)

And speaking of " national treasures " — yeah, it’s a term bandied about with too much frequency. But when the subject is brilliant guitarist Duke Robillard, well, you can never be too generous with the adjectives. Duke stayed busy this year with a bunch of different projects, but he really shined on two of his own: Exalted Lover and More Conversations . . . with fellow keeper of the blues guitar flame, Herb Ellis.

MR. LINCOLN, Everybody Almost Went Somewhere . . . (Big Chicklet)

Aah, sweet melody. Mr. Lincoln doesn’t go for power chords much. They’d rather light up the stage with a soft but luminous groove and hope that their audience sees the glow. Dig the vibe — it’s heady stuff, and surreally catchy after a few listens.

DAUGHTERS, Canada Songs (Robotic Empire)

From the first bludgeoning chords of Canada Songs on through to the last, you get way more than you bargained for here, including a massive head trip through serpentine sonic alleys, neck-bending guitar hellaciousness, and full-throttle, throat-scorching screams. Taking no prisoners, Daughters is one of the underground’s necessary evils. You probably won’t love it, you might even hate it, but you’ll definitely have to contend with it. Insane, despicable, inspired, awesome.

ZOX, Take Me Home (Zox Music)

The Brown boys had a truly big year, a breakthrough year, linking up with some great tours and bringing down some sweaty, packed houses. Yeah, they worked hard, but when Zox wants something, they go out and get it. Take Me Home doesn’t do their live show justice, but it still has excellent sound quality and some songs that manage to showcase their surprisingly effective instrumental savvy.

BLACKSTONE VALLEY SINNERS, It’s a Sin (Valley)

I’m not sure when this record came out, but I am sure it’s a killer contribution to the local scene. Rich Gilbert, Slim Cessna, and Judithann sure know how to rave up good ol’ time country. It doesn’t hurt that Gilbert is one of the best guitarists this region has heard, period. His chops create perfect period atmosphere for these vintage-sounding tunes, a vibe that’s essential for authenticity and not bad for rockin’ out either.

JOHANNA’S HOUSE OF GLAMOUR, The Dark Flower (RBM)

A long time in the making — almost 10 years, to be specific, I can’t say the new album by Newport’s own Johanna’s House of Glamour has been worth the wait — is any album worth waiting a decade for? But it is excellent in an ambient, electronically bewitching sort of way. JHoG has flown under the local radar for some time now, a fact that probably won’t change much in 2004. Then again, when you have a rep established by the awesome folks over at London’s elite 4AD label, you don’t have to worry much about turning on the locals.

THE MERCY BROTHERS, Strange Adventure (Gibraltar)

Written primarily by rising songwriter Mike Dinallo, Strange Adventure stands as a promising milestone in the fast-flourishing career of the Mercy Brothers, a Boston-Providence band making a name for itself in many other parts of the world. Go figure. Every time a local band breaks big, it happens to do so somewhere else. Is it me or am I just paranoid?

WANDERING EYE. There’s an awesome show on Saturday (the 27th) at the Blackstone. The headliner, the Tiffany Shea, is not from these here parts, but her drummer is the Pete Abdou, from Attleboro, who has also served stints with Illustrious Day, Katrin, and other area bands. The other two acts ain’t so bad either. Jennifer Minuto can play and sing the hell out of a song, and so can the Stereobirds’ Heather Rose.