Neil Young would have been proud. A founding father of what would become the alt-country movement, and a Canadian, he would have approved mightily of the efforts of Kathleen Edwards and Justin Rutledge at The Paradise Friday night. These two excellent singer/songwriters brought their North of the border perspective and pluck to a Boston audience that knows the difference between craft, and well -- crap. Sure, most in attendance had already made up their minds about the quality of the artists -- especially Edwards -- but it's always nice to have your expectations met -- not dashed. It tuned out to be a special night for all concerned.

Edwards was clearly the reason for the packed house. She's touring in support of her third CD "Asking For Flowers" -- her strongest yet. "Flowers" doesn't rock quite as much as its predecessors "Back To Me" and "Failer" but the subject matter is deeper and more challenging. She's now addressing racism, war, death and rebirth. We're still getting killer tunes about drinking and low life guys, but we're also seeing some of the depth behind the swagger.

Edwards kicked off the show with Mercury from her debut album. It's a slow burner about drinking in a beat up car with your life's expectations taking a steady dive. Next up was the crowd pleasing In State from "Back To Me." For those who love the tough girl side of Edwards this is their song -- she's standing up to a louse of a lover, by threatening to rat him out to the cops -- Maybe 20 Years In State Will Change Your Mind.

In fact she almost sheepishly broke into the new material, offering a good natured apology for making a "folk album." Granted songs like Buffalo, Asking For Flowers, and Alicia Ross aren't barroom stompers, but they still connect. She may have been a bit too faithful to the recorded versions, opening them up with the help of her crack touring band might have helped bridge the gap between the old and new a little better. These songs need to be broken in a little bit.

As the frontwoman of a fine band Edwards is a salty and unpretentious host. She loves to drop the f-bomb, challenge her bandmates to guitar duels, mug at the unexpected technical problems that crop up in every live performance. She told a great yarn about trying to track down notorious hockey enforcer Marty McSorely who she aligns herself with in the infectious new song I Make The Dough, You Get The Glory. Edwards is totally comfortable in her own skin, and it's one of her most appealing traits. One can only hope that more people will catch on to this outstanding performer. If you're a fan, don't be quiet about it -- spread the word.

Opener Justine Rutledge has none of the Edwards swagger -- in fact he's earnest to a fault. What he does have is a set of beautifully written songs. He delivered a sublime set that I'm sure had everyone scurrying to iTunes after the show. His CD's are currently only available as imports which makes them pricey -- the download deal is much better. Rutledge won't blow you away with his subject matter -- mostly love and loss -- but he has this heart-wrenching voice that casts a powerful spell. Check out To Sober To Sleep to see what I mean. He's one to watch.

Eddie Izzard will play three shows at the Orpheum Theatre on April 28, 29, 30 and sell outs every night are guaranteed. If you can score tickets to this one, celebrate your good fortune. An Izzard stand up show is a whipsmart delight. He's calling this show "Stripped" but I'm sure he'll come up with a colorful ensemble anyway. He's a transvestite but that doesn't mean he'll show up in heels, he's pretty flexible with the outfits. Bone up on your current events if you're going, this guy is well read and ready to riff on just about any pop culture absurdity. I highly recommend this one.

Kathleen Edwards is at the Paradise this Friday and Pearl Street in Northampton on Saturday. She's touring in support of her new CD "Asking For Flowers." It's the best collection of songs she's put together yet, and if you like the alt country/indie rock thing you'll be very happy. There may be a few tickets still out there, but I wouldn't advise waiting 'til Friday and trying to buy them at the door.

The Bank Of America Pavilion has a healthy chunk of it's summer season posted. I recommend the Ryan Adams and the Cardinals show on September 7. Ry can be hit or miss depending on his mood so please don't make him go ballistic by screaming "Summer of 69."

Just some things to think about as you start your Monday.

What is it with gambling emporiums and their penchant for ruining rock songs? Last year Rhode Island's Twin River casino used "Take Me To The River" to promote their "entertainment" complex. The singer in the ad had the nads to rip off the vocal inflections used by David Byrne in the classic Talking Heads recording. Now Connecticut's Mohegan Sun has grabbed hold of Lynyrd Skynyrd's "Sweet Home Alabama" for their latest ad campaign.

Now I know that bad taste and casinos go hand in hand, but the hatchet job done on "Sweet Home Alabama" is a true disgrace. That song has a legendary place in rock history. It was Skynyrd singer Ronnie Van Zant's "answer" song to Neil Young's "Southern Man." It was about racism and civil rights -- Old South and New South -- regional pride and regional bias. Important stuff. Heck the Drive-By Truckers devoted a whole double CD to the issues in their epic "Southern Rock Opera." This is not stuff to be trifled with, and that's exactly what Mohegan Sun has done.

At least Twin River chose not to mess with the lyrics of their rip off (just the hack vocalist singing take me to the river in clipped bursts). Mohegan gives "Alabama" a complete cheesy re-write -- Please come to Mo-he-gan (at least they're polite) and everybody needs a little sun (or something like that). It's the guitar riff that hurts the most though. The defiant notes that set up the song, now just a prequel to a sucker's come on. Unforgiveable.

So, in an effort to point the casino industry in a more appropriate, and accurate, direction when picking songs I submit the following list.

"Loser" by Beck
"Too Bad You're Such A Loser" by Jennifer Trynin
"Beautiful Loser" by Bob Seeger

Just trying to help.

A ride to "Avenue Q" could be the best trip you make all year. You won't need MapQuest to find it. You will need a sense of humor that can appreciate the naughty and the nice -- and a sense of wonder at how a production like this can come together in the first place.

The show that stunned and delighted Broadway when it won the Tony Award for Best Musical in 2004 is finally making its first visit to Boston. The timing couldn't be better, we all need a kick in the pants after the winter we've just had -- if only the run could be longer.

So what's the best way to describe "Avenue Q?" Forbidden Broadway meets Sesame Street? Kind of. The plot is pretty basic. A newly minted college grad, Princeton, has to hit the low rent district in search of his first apartment -- he also has to find his purpose in life. On Avenue Q he finds a place to call home, and a collection of folks that will help shape his near-future. Nothing earth shattering there -- until you meet the neighbors.

So, there's Kate Monster, Trekkie Monster, Nicky and Rod -- did I mention they were puppets! Oh yeah, and the superintendent of the building just happens to be Gary Coleman. That's right, that Gary Coleman. Sound a little hard to grasp as a coming of age musical? -- it is. Wonderfully so. But the snap and energy of the music also carries a measure of street cred -- all the days aren't sunny ones on "Avenue Q."

So how does an actor go about playing a character, and wield a puppet at the same time? With wit, timing, and an abundance of talent is the quick answer. Robert McClure is nothing less than a revelation as Princeton, and also as Rod (an uptight financial planner nervously trying to come out of the closet). Like his fellow puppeteers, McClure's "costume" is a flat grey shirt and pants -- it's the puppets that get the snazzy outfits. It's his amazing facial expressions and body movement that light up the stage (it doesn't hurt that he has a killer voice too), bringing a special humor and humanity to songs like What To You Do With a B.A. in English, and I Wish I Could Go Back to College.

McClure has a perfect partner in Kelli Sawyer who plays Kate Monster, a sweet but savvy kindergarten teacher, and Lucy, a slutty barroom singer. I love the fact that Sawyer is actually older than her main character, the practical but romantically challenged Kate. It's like Sawyer's street smart perspective flows through her spunky puppet, and when she sings the heartbreaking ballad There's a Fine, Fine Line you realize the edge comes from an actress who knows love isn't always a two way street. Sawyer wears a plain black dress on stage, but she absolutely radiates color and depth.

David Benoit is the other force of nature that lifts "Avenue Q" to its most side-splitting comic highs. A Fall River native and a graduate of the Boston Conservatory he pilots the porn loving Trekkie Monster, and gets in touch with his inner-Ernie (as in Ernie and Bert from Sesame Street) as Nicky, Rod's not gay roommate. Benoit is a big man, with a big smile, and he's such a delightful voice actor you bust out in a smile as soon as he hits the stage. He is the granite curb that keeps "Avenue Q" a vital destination.

So let's go back to the puppet thing for a minute -- what's the deal here? Is it a gimmick to hold up a show that's run thin on ideas? No. No. No. It's just the opposite. The puppets are essential to "Avenue Q" -- they open everything up, and make the most outrageous gags possible. The plot would be totally creepy and unsatisfying without them, and that is the genius of the show.

You can't say enough about what composers and writers Robert Lopez, Jeff Marx and Jeff Whitty have accomplished here. The songs are priceless, It Sucks to Be Me, The Internet Is for Porn, Everyone's a Little Bit Racist, and Schadenfreude are hysterical. Schadenfreude (getting pleasure from the misfortunes of others) is a perfect example. I mean, would you ever guess a musical number with that title (sung by the character Gary Coleman) could have people singing the melody as they walk out the door? Amazing.

"Avenue Q" is truly a tight knit ensemble piece, and the Boston cast is as good as they come. Sala Iwanatsu has some killer moments as Christmas Eve, a Japanese immigrant with a couple of masters degrees, and a slacker boyfriend. Danielle Thomas gets the endearing absurdity of Gary Coleman (yes he is played by a she) just right. And Minglie Chen does incredible work handling a dizzying array of puppets and voices in a supporting role. She has a special flair with a cute little teddy bear that has a very nasty agenda.

It's not perfect. True to its rough and tumble roots, "Avenue Q" does not have a rave up ending. You leave with more of a sigh than a rush, but it's completely in step with Q's world view. In the show I saw understudy Cullen Titmas is a little too slackerized as the character Brain. Sure, Bri's supposed to be unmotivated -- but he does have a pulse. There's also the issue of the two plasma TV screens that pop up on either side of the set. I found them a little annoying at the start, but they are put to much better use as the story unfolds. The set, by the way, a block of New York City brownstones, is terrific.

Finally, and I must say this as a public service, "Avenue Q" is not for the little ones. There is swearing and sexual references and simulated puppet sex too. I'd say a mature 13 is about as young as you can go. Hey, give 'em something to look forward to when they're a little older. For the right type of theatre fan this is truly a show not to be missed. You only have until March 23 to catch it at the Colonial Theatre.

OK, the horrible, horrible clock change thing is behind us -- we'll all be adjusted in a day of two, but that hour of sleep that was taken, that's gone for good. So wrong. Don't get me wrong I love a little more light in the evening -- just don't mess with my Z's.

From Z's we move to Q -- as in Avenue Q. Broadway's Tony Award winner is finally getting a Boston run, and I can't think of a better way for grown ups to put a little spring in their Spring. Wait a minute you say, an edgy slice of life delivered by puppets? Oh yeah -- plus some of the smartest songwriting you'll ever hear. I'm reviewing the show this Friday, but I feel safe in giving you the heads up, to snap up tickets now. The show opens Tuesday at the Colonial Theatre and runs through March 23.

St. Patrick's Day will be here before you know it, and you can get a jump on the celebration this Friday at Symphony Hall when the Chieftains light up the joint. There'll be singin' and dancin' and all kinds of carryin' on. Let's just hope the folks from Channel 2 aren't there -- 'cause you know if they are, they'll spoil all the memories by turning it into a pledge-a-thon come August. Stick with Andre Rieu, WGBH and let us enjoy the Chieftains in peace.

If you've got a friend who's a Parrothead, make sure you DON"T decide to give them a ring around 10:00 AM tomorrow morning. That's because that's when tickets for Jimmy Buffett's annual visit to the Tweeter Center in Mansfield go on sale. The shows are September 4th and 6th, and I'm guessing it'll be a sell out by 10:15. So be ready to go by 9:55 unless you want to send blood money to the vultures at Ace Ticket.

Here's another one you need to be ready for, or else pay through the nose. Jerry Seinfeld has added a third show at the Wang Theatre on Saturday April 19th. Tickets go on sale on Saturday March 15th at 10:00 AM. Like Buffett, they'll be gone in minutes.

Of course you could go see George Carlin at the Wang on Saturday night, but I wouldn't recommend it. Sorry, but that dude hasn't been funny since about 1979. HBO might think he's a genius, but I sure don't. You could do worse though -- you could go see Defending The Caveman at Calderwood Pavilion. Man, what a waste.

For video game fans, Super Smash Brothers Brawl has finally arrived. A lot of Wii's are going to be getting a work out this week.

And oh, boy there's a new Snoop Dogg CD available Tuesday. Maybe you can invite Snoop and George Carlin to go see Defending The Caveman with you.

Anime Boston 2008 arrives in a few weeks (March 21-23), and it's a great chance to get in tune with your inner-geek. Believe me you won't be alone, more than 10,000 people -- many dressed in the most weirdly, wonderful costumes (cosplay for the uninitiated) -- will walk the cavernous halls of the Hynes Convention Center. It's a celebration of all things anime -- manga, video games, J-pop included -- and it brings together a fascinating cross section of people.

Anime, or Japanese animation, is an art form that many Americans have a hard time wrapping their heads around. It's a colorful and often fearless brand of storytelling that ranges from the sugary cute to the downright disturbing. Manga, Japanese comics, are often the source material for anime. You've probably noticed the growing section in your local Borders or Barnes and Noble. It's hooked an audience that often has to keep quiet about their enthusiasm. Many parents hate it -- it's expensive, at times violent, often sexual -- and here's where the lack of understanding comes in. Like movies, novels, and theater there's an important age-appropriate factor that needs to be respected. It's unfortunate that all manga (at least in the U.S.) is often displayed together. This doesn't work. Younger kids should be able to thumb through stories without having more mature content in such close proximity. I know it's a space issue, but it's also a common sense issue.

That problem of wide-ranging content, however, becomes a bonding agent for people who enjoy anime and manga. It's also what makes Anime Boston so much fun. You get everybody at this event, and amazingly everybody gets along. More conservative types can enjoy the creativity of the cosplayers without having to dress up as their favorite character from "Full Metal Alchemist." Those who like the live theater aspect can find kindred spirits and pose for a few snapshots. It's liberating how an otherwise introverted person can be transformed by a costume.

It's not cheap. It's going to cost you at least $30 to get in -- and the retail area can set you back plenty more. As in years past, there will be workshops, and dances, and chances to meet the people who devote their careers to this art form.

Still not convinced? How about this -- MC Frontalot will be there! Yes, you heard right, Damian Hess, the man behind nerdcore rap will hit the stage at Anime Boston 2008. You've got three weeks, re-work that calendar and expand your horizons -- after all, the geeks will inherit the Earth.

http://www.animeboston.com/