Six Word Sunday

This year flew by too quickly.

New Wave for the New Week #139

Canadian-born Jeff Plewman has been making fascinating music since 1975, although you have likely never heard of him.  An incredibly talented individual, Jeff seems capable of playing any instrument you hand him. He is best known, however, for his work with electric violin and mandolin, often processed further through assorted synthesizers and, as he refers to them, "devices."  He has toured with Gary Numan and Iggy Pop, among others, and he is still going strong in 2011, having just released a fine retrospective compilation of his career's work. But if you go to your favorite record store (or, as I guess we must say in 21st century, "music source") and ask for Jeff Plewman's latest release, you'll get little more than funny looks. Jeff doesn't record or perform under his given name.  Jeff records and performs with his head and face wrapped mummy-like in bandages, wearing tuxedo and top hat, and goes only by the name Nash The Slash.

It wasn't always thus.  Nash started out as a normal, unbandaged musician as part of a Canadian mid-70's progressive band called FM (think long hair and long, long songs).  After FM released their first album, Nash struck out on his own, beginning with 1978's Bedside Companion. At the time this four-song instrumental EP was released, as the cover art reveals, the top hat and jacket were already in place, but the bandages didn't appear until the following year.  During a 1979 tour, with the crisis at Three Mile Island having just occured, Nash wanted to make a statement about the dangers of a nuclear meltdown. He appeared onstage one night wrapped in bandages dipped in phosphorescent paint as a warning that "this may happen to you!" The bandages quickly became a trademark, and he has not appeared in public unwrapped ever since.

1979 also saw Nash's first full-length LP, Dreams And Nightmares. Following the debut EP stylistically but beginning to add vocals to the mix, Nash slashed out a sound not far removed from German electronic noodlers like Kraftwerk or Tangerine Dream. In 1997 both the EP and this first LP were combined onto one CD as Blind Windows.  Setting his sights on the pop music world next, Nash released a cover of Jan & Dean's "Dead Man's Curve" in 1980 to positive acclaim.  The follow-up album, Children Of The Night, included that single as well as a few other covers ("19th Nervous Breakdown," "Smoke On The Water") as well as the usual experimental instrumental pieces.  Covering well-known songs made Nash more accessible, but also threatened to paint him into a corner as a gimmick act - and the hidden-identity/bizarre cover songs gimmick was already taken by The Residents (with whom Nash was briefly associated).

Nash answered his critics with his most wonderful album, 1982's And You Thought You Were Normal, which split the difference with one side of fairly standard New Wave pop and one side of instrumental noodling, and no cover versions to be found in either basket.  Nash scored a club hit with the album's single, "Dance After Curfew;" other notable cuts include "Pretty Folks," "Vincent's Crows," and the utterly majestic "Citizen" ("I've got nothing to hide/I just can't decide/Am I just a citizen?").  Then, in the ultimate thumb-your-nose-at-your-detractors move, he followed that two years later with an album full of nothing but cover songs! American Bandages found Nash slashing up the theme from American Bandstand, "Born To Be Wild," "Psychotic Reaction," and "Hey Joe" among others, while also taking another stab at "Dead Man's Curve."  The song from which the titular pun was taken, Grand Funk Railroad's "(We're An) American Band," gets a slight rewrite given that Nash always performs completely solo; hence he sings, "I'm an American Band."  Brilliant.

Having made his point, Nash pulled a most unexpected move and returned to his old bandmates, rejoining FM, although he retained the now-standard Nash The Slash uniform.  While spending the next few years playing with FM, Nash also dabbled in film scores and other production work.  But it wasn't until 1991 that we got the next solo Nash The Slash album, his soundtrack to Highway 61. 1999's Thrash demonstrated handily that Nash had not missed a step in his instrumental work; 2008's In-A-Gadda-Da-Nash equally proved he still knew his way around a goofy cover version or two.  In between those two albums, Nash issued a stunning score he created for the silent horror classic Nosferatu. Is there anything this guy can't do?

Despite all his work and critical acclaim - both from the music press and his fellow musicians - Nash The Slash remains relatively obscure. This year's The Reckless Use Of Electricity, a handy compendium of Nash's finer moments, is a welcome introduction for those new to this fascinating musician's oddly mesmerizing world of sound.  Get it.

For this week's NW4NW, here is some early-80s vintage Nash The Slash. First, the clip for his breakthrough cover of "Dead Man's Curve," then his club hit, "Dance After Curfew."  Enjoy!

Six Word Sunday

I want one I can't have.

FAIL.

NaNoWriMo is done. Over.  And I failed.

I tried; I really did. 50,000 words is a lot, sure, but it wasn't an unachievable goal.  Many folks reached or surpassed that number.  Hell, in the NaNoWriMo Group on Facebook, there were folks who cranked out nearly half of the target in the first week alone.  Many folks "won" this year by reaching or surpassing 50,000 words, and I applaud them. It ain't easy to do!

To say I fell short of the mark would be an understatement.  At month's end I had just shy of 10,000 words - less than a fifth of the goal.  (OK, confession time: I really probably wrote closer to 25,000 words if you count everything I wrote and then immediately discarded as being worthless, terrible, or downright embarrassingly poor writing. Still, that's only half the way there.)

It was not for lack of ideas.  I had plenty of them - scribbled on scraps of paper and backs of envelopes, recorded on the Voice Memo app on my iPhone, swirling through my mind at night keeping me awake.  What I seemed incapable of doing was distilling those ideas down to basic English words and phrases and putting them on paper or screen in any way that resembled a coherent story.

It was not for lack of support.  Many friends spent the month cheering me on, pushing me along, letting me vent my frustrations and telling me to shut up and write when the situation called for it.  Thank you all; I apologize for not completing the task despite your best efforts and your good advices.

I spent more than one night staring at a blank screen, willing myself with all my might to start putting words down, and feeling that internal block pushing back just as mightily.  I tried everything: write meaningless bullshit until the words start flowing, write about a character going through the mundane actions of the day until he or she does something interesting, create dialogue equivalent to small talk between characters and let that conversation build.

I tried to write with music on. I tried to write with music off. I turned off my modem so that I would not be distracted by the Internet and Facebook and Twitter.  I tried writing in different rooms of the house. I tried writing outside of the house. I tried writing at different times of the day. And I grew more frustrated as the month wore on, and I saw - and felt - the time slip away with little progress being made.

I discovered a few things.  I don't write in chronological order; rather, I start to delve into a scene no matter where it is in the story's timeline.  Hey, I figure when the words actually do flow, who am I to stop the current simply because I haven't yet written the chapter before it?  My secondary characters are more fully fleshed out than my main characters.  The MCs have become little more than the vehicles for the inherent conflict that drives the story, whereas the SCs with whom they interact along the way have evolved into almost real people.  I kept thinking that if only I could get to know the MCs as well as I did the SCs, then things would really start to happen. Unfortunately, they hid their true selves from me.  I still don't even know their last names.  (Oh, don't get me started on naming characters...one character has had her name changed at least four or five times already...)

To top it all off, as I dug deeper into the story, I opened a door that created an entire second cast of characters and a completely new subplot.  That happened around the 20th day of the month, and while it was a breakthrough for the story, it sealed my fate for NaNoWriMo - it was just too much to think about.

So, I failed.  I didn't reach my goal. I didn't "win" NaNoWriMo.  But, I'm glad I did it, and I'm sure when I am finished beating myself up for not reaching 50,000 words I will see the positives of doing it.  People are already trying to show them to me: made a major plot breakthrough, have 10,000 more words than I did on November 1, am continuing to learn about and improve my own writing style and habits, and so forth.  On a certain level I know that, but right now I'm not ready to accept it.  Right now, in my mind, I failed.  Let me wallow in that for awhile, please. I need to do so to process it.

I will keep writing the story.  But I know now that it'll be slow going.  And next year, just maybe I'll come back and take on NaNoWriMo again.

It's Gonna Be A Punk Rock Christmas

I'm not quite sure how I missed The Angry Snowmans the first time around two years ago when they released their first album full of Christmas joy, especially considering my annual search for cool and unusual holiday music for the CD mix I make for friends each year, but I did.  My bad; my head is hung by the chimney in shame.

But lo, I have been shown the light with this year's release of their follow up album.  These guys are simply geniuses!  Punk rock parody is not an easy feat; attempts usually fall flat because people forget that at the heart of the best parody you find honest tribute.  These Snowmans know their Punk Rock and play it well, and will leave you laughing (and pogo-ing) all the way as they transform old mosh-pit classics into new Christmas carols.  They carry the joke to its fullest extreme, too; from the band's name itself (hello, Angry Samoans!) to each album's cover art.  The 2009 self-titled debut pays homage to The Adolescents' first LP, with a yuletide red/green color scheme in place of the original's red/blue; this year's offering, the brilliantly titled What We Do Is Festive, takes on the appearance of The Germs' (GI), with holly wreath in place of that band's blue circle logo.

A quick scan of the song titles will bring a smile to any old-school punk's face, as many of those titles immediately reveal their source material, from the debut's "Richard Hung His Sock," "Blitzen Bop," "Ebeneezer Über Alles," and "Somebody's Gonna Get Their Halls Decked In Tonight" to the new record's title track and "I Love Christmas In The City."  In other cases, the presents are only unwrapped upon listening: "Decoration" takes on The Circle Jerks' "Operation," "Egg Nog" is a brilliant holiday reworking of Black Flag's "Six Pack," Agent Orange's classic "Bloodstains" is reimagined by these Snowmans as "Fruitcakes."

What makes it all work on both records is that, snarky humor aside, these guys are a damn good band! The music is tight, fast and loud - and, most importantly, accurate.  In a few cases you'd swear they used the original tracks and just recorded new vocals, but these guys actually play live! Dates so far have been only on the West Coast (they are from Victoria, British Columbia, so it's easy enough for them to make the Seattle-to-California circuit); wish they'd find their way over here to PA.

Both albums are available as digital downloads for a measly $8 a piece from The Angry Snowmans' Bandcamp.com site;  physical copies are also available from the band themselves (I picked up the debut on CD and What We Do Is Festive on Christmas-y red vinyl - score!).  Get yourself over there and get them downloaded, and fill your home with their special brand of Christmas cheer!

To ring in the holiday season, here's The Angry Snowmans' take on the Angry Samoans, "Lights Up." Enjoy!

New Wave for the New Week #138

Husband and wife Randy Stodola (guitar) and Dianne Chai (bass) first made noise in the L.A. Punk scene as two-thirds of The Alley Cats.  With drummer John McCarthy rounding out the trio, The Alley Cats issued their debut single, "Nothing Means Nothing Anymore," on the influential Dangerhouse label in 1978.  Playing a swampy style of garage punk that placed them somewhere along the spectrum between X and The Gun Club, The Alley Cats proved to be a popular live act.  Chai's exotic look and outstanding proficiency on bass was an obvious drawing card; she and Stodola shared lead vocal duties, a large part of the band's unique personality and appeal. That first single is probably the closest they ever got to capturing the reported energy of their live shows on any of their recordings, however, and over the years The Alley Cats have somewhat faded into history.

It would be three years until their first full length LP appeared.  After signing with indy label Time Coast, they released Nightmare City and its concurrent single, "Too Much Junk."  A decent-to-very-good album, it not only boasted the new single but several other excellent tracks ("Give Me A Little Pain," "Today," "One More Chance to Survive") and a snappy re-recording of "Nothing Means Nothing Anymore."  Although the album drags in a few places and Stodola's lazy enunciation comes off as somewhat affected at points (and somewhat grating at others), those bright spots make it a hidden gem worth digging up.  Nightmare City was eventually reissued on CD, but has been out of print for some time.

1982 saw The Alley Cats make another change in labels, this time landing on MCA for their follow-up album, Escape From The Planet Earth.  Despite receiving the typical major-label treatment (slick, sheeny production that sands off the rough edges and a few obvious bids at commercial radio airplay), the band's personality is still evident here.  Highlights include "Breath Of The Barfly," "Waiting For The Buzz," "Just An Alley Cat," and the fantastic title track.  The band pushed their envelope a bit on this record, and not everything works, but nonetheless it's an album worth searching for.

After a few year's hiatus, the trio returned with a brand new name.  Their ongoing game of label hopscotch continued as they found themselves back on Time Coast, but now rechristened as The Zarkons despite no change in line up or sound.  1985's Riders In The Long Black Parade treads similar sonic waters as Nightmare City, although not as successfully.  What sounded fresh in 1981 now seemed stale, and lukewarm production with vocals buried too deeply in the mix didn't help.  The high point of the album, Chai doing her best Grace Slick imitation on a cover of "White Rabbit," was somewhat underwhelming; the remainder of the record is not bad - just unnecessary.

Changing drummers and adding a fourth member, The Zarkons were back in 1988 with Between the Idea and the Reality...Falls the Shadow, about which the less said the better.  The band broke up soon after.

A "best of" compilation, 1979-1982, appeared in 2007, pulling ten tracks from the two Alley Cats albums and nothing from either Zarkons record (although inexplicably excluding undeniable classics like "Nothing Means Nothing," "Too Much Junk," or "Give Me A Little Pain").  The accompanying DVD with five video clips is a nice touch, however, and this CD remains the only in-print example of The Alley Cats' work.

For this week's NW4NW entry, here are two clips of the band performing live.  First up is "Too Much Junk," followed by the band's appearance in the must-see URGH! A Music War scorching through "Nothing Means Nothing Anymore."  Enjoy!

Six Word Sunday

My words shatter against the ground.

New Wave for the New Week #137

If The Only Ones are only ever remembered for their most popular song, the indispensable "Another Girl, Another Planet," their place in Punk/New Wave history is rightfully earned.  Still, it would be selling the band a bit short, given that they released three very solid albums in their day, all of which are readily available on CD.  Bands like The Replacements or Green Day owe a huge debt of gratitude to The Only Ones. If you missed out on these guys, it's your own fault - and something you need to correct immediately!

Formed in late 1976 by singer/songwriter Peter Perrett and guitarist John Perry with Alan Mair on bass and Mike Kellie on drums, The Only Ones debuted in 1977 with a self-released single, the likeable but pessimistic "Lovers Of Today" ("We ain't got feelings/we got no love/we ain't got nothing to say...").  This opening effort was solid enough to get the band signed to CBS/Epic, and by 1978 they had released their masterpiece as their second single, and along with it their first full length album, The Only Ones.  "Another Girl, Another Planet" is one of those songs that almost defies genre. Searing guitars, driving beat and Perrett's nasally faux-Pete Shelley vocals combine to create a classic that has been covered many times by artists from Greg Kihn to The Replacements to The Mighty Lemon Drops; more recently Blink-182 and Belle & Sebastian have taken stabs at it as well.  It has even been adapted by The Nutley Brass in an easy listening version and interpreted in a 1920's Tin Pan Alley style by The Ukelele Orchestra Of Great Britiain.  How's that for reaching a wide audience?

After Perrett and Kellie took a break to back up Johnny Thunders on his solo album So Alone (specifically on the fantastic "You Can't Put Your Arms Around A Memory"), The Only Ones released their follow-up LP, 1979's Even Serpents Shine.  While no individual track reaches the heights of "Another Girl," the album as whole is every bit as good as the debut.  Highlights include "From Here To Eternity" and "Miles From Nowhere."   Hoping to crack the US charts, Epic released Special View later in the same year, combining the best tracks from the first two LPs and throwing in "Lovers Of Today" for good measure.  A perfect introduction for those unfamiliar with the band!

1980 saw their third LP in three years, Baby's Got A Gun.  While still a very good effort, it falls about a half-step behind the first two.  "The Big Sleep" is the star attraction here.  The Only Ones stuck it out for another year or two before finally calling it a day in early 1982.

Fast-forward to 2007, when "Another Girl, Another Planet" was revived in an advertisement for UK company Vodafone.  The renewed interest in the single inspired the original band to get back together, and they have been playing live ever since, although they have yet to release a new album.

For this NW4NW entry, here are the classic "Another Girl, Another Planet" and their debut, "Lovers Of Today."  Enjoy!

Six Word Sunday

NaNoWriMo goes slow; blogging again soon...

Well Damn...

So, no sooner do I put up a post raving about One-Eyed Doll and being psyched that they would be playing close enough to Lancaster for me to actually go see them, then this news from Kimberly Freeman herself:

Just my luck.  No word yet on why the cancellation, but the date is off of the band's tour dates page.  That's a bummer.  But, check their tour and if they're going to be near you, go see them!  And tell them they need to come to PA!

Since I won't get to see them live, I'm taking this opportunity to post another clip.  "PAO!"