"With your feet in the air and your head on the ground Try this trick and spin it, yeah Your head will collapse if there's nothing in it And you'll ask yourself Where is my mind?" - The Pixies
Stress and Anxiety are hellish things. Those who are fortunate enough to go through life without having to deal with the constant insidious treachery these two demons bring to the lives of those of us who aren't so lucky cannot fathom the havoc they wreak: the mental anguish, the physical discomfort, the emotional turmoil. You can try to ignore them; many of us do just that. But they will not be ignored for long. If they haven't been able to disrupt your world with their usual incessant undercurrent of of bilious badness, they will temporarily retreat - just long enough to let you think everything is fine - and then they launch a salvo that brings everything crashing down horrifically around you.
I speak from experience. I've been the victim of their salvos before. About twenty years ago I began noticing areas of my body that were suddenly going numb: the heel of my left foot, a spot on my back, another spot under my chin, one on my arm. All areas about the size of a half-dollar (those of you under age 30, go ask your parents what a half-dollar is), and each time dead numb. Not foot-falling-asleep-tingly numb, but literally no sensation at all numb. After months of test after frustrating test looking for everything from pinched nerves to Multiple Sclerosis, each test coming back normal, I asked my doctor in exasperation how I can be absolutely healthy on paper and yet be experiencing these very real symptoms? And his response, indeed the final diagnosis: Stress. Anxiety. These things can affect you physically, and yes their symptoms are very real. You can, he warned, quite literally worry yourself death. That experience was what initially spurred me to seek out therapy, which in turn introduced me to my personal demons, OCD and Social Anxiety. I learned some coping skills and stress-relieving techniques, and after time, the numbness went away.
Some years later, having stopped therapy and living a reasonably happy life (or so I thought), I found myself dealing with intermittent pains in either my right side or my left shoulder and upper chest. Again, a battery of tests quickly ruled out the expected causes. One night I showed up in my doctor's office complaining of chest and shoulder pain, and my doctor was taking no chances. Had the ambulance pick me up there and take me to the hospital cardiac unit - just in case. After spending the better part of the night hooked up to monitors and machines and being given more tests, the word came back that my heart was perfectly fine. Once again, the demons had struck a heavy blow. Anxiety or panic attacks can often mimic heart attacks: shortness of breath, clammy sweating, and chest pain. That, it was determined, is what this had been. I had not been vigilant against my demons, and had allowed stress to build up until the dam finally burst. A return to what I know works soon had me back to my "normal" self.
Now, I add a new chapter to the book. My demons found a new way to express their rage and remind me that they are still (and always) very much with me. And this time was the most frightening of all, because this time there was no slow build as there had been with the numbnesses, no series of preceding pains as there had been with my faux heart issue. This time it was a lightning bolt out of a clear blue sky. No warning, no precipitating event, just a full-on attack.
My current job is in customer service, answering inbound phone calls. On Wednesday, I was having a very normal day. In fact, I remember thinking as I took my lunchtime walk around the office grounds that it was a good day. I ate my lunch and returned to work. Took a few calls as I normally would. And then it all went to hell.
In essence, I must have blacked out, although my doctor is calling it an
“amnesia event” and we don’t believe I ever actually lost consciousness, at
least in the sense that I didn’t fall over or pass out. I was just suddenly
aware that I was in the midst of a phone call talking with someone, but I had no
idea who I was talking with or what we were talking about. More unsettling was the fact that I could not make sense of the screens up on my computer.
After trying to regain a frame of reference and failing, I at least had sense
enough to put the caller on hold and page my supervisor
to my cubicle. I tried to explain what I was experiencing, and at this point I
was physically shaking, more from being frightened by the event than anything. My supervisor had me transfer the call to another agent, then we looked at my
screen.
I have no memory of actually taking the call, but when a call comes in we have to ask for either a Social Security number or a Member Number to find the person’s record in the system and pull it up. Obviously I had done that, although again I have no memory of it. However, I also had a second screen up of a completely different and unrelated person. I still don’t know why I had that screen up. I have no sense of time or duration of this event, although I imagine it couldn’t have been that long. I was, however, apparently functioning on auto-pilot.
I called my mother to come pick me up from work, then called my doctor. He couldn’t see me until 7:30 that evening, but because by the time I got home I was feeling fairly normal (other than being badly shaken up and feeling horribly embarrassed), the nurse didn’t feel it was an emergency situation. But, she told me if anything like it happened again before my appointment, I should have someone take me to the
hospital. My doctor gave me a thorough once-over, and said I looked OK – not ashen or flushed or pupils dilated or anything. He said it could have been anything
from a sudden drop in blood sugar to a seizure, or – as my wise mother had already
suggested – my old friends Stress and Anxiety. Of course, the doctor wanted to rule out the big stuff quickly (seizure, brain tumor, aneurism, etc.), as well as check my blood sugar levels and make sure I wasn’t anemic. So it was over to the hospital for a full blood work and a CAT scan of the brain. Because he asked for
those two tests to be done “stat,” the hospital would keep me there until the
results came back and he could talk with me about them. So, at 10:45 Wednesday night, there I was sitting in the emergency room waiting area on a portable phone with my doctor, only to learn that, in typical fashion, both tests came back...wait for it...absolutely normal.
We’re not done with tests yet. I’m waiting for a pre-authorization from my
insurance for two more tests: an EEG and a 24-hour Holter Monitor. Then I must
schedule them and also schedule an ultrasound of my carotid arteries. Bets on
the results?
So, its back to the coping skills and stress-relieving techniques. Maybe it's time to get back to therapy. Has there been a lot of Stress in my world lately? Oh you bet. Being unemployed/underemployed for two years will bring the Stress in a big frightening way. And, as I have mentioned in previous posts, those demons are cunning and wait until your defenses are completely down before they attack. I am still processing this event; this post is part of that processing. This was the scariest storm I've been through to date, so I think I'll be processing this one for awhile.
This is the time of year when those of us who tend to create such things begin to consider which albums will be making the cut for the omnipresent year-end "Best Of" lists. 2012 has been a damn good year for music, so it will be interesting to see how varied the lists will be this year, but only those without a lick of actual musical taste will leave Amy Gore & Her Valentines' debut In Loveoff their rundown of the best recordings of the past twelve months.
While In Love is a debut for this particular assemblage, Amy Gore is no rookie. She already has three albums of killer garage rock under her belt with The Gore Gore Girls, as well as an EP of powerful bubblegum punk with Gorevette (her collaboration with Nikki Corvette). Echoes of both of those bands are evident here, but In Love is more straightforward rock and roll than anything else, with occasional countrified tinges and power pop riffs surfacing throughout.
The album kicks off with last year's outstanding single "Drivin' Around," and builds on that foundation from there. Amy's Valentines (guitarist Jackson Smith, bass player Leann Banks, and drummer Joe Leone) are tight and talented, and the songs are strong and catchy. From tough rockers like "Baby In Your Arms" and "Static" to emotionally charged cuts like "I'm Addicted" and "Remember Me," there isn't anything here that you might call "filler." The winning track here for me, though, is "Cadillac." With it's
insistent opening riff and earworm-ready chorus, it's the song that
jumps out from the pack on first listen; the strongest cut among a
consistently strong set list. Throughout, In Love brings to mind a cross between Lone Justice and The Pretenders. Gore's voice especially has notable resemblance to Chrissie Hynde's.
The album exists thanks to a successful Kickstarter campaign that allowed the band to record without artistic restriction or record label politics. Hopefully, the same grassroots support that got the project funded will help to spread the word about this incredible album. This is definitely one not to be missed! For a taste of their sound, here's the video for the second single, "Fine Without You." Enjoy!
So I'm working a lot lately. Glad of it, don't get me wrong, but it has cut severely into blogging time. You may have noticed... Anyway, been meaning to put together another post sharing with you some of the nifty gems I've found online and elsewhere. So here's another handful of goodies - the things that I've been seeing, hearing, reading and doing lately, and think you should too:
Being a typical guy, two of my favorite things in the world are beautiful women and delicious food. A beautiful woman who can cook delicious food is, therefore, an awesome thing in my book. If she's funny and has a bit of a sarcastic edge to boot, well, that's downright....um, what's the word I'm looking for here?...ah yes: bitchin'! Coming across as equal parts Riff Randall and Julia Child, and armed with the most unusual accent you'll hear all day (Italian/French-Canadian, for the record), Nadia Giosia made the leap from web show to big-time network TV with her program Nadia G.'s Bitchin' Kitchen, an amalgamation of cooking, comedy and rock 'n' roll that has become must-see TV around these parts. With an outstanding supporting cast that includes the forever henpecked Panos the Fish and Meat Guy, The Spice Agent (whose name Nadia keeps on a handy recording so she doesn't have to attempt to pronounce it), and the slightly creepy Hans, as well as an assortment of her own Italian-slang interjections and catch-phrases, Nadia's kitchen is a damn cool place to hang out. Let's plate this dish.
Speaking of folks who bring the food and the funny, that list must include Daym Drops. With his YouTube series of Super Official reviews (canudigitbaby?), Daym has become something of an online sensation and, in a just world, will be next in line to make the jump to the mainstream. He's a modern-day food critic, but he is no nose-in-the-air epicurean snob reviewing haute-cuisine in four-star restaurants. No, Daym Drops is a regular joe like you and me, reviewing drive-through fast food from the point of view of a guy who loves the stuff and knows he ought to be eating healthier but damn, it's just so good! I discovered Daym through his hysterical review of Five Guys Burgers (which has since been brilliantly songified by The Gregory Brothers); if you haven't discovered Daym Drops yet, it's a good place for you to start as well:
Do you like odd? I mean really, truly odd? Do you enjoy the looks of bewilderment and horror on your friends' faces when you play a Residents album for them? Do you pine for the days when every other album was recorded entirely on a Moog synthesizer? Are you fond of singing along loudly with Wild Man Fisher? Then friends, the Cake and Polka Parade podcast is right up your alley! Your host, Fatty Jubbo, takes you on audio tours of the twisted obscurata of the music world. Like a dour Doctor Demento he curates some of the most wonderfully weird music that is likely to reach your ears any time soon, with enough of a knowing wink to keep the balance just this side of the sane/insane line. Courtesy of the good folks at WFMU. Go on, give it a listen!
I am, as you know, a proponent of grassroots indy music distribution. Which is why I have become a huge fan of Noisetrade, a site dedicated to bringing together those who create music and those who love it, without thought one given to music as a product or - shudder - a business. Artists can sign up and upload their music, and fans can browse and download what they like, all at no charge. The theory is that fans will share the music they find that they like (the opportunity is there to share each download via Facebook, Twitter or email), the artists will reach new fans who otherwise might never have found them, or might not have spent the money to take a chance on an unknown entity, and everybody wins. Fans can also "tip" artists they like - up to $100 if so inclined. I've discovered a few fantastic artists through Noisetrade already, some of which I'll be sharing with you in an upcoming Now Hear This post. Spend some time at Noisetrade and see what goodies you find!
Troma Films is the purposefully shlocky, intentionally low-budget production house that brought us such classics as The Toxic Avenger, Class Of Nuke 'Em High, and Surf Nazis Must Die! Now they have set up a YouTube channel stocked with over 150 flicks from as far back as the 1930s, some of which are Troma Films creations, but all of which could have been. From classics like White Zombie, The Ape, and Africa Screams to more recent titles like Rabid Grannies, Space Zombie Bingo, and Blood Boobs And Beast, there is hours of viewing enjoyment. Gather the family and pop the corn...
Truth is, so they say, often stranger than fiction. which is why a good documentary can capture my attention and fully drag me in, especially given the right subject matter. I was therefore overjoyed to find Top Documentary Films, a website that hosts a veritable treasure trove of free-to-watch documentaries that can be viewed online. The documentaries there range from 30-minute amateur YouTube shorts to full-production theater-quality films, and cover just about any topic you can imagine from 9/11 conspiracy theories to scientific discovery to serial killer profiles to historical reenactments - and beyond! It can all be found here, and you can spend hours watching before you even realize it. Bookmark it!
Real Actors Read Yelp
High on the list of Things I Wish I Had Thought Of is this series of videos from a group calling themselves Gotta Kid To Feed Productions. Real Actors Read Yelp is exactly that: professional actors from film, TV, and Broadway giving dramatic life to the words of actual reviews taken from social user review site Yelp.com. Yes, it's an old concept (those my age and older will recall the great Steve Allen reading real letters to newspaper editors with great feeling and gusto), but it's done well. The actors are chosen well, and are skilled enough to mix overwraught scene-chewing with truly touching moments of emotional focus, allowing you to feel the reviews viscerally. Or something like that.
Now that should be plenty of fun to keep you entertained for awhile, I would be truly interested in your feedback, and maybe your suggestions of things to see and do. Speak up, friends! And, as always, enjoy!
So, the fourth album from The Dollyrots (Kelly Ogden, Luis Cabesaz, and whomever is occupying the ever-changing drummer slot) has been here in the house for about two weeks, and since it's arrival, few other recordings have seen much airplay. With my ever-changing moods and a collection pushing 4000 titles, the soundtrack around here usually changes often. So for an LP to dominate the turntable like this says a lot. The Dollyrots is simply a fantastic record - and yes, mine is a vinyl copy (neat-o clear vinyl, no less!) that actually does claim the turntable as home right now.
In some ways, the album comes across of something of a reboot for the band. After three remarkably solid efforts, two of which were issued by Joan Jett's Blackheart Records, the band went back to a grassroots approach this time around. The record was done completely independently with funding coming from fan contributions through Kickstarter. Often, a band's self-titled album is their debut; by calling this one The Dollyrots, the band seems to be signalling a new phase. Original drummer Chris Black was gone, replaced by Alicia Warrington, and the band recorded an updated version of their biggest hit, "Because I'm Awesome," which is found as a hidden track here. The album even kicks off with a short track called "Starting Over," expanded at the end of the album as "Starting Over Again."
Of course, the more things change the more they stay the same, they say. It may be a new era for The Dollyrots, but they sound as good as ever. They deliver plenty of their brand of high energy punky-poppy fun spiced with Kelly's usual mischievious wink and lyrics that are much more substantial than her kartoon-kiddie vocals suggest they might be. The cuts are more polished these days, and there are a few obvious nods to present-day pop-radio hooks ("I Wanna Go" and "So Wrong It's Right" are noticeably radio-ready), but because the band did it on their own terms, they managed to make those concessions without losing a bit of their personality.
When the album really cooks, though, is when all such trappings are dropped and The Dollyrots just do what they do best. "Twist Me To The Left,""Pretty On The Outside," and the single "Hyperactive" are prime cuts for blaring speakers and crazed air-guitaring; "F U Famous" is one of the best things they've ever done.
Unfortunately, the news is that Warrington is already gone and a new drummer is sitting in during The Dollyrots' present tour. A shame on one hand, because the Kelly/Luis/Alicia trio made a joyful noise this time around; on the other hand, they have survived one drummer change already. This one could lead to an equally fortunate find for a replacement. My work schedule means I'm going to miss the band on this tour (they're in Philly on Monday night at Kung Fu Necktie), so I guess the album will be seeing even more airplay around these parts. Should be seeing airplay in your world as well. Go pick up a copy!
Most sensible people agree the Washington DC scene was an incredible one, packed with talented musicians playing outstanding music in any of several excellent bands, with styles spread across the spectrum of musical genres. Of course, as in any scene, a few names loom considerably larger in importance and legacy in DC's history: The Teen Idles, Minor Threat, Bad Brains, and Razz to name a few. But they were all beaten to the punch by DC's original DIY combo, The Slickee Boys.
Starting out in 1976 and briefly fronted by a female singer, The Slickee Boys crossed straightforward bar-band rock with the emerging sounds of the New Wave, creating an edgy psychedelic-blues-garage sound with more than a little bit of attitude. In their first year, they released the completely independently produced Hot And Cool EP, one of the earliest American DIY releases of the era. An independently produced and distributed debut album, Separated Vegetables, appeared a year later, mixing covers of forgotten '60s garage nuggets and current DC scene favorites with an original or two, the album was pressed up in an issue of 100 copies. Good luck finding an original!
Original singer Martha Hull was soon replaced by Mark Noone, and the best-known lineup of Slickee Boys was in place: Kim Kane and Marshall Keith on guitar, Noone on vocals, and Dan Palenski on drums. Two more EPs were recorded (Mersey, Mersey Me and Third), which were then combined with the original Hot And Cool and released as Here To Stay in 1982.
All of this set the stage for their must-have masterpiece, Cybernetic Dreams of Pi. Released in 1983, the album scorches from the incredible opening cut, "Escalator 66," on through a series of fresh originals ("When I Go To The Beach," "Nagasaki Neuter," "Life Of The Party") and covers both obscure (Hamilton Streetcar's "Invisible People") and almost expected (Status Quo's oft-covered "Pictures Of Matchstick Men"). A stunning album.
Having found their musical footing, they issued Uh Oh...No Breaks! in early 1985 - a collection padded with early Slickee Boys material re-recorded by a more confident band. Only a step or two below Cybernetic Dreams, even retreads like "Jailbait Janet" and "Gotta Tell Me Why" sound sparkly and new.
Two more albums would hit the shelves before The Slickee Boys' run was over: Fashionably Late in 1988 seemed to focus more heavily on the band's affinity for bluesy rock; 1989's Live At Last is an accurately titled collection. In the years since, The Slickee Boys have stayed semi-active by playing at least one reunion weekend a year.
For this week's NW4NW entry, enjoy a pair of clips from The Slickee Boys' classic Cybernetic Dreams Of Pi album: "When I Go To The Beach" and "Gotta Tell Me Why." Enjoy!
North London's Neo-Neon-Rockabilly guys, The Polecats, started out thumping a stand-up bass and slinging their geetars as a trio (Tim Polecat, Boz Boorer, and Phil Bloomberg) joined by a succession of drummers, playing under the name The Cult Heroes around 1977 or so. With Punk Rock being the cultural kick in the UK at the time, they soon discovered difficulty getting booked on Rockabilly shows: their name sounded more like one of those upstart punk bands. Early drummer Chris Hawkes suggested the name change before departing, and by the time Mercury Records scooped them up in 1980, they were forever more The Polecats.
Combining straightforward Rockabilly with a healthy dose of '70s Glam (Bolan's "Jeepster" and Bowie's "John I'm Only Dancing" were among their choices for cover songs and would provide them two minor hits in their home country), and wrapping the whole package up in early 1980s New Wave style, The Polecats became a popular live band. Their 1981 debut album, Polecats Are Go!, was met with positive response back home. With The Stray Cats starting to find radio success here in the States and spearheading a minor Rockabilly revival (see The Rockats, Robert Gordon, etc.), it's no surprise that The Polecats' record proved to be a decent seller here as an import-only LP. It should have been a natural for Mercury's American arm to jump on the fad and issue Polecats Are Go! domestically.
In typical American big-label fashion, they screwed up. They waited a year and a half, and finally issued a seven-song EP, containing a few tracks from the LP and a few single sides. Make A Circuit With Me did, however, include its mighty title track, a killer rave-up that saw minor airplay on MTV, and remains The Polecats' calling-card single to this day.
The inexplicable lack of support from their record label left the band at a crossroads; the gap was filled with the release of Cult Heroes, a collection of early recordings, some of which were vintage cuts from when they used that name. But most of these were also simply early versions of songs that had appeared on Polecats Are Go! in a more polished form. A short live record, Live And Rockin', also appeared and offered some new material, but the time to strike had passed.
The Polecats soldiered on, however, maintaining a presence on the underground Rockabilly circuit and, in 1999, signed with a Japanese label to release an all-new collection, Polecats Won't Die! By now they had dropped much of the Glam edges and New Wave affectations and focused more a traditional, driving Rockabilly sound, a decision that served them well.
In the years since, a handful of "Best Of" compilations have surfaced, all offering different permutations of, essentially, the contents of Polecats Are Go! along with assorted live tracks and studio throwaways. Any of them are fine, but your best bet is to find the CD reissue of the first album.
This week's NW4NW entry offers two clips from The Polecats. First, of course, their classic, "Make A Circuit With Me," followed by a clip of their take on Bowie's "John I'm Only Dancing." Enjoy!
From the release of their debut single, "Ignore The Machine," in 1982 through their present-day incarnation, few bands have staked out such singular musical territory as Alien Sex Fiend. The fact is that, then as now, there is simply no other band that sounds like them.
Alien Sex Fiend is often lumped in with the Goth scene, especially since they cut their teeth playing at The Batcave in London, often cited as the home of Goth. And sure, with their whiteface makeup and stringy Aqua-Net hairdos, they looked the part. But to call them a Goth band doesn't quite convey what Alien Sex Fiend is all about. Those expecting the somber chill of Bauhaus, the retro-glam of Specimen, or the lace-and-cobweb melodies of Siouxsie & The Banshees will find only slight shards of such sounds among Alien Sex Fiend's sonic attack. Instead, the listener is met with rumbling pseudo-mechanical undercurrents, electronic bleeps and blorps firing from all directions, highly processed sheets of guitar noise, and the seeming lunatic rantings of frontman Nik Fiend. Standard verse/chorus song structures are often only hinted at, and once you think you've finally latched onto an actual melody you are thrown off by a sudden sharp turn - or by the complete lack of one where it would be expected.
Their early albums as a quartet (Nik Fiend joined by his wife, billed only as Mrs. Fiend, guitarist Yaxi Highrizer and drummer Johnny Ha-Ha) are all excellent, if daunting, sonic explorations of the insane universe the band created for themselves. Who's Been Sleeping In My Brain?, Maximum Security, and It - The Album each have rather distinct personalities, but each contains some must-hear moments. Their high-water mark, however, is 1984's Acid Bath, wherein you'll find some of their best material: "In God We Trust (In Cars You Rust)," "Hee-Haw (Here Come The Bone People)," and "Attack!!!!!#2" lead a set that more than one reviewer has likened to a soundtrack for a horrific nightmare.
Highrizer and Ha-Ha left in the late 1980s, reducing Alien Sex Fiend to a husband and wife duo; this also freed Nik and Mrs. Fiend (real names: Nik and Chrissie Wade) to experiment more with electronic music and studio trickery. They continued to issue albums at a regular pace (Another Planet, Curse, and Open Head Surgery, among others) as well some killer singles like "Buggin' Me" and "Now I'm Feeling Zombified." They briefly re-expanded to a four piece unit with two new members, but for the past few years have reverted to the Fiend duo. Not nearly as active or prolific as they once were, Alien Sex Fiend nonetheless continues to issue reports from the furthest outposts of musical sanity.
For this week's NW4NW entry, here are a pair of Alien Sex Fiend videos: their debut single, "Ignore The Machine," and the later-era "Buggin' Me." Enjoy!