Music as healing

[NOTE: This was originally a LiveJournal post of mine from 11 September 2013, and lightly edited. The above playlist is missing only two songs — one was my own, and another is linked below.]

I was working at Yankee Candle that day, and I’ve already posted about what I did, what I felt, and so on. We all have at some point or another. One thing I rarely about, however, is how I got through all of it on a personal level.

Those of you who know me already understand that I’m an obsessive music nerd. I may not have a degree in it, but I’ve been collecting and listening to music since I was a wee kid. I’ve also made mixtapes since I started taping stuff off the radio, and started making my own real mixes around 1988. These mixes often reflected the mood I was in at the time and became a way for me to sort out those emotions and thoughts on my own.

In 1991 I created a compilation called Desert Storm: Sailboats of Ice on the Desert Sand, a highly-charged mix that reflected my anti-war feelings at the time. Considering I was a sophomore in college at the time, one can understand that this particular playlist might be a bit overwrought and self-righteous (Ending with Barry McGuire’s “Eve of Destruction”? How heavy-handed can I possibly get?), but it seemed to help me get over the anger and confusion I felt at the time.

A bit over ten years later, and exactly ten days after the events in New York, Pennsylvania and Washington DC, I put together another compilation to help me sort things out. I needed to put things in some sort of order so I could process what happened then, what some may have felt, and what might come next. I had to do this on my own, with no outside influence. I knew that if I followed the news I’d get overwhelmed; if I read the pundits, I’d only get pissed off; if I reacted to emotion and wished for vengeance, then I wouldn’t be true to myself.

I had to process this in my own way, and music, as ever, helped me through it.



1. Albinoni/Giazotto, comp. ‘Adagio in G Minor’
Certainly, some may connect this track to the more dramatic movie themes — or if you’re me, connect it to the first track of Sigue Sigue Sputnik’s Dress for Excess album — but this was actually a connection from a Best Classical Album in the World Ever cd I got from back in my HMV days a few years previous. I listen to this track for what it is; a quiet yet stunning piece of neo-Baroque music that serves to set the scene. In my head, I pictured the sun coming up, the start of a lovely and clear day, maybe even somewhat hot and muggy. There’s a sense of…something, underneath it all, however. One of those feelings of tension but you’re not entirely sure where it came from.

2. Jars of Clay, “Crazy Times”
Everyday stress. A long and frustrating commute. Driving into the city, or taking the train in, or maybe even like me, taking that back road in the pre-morning darkness towards your destination, coffee in the cupholder, contemplating why you’re even up and in this situation. Nothing inherently bad…just temporarily finding yourself in a situation or place that you’d rather not be in, fully knowing that you’d be free of it eventually.

3. Radiohead, “Street Spirit (Fade Out)”
Tension spills over as we get to our destination. It’s another Tuesday workday, and you’d rather still be in bed, even though you’re wide awake, already on your second coffee, and really need to get that project done today. For a brief moment you’re wondering why you’re even here at this job…it’s okay, it pays the bills, but does it make you happy? What do you really want to do? Can you even do it at this point, or do you have to wait another few years and save up? Shit…well, you can’t really think about it right now, can you? Almost time for that team meeting. May as well get it over with.

4. Live, “Overcome”
8:46am ET. “OK. What the fuck just happened…?”

5. The Cure, “All Cats Are Grey”
9:03am ET. “Oh. Oh, shit.”
9:37am ET. “What the fuck is going on…???”
10:03am ET. “…”

6. Nine Inch Nails, “We’re in This Together”
9:58am ET. The South Tower collapses.
10:28am ET. The North Tower collapses.
The first song I thought of as soon as the news had been sent my way. I immediately thought of all those people in the Towers, unable to escape. The people on the planes with no way of escaping. The commuters and the pedestrians below, scrambling to get the fuck out of the area as fast as they could. Tension built up to dangerous levels, where fight or flight kicks in. Where fear feeds or kills. And despite it all, somehow still having that choice whether to live or die, to endure or break.

7. Ciccone Youth, “(Silence)”
Just…silence, as we sit there, staring in disbelief.

8. Pulusha, “Isolation, Part 1”
Everything slowly starts to sink in. We see what we’ve witnessed on the TV, what we’ve heard over the radio, what our friends, our relatives, complete strangers have been telling us. We start processing what happened. Two skyscrapers that many people have known for most of their lives are reduced to rubble. A section of a major government building in ruins. Thousands of people killed. All other planes are accounted for, aside from those four. Some of us know victims, others only hear of them. It’s hard, but we finally let ourselves accept what just happened.

9. The Flying Bohemians, “Intro/Sodabottle”
This is something I’d recorded myself in the summer of 1995. It’s a shortish instrumental played on guitar through flanger and delay, using a soda bottle as a slide (as well as invoking a trippy sound — the title was partly inspired by a college friend who’d made a working bong out of a plastic 7-Up bottle). This is the moment where I’m told by my boss of what exactly happened and the aftermath, and I’m left speechless. I head out to the smoker’s table out back and proceed to light up at least four cigarettes in a row, staring up at the now empty sky. Our warehouse was right under a major flight path for planes out of Boston. I let it hit me fully and completely, just so I could process it all.

10. Manic Street Preachers, “If You Tolerate This Your Children Will Be Next”
“Let’s go get those motherfuckers!”
“Kill those shitstains, whoever they are!”
“Goddamn Muslims!”
“Bomb the fuck out of Afghanistan!”
“Oh, you have messed with THE WRONG FUCKING PEOPLE.”
“USA! USA! USA! USA!”
“Kill ’em all!”
“Those fuckers are gonna eat lead!”
“Those bastards are gonna fucking DIE.”
“Give me a goddamn gun, I’m gonna head over there and do it myself if I have to.”
“NOBODY fucks with America.”

Jesus, the fucking noise that came after that silence…

11. Failure, “Daylight”
Some of us wanted to go out and kill the bastards. Some of us wanted to hide from the world until it blew over. Some of us wanted to detach ourselves just enough so we could think clearly. Some of us wanted to know why these events happened. Some of us just…wanted it to be over, just so we could let the healing begin.

12. Temple of the Dog, “Hunger Strike”
By that afternoon, we were all exhausted. We’d bled our emotions dry for the day, leaving us empty. Calmer minds started turning towards the rescue efforts, the security checkpoints, the vigilance of the police, fire departments, FBI agents, the doctors and nurses, everyone from triage up to commanders and commissioners. They kept watch over everything and everyone, often at the risk of their own health and sanity. And for a brief moment, we stopped being hateful towards each other.

13. Jeff Buckley, “Hallelujah”
This song was everywhere that day. Leonard Cohen’s brilliant elegy of perseverance and reconciliation when the world is utterly fucked up beyond fixing seeped into the country’s psyche with Buckley’s sparse and haunting version. We would heal from this. Hopefully.

14. Radiohead, “You and Whose Army?”
Cooler heads finally prevailed, after all the noise died down. We would eventually find and capture–or even kill–the ones who had done this, but we weren’t about to go in guns blazing…at least not yet, anyway. We were still angry and in pain, and we wanted revenge…but many of us felt we could trust those trained to do so–the Armed Forces, the FBI, those in charge–to eventually put this all to rest. We were quiet…but we wouldn’t forget these events, not for a long while.

In retrospect, this didn’t quite unfold the way we wanted or expected — I will spare you the diatribe on that — but slowly, eventually, we found Osama bin Laden and many of his cronies. [EDIT: Twenty-five years later and sadly the day continues to be turned into patriotic porn for the conservative wing while the rest of us are trying to heal and move on.]

15. U2, “Mothers of the Disappeared”
Originally a song about the Mothers of the Plaza de Mayo, this song was my own personal tribute to those we lost that day. That’s what I try to remember. Not the violence, not the revenge, not the anger…but the loss. How easy it was to erase a life, and how easy it still is to use that loss as an excuse to further fuel blind hate.

16. Chet Atkins w/ Mark Knopfler, “Imagine”
I will freely admit that I am liberal, but in my own way. I will also admit to wanting peace over war if at all possible. On the flipside, though I dislike war, I understand it as an inevitability if and when it happens. I fully admit and embrace this paradox because it’s who I am. I will never be a part of a war as I refuse to take the life of another person for any reason, but I have come to accept that the world is an incomplete, fallible place where things disintegrate and events unfold to cause war. I’ve seen and read about uprisings and revolutions, I’ve witnessed and read about pre-emptive strikes, I’ve read about the after-effects of these things. We’re constantly evolving, and that doesn’t necessarily mean only in a positive direction. Things change whether we want them to or not.

At the end of the day, however, it would be nice to see a day where we can meet in peace, not in animosity.

Repost: We’ve Got a Fuzzbox and We’re Gonna Use It!!

NOTE: I’ve been listening to their album Big Bang nonstop lately, partly because I love it so but partly because it’s inspiring some ideas on a new story idea that’s gestating over in my daily words. Thought I’d share a post from six(!!) years ago about one of my favorite 80s bands, with updates and edits. Enjoy!

We’ve Got a Fuzzbox and We’re Gonna Use It!!, aka Fuzzbox here in the States, was a cute and punky quartet out of Birmingham UK, and one of my first music crushes when I started listening to alternative rock. They’d been brought to my attention right about the same time as Sigue Sigue Sputnik in the glossy music mag Star Hits, and upon seeing their crazy-colored and spritzed hair and punky Oxfam chic, I was completely hooked–which in all honesty wasn’t really hard, considering it didn’t take much to rebel in a small town like mine. They made me realize punk wasn’t just about rebelling against society, like American punk had suggested — it was also about doing your own thing, however bizarre it might be, and not giving a shit about what other people thought about it.

Fuzzbox was initially together only for a short time, releasing just two albums and a handful of singles before going their separate ways, but they were just so damn fun to listen to that it didn’t matter.

Credit: last.fm - l-r, Tina, Vix, Magz & Jo
Credit: last.fm – l-r, Tina, Vix, Magz & Jo

Fuzzbox started sometime in 1985 with four friends who’d decided to start a band. And like any punk band worth their salt at the time, mastering your instrument wasn’t exactly high on the list of priorities. Consisting of Vickie Perks (aka Vix) on vocals, Tina O’Neill on drums and sax, and sisters Maggie (aka Magz–vocals, keys and guitars) and Jo Dunne (bass, guitars and keys), they immediately jumped in on the occasional open mike night at the local bars and learned their chops onstage. It’s said Maggie was the creator of the band name, announcing that they did in fact have a fuzz distortion guitar pedal they were about to use.

Their debut single was the gritty and poppy “XX Sex”, with shockingly direct feminist lyrics about exploitation and sexism in the media. They followed up with a ridiculous and silly summer single with labelmates The Nightingales and alternative comedian Ted Chippington with “Rockin’ with Rita”, and by summer’s end they were given a spot on the highly influential NME C86 compilation with “Console Me”. They prefaced their debut album that October with a jittery and bass-heavy single about unrequited love, “Love Is the Slug”, my musical introduction to them via MTV’s 120 Minutes.

Credit: fuzzbox.angelfire.com
Credit: fuzzbox.angelfire.com

Bostin’ Steve Austin (released as a self-titled album here in the US, but with the same cover) was released in December of 1986, featuring a dozen gems about the girls’ life in Birmingham–not just containing the teen heartbreak of “Love Is the Slug” and “Jackie”, it also contains the confrontational “XX Sex” and “What’s the Point” (their follow-up single released in January of 1987) and “Preconceptions”, as well as a weirdly hypnotic cover of Norman Greenbaum’s “Spirit in the Sky”. The quality of the music here is surprisingly tight, even when it hints at sounding on the verge of disintegrating into a distorted mess. Vix’s lyrics alternate between playful, angry, and emotional, and despite the simplicity of the melodies there’s a lot going on musically. The stop-start of “You Got Me”, the building tension in “Love Is the Slug” and even the 60s-girl-group pastiche of “Hollow Girl” works perfectly.

Bostin’ Steve Austin got a ridiculous amount of play on my tape players between early 1987 and mid-1989–this was the side of punk that I gravitated to, the revelation that I didn’t have to try fitting in with the in-crowd anymore. I didn’t really need to do much, of course–wear some of my college rock tee-shirts, my grandfather’s green trenchcoat, and let my hair grow out of its quintessentially 80s spiky ‘do (but not to the point of longhaired metaldom), and start writing music reviews for albums hardly anyone else in my school listened to.

Fuzzbox disappeared for a short while, and would reappear in early 1989 with a completely new and unexpected look and sound. I admit I wasn’t entirely sure how to approach it at first, having twitched and thought “oh god, they’ve become Jem and the Holograms.” But there was something about it…something about the slick late 80s production, the chart-ready poppiness, that called to me. I began to realize that this was the forbidden candy for me as a fan of college rock, the ultimate test: do I dare admit that, after labeling myself an alternative music nerd and a nonconformist, I actually enjoyed this admittedly catchy music?

Credit: www.independent.ie - clockwise from top left: Vix, Maggie, Tina, Jo
Credit: http://www.independent.ie – clockwise from top left: Vix, Magz, Tina, Jo

Gone was the thrift shop fashion as well, replaced by glitz and glamour. The fuzziness of their sound was also gone, replaced by shiny synthesizers and sequencers. They now had an outsider as a cowriter of songs in the form of session musician/producer Liam Sternberg. And yet…

…and yet, there was something about this new album, Big Bang, that I just could not give it up. I was older and now in college, and yet the music hinted at the readymade poppiness of 80s Top 40, the kind that was throwaway and yet catchy and likable at the same time. The Brummie humor was still there, hiding in the lyrics of lead single “International Rescue”, a loving ode to the Gerry Anderson tv classic Thunderbirds (and, in the video, a humorous nod to Jane Fonda’s Barbarella as well, featuring Adrian Edmonson from The Young Ones as an evil scientist).

Credit: musicstack.com
Credit: musicstack.com

Big Bang kicked off with the irresistibly poppy “Pink Sunshine” (and also released as the second single) and my immediate reaction was to wonder where the hell my punk goddesses had gone off to…but I soon understood what they were doing. This wasn’t about rebelling, not anymore. It was about being an adult now, having gotten over the teenage growing pains. These were the Brummie girls stuck in their jobs, dealing with the drudgery of the real world and letting it all loose at the end of the working week.


There’s a lot of flirting and sexiness going on with this album, and that’s part of what makes it so irresistible. There’s the rocking sci-fi of “Fast Forward Futurama”, the heartbreak of “Self!” (featuring the guitar work of none other than Queen’s Brian May!), and the gorgeous dancefloor bliss of “Versatile for Discos and Parties” (quite possibly my favorite track off the album). There’s even a brilliant cover of Yoko Ono’s “Walking on Thin Ice”, retaining the song’s mystique but giving it additional emotional beauty. The album ends on a very somber yet lovely note with a track called “Beauty”, which sounds like nothing else they’ve ever recorded.

I realized that Big Bang‘s shameless pop wasn’t shameless at all — it was a loving tribute to the dance pop of the decade, one that was about to come to a close. The sound of 80s pop would age, and often not for the best, but when it was done right, it was still fun to listen to. A few years later, once I discovered anime movies and series from the 80s and 90s such as Urusei Yatsura and Silent Möbius and later to the Gall Force series and Sailor Moon, I began to realize that, thanks to Big Bang, I now had begun a long-lasting love affair with JPop. I began seeing the album as an unintended but spot-on paean to the J-Pop so prevalent in the credits and montages in anime, and that made me love the album even more. It’s pure pop, but it’s still irresistibly fun.

In 1990 they would release a final single, “Your Loss My Gain”, written for a never-realized third album, and while it seemed they were progressing in a more mature pop direction, they soon split up. They all went their separate ways. Only Vix remained in the music industry, recording under various band names including Vix n’ the Kix. Three compilations would surface a bit over a decade later: two albums of demos and outtakes called Fuzz and Nonsense and Rules & Regulations to Pink Sunshine: The Fuzzbox Story, and a greatest hits collection amusingly titled Look at the Hits on That (a very Fuzzbox-worthy pun title). And in 2010, Vix, Maggie and Jo reunited with the help of Vix’s backing band for a one-off single, a cover of M’s classic track “Pop Muzik”. Sadly, Jo would pass away from a cancer-related illness in 2012, but a year later, Vix decided it was time to rerelease the band’s 80s discography. Bostin’ Steve Austin would finally have its debut on compact disc, and Big Bang would contain all the remaining 80s tracks, including the “Your Loss My Gain” single.

****

But there’s more! Since I first posted this, Vix and Maggie have returned to music under the Fuzzbox name and have dropped a few new singles over the last few years! In 2016 they released a new single called “Let’s Go Supernova”, and in 2018 they crowdfunded another single, fittingly called “WGAF…AWGUI!!”. In 2019 they released a video-only single called “Say Hello” for a local Birmingham project. And they will soon be releasing a box set called We’ve Got a Box Set and We’re Gonna Use It!!. It certainly is great to see them still going strong, still irreverent and still full of poppy goodness.

We’ve Got a Fuzzbox and We’re Gonna Use It!! is a band that influenced not just my listening habits but my way of life when I was growing up in the late 80s; it was a refreshing view of punk-as-freedom rather than punk-as-anger, and helped me realize that the music I listen to, then and now. My tastes still lean towards the alternative, but I’m not above the shamelessly pop, especially if it’s done well. In relistening to Bostin Steve Austin I now hear a lot of the intelligence and fearlessness in the lyrics, which makes me appreciate it all the more. And as an added bonus, they’re there if all I want is some great and fun music to listen to.