Psycho Depot Issue 422 Aug 18, 2005 Current # of subscribers: 187 (daily and digest) Subjects in this issue: RE: Psycho Depot Issue 421 Tickled Pink - August 12th! Bucket - Aug. 13th! psychodots/Aug. 20th/Sylvania, OH! Happy Birthday Toledo 'dots article....... ++ psychodots ++ Date: 30 Jul 2005 22:22:44 -0700 From: "Sean Conlon" Subject: RE: Psycho Depot Issue 421 Okay. My wife is outta town and my kids are finally tucked into bed and asleep. I've been meaning to comment on the new Fetters and Arduser works for months and here's my opportunity. Dave Ash's review of Musician was about as complete and on the money as one can get, but I have to add my 2 cents. Also, a long overdue salute to Fred from Depot issue #419. Fred, I was at Martyrs too and your description of the night's events was dead on. Your story line from the Indy 500 was a flat out great read. Tell the story to friends, kids, at parties, where ever! It should be passed down to generations-well done sir! On to the music. When I first played musician I felt like an addict eagerly looking for a fix. That is, a fix of straight ahead Fetters guitar work. Sooo, you can imagine my initial response as I listened to the opening song 'Clown'. I thought, what is this? I hurried through the rest of the disk and thought like some parent, well that's certainly interesting Rob. I played it the next day and listened more. Lyrics, music, layers of stuff began to creep out. At play number three, I was diggin' it. Clown, with it's bitingly humorous lyrics and wicked hooks reeled me in. The immediate segue into Zero-definitely the most 'dots-like tune-with it's guitar fading back and forth between my speakers. Chris and Bob working with Rob in machine like precision. Folks, Musician is one of those albums that doesn't come around that often. The best music to me is that which forces you come back and listen further, and then rewards you by revealing a little more to you every time until you find yourself sitting with a beer in your basement listening in absolute awe, playing air guitar or becoming the phantom lead singer and swaggering for the 'crowd' in front of you. Umm, not that I do this. A few works come to mind right now-U2's 'How to Dismantle An Atomic Bomb (Crumbs from Your Table) or the song 'New York,' Marshall Crenshaw's 'Miracle of Science', Los Lobos 'By the Light of the Moon' or 'Kiko', Brothers Johnson 'Blam' (gotta have some funk) or John Hiatt's 'Perfectly Good Guitar'. Musician is such and album. 'Tell the Truth' with its incredible acoustic guitar overlaying the innocent piano and percussion. 'Malcolm and Margerie', the guitar and then violin give me goose bumps. 'I didn't know', is so insanely catchy-while the lyrics tell such a painful story it reminds me of 'Everything's Gonna Be Alright'. The mix of 'Musician-No-Dinner' is the last thing I was expecting Rob to do, but it's a collage that works.. I find myself being carried along at each mini-story. Hard to choose a favorite for me, but 'Slave' would be it. The song is like a dream state that climaxes with that short silent interlude and then pounds you with that spine tingling guitar solo. I mean, can you imagine this song being played live? This guitar solo is one to rival 'Mattress', yes that's right! It flat out rocks and one can only wonder where Rob, Bob and Chris would take this in an extended play. 'Trailerpark Bob' is probably the only song I'm not particularly fond about from a musical standpoint. I enjoy the story of the song more than the tune that supports it, other than Chris's neat drumming. Finally, I really love 'Heaven'. In my opinion, an apt closing song to a memorable album. This song shows the sparkling production that is a hallmark of RF work. Every time I have this on at work I feel like the instruments and the guys are playing right above me. It's so clear and direct, the lyrics and the music bring you floating along with them. This CD is truly a work of musical short stories, diverse but all connected to create something truly remarkable-music that took me out of my comfort zone to a fantastic discovery. I get a music magazine called 'Paste' and I did something I've never done before-I wrote them a plea to review Musician. I felt so strongly that this is something that demands to be heard, that I had to write. Never got a response, but who knows? Anyway, that's all I got. I'll weigh in on Chris's album next. Anyone have anything to note on the show at Bogart's? I couldn't make it. Thanks for reading. Sean ++ psychodots ++ Date: Tue, 9 Aug 2005 22:59:56 -0400 From: Mary Bosken Subject: Tickled Pink - August 12th! Update from Scott Covrett..... Here's something different. The Pop/roots rock band TICKLED PINK has found a new note, and will play it THIS FRIDAY, August 12th at the Courtyard Cafe (1211 Main St. Cinti). Of course, the other 12 notes will be well represented as well. Come happy, leave happier! + psychodots ++ Date: Wed, 10 Aug 2005 23:36:35 -0400 From: Mary Bosken Subject: Bucket - Aug. 13th! Update from Lee Rolfes.... Bucket..... Sat., Aug. 13th @ Stanley's (Cinti., OH/513-871-6249) ++ psychodots ++ Date: Tue, 16 Aug 2005 13:08:42 -0400 From: Mary Bosken Subject: psychodots/Aug. 20th/Sylvania, OH! This show is also mentioned on the Bears' website: http://t-townmusic.com/index.php?fuseaction=home.dsp_story&storyid=2293 Concert for Culture celebrates Original Music with Northwest Ohio Roots Cincinnati based PsychoDots headlines with 14 local bands including Damian 15 acts. 2 stages. 12 hours. Rain or shine, a full day of original music. The Committee for Culture is hosting a celebration of original music at Centennial Terrace on August 20, 2005. Headlining the show are the PsychoDots from Cincinnati and 14 more bands from the greater Toledo area. The show is a Toledo reunion for the members of PsychoDots, as they all hail from Sylvania and Toledo. The all ages show features music ranging from Rock through Progressive, Acoustic, DJ, Rock-a-Billy, Hip-Hop, Blues, Metal, Country and Contemporary. The Committee for Culture has put together a full day of sounds that they expect will please everyone. Starting at 12:30 and playing on two stages, the line up is: 12:30-1:00 Jude the Obscure 1:00 -1:45 Uncertain 5 1:45-2:15 Jolly Molly 2:15-3:00 Boogalooosa Prayer 3:00-3:30 Jeff Stewart 3:30-4:15 Amanna 18 4:15-4:45 Phantasmagoria 4:45-5:30 StereoMod 5:30-6:00 Gibran Soul 6:00-6:45 Karl D & APB 6:45-7:30 MC Habitat 7:30-8:15 Damien 8:15-8:45 Four on the Floor 8:45-9:30 EJ Wells 10:00 PsychoDots Concert for Culture Date and Time: Aug 20, 2005 Noon till Midnight Location: Centennial Terrace 5773 Centennial Rd. Sylvania, Oh 43560 Tickets: Day pass $10.00 in advance $15.00 day of show Quarry pass $5.00 For More Information: 419-536-LOVE (5683) Tickets available at Culture Clash, Manhattan's Restaurant and Freon Beats All proceeds will benefit music programming at Toledo School for the Arts. Food, drinks and band merchandise will be available. Sponsors of the show are Toledo School for the Arts, Culture Clash Records, Manhattan's, Freon Beats, T-Town Music, Nation Rents and Great Lakes Sound and Lights. XXXX Media Notes: Graphic Poster, Interview and Photo Opportunities available. Contact Dave Gierke at 419-410-3010. PsychoDot information available from Rob Fetters at 513-241-7475 The Committee for Culture The Committee for Culture was formed to create an annual event to raise funds to support music programming at Toledo School for the Arts while exposing Northwest Ohio music fans to new original music from diverse genre. Committee members come from every area of the Toledo creative community including the Arts Commission, The Blues Society, the Toledo Symphony, media organizations and the recording industry. A celebration of Original Music from NW Ohio David Gierke - Toledo School for the Arts Director of Development John Rockwood - Blue Suit Records Steven J Athanas - Toledo City Paper / Arts & Entertainment Editor Jason Kucsma - Clamor Magazine / Editor Mark Folk - Arts Commission of Greater Toledo / Artistic Director Dylan Wise - TSA Graduate & Independent Artist (Jolly Molly) Tim Gahagan - TMACOG / GIS Annalist / Transportation Planner Jenny Bryant - T-Town Music Robert Koenig -TSA Board President / Partner, Shumaker, Loop & Kendrick David Saygers - TSA Artistic Director / Performing Artist Merwin Siu - Toledo Symphony Orchestra / Artistic Administrator http://t-townmusic.com/index.php?fuseaction=home.dsp_story&storyid=2293 ++ psychodots ++ Date: 16 Aug 2005 23:00:21 -0700 From: "David Ash" Subject: Happy Birthday Yesterday was the 10th anniversary of Psycho Depot issue #1. Congrats to all of us for hanging around so long! Thanks as always to Mike Brown for doing all the work. I thought it might be fun to revisit some selected moments from the past 421 issues. There's plenty more where these came from, but they give a sampling of the history, hilarity, and even sentimentality that are littered through past Depot issues like hidden gems: Gig transcript excerpt, just before performing Everything's Gonna Be Alright, from issue 57: Rob: When I wrote this song many people asked me, "Is this song about your wife?" But no, it's really about Bob. I wrote it about Bob. Because many of you don't know that even though he's hung like a horse and his penis looks like a cat-head...he has a feminine side too. A gentle, supportive, nurturing feminine side...and *that's* the side I wrote this song for. For you, Bob...because I *love* you! Bob: *That's* the side that gave the head to the staff of Everybody's News! Mike Kirby, a member of one of Rob Fetters' early bands in Toledo, from issue 114: We also tried out two lead guitar players. One, another Jeff, was very good, but had some pyschological problems that made him extremely hard to get along with. But it didn't matter. Because Jeff and Steve had come up with this guy right out of Sylvania High School who completely blew me away from the first time we jammed. Rob Fetters. Even at 18, he had left hand vibrato using his wrist that was natural -- not a forced technique like other guitar players attempt. He was also studying with the best player in Toldeo at that time, a guy who would go on to play with Return To Forever, and I can remember Rob coming to practice and riffing off something he'd studied that day, sometimes complex jazz lines like Coltrane's "Giant Steps." Frankly, I was in awe. People write about Clapton at 18 playing with John Mayal and I know what they're talking about, because we were all way behind Rob fron the beginning; even Deitsch, who was fairly accomplished as a bass player (although I had to play the bass lines most of the time with my left hand as Jeff played "lead" bass -- usually above the 8th fret). And since I was never any better than mediocre, it was very humbling. Memory from a fan, "Ray Z" on an early Fetters encounter, from issue 218: Well, it all started one night in the fall of '77 when I was cruising around Nashville in my friend Kendalls car listening to 8 tracks (probably Thin Lizzy or Ted Nugent) and probably smoking something. As we drove past Fanny's, a local club we frequently hung out at, a car sped out of the parking lot and cut us off. I noticed a dark figure rounding the corner in front of the club, a guy with Ted Nugents hair and it looked like he was chasing the car as if they were leaving with his wallet and keys. About 5 blocks later we hit the redlight at 17th Ave and as we were waiting for the light to turn green, this guy on the sidewalk right outside my passenger window began screaming at the car in front of us: "I'VE FUCKED ALOT MORE WOMEN THAN YOU'LL EVER FUCK!!! ALOT OF MY FRIENDS ARE HOMOSEXUALS, AND YOU'RE JUST A REDNECK ASSHOLE!!!!" and many other obscenities that I was just too stunned to remember. Well, that was our excitement for the night and we went back to our dorms and didn't think too much about it until a couple of nights later when we were at Fanny's. We had already been there for about 1/2 a set and we really didn't pay too much attention to the band because our initial reaction was that they were kinda strange. Suddenly I looked up at the guitar player because he played something that REALLY caught my attention and I realized that this was the guy who was yelling obscenities at the car in front of us two nights earlier. It didn't take long for Kendall and I to piece together what had happened that night. Obviously this redneck had come into Fanny's expecting to see the usual type of band and when he got The Raisin Band with their "zany" style (and they probably played "Golden Showers")....well, he must have bumped into Rob after the set and called him a faggot and perhaps even gotten into a scuffle. I can't believe how far Rob had to chase the car, and that he thought he could even catch up to it. Nevertheless, he had time to spew out a list of reasons why the guy was an idiot before the light turned green. Jim Bosken on the origins of the Raisins' Everything And More, from issue 260: I thought I would share some of my memories on the e & m tapes and CD. The original idea 15 years ago was to tape the last 2 shows that the raisins did at Hot Shots. The band would tape as many unreleased songs as possible for a cassette compilation (lest these songs be lost forever). The tapes sounded pretty good except some of the performances were not what the band wanted to release. So we ended up using a compilation of a few of the 2 track recordings from Hot Shots but mostly cassette tapes that Chuck Madden made direct from the pa console over the years. We also threw in studio versions of songs if they were available (Artichoke, Bottom Line) and a few songs from Rock Around the Block (Dr. Roberts). All the cassettes were transferred to 2 track tape and edited by Ric with a razor blade. We didn't have digital workstations back then, 60 songs, 4 hours of music, it was a huge job (which I personally can't take any credit for). The finished 2 track was used for the duplication of the e & m cassettes. Daryl did the painting for the cover and was lobbying for "Color Me Gone" as the title. I believe there was another title considered "Eat the raisins". Chris Arduser talking to Mike Brown and Jeff Burroway on the early Bears as quoted in issue 48 on the early Bears: Mike: What did "Sirhc Bear" mean? Chris: Let me say this about the whole cutesy pie stuff in the Bears: It made me sick. I loved that band. Loved it to death. Jeff: Who started that crap? Chris: Adrian. He had kids and he was like always "Hey everybody!". It was a good motivation but I don't like where it ended up. Sirhc is my name spelled backwards. I never liked the growling and I never liked the handshake. I think the audience was a tad baffled why we were acting like bafoons. I don't think you'll ever see me go up to an audience and do the handshake. I felt there were so many strong adult things about that band and Adrian was crashing it. I don't think he realized... he was just in his own bubble and didn't see how it was coming off. Rob and Bob would do it. Bob is such a easy going person. "You want me to wear a tux? Great". We did some outside shows in the summer. He must have been hot in that. More from Chris quoted in issue 48, on the Bears' video of Aches And Pains: Mike: Where was "Aches And Pains" filmed at? Chris: Here in Cincinnati. At the Hall Of Mirrors. Third floor. Other footage was shot in California. Mike: Who's dog was that? Chris: I think it was the director's dog. We weren't involved in any of the dog shooting or the woman rubbing her foot. Mike: That's pretty strange. Chris: Well, she's aching. Do you know the story about Tracy Lords? She was legit at that point. She knew the director and wanted to do any kind of legit work just to get her name up there. Adrian didn't want her to do it and we ended up agreeing that we didn't want it to be a Tracy Lords video. We wanted to do our *own* video. But (had Tracy been in the video) people would have watched it and it would have gotten a lot of airplay probably. About a year later I realized we were wrong and I felt as though we made a big mistake. And we would have met Tracy! Me, in issue 66, reacting to the news that a former pornstar was almost in a Bears video: Wow, Traci Lords. No one commented after Mike Brown posted (in issue #48) Chris' story about how Traci was almost in the Bears' "Aches and Pains" video. Now, being the thoroughly sensitive '90's kinda guy that I am, the last thing I'd want to do is offend any of my fellow Depot-mates ('specially those of the female persuasion) by drooling over an ex-porno star... but, I repeat, wow! Traci Lords' presence in that video could only have helped expose (no pun intended) the Bears when they really needed it, as Chris pointed out, and helped counter the cutsie aspects of the band's image at the same time. Plus, it would have been Traci! I don't know how many of you have seen the "Aches and Pains" video (see my Tape Traders Web list if you must have it), but though it does have its moments (the fast-paced quick-cut bits are cool if you watch them slowed way down), the band looks kinda stiff through the whole thing. It's a cross between a performance video and a concept video, without much concept. But with Traci, the mix of longing and hurt that the lyrics hint at could have been illustrated so successfully. Can you picture Adrian blushing while Traci rubs her fingers through what's left of his hair, perhaps with Rob making nasty faces behind them? I propose a contest (first prize: the glory of victory) for the best description of a video moment that might have happened if Traci had been in it... send in your entry now! Gig transcript excerpt from issue 55: Chris: We thank you from the base of our skull. Bob: The medulla oblongata. Rob: We'll try to get to most of these requests...[somewhat disgusted]... but we're not doing any Stones...we play our own songs...we're not a cover band. Chris: We tried that for a while. People didn't like how we covered songs. Some people don't like how we play our own songs. Those people are unenlightened. +Another Reminder+ Chris: Here's a song--by Bob--for you...all of you. Rob: Ladies and gentlemen--how about Bob! [Much applause followed!] Bob: I love each and every one of you fuckers! Rob: You know, you can't tell, but right before we started playing he drank a pint of rum and took 10 Tylenol tablets! Look at him! [Bob is now sweeping the stage with a broom] Bob: I'm so obsessed with cleaning! +Don't Bury Me+ +Moaner+ +History Repeats Itself+ [Someone in the crowd screams out "Fear Is Never Boring!"] Rob: Sure it is! [Someone in the crowd--same guy?--keeps asking them to play Bob Dylan] Rob: Here's a song by Bob Dylan. +Dark Inside+ [At this point, Rob is *P*I*S*S*E*D*] Rob: I don't know how to put this...but you *fucking* *moron* we play our *own* songs. Play some Dylan yourself. Go home and do something you're good at...like JACKING OFF! Chris: There. We vented. Rob: I meant it in the nicest way possible. Chris: Here's a song *just* for you...it's called... +I Didn't Want To Kill You+ Tony Nowikowski on hooking up with his wife via the Depot, from issue 200 (which is full of personal remembrances): On Saturday, October 3rd I will wed a wonderful woman by the name of Melinda (Mindy) Adams. She has appeared in this august journal on several occasions, her posts eminating from the e-mail address Wri10@aol.com. (Matter of fact, if you're reading this message o'mine, you may well have already come across something from her in this issue ... I know she was one of the first contributors to the Issue 200 Extravaganza.) She and I actually go back to the early 90's, but in a very friend-of-a-friend kind of way. Her (then-)husband was a good friend of a former roommate of mine, and I'd seen her socially, but only in the context of her being "Duane's wife." And I hadn't seen her at all in at least three or four years. Fast-forward to January '97. Completely out of the blue, I get an e-mail saying, "I saw you in the Depot ... are you the Tony Nowikowski who used to live with so-and-so, and, if so, do you remember me?" Well, of course I am, and indeed I did, and (after some delay on my part, due only to brain crampage of the highest order) the e-mails started flowing. Which led to online chatting on AOL ... which led to hanging out together watching bands ... which led to falling massively in love ... which led to cohabitation ... which leads to the first Saturday in October, and, as the cliche goes, happily ever after. ++ psychodots ++ Date: Wed, 17 Aug 2005 11:44:09 -0400 From: Mary Bosken Subject: Toledo 'dots article....... http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20050814/ART10/508130321 "Putting the punch in pop rock" Former local musicians are returning as Psychodots By Rod Lockwood Blade Staff Writer Long-time Toledo music fan Pat O'Connor calls them "the lost sons of Toledo, Ohio." There was the hotshot guitar slinger who played so fast he had to teach himself to slow down. Guitar players of a certain age around here still talk about watching Rob Fetters and trying to figure out what he was doing. There was the new kid in town who was slathering on pancake makeup and black eyeliner, decked out in seersucker suits and fronting high school bands that paid homage to Frank Zappa and Alice Cooper. After getting glam rock out of his system, Bob Nyswonger took up bass because he knew that could be his ticket to play with Fetters. And there was the "punk," the precocious Keith Moon acolyte who was being sought out by the older kids to join their bands because good drummers were impossible to find and he was one of the best. Who cared if Chris Arduser was only 11? In the late '60s and early '70s they were a core part of a musical movement in Sylvania, where bands popped up every week. The scene created a group of nearly a dozen guys who honed skills that would lead to long, successful careers in the music business. "It was just kind of the culture," Nyswonger said. "There were a lot of kids picking it up and there was a lot of competition, so you worked to get better." Of the Sylvania players, none went on to as much national success in alternative rock and pop music as Arduser, Nyswonger, and Fetters. As three-fourths of The Bears - the fourth member is guitar genius Adrian Belew - they were one of the hottest alternative pop bands of the '80s and '90s. Reconstituted as the Psychodots, who are playing next weekend for a benefit at Centennial Terrace, they're a critically acclaimed Cincinnati-based power pop trio that has recorded three full-length CDs and whose sporadic but explosive live shows are considered must-see gigs in southern and central Ohio. A confluence of demographics, affluence, and technology helped usher in the era of the garage band 35 years ago. Kids from relatively well-off families in suburbia could get their hands on instruments and amplifiers and plug in and imitate their idols like the MC5 or the Who. Nyswonger, 49, moved to the area from New York when he was in eighth grade. He holed up in his room, playing acoustic guitar and checking out the local bands. Finally he emerged, fronting a group called Leggs, decked out in makeup, with silver paint sprayed in his hair. Fetters was in another band, establishing himself as one of the best guitar players on the scene while trying to cope with allergies that kept him cooped up inside in the summers. "I lived and breathed guitar unless I was forced to put it down to go to school or eat dinner, and I got really proficient at a young age," he said. He regularly journeyed to Detroit to check out and study bands like the Kinks, Iggy Pop and the Stooges, the MC5, and countless others. "We would play a dance after a basketball game on a Friday and then that Saturday we'd go see someone like Derek and the Dominoes on their one U.S. tour," Fetters, 50, said. "Suddenly I wasn't comparing myself to the hotshot senior at Sylvania High School. I was comparing myself to Eric Clapton and saying, 'That's how I want to play.' " Arduser was the brother of John Arduser, who was four years older and in a number of bands of his own. Hooked on rock and roll when he was only 5 after seeing The Beatles on Ed Sullivan, Arduser wasn't nearly as interested in school as he was music. "It meant a lot to us in just buying the records and reading about the bands, but some of us actually wanted to make the sounds ourselves," he said. There were a number of excellent players on the highly competitive scene at the time including Ed "E.J." Wells, Chip Davis, who later formed Mannheim Steamroller, Steve Covrett, Bam Powell, George Cunningham, Tom Toth, and Doug Perkins, all of whom ended up carving out successful music careers either locally or on a national basis. The Raisins After high school, Nyswonger and Fetters started The Raisin Band with Toth and Powell, establishing themselves as Toledo's pre-eminent cover band in the mid-'70s, touring from Ohio to Florida and playing six gigs a week to make a living. Not content to play other people's tunes the rest of their lives, they started writing songs and renamed themselves The Raisins. Their first album was recorded in 1978 with Belew as producer and they had a regional hit with "Fear is Never Boring," a track later re-recorded by The Bears. After some personnel changes, Fetters and Nyswonger sought out Arduser to serve as their drummer. He came on board after Fetters talked the younger musician's dad into letting him drop out of high school and go on the road, forming a unit that brought a new wave sensibility to pop. "They were definitely the hottest band in town," remembered O'Connor, a former owner of Boogie Records who now owns Culture Clash. The Raisins were like the cutting edge of new wave. It was really energetic. It was pretty much a straight ahead, awesome, classic pop melodies rock band." The band never achieved major label success, though, and Arduser found himself road weary and in need of some different musical challenges while he took time to get his GED. "I think we were all driving each other crazy," he said. The Psychodots Their career paths converged again in the '80s when Fetters and Nyswonger were beginning to work with Belew, who is best known for his work with King Crimson, Frank Zappa, and David Bowie. Needing a drummer, they called Arduser and he was a perfect fit, both musically and as a strong songwriter and vocalist. The Bears were born, kicking off a tour that led to sold-out shows in New York with celebrities like Mick Jagger in attendance. Belew was in huge demand as a session ace and he also had a solo career of his own, which meant he couldn't devote all his time to the band. With time on their hands, Fetters, Nyswonger, and Arduser - now relocated to Cincinnati, where they all still live - started playing on their own, first as The Raisins and then, after shouting out to an audience what they should be called and getting the response "Psychodots!" in return, they had a new name. The 'Dots three albums - "Psychodots," "On the Grid," and "Awkwardsville" - are exercises in high-energy, smart, quirky rock, with all three members writing songs that are several notches above standard power pop thanks to the level of musicianship honed over decades. The band also is a take-no-prisoners live act. "We always say we're going to be as hard and as fierce as we can," said Arduser, 46. Fetters said all those years of going to shows in Detroit helped the Psychodots forge their live show, which they've brought to Toledo only one other time. "One of the things Bob and Chris and I are still influenced by was the intensity of those Detroit bands, but we're not a punk band. In fact, someone once disparagingly referred to us as 'yuppie punk.' And he hated us because we could actually play our instruments, but he was frustrated because we thrash so hard." Going solo Despite being voted Cincinnati's best band in the city's annual Cammy Awards in 1997 and achieving some regional notoriety as an alternative band, the Psychodots never hooked on with a major label. As befitting guys who are a lot closer to 50 than 25, Nyswonger, Arduser, and Fetters have settled down considerably over the years. Nyswonger sells real estate and plays in a couple of other bands, including one with Powell and another with Cunningham, both Sylvania guys who also migrated to Cincinnati. Arduser and Fetters launched solo careers, with Arduser - a "drummer for hire" who plays commercial gigs as his day job - being especially prolific. He's made eight albums on his own or with his "other" band, The Graveblankets, which also includes Cunningham. His latest disc is "Celebrity Motorcade" on Crooked Mile Records. Fetters also has a new disc out, "Musician" on Baby Ranch, which like its predecessor "Lefty Loose, Righty Tight" is a slightly off-center collection of tunes that - like Arduser's - are accessible enough to find a home in the commercial marketplace with a few breaks. A composer with Studio Images in Cincinnati, Fetters said he's happy living with his wife and raising four kids, while making music that is "worthy of a Todd Rundgren or Jeff Beck fan." As for the Psychodots, in addition to the live gigs, all three musicians said they're eager to record something soon. The band has a small but fanatic following and a strong catalog of songs that prompt fans to literally thank the musicians for writing them, which always brings Fetters back to that high school kid in Sylvania, trying to figure out how to write songs like Rundgren. "The pop song format for me is still important because it's short and in three or four minutes you can really take someone to a different space that they weren't before," he said. "That is that spiritual handshake you make with the people who came before you." ++ psychodots ++ Date: 17 Aug 2005 16:13:20 -0700 From: Mary Bosken Subject: Re: Psycho Daily: Happy Birthday Dave - great idea to look back over favorite issues and/or posts. Hopefully others will follow suit....... My favorite Depot Issue is still #180, March 26, 1998 (benefit for George Cunningham at Southgate). It's a classic, IMHO. Especially the transcript Scott typed and posted (thanks Scott, takes me instantly back to that night!). http://home.insightbb.com/~p-dots/pd_00180.txt Mary ++ psychodots ++ End of Psycho Depot 422 Aug 18, 2005 Comments, suggestions, postings, and administrative or the switch between digest and daily versions of the Depot (or be on both!): Mike Brown depot @ psychodots.com To order psychodot merchandise: contact Stan Hertzman of Umbrella Artists and Strugglebaby Records shertzman@cinci.rr.com 513 871-1500 Voice 513 871-1510 Fax and Hal Bernard Enterprises, Inc., 2612 Erie Ave., Cincinnati, OH 45208 For back issues (2 ways): Email: Tony Nowikowski tony@nowikowski.com or Web Site: http://p-dots.home.insightbb.com/ Check out the psychodot Home Page at: http://www.psychodots.com Check out the graveblankets Home Page at: http://graveblankets.com Check out the Bears Home Page at: http://www.thebearsmusic.com Check out the Ricky Nye Home Page at: http://www.rickynye.com