Anxiety Medicine List
Lexapro alternatives
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Anxiety $22.36 Anxiety |
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The List $14.38 After the dark and chilling themes of 2006’s Black Cadillac, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash — all of whom passed within a two-year span — one might assume that her next project would move into an even deeper level of bleakness, but with The List, it’s immediately clear that she has instead found a more measured place to stand, and it’s a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she’s drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. The List is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father’s passions, only now, they’ve become his daughter’s treasures, as well. It’s an affirming story, but that’s all it would be if Cash didn’t sing her heart out here. And she does sing her heart out. The opener, a version of Jimmie Rodgers’ “Miss the Mississippi and You,” is full of comfortable grace and sentiment, and Cash keeps that fine emotional tone throughout this set. Songs like the folk classic “500 Miles” feel at once both lovingly rendered and reborn for a new century in Cash’s hands, and she doesn’t update them so much as find redemption and solace in them, which in turn gives these songs a bright relevance, and because of the connection to her father and the list he gave to her, it also feels like a deep personal statement. There’s so much to take comfort in here, including her fine rendering of Bob Dylan’s “Girl from the North Country,” a nice turn at Harlan Howard’s “Heartaches by the Number” (which features Elvis Costello), a calm but still spooky duet with Jeff Tweedy on the faux-murder ballad “Long Black Veil,” and a duet with Bruce Springsteen on Hal David and Paul Hampton’s “Sea of Heartbreak.” Cash sings with a calm, measured authority, and all these the songs fit together with the same sort of refreshing resignation and care. Contemporary country radio probably won’t touch anything here, since country these days seems to be more about name-checking than any actual preservation, but Cash is after something else again — it’s about connecting with the past and carrying it forward as an act of personal faith. It has nothing to do with hats or belt buckles. ~ Steve Leggett, Rovi Performers: Curtis King – Vocals (Background); Kenny Williams – Vocals (Background); RIck DePofi – Horn, Clarinet (Bass), Piano; |
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More Anxiety $11.18 Rock has always had its leaders and its followers. The leaders took chances and weren’t afraid to push rock in some type of new direction; the followers were derivative and embraced what had already been tried and tested. The fact that the followers are derivative doesn’t automatically mean that they are without merit; derivative bands have their place as long as they’re good at what they do. And the derivative approach yields decent results on More Anxiety — not exceptional results, but decent results. This CD/DVD release of March 2010 is actually a reissue of Smile Empty Soul’s 2005 release Anxiety, with some audio bonus tracks (including demos) added along with bonus DVD material. Other Smile Empty Soul albums have made no secret of who the band’s influences are, and More Anxiety is no exception. Angst-ridden post-grunge offerings such as “California’s Lonely,” “Fight of a Suburban Couple,” and “Holes” clearly owe a huge artistic debt to the Seattle alternative bands of the late ’80s and early ’90s; More Anxiety’s musical recipe is basically Nirvana meets Pearl Jam meets Alice in Chains, with some awareness of Staind. Of course, Staind aren’t from Seattle — they’re an East Coast band — but the Seattle grunge explosion certainly influenced Staind along with so many other alternative rock combos that emerged in the mid-’90s. And even though Smile Empty Soul are from California, they wouldn’t sound the way they do were it not for Seattle’s alt-rock contributions. More Anxiety doesn’t offer a lot of surprises, but even so, it’s a worthwhile, albeit predictable, listen if one is a die-hard post-grunge enthusiast. ~ Alex Henderson, Rovi Performers: Jake Kilmer – Drums; Ryan Martin – Bass; Sean Danielsen – Guitar, Vocals |
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High Anxiety $10.38 To tide fans over while they waited for the band’s third full-length record, the Eternals issued High Anxiety, an eight-song EP comprised of remixes of or inspired by tracks on 2004’s Rawar Style (the exception being “Billions of People,” which was originally released on the band’s self-titled 2000 album, but was re-recorded for High Anxiety to sound funkier and fuller, more like the version played during concerts). The title song itself is in high demand here, showing up on no less than three tracks, the best being the opener, “Hi Anxiety,” by A Grape Dope, whose version only heightens the intensity found in the original by adding hollow bells and synths, and increasing the volume of the bass to heart-pounding levels. The effect is chilling, and it’s an overall great cut. Remixing eliminates a lot of the ambient noise and fuzz that the Eternals play with in their studio albums, but this actually works to their benefit, because High Anxiety is able to retain that gritty, urban, experimental feel (that could only be in a post-industrial Rustbelt city like Chicago) while offering a more produced, or at least tighter, sound. Of course, like any remix record, there are some tracks that drag on a little too long without much happening (“By This Time Today,” for example, which, even though it was done by the Eternals using bits and pieces of their own songs, gets a little boring, especially for listeners who are expecting a more rock- or dub-driven record), but most of them have enough activity and intricacy to move along nicely. Chances are the Eternals will stick to their “traditional” arrangements in the future, which isn’t a bad thing, but if they continue to experiment with some of the electronic/hip-hop sensibilities that they show off here, their next record could be a pretty exciting release. ~ Marisa Brown, Rovi Performers: Cecily Langford – Vocals (Background), Vocals; Damon Locks – Sampling, Keyboards, Synthesizer, Vocals; John Herndon – Drums; Tim Mulvenna – Drums, Percussion; Wayne Montana – Bass, Synthesizer |
Category: Over-the-counter medicine
