DiScORDER ?A guide to CITR fm 102 ** CABLE 100 /A guide to CITR fm 102 ^ CABLE 100 The Bard of Brixton a lesson in socio- politics from Professor LKJ Everyone admires a person who doesn't mince words. Most of the capacity crowd that saw Linton Kwesi Johnson at the SUB Ballroom left as admirers. When they arrived they fell largely into two categories: the enthusiastic LKJ fans, and the curious, who wondered what all the fuss had been about in the two weeks prior to the gig. They soon found out. Backed by the superlative Dennis Bovell Dub Band, LKJ thundered his way into the hearts and, more importantly, the consciences of the crowd. So what's a black guy who's an expatriate Jamaican living in England and who talks mainly about the problems of class structure in Britain doing causing us West-Coast-of-N. America types to skank up a sweat? "I hope people will be able to make some comparisons with some of the things I'm describing and maybe draw parallels with things happening here, but... I don't know a lot about what's happening in N. America so I wouldn't be able to say with any great authority. Maybe youth in New York or Toronto will be able to identify with all the experiences as youngsters growing up in a modern urban society with all it's problems and so on." Your most well-documented topic is the plight of coloured minorities in a largely white society, a problem which Vancouver doesn't escape either; you're message is one of militant defiancy: in one of your songs I recall you saying "Come what may, we are to stay." Be that as it may, do you not agree that multiracial harmony can really only be achieved through a change in the mass attitude rather than an attitude of militant defiancy (on the part of the immigrants)? "Well, let me talk about England: a lot of people have erroneously, or even mischievously, presented the problems of ethnic groups in Britain as being one of integration. The whole theory is always seen in terms of the solution being a kind of a nice little multi-cultural setup, but that is a false way of describing the problem. Britain, as I understand it, has always been a collection of nationalities, even before West Indians and Asians and other nationalities began going there. You had the English, the Welsh, the Scottish, the Irish and the Cornish. "In the same way that the Irish question, Welsh nationalism, and Scottish nationalism came into the centre of the stage of British politics, so too the question of blacks and Asians in Britain, because we were coming from British colonies and being placed in the Colonial mould. We were forced to try and break out of that mould and that is basically what our struggles have been about over the last 25-30 years: to break out of the colonial mould that we were placed in and to try and live and work on the same basis as the rest of the English working class. . ." But will it be through militancy—an eye for an eye, a tooth for a tooth? "I don't think we can reduce it to that. The way we see it and by we I mean the organizations to which I belong, the Race Today collective, the Black Parents Movement and the Black Youth Movement, we need to organize ourselves to build independent institutions—social, cultural and political, because we adopted the slogan which is the slogan of young Asians in Britain: "Come what may, we are here to stay." We would like to see Britain change for the better. We want to be a part of the forces of change and we can only do that from a position of strength rather than weakness. That's how we see the way forward in England." The danger with that, would you not agree, is that if you do build up a positon of strength and if worse comes to worse then ethnic minorities and the natives tend to polarize—they will start backing "their own"— and in Britain there are 53,000,000 whites and only two or three million coloureds. . . "I don't think we've ever per- cieved our struggle as a black versus white struggle. We've always had a political analysis and a political understanding of what our situation and problem is. We've never seen it as a black- white thing at all. We've always seen it basically as a class thing of which race is an important aspect, so therefore I wouldn't envisage the kind of situation that you've just described." What is your view of reggae that proclaims Rastafari and Jah as opposed to making socio-political comment? "Well, that has always been an aspect of Jamaican popular music since we started to record music, and the Rastas have brought a tremendous amount of creativity and spirituality into the music and have also contributed towards it rythmic evolution. . ." He falters, unsure. I ask him for his views on the idealism of the religion. "A lot of people sing Rasta songs and express Rasta sentiments because that's what they believe in; and a lot of them perhaps don't even believe in Rasta or believe in going back to Africa but the language of Rasta has become the language of protest among the oppressed in Jamaica so it's quite natural for there to be so many songs couched on Rasta terminology." Johnson still does not answer the question clearly. He's obviously dodging the issue. The impression he gives is that he's caught between defending reggae as an integral part of his background and culture and condemning its myopic, naive vision of spiritual bliss for the Chosen Tribes, led out of Babylon to an impoverished East African country under a dictator—who's now dead! Despite this uncertainty, there's no doubt in his mind about the solutions to the broader issues that are of concern to him. He's one of those people who has the knack of making a lot of sense. Listen to his records and you'll know what I mean. —Sukhvinder Johal Photo by Neil Dowie DISCORDER June 1984 iflnnfe. n *< 3r« rmnr-R fflllOS Cable 100 ^ wlWIE** Editors L.„„ Contributors Chris Dafoe Fiona MacKay Chris Dafoe Fiona MacKay Sukvinder Johal Dave Ball Michael Shea Steve Robertson Fiona MacKay Mike Dennis Advertising; BillMullan RobSimms Dave Ball KristaHanni Harry Hertscheg Photograph Distribution Jim Main Harry Hertscheg Neil Dowie DISCORDER is a m onihly paper published by the Student Radio Society of me Universl y of British Columbia. DISCORDER provides a guide ioCITR Radio, w FM 101.9. CITH iransmiis its lich broadcasts throughout the Vancouver area at 9 wai signal from Gage Towers on the UBC Campjo. For besi recepiion b 3 sure and have an antenna attached to y )ur receiver. For iMose of you with persistent reception problems, CITR i , ai , > available on FM at 100.1 in Vancouver, West Vancouver, N >r . Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Mapie Ridge and Miss DISCORDER isdisir buied hroughout the Vancouver area. Enquiries i > w advertising in DISCORDER or distributing free copies of DiSCORDEH a anew 1 caiion can be made by calling 228-3017. General CiTH business enquirie s or informaiio n about renting the CITR Mobile oound System is also a mailable at 228-3017. The request line is 228-2487 Oi 22<iCirR. 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Preferable dimensions are 10-14 inches high by 8-9 inches w de. »MMM»MMMMMMMMM»MMMMM»M»»MMMMMMMMM»MMMMM'; cover by Peter of X-settera CITR T-Shirts available at: Cabbies & ft* HotkMarto WW A p c/o CITR Radio 6138 SUB. Blvd. Vancouver, B.C. V6T 2A5 ♦ ♦♦MMM»MMMMMM»MMM»»»»»»»»»»»»»» Page 2 My beloved Airhead, In response to Lisette Bol- duc's reference to Tony Beavis: am I the last person in Vancouver to realize that this "Antony Beavis" is also the /'fl.upal character in Aldous Huxley's "Eyeless in Gaza"? How dare this imposter claim to have an above average intelligence when he starts his letter with childish references to excrement. Let this be a warning to you A.B., if this is your real name, I blame your mother for exploiting the works of Aldous Huxley in this manner. I know this letter comes four months late but it's never too late to defend CITR or Aldous Huxley, for that matter. Anyway, back to the present. Since you are starting a "war of words" Webster's states that alternative is "that which may be chosen or omitted as one of two things, so that if one is taken, the other must be left". In other words CITR has the alternative not to play U2. If "Bono's White Flag" has all of U2's albums and he can listen to their music on CFOX, why is he bothering you? | also suggest that "BWF" adopt another expression besides "Samhill". xoxoxoxoxo Penelope Pitstop Dear Airhead, I'm writing in response to the letters from Greg Rum and "I'd rather not listen." I cannot understand why you and a lot of other listeners jump on them so fast. I happened to stumble across your radio station when it could only be received on cable, about 4 years ago. At that time about 85% of the music was new and alternative. Now it's hard to tell the difference between your station and about three others. The only good DJ there now that plays good music is Mark Mushet. I would hardly call this form of music a novelty. I have been listening to this "novelty" for the past three years, and the novelty hasn't worn off. These two people who took the time to write to you are in the small minority that appreciate good music. I am not saying that any other type of music isn't good; it's a personal preference, but you are (were) supposed to be an alternative radio station. In case you've forgotten what alternative means I quote from the dictionary: "alternative" - occur by turns, first one and then the other, interchange regularly. I imagine I'll also get some smartass response but I will get the last laugh when your station is playing this music 4 years from now. D. Jonz Dear Airhead, I am amazed at the violent reaction to Greg Rum's suggestion that CITR, "the alternative music" station give fair air time to bands such as Portion Control, Nocturnal Emissions, and Legendary Pink Dots. I work in an establishment where we play our own tapes and I have had constant favourable reactions to the music I play, which includes these bands and others like them. The need and demand for new sounds is obviously there and can't be ignored. Music may be just "notes" but it's what one does with these notes that makes music "old" or "new". These bands are creating sounds and producing music unlike a lot of things you've ever heard before. What's so irrational about refusing to limit oneself to the ridiculously conservative boundaries established in so much of the music represented by the majority of the bands listed in CITR's "Top 50". Obviously there are some people who don't mind stagnating and naturally limit their acceptance of progression. I am not going to start slagging any other kinds of music, whether it be classical or metal, but let's face it, its all been done before. Matilda. WOW, this is great! Some of you people are really getting worked up about this whole "alternative" issue or more specifically, what CITR should or should not be playing. A thing that disturbs me when I read a good many of the letters that come into the station is the pervasive notion that there is some omnipresent individual here at CITR whose programming dictates are law. Musically speaking, this is a complete misconception. On the average there are 40 different announcers minding the ol' store during any given week, each of whom has his or her own musical tastes. Aside from some very broad and basic legal and ethical guidelines, they're free to program whatever they want. Nobody here orders them to play (or not play) anything. If you don't like what an announcer is playing, phone 228-2487, say so ~ politely of course ~ and suggest an alternative [harlhar!] From a philosophical standpoint, CITR does not "blacklist" artists like Legendary Pink Dots or Portion Control etc. Why should we? The mere fact that these artists are being ignored by other stations in town means that they fall within our musical mandate. What a lot of you seem to forget is that there are literally thousands of artists who, for one reason or another, do not get their fair share of airplay here or elsewhere. CITR is far from perfect but when it comes to satisfying wildly divergent tastes, we do give it the old college try. Of course we'll never please everyone all of the time, but really, does the mere fact that someone plays an instrument as outmoded as the guitar mean that, as a result, his work is undeserving of CITR airplay: Come now, it sounds like you're suffering from a mild case of tunnelvision. Mark Mushet is extremely pleased to learn that his show commands such a staunch following but rather distressed by the seemingly widespread belief that his musical tastes are limited to those encompassed within the format of "Fast Forward". When he's not doing the aforementioned show he's been known to play a few (gasp) rock songs and he tells me that doesn't feel any less sophisticated or "alternative" for it. The CITR monthly Top 50 printed in Discorder does not reflect one extremely influential individual's musical tastes. Rather, it's a composite of the artists most frequently played on the station be they either listener's requests or the personal faves of our announcers. In other words, it's not a closed circle. If you want to hear more of a certain artist, call us and ask for it. Generally we go out of our way to play requests. Better yet, if you're truly committed to your musical cause, come in and join the station. For a nominal membership fee, you can play radio your way and maybe convert a few people to your way of thinking. One way or another, let's remember that not everybody marches to the beat of the same drummer (drumbox). To me, the essence of CITR's "alternative- ness" lies in its commitment to music for music's sake, regardless of style. Its far from perfect but its a helluva lot better than the other alternative. If I may be so bold as to speak for the other 39 DJ's who occupy the CITR airwaves, we play music that we think has real merit. If you disagree- and some of you obviously do-- please help us make CITR a better medium for commercially neglected music. We're not just doing it for ourselves. Dear Airhead, In response to your response to "Bono's White Flag", here's my definition fo what "alternative" music is, or rather what it's not. Alternative music is not molded music -eg. "rock- and-roll" or "soft-rock", easy listening, or "elevator music" —it is not intended to conform to the commercial radio stations boring repetitive predictable "music" that is designed to please the sponsor as much (if not more) than the audience in radio-land. Alternative music is music for music's sake, not the top-40's or sponsors. So I win the $64,000??? Ingrid Ebert P.S. I particularly enjoy your "Sunday Brunch" and George B's "Rocker's show". (All a part of that elusive "alternativeness", eh?) Dear Airhead, CITR is an alternative music station. As it's title implies, it provides the Vancouver area with an alternative to the music played on commercial stations. Therefore I think CITR's policy of dropping a band once it get commercial airplay is a good one. It is important to realize that dropping a band from the playlist is not a result of artistic opinion, it is an .action intended to maintain the alternative format of the station. Chant and be happy. Lam ma GRANDMASTER FLASH DISCORDER June 1984 ssssssssssssssssssssssssssssssssssssssssss - a diagnosis A small and very lean man walked into CITR on Monday, May 21st. He was wearing 30 pounds of black leather and studs, and amazing blue mirrored sunglasses from Texas that made him look a little like a housefly. He comes from the South Bronx, not a particularly affluent section of the Metropolitan New York area. He came to talk about a very peculiar disease that he has; his symptoms are very advanced, more advanced than the other known victims of the ailment. The disease is called "turn- tableitis." The small man claims that he was the first registered case; he's had it for about 12 years now. He never said exactly where he first contracted it, but apparently the symptoms increased in severity the more he visited the night clubs and party spots in his neighborhood. Here is his own account of how the disease wreaked havoc on his life and the lives of those around him when he first contracted it: "You see, I'm a very fidgety person. When I went into a night club, I would hear the DJs letting songs play right through to the end, and after a while I found I just couldn't stand it any longer. I had to touch those turntables. Owners of the clubs would curse me out 'cause I'd wreck their equipment, I was putting so much pressure on it. I was ostracized by club society 'cause people hated the sounds I was making when I touched the turntables all the time. "So I would get old junk equipment and fix it up and use that. It took a very long time for me to be accepted by the people in the clubs. I really wanted to work the clubs, but this disease. . . (cries of anxiety). . .I just COULDN'T HELP IT!!!" Luckily for the small man, he was able to form a coalition with persons suffering from a speech defect that made them talk in syncopation with recorded music. As a united front, they were able to make headway in overcoming the initial prejudices against them. By this time the small man was not alone: many others were contracting the disease in the clubs and were demanding fair and equitable treatment by club owners and the general public. A woman of great benevolence, who was raised in the neighborhood but had since moved to New Jersey, stepped in to help the poor diseased boys. She had founded an institution in New Jersey that promised aid to the young men if only they would sign contracts devoting their time to working for the institute. She told them that she could give them meaningful careers in the industry they loved best, the music business. Their first project was to release their energies in the recording studio. The boys thought this was wonderful. But all was not well in New Jersey. The woman, who the small man refers to now only as SHE, was not motivated by a concern for the man's turntableitis or the others' speech impediments. All SHE really wanted was to profit from the record that the coalition made. She denied them meaningful careers, allowing them only to perform on the records. She withheld funds that rightly should have belonged to the coalition. The coalition consulted their attorneys and decided to file a law suit. With the small man at their head, the coalition took the institute to court. Hard times hit: no longer did they have a place to do what they could not help doing. Three of the boys inflicted with syncopated speech could not control themselves during the long months it took before they could appear in court; they decided to go back and work for the institute. In the end the remaining victims gained freedom and won the rignt ic use the name of the coalition. The turntableitis victim is now leading a life as normal as any of ours (except for his disease). He can perform in public and he did just that in our city on Wednesday, May 23rd. The classic symptoms of turntableitis were in evidence: the hyperactivity, the touching of the turntables, the preference for music by such noted musicians as Herbie Hancock (himself a suspected victim of the disease), the inexplicable tendency to dress like Rick James. At several points during the show the small man's fits of turntableitis got the better of him; twice he touched the turntables too much and the coordination of the syncopated orators was disturbed. Apparently one of the more debilitating effects of the disease is the sheer physical exhaustion it brings on after a very short while. Many were disappointed by the length of the coalition's set, but after the show they very politely said that they simply could not continue. They sincerely hoped that the audience understood their message; they spoke fervently of the poor living conditions in the Bronx, the fun that they have now that they're able to perform again in public, and for an encore they spoke of a dangerous white dust that people had told them to take for relief from their respective conditions. In recent years the coalition has devised a way to help those afflicted with turntableitis and syncopated speech impediments. The name "Grandmaster Flash" appears on any recording made by the coalition. If you would like to aid people suffering from turntableitis you can buy these recordings, and a healthy portion of your contribution goes directly to the afflicted. Donations are not, however, tax deductible. —Fiona MacKay REGGAE SPLASH June 15 At the Waterfront H 686 Powell * i A GB Production nn_ mMgk , . , +c J 327-5019 for info J ssssssssssssssssssssssssssssssssssssssssss phone 7380288 Books Records Games k 2297 West Broadway Vancouver B.C. V6K 2E4 J Jazz, Rock, Import Rock, Folk, Blues and Used 2936 W. 4th Ave., Vancouver, B.C. V6K 1R2, Phone 734-2828 ADVERTISE IN DISCORDER ofMwffOw « ClTR 228-3017 ISSUE ART IN VANCOUVER Available at Galleries, Newsstands, Bookstores... Page 3 DISCORDER June 1984 Venliel HOLGER CZUKAY Upon buying the album. Who is this old guy? Holger Czukay (Hole-grrr Choo-kye). He's German. Ya, that's obvious. Most of the writing on the cover's in German. So's the name of the album: Der Osten ist Rot (whatever that's supposed to mean). But who is he? That's what I want to know. He looks like Einstein with straight hair --and not a young Einstein either. Hol- ger's old. Older than Brian Mulrooney and Joe Clark. He makes Mick Jagger look like a snot nosed punk. What's he doing putting out albums that get filed in the ROCK section of the local import stored? What's he doing collaborating with mere youths like Jah Wobble and The Edge? Is he a sicko? Take a close look at that album cover. Check out the other folks on the inner sleeve. Conny Plank, Jaki Lie- bezeit, Gandhi --they're all old, too. And German (probably). Let's not get paranoid or anything, but is this a plot? They're a band of neo-Nazi hippies, aren't they? Holger's their leader and their mission is to infiltrate pop music the world over, enter kids' minds, twist them and subvert them to some perverse end: make them want to be arms manufacturers when they grow up, or stockbrokers, or longshoremen. This isn't stupid. This is serious. ^ One album listening later. Hmmmmm. Maybe I was wrong. Maybe I was being paranoid. I mean, hey, it's good. I was a bit scared at first. That opening cut Photograph sounded suspiciously ancient. The kind "of tune you'd figure your grandfather sang to your grandmother on their first date, like one of those old Presley-McCartney compositions that get played on muzak stations all the time. Nice, you understand, and happy. But maybe a little too nice and happy. Ater that though, it's pretty hardy country. Not rock'n roll. More just weirdness with a beat (sometimes without a beat), lots of tapes and machines, hisses and buzzes, with synthesizers, pianos, guitars, horns, drums. The point is, don't worry. These old guys are okay (I think). They make cool sounds. And they probably had fun doing it. The title track Der osten ist Rot is a military march put to a jazzy, calypso beat. Sort of like Kik Creole and the Coconuts get drafted. There's lots of other neat moods, too. You A could fall asleep to t this album and know your d reams'd be interesting.^ Even later. Who was that c that said he hoped he'c die before he got o obviously never heard Holger Czukay and friends. I've listened to Der Osten ist re twice now and I'm still not goii be an arms manufacturer whe I grow up. ECHO & THE BUNNYMEN Ocean Rain Act four, in which Our Hero continues his search for the answer to the question of life, the universe and everything. Indeed, more than ever it appears that this band has become the vehicle for the vocal and lyrical gyrations of Head Bunny Ian McCulloch. I no longer find it as intriguing as I used to; the insidious immediacy of earlier works has given way to the cute smart-ass word play of McCulloch, the Cryptic Mystic. Greater Merseyside's own friendly neighbourhood Thinker. After their first two outstanding albums, Porcupine saw them scrambling to maintain that standard while trying out fresh ideas. Although the end result was only partly successful, I recall awaiting the arrival of that album with eager anticipation. After listening to Ocean Rain, the anticipation for their next album, although still there, is no longer necessarily eager. Without wishing to sound like a dewy-eyed nostalgic, it must be said that Ocean Rain's strength lies in the Bunnies' rediscovery of a couple of old reliables: Will Sergeant's guitarwork, while not always spitting out (dis)- chords and notes like shards of broken glass, has reasserted itself as one of the most refreshingly innovative in contemporary rock, and Mac's undeniably impressive voice, no longer always soaring and swooping, but still forcing one to listen to it. The lyrics too, at the risk of self-contraciction, have something to do with it. Thorn of Crowns (ha ha, Ian) and My Kingdom are showcases. For the most part, however, (egomani) Mac and his Bunnies have chosen to orchestrate, with the help of a real orchestra (will the cello really replace the synth as the Next Big Instrument, Ian?), a path of meandering mini-epics a la Killing Moon, which opens side two. Barry Manilow meets Jim Morrison. Close your eyes to the title track and imagine four Bunnies in tuxedos providing lounge music while you eat your meal and discuss the presently unexceptional nature of a once excellent (and, potentially, still a force to be reckoned with) rock "|Noddy (Age 14) band. Gone are the unique arrangements, the abrupt changes of pace which lurked around the sharp edges of the songs. Whereas before he asked angry questions and confronted issues with ironic humour, he's now merely airing his own private thoughts with what seems to me to be an air of contrived ambiguity. "Look at me, aren't I surreal, maaan!" Ooh Ian, you artiste, you! Greatness. Regrettably, unless they snap out of it, Echo and the Bunnymen are in danger of becoming one of those bands that had a strong grasp on it, but let it slip and spent the rest of their existence looking for it before disintigrating under the strain of the search. The Procul Harum^ of the 80's. Act Five may reveal all. -Sukhvinder johal FOR HAIRSTYLING AND SETTING FROM AVAILABLE AT SALONS EVERYWHERE!!!! Page 4 *2M££ Concert Tickets Available THE SAFE WAY to stay alert without harmful stimulants LUV-A-FAIR keeps you stimulated with great tunes and exciting visuals six nights a week yet is not habit forming. LAF is faster, handier, more reliable and is definitely not a Next time monotony makes you feel like throwing your arms in the air with despair, or work has got you down, do as millions do....perk up with a safe, effective dose of LUV-A-FAIR. expensive. 127S Seymour street TeJ. 685-3288 DISCORDER June 1984 MEAT PUPPETS Meat Puppets II The early Meat Puppets recordings were faster-than-light noise with the vocals reeled off in such blurred fashion, it was virtually impossible to decipher them without the aid of the lyrics sheet and a linguistics professor. The Meat Pups have done a complete 360° split- reversal spin back to their roots: Arizona-style laidback jamming, combined it with tsome tricks from up their ^cowpunk" sleeve, and iave come out with l^mat has to be one Ipv of thesleeping- jr dogs of the great American underground sound for 1984. There are some superlative tracks on this disc; in fact, out of the 12 tracks on it, there are only a couple of weak ones. The rest are sheer pleasurable listening material; for me, anyways. Magic Toy Missing, I'm A Mindless Idiot, and Aurora Borealis, all instrumentals, were especially delightful. The latter song, which utilizes Spanish-sounding gui r, has almost a trance-like power to it; I listened to it over and over and over... Two, and New Gods sound The songs sung by anything close to the firs one or both of the Meat Pups LP: rapid, skank- multi-talented Kirk- ing stuff. The cool song titles wood brothers were no are matched by just as hip slouches either. lyrics: Climbing and Plateau "I've grown tired of are slow but very pleasing to livin9 Nixon's mess listen to, and like much of the walkin'the breezeways material, draw from various again." late '60s-early '70s influences Probably the best cut on this such as the Grateful Dead and record is The Whistling Allman Brothers; sort of a Song,' a real catchy tune Country and Western blended complete with a whistling solo ■ southern rock and the in tne midst °nt- psychedelic '60s sound. This disc is a real pleasure Curt Kirkwood's vocals to listen to, a nice surprise, remind me very much Some hardcore types may k of Neil Young's, yearn for the Meat Puppets of rjk, Strange com ^ parisons, perhaps, but you get the idea. Only a few cuts on this platter, like Split Myself In yesteryear , but most are ecstatic about this new sound. Y'all git yer arses down to yer local vinyl pusher and pick yerselves one of dese Meat Pupl's vinyl slabs up, ye hear! Mike A.R. Dennis BLOOD ON THE SADDLE Blood on the Saddle , Through the desolate spiritual wasteland of Dead Loss jAngeles rides the new cow- Sjboy, the rugged individualist Jflwho dreams of Injun fightin', Wcacti, the skulls of cattle and Bjdead men, and the simple life. XjAnd benzadrine. These urban Wcowboys are making music fflt°°- jfi The term "cowpunk" had {5 been bandied about to de- Wand File who verge on traditional C & W, to bands like W, Jason and the Scorchers, who are an updated version of The j Flying Burrito Brothers and Mother very good but ignored Wcountry rock bands of the ffl1970's. w This term can be more inadequately applied to bands Los Angeles which combine the splirit of traditional white American music, minus the modern affedtatins of sequinned suits and laxative hikes, with the sheer violence of hardcore punk. This version of Hank Williams on speed is performed in dead seriousness by Blood on the Saddle, Tex and the Horse- heads, and to a lesser extent, The Gun Club, the Meat Puppets, and X. Blood on the Saddle consists of: Greg Davis, guitar and vocals: Annette Zilinkas, vocals; Ron Botelho, upright bass; and Hermann Senec, drums and vocals. They have put together an album that is gritty, thoughtful and fairly tight, with occasional flasjes of humour) for example, Car Mechanic's Blues is a witty automotive sexual metaphor). The album is reminiscent in its slower parts to the slower songs on the Gun Club's Miami album. In this case, however, an encompassing sense of melancholy replaces much of the violence found on Miami. Greg Davis's slightly out of tune voice enhances this feeling, as it is in the tradition of all great country voices; not pretty, but full of emotion. Annette's voice, on the other hand, is as bright, sprightly, and vigourous as Wanda Jack^, son of twenty-five years ago (and that was scorching). She] is featured on (/ Wish I was( a Single Girl (Again) and Do You Wanna Dance. The highlights of the album are its moody pieces; Banks of fhe Ohio and / Ve Never Been Married. The lyrics are thoughtful and introspective, and capture the feelings of the lonely loner, perhaps a high plains drifter. The music is traditional, and includes some really biting slide guitar. My only reservation about the album is that some of the faster tracks are far too reminiscent fo Led Zep's Hot Dag, but this feeling goes away with a bit of concentration. Kudos to New Alliance Records (which is the Minute- men's Label) for releasing this record. It deserves a listening (or several). RobSimms ^ssssssssssssssssss Af H Hi Hi Commodore* Ballroom June 28 Jickets at VTC, CBO, * f$P Woodwards iQ Eatons, AMS Box Office Zulu, Odyssey J A PenySCOpe Production We buy & sell used & collectable records SOUTH VANCOUVER: 5766 Fraser Street. Vancouver, B.C. V5W 2Z5 (604) 324-1229 KITSIIANO: 1520 Yew Street, Vancouver, B.C. V6K 3E4 (604) 731-1013 Rock Videos available musicfom For the best in REGGAE,ROCK,AFRICAN, FUNK, WOMENS, FOLK, NEW, USED, REQUESTS INSTRUMENTS SOLD 251-6964 TUES—SAT. J=MHifT*Hi,23ia EEEI ff rcu &££ fi 0Pc$ ATSP -T\\6k) rvs-^nivie^^ . . . t)C.mhY6e" star" Meteor o<*eP CA^s$\<&t> &QIS5&&& *\ (Sreoe^e Page 5 DISCORDER June 1984 On the Waterfront The Waterfront record compilation, released locally in April, is a unique example of co-operation between musicians and their promoters and is indicative of the healthy and diverse music scene currently operating in Vancouver. A professionally produced and packaged double album, The Waterfront features demo tracks recorded by 16 groups who have yet to release anything of their own on vinyl or cassette. From the jazz-rock-folk- blues-classical fusion (gasp!) of Melchizedek to the polished pop sounds of Rubber Biscuit and One Fell Swoop, The Waterfront offers a credible mainstream selection of music from bands who obviously hope to achieve some commercial success on their own. The album is as much for the musicians themselves as it is an offering to cater to public tastes. The album takes its name from The Waterfront Corral, an established country and western cabaret which opened its doors to a younger and more diverse group of musicians last summer. Since then, the125-seat cabaret has played host to a multitude of local acts, many of whom made their public debut there. The 16 bands included on the compilation helped to raise the funds needed to record their respective tracks by playing at the cabaret. Their being selected had nothing to do with aesthetic criteria; it was based more pragmatically on who simply could afford the time and money. One individual is responsible for coordinating the entire effort -- AI Hyland. Hyland, a Toronto native who released the compilation of T.O. sounds in 1982, arrived in Vancouver less than one year ago and was instrumental in changing The Waterfront's policy. Since becoming booking agent there (a position he recently vacated), Hyland has acted as a catalyst in the cultivation of a healthy local music scene. His work at The Waterfront and the release of the album on his own label are integral steps toward a goal Hyland hopes to achieve in 1986. Yes, of course ... Vancouver's centenary celebrations ... the World's Exposition ... the year this city will finally establish its claim to international stardom. Hyland, like many others, is excited about the prospects. Hyland hopes to put together a Canadian compilation designed for international distribution. With that under his belt, Hyland feels he will have learned enough about his trade to actually make some money out of it. The Waterfront record, retailing at around $10, is unlikely to appeal to any one individual in its entirety. A common criticism of the album, and the club itself, is that in trying to accomodate too many styles and directions, the result is a mishmash that lacks a strong focus. Also, many feel it is a poor representation of the Vancouver scene as it does not even hint at the eclecticism and innovation evident in the so-called "underground." But, as Hyland claims, it is primarily the musicians' re cord, and, dur to the circumstances that dictated its execution, The Waterfront does not pretend to represent the entire Vancouver scene, under- or over-ground. Regardless of its strengths and weaknesses, the fact that The Waterfront album is a physical reality rather than a half-baked notion is commendable enough. Oddly enough, it has taken an out- of-towner to prove that the interest and energy is there to undertake such an adventure. Thanks, AI. -Michael Shea Final Vinyl Heard nightly at 11 p.m. MON DA Y - Jazz Albums June 04 Terence Blanchard & Donald Harrison - New York Second Line 11 Wilbur Ware Quintet - The Chicago Sound (Riverside) 18 Lester Bowie - Numbers One & Two (Nessa) 25 Freddie Redd - Shades of Redd (Blue Note) \TUESDA Y & WEDNESDA Y - flew Playlist Albums [THURSDAY - "Mel Brewer Presents": all the dirt on local noise: new releases, interviews, demo tapes, exposes ... FRIDAY - 1-2-3 Funk Rock 'n Soul Albums June01 Parliament - hunKen- telechy vs. The Placebo Syndrome 08 The Ike & Tina Turner Show-- Live! 15 Sex, Sweat & Blood The New Danceability 22 War - The World is a Ghetto 29 Wilson Pickett - Don't Knock My Love SATURDAY - #7 Playlist Album SUNDAY- "Fast Forward's Neglected Album: whatever Mark Mushet gets in the mail the alternative to alternative Page 6 DISCORDER June 1984 ^ 77 72 4rdccifw>n& t'KlE tAO*T 3_ 4 f>UM. ut&fer-Hie - - A7£H$- - 4 JJtf^OfrBtflUH nffiWfa SHOW H$ MOM TUE. PVHP. THU TR/. rt»ifhairun- nwHe*/>riiemin{gr\iiewihnc{ tSSiUSDm . Muscular *tvj i/VwiSr Itfcafioirrkrmf' fifths with LUNCH FErofT'.l ft. -f\ev& and infanotiw +0 munch by > NSNSMSAK1 J2?0/?^-a4**f irrkmi»>tr\ioWie* Hit music.. VlNN&k K£Ft*?T: (ofw\r iet*s ifnfofo dtjerf*rid dharst k» , Tbufcu/ar wc rise*. . SAT. tfomulfe s Wl LIVE CONCERT SPECIAL /, BRAINEATER, ACTIONAUTS, BOLERO LAVA, THE ENIGMAS One evening last month, these four great bands played together at UBC for a live in-studio concert. We'll be airing the live recordings of the event, one a week, for the next four weeks. Tune in each Sunday in June at 8 p.m. for a special series in our "Sunday Night Live" programme. June 3 I, Braineater June 10 Actionauts June 17 Bolero Lava June 24 The Enigmas CITR In a dark and steamy room, somewhere in East Vancouver . . . Q: I listen to CITR all the time ... How can I get involved? A: First, you have to become a member of the station ... Q: Oh ... there's a financial •catch? A: If you want to look at it like that. Your membership allows you to come to our studios to programme. It also brings you two buttons, plus a CITR sticker for your favorite surface. Q: Sounds good. What else does my membership do? A: It shows that you support the best and most exciting in alternative broadcasting, supporting music, news and information programming that you can't hear anywhere else — you know, normal radio. Q: What's the damage? A: If you join now, the membership fee is $12.50, until September. Then it's $25.00 from September until the same month next year. Q: Do I have to be a UBC student to join? A: No. Q: Can I come down and play my entire library of all-time pogo polka hits? A: We'll talk ... f* 50 Most Played Bands on CITR 1 Iggy Pop [and the Stooges] 2. Echo and the Bunnymen 3. The Cure 4. Violent Femmes 5. Laurie Anderson 6. Brian Eno [and friends] 7. DOA 8. Roxy Music 9. King Crimson 10. Linton Kwesi Johnson 11. The Cramps 12 Siouxsie and the Banshees 13.R-E.M. 14. Special AKA 15. Talking Heads 16. New Order 17 David Bowie 18. Killing Joke 19.The Jam 20.Trevor Jones 21. Elvis Costello and the Attractions 22. Jason and the Scorchers 23. Meat Puppets 24. Emily 25. Spear of Destiny 26. Beverly Sisters 27. Psychedelic Furs 28. Shanghai Dog 29. Jon and the Nightriders 30. Style Council 31. True West 32.X 33. Holger Czukay 34. The Smiths 35. Kate Bush 36. Frank Chickens 37. Fad Gadget 38Buzzcocks 39.The Stranglers 40.Naz Nomad and the Night mares [aka the Damned] 41. Shriekback 42. Dead Kennedys 43. Chris and Cosey 44. Grace Jones 45. Kraftwerk 46. U2 47. The 3 O'Clock 48. Nina Hagen 49. Simple Minds 50. Lou Reed Public Affairs Wants You We're looking for people to do 15 minute audio documentaries on a variety of contemporary issues. People from the station will train you in all the necessary skills. Contact Ken Jackson or Diane Brownstein at 228-3017. ^Illl^ MEMBERSHIP APPLICATION NAME AGE ADDRESS POSTAL CODE PHONE CANADIAN CITIZEN OTHER \please specify] SEND TO: CITR 6138 SUB BLVD. VANCOUVER, B.C. V6T 2A5 Page 7 GO O GO » CD PI oo I O OO *3 || ffio r 9 TO OTQ ^
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1984-06-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1984-06-01 |
Extent | 9 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1984_06 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 7ad166d0-e23a-4c83-b09a-e9841d478f38 |
DOI | 10.14288/1.0049785 |
AggregatedSourceRepository | CONTENTdm |
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