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Discorder CITR-FM (Radio station : Vancouver, B.C.) Apr 1, 1984

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 DlScORDER
A quidc to CITR fm 102 'A guide to CITR fm 102
<? CABLE 100
Jonathon Speaks
or
JR on being not yet three
■n
I have not seen so many
people smiling since the last
time Vancouver was inundated by MDA. Ear-to-ear
grins, chuckles, squeals and
incapacitating laughter were
the norm. To an uninformed observer, it must have
seemed that all these people
were (a) stupid or (b) wired
to their toenails on some
exotic psychoreactive substance.
This merriment was not,
however, inspired by any
shortage of grey matter or
by the contents of some
mysterious medicine cabinet.
The catalyst was a 32-year-
old man singing with the
innocence and conviction of
a child and the energy and
excitement of one who had
just discovered the simple
language of rock and roll.
Jonathan Richman was
here.
I defy anyone to describe
exactly what it is that inspires perma-grin in even
the most jaded when
Jonathan and the Modern
Lovers play. It's not just the
sight of a grown man crawling around on the floor
singing "I'm a little dinosaur." Nor is it the fact
that he throws out some of
the corniest jokes and most
absurd rhymes this side of a
Marx Brothers movie.
People don't laugh at him;
they are wrapped up in his
version of the world. They
laugh with him.
In an interview just before
his first Vancouver appearance, Jonathan had his own
way of describing it: "Atmosphere, that's what I
want in my shows and on
my records. When the atmosphere is good, people
get hypnotized."
He's not boasting. The
Modern Lovers put on the
best live show I've seen:
spontaneous, passionate,
funny and unpredictable.
It's all pulled out of thin
air.
"There is no live set,"
says JR. "It doesn't work
that way. I just make it up
as I go along. Y'see, that's
what I am: a live performer. The only reason !
haven't played here before
is because no one asked
me. If they ask me, I'll play
Afghanistan, as long as the
demand's there."
They should be pleased to
hear that in Kabul.
While Jonathan's charm
and enthusiasm are the
heart and soul of the Mod:
ern Lovers, it's hard to ignore a band with talent (and
patience) enough to respond
to the whims of JR. The
band has gone through
numerous changes over the
past 14 years. This edition
is notable for two things:
the addition of the clear,
ringing voice of Ellie
Marshall, and the return of
Modern Lover alumnas Curly
Keranan.
A few long-time fans were
surprised to hear a female
voice on a Modern Lovers
record. What prompted the
change?
"He heard my voice,"
quips Marshall.
"Yeah, that's true. Actually, though, the credit for
bringing girl singers on tour
has to go to old Matthew
Kaufman (head of JR's old
label, Beserkley), 'cause I
wouldn't have thought of it.
I never figured on bringing
vocalists around, but he said
'I can hear you with singers, live,' and it just clicked. This was after me and
Ellie had been singing together."
"He's so thick-headed
that he wouldn't have
thought of it," says
Marshall with a grin.
"It's true, it's true. I've
got this thick voice --thick
head- and Ellie has this
voice that can soar."
Curly Keranan is Jonathan's only connection to
past lineups of the Modern
Lovers. Standing behind a
big acoustic bass and looking, as JR says, "like a
mass-murderer," he provides the roots for the
band's sound. Is it good to
have him back?
"No, it's very bad. He
left 'cause he got intelligence, but then he had a
terrible   relapse,    and    after
JR AND THE MODERN   LOVERS
the brain damage, he rejoined. Now he's getting
worse ~ he shaves his hair
and he's grown a beard.
Really, I'd prefer not to talk
about him."
Curly the killer aside,
Vancouver is fortunate to
get the full Modern Lovers
lineup. Jonathan has performed solo, accompanying
himself on an acoustic guitar, simply because the
money to bring the group
along wasn't there.
"We've never got record
company support," he says,
without the expected bitterness. "We aren't getting it
now. In fact, I just found
out today that Sire dropped
us from the label. It's not
bad for me, 'cause I don't
expect much from record
companies, having seen
them over the years. So I'm
not shocked. I like it when
they say 'make a video
here,' or 'next week you're
going to tour Hong Kong,'
but if it doesn't happen,
we're independent of that,
too. We'll still play."
But isn't touring without
record   company   support   a
hand-to-mouth proposition?
"Yeah. Y'see, like especially when we pet to a place
with good restaurants like
this. Take a place with a
good Chinatown: I'd say
half the day you get hand-
to-mouth kind of service.
Then you've got take-out
places; I like those pretty
good. I'd say there's a lot
of hand-to-mouth around
this organization."
Seriously, Jonathan.
"No, really, if we can get
enough dates to put together a tour, so we can afford
to fly the rest of the band
out from the East Coast
(JR, a former diehard New
Englander, now lives in
California), we'll play here
again."
So-o-o, if you missed
Jonathan and the Modern
Lovers this time, there's
still hope for you. (No,
don't bother, I had a hell of
a time getting tickets this
time. -Ed.) Keep those
facial muscles limber and,
to quote Mark Smith of the
Fall —completely out of context- "SMILE." CD page 2   DISC6RDER
diScOrdeR
f m 102 Cable 100      April 1984    VOL 2  NO 3
Editor Chris Dafoe
Layout Harry Hertscheg
Steve Robertson
Dave Ball
Elspeth Robinson
Michael Shea
Chris Dafoe
Photography  Jim Main
Dave Jacklin
Advertising     Dave Ball
Contributors
Jason Grant
Franco Janusz
C D
Gerald Bostock
Elspeth Robinson
Roxanne Heichert
Sukhvinder Johal
Steve Robertson
Distribution
Harry Hertscheg
DISCORDER is a monthly paper published by the Student Radio
Society of the University of British Columbia. DISCORDER provides a
guide to CITR Radio, which broadcasts throughout the Vancouver area at
FM 101.9.
CITR transmits its 49 watt signal from Gage Towers on the UBC
Campus. For best reception be sure and have an antenna attached to
your receiver. For those of you with persistent reception problems, CITR
i FM cable at 100.0 in Vancouver, West Vancouver,
Burnaby, Richmond Coquitlam, Port Coquitlam,
Maple Ridge and Mission.
DISCORDER is distributed throughout the Vancouver area. Enquiries
aboui advertising in DISCORDER or distributing free copies of
DISCORDER at a new location can be made by calling 228-3017. General
CITR business enquiries or information about renting the CITR Mobile
Sounds System is also available at 228-3017. The request line is 228-2487
or 228-CITR.
DISCORDER is distributed at tl
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eyour;
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o our editor. Preferable dimensions are
s wide.
£<"&vtA/S
ill ^KkOLLp:      £&-<#%&
¥*»»*»*»»»**»»**-¥•**-¥•»*-¥■,
H® A p
c/o CITR Radio   *
6138 S.U.B. Blvd.    *
Vancouver, B.C.
V6T 2A5
VW* *¥***-¥■***
Dear CITR Errhead,
How the fuck do you
come up with your Top 40
playlist every week? I mean,
you proclaim not to care
about sales (besides, where
the hell do you buy a
"demo tape"?). You clearly
don't give a shit about requests (is that a tape recording that answers the request line or what?). And
we know that the local artistes on welfare (Joey, etc.)
can't afford payola (even
CITR can't be bought for 12
cents - now 8 cents thanks
to Grade's finger). Really,
how do you decide whether
a song is #23 or #24, and
how much should it move
up or down the chart? Does
CITR have "bullets"? Does
a song become less good
one week, and better
another?
It would appear, then,
that the elite of CITR concocts the lists. But who
makes up this select clique?
Dafoe is too busy searching
for the ultimate all-black ensemble (in case his other 58
outfits become dated).
Robertson is forever aerobi-
sizing as he aims for the
mythical 28-inch waistline.
And Suckwinder? Well, who
cares? That just leaves Shea
and Veg. And who are
these people anyway? Do
they understand the massive
responsibility of programming for 14 listeners? (four
of which aren't even DJ's.)
What I'd like to see from
your station is something a
little different. How about a
#18 to #24 playdown, forwards, instead of the usual
#10 to #1 shit. Or, better
yet, how about an all-request playlist show?
Seriously, though, I want
some answers!
Obnoxiously yours,
SALLY SALIVA
P.S.   Print the  whole  letter,
trashes and all.
Come on, 14 listeners? I
know for a fact we have at
least 20! As for your playlist
show suggestions, have you
ever tried playing your radio
backwards? Pretty neat!
To whom it may be that
reads this,
People who saw Jonathan
Richman perform live last
week are desperate to find
out when they can see him
again. He is the most enchanting performer, and his
records are a pale shadow
without his facial expression
and "the way he moves".
Where, if he is not coming
back soon to Vancouver, can
we go to see him? If you do
not know, where might we
obtain this information?
Could you please print
something in Discorder
about this?
His fans who had only
heard him on record and
who did not realize how
wonderful he really is cannot continue in this life
without him. I am not exaggerating. I know many of
them, and they are miserable people, who are only
happy when watching
Jonathan, and then they are
under his spell of hypnotic
delight. They need him. I
hope you won't disregard this
letter, even though I cannot
sign my name because I am
-One of Them
P.S. I "realize you may not
have this information — but
as the only station in the
city who plays his music,
and who interviewed him,
you are our only hope.
For information on
Jonathan, write: Jonathan
Richman Fan Club, 644
North Doheny Drive, Los
Angeles, California 90069.
Dear Airhead,
Why do the sportscasters,
newscasters and Generic
Review announcers always
have that pitiful sounding
decline in their voices at the
end of sentences? Do they
think it makes them sound
professional? Ha! They
sound like Les Nessman of
WKRP!  (stupid)
Shape up, guys!
—Eric Hartman
P.S. You should extend the
Rockers Show to four
o'clock.
I think you've got a valid
point, Eric, and if I can
garner enough support, I
intend to lobby the powers
that be at CITR to have all
newscasts, sportscasts and
Generic Reviews sung to the
tune of "Radio Ga Ga."
Dear Airhead,
I would like to comment
on "Joey Meatrack's" letter
to the Airhead in the last
issue of Discorder. Joey
should realize that just like
himself, those "jocks" are
entitled to dress in their
own manner. He should also
realize that if he insists on
dressing like a punk, he is
going to catch stares wherever he goes. There is more
to punk than tearing your
shirt, spitting, swearing and
carrying a pseudonym. Punk
used to be very violent, rebellious and political but has
mellowed considerably since.
Perhaps Joey should be
back in '77 and '78 when
there was a reason for punk
in a different country. He
should also brush up on his
English.
Sincerely,
Winston Colless
I'm willing to give anyone
called Meatrack the benefit
of the doubt.
CABBAGES
SKWX
FUNKY, 0Stt>
<L0TMt/<3
306 W CORDOVA
6694238
ADVERTISE
in
DISCORDER DISCORDER   page 3
Finale:
The Last
Hot Air Show
All good things must
come to an end before
they're not so good. Somebody famous probably said
that; hats off to whoever it
was, because it is a good
epitaph for CITR's Hot Air
Show, a UBC Pit tradition
for six years. Originally
dubbed The Fog Show, the
competition was initially
conceived as an impromptu
talent night in which the
most obnoxious and otherwise untalented talent was
inundated with dry ice. As
more bands began to compete, the Fog Show transformed itself into the Hot
Air Show. Attitudes changed
as well in the wake of more ■
prestigious and valuable
prizes, so that what had one
time been a night of drunken improvisation became a
weekly showcase of fiercely
competitive and competent
(Hmmm. Ed.)     local
bands.
The format of the Hot Air
Show was elaborately
simple. Every Monday night
during the UBC academic
year, two bands competed.
Judges picked from the audience evaluated their performances based on three
criteria: musical competence,
originality and audience response. The evening's winner advenced to one of four
quarter final showdowns,
with   each   of   these   subse
quent winners meeting in
the finals. Prizes ranged
from modest cash awards to
recording time and other
things that bands like to
have. Lured by the opportunity to partake in some of
the material advantages afforded by winning the Hot
Air Show, hundreds of
bands have competed over
the years, including French
Letters, Actionauts, Enigmas, Beverly Sisters, Red-
rum and Ground Zero.
In this swansong year of
the Hot Air Show, we've
seen 34 bands perform. At
press time, only Belle Alliance, Bolero Lava, Cast of
Thousands and First Aid
remained to battle it out at
the finals on March 26.
Bolera Lava
The Winners
First Aid  third place
First Aid, with Scott
Jacks, James Koeh, Bruce
Goertzen and Dave Coup-
land, are an instrumental
group simply because they
have not yet found a vocalist to compliment their progressive fusion sound. Performing at the Soft Rock
and Luv-a-fair have gained
the band a solid cult following.
Cast of Thousands
second place
Cast of Thousands are a>.
energetic five-piece outfit
who play sophisticated pop
with discernible English influences. Band members
Tony, Gary, Ken, Jeff and
Paul hope to have an EP
out by the end of the summer.
Belle Alliance are a three
piece band with progressive
rock influences. Guitarist
Cam Vanas, bassist and vocalist John Miller and drummer Hamish Miller have not
appeared regularly around
town because they're concerned with "getting everything just right" before they
make themselves known in a
live context.
Bolero Lava, on the other
hand, have gigged frequently over the past few
months, including their truly
memorable performance with
dance and costume at the
multi active event, Apocalypse Vanessa, Laurel,
Phaedra,   Barb and  Lorraine
play a tight, slinky brand ot
soulful, funk -influenced
lounge rock (Run that by us
one more time, will you?
-Ed.) - not necessarily conducive to lounging.
The demise of the Hot
Air Show is bad news for
the little people in the
Vancouver music scene. It
means that there's one less
place for unknown bands to
play, and that might mean
that there are simply less
new local bands. On the
other hand, maybe there
aren't enough good new
local bands to consistently
support a competition of the
size and scope of the Hot
Air Show. I smell a vicious
circle. One way or the
other, the Hot Air Show as
we know is past news. That
doesn't mean, however, that
we at CITR believe that the
concept of providing a
venue for new bands is no
longer viable. Perhaps
something along the lines of
the Hot Air Show on a
smaller scale can be organized in the future. We welcome your input.
Please write:CITR
UBC Vancouver
V6T 2A5
Best of luck to all local
bands in their future endeavours!
Roxanne Heichert
Steve Robertson
WE WOULD LIKE TO
THANK ALL THESE
PEOPLE FOR THEIR SUPPORT: OLD FORT BREWING COMPANY, GRAY
BEVERAGE COMPANY,
long and mcquade, LITTLE
MOUNTAIN AND BLUE
WAVE RECORDING
STUDIOS.
Belle Alliance    fourth place
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BLACK HAG
Discorder's Mike Dennis
spoke to Henry Rollins, lead
singer for the notorious
punk band Black Flag, who
will return with a vengeance
when they play the SUB
Ballroom April 30.
Discorder: First of all, I
understand there have been
some personnel changes in
Black Flag since you played
here last August. Can you
fill me in on them?
Henry: Sure. We have a
new bass player, a young
lady called Kira, who used
to play with a band called
Twisted Roots, as well as a
few other L.A. bands. She's
been with us about six
months.
Discorder: Why did Chuck
Rubowski quit playing bass
for the band?
Henry: Kira just worked
out better on a lot of our
newer material, and Chuck
sort of wanted a break, so
he is managing our band
now. He's also playing with
a band called Wurm, who
have an LP coming out.
Discorder: So Bill Steven-,
son, who used to drum with
the Descendents, is now
with Black Flag as well,
and didn't Dez (second
guitarist) split from the
band?
Henry: Yup, bill is drumming for us now, Robo left
to play for the Misfits, and
Chuck Biscuits (ex-D.O.A.)
drummed with us for a
short while, and Dez left to
play for Red Kross.
Discorder: So you guys
finally got the new LP released, and the court case
with Unicorn cleared up?
Henry: The LP's out. It's
called My War and contains
nine new originals, and,
yeah, we finally got that
court case straightened out.
Discorder: What exactly
was the issue there?
Henry: Well, it's really
too long to go into depth
about. To sum it up, Unicorn's parent company decided our material and lyrics
were too "anti-parent," as
some geek from there put
it, so they decided they
weren't going to release it
or distribute it. But they
didn't want to let us out of
the contract, so we all ended up in court, and, as a
result, our records are coming out on our own label,
SST.
Discorder: What direction
musically has the band
taken on this new LP?
There is a lot of talk about
Black Flag going more
heavy metal.
Henry: There's no real
direction we've taken, and
it's not heavy metal. We'll
leave that to Motley Crue.
All I can say about the new
LP is that it's "Black
Flag."
Discorder: Have any of
the major record labels
shown interest in Black
Flag, because you do sell a
lot of records? Have you
considered going with any
of these labels?
Henry: They've all talked
to us. And no, we're not
going with any of them,
we're sticking with SST.
Discorder: So the infamous Meat Puppets are touring with you again?
Henry: They'll be with us
when we play Vancouver, as
well as Nig Heist, likely,
who are from our area,
Southern California. The
Meat Puppets are from the
desert, Phoenix, Arizona.
They   have  a   new   LP   out,
T-Bone Burnett
T-Bone Burnett has been
on a musical trip, so to
speak, for close to 20 years.
While on this excursion, he
has made whistle stops to
produce (Delbert McClinton,
Los Lobos); to play in bands
(Dylan's Rolling Thunder
Revue, the eccentric Alpha
Band); and to rub elbows
musically with the likes of
Pete Townshend, Richard
Thompson, Ringo Starr and
Ry Cooder.
In addition, during this
time span, T-Bone has observed and recorded mental
pictures of modern society;
insightful snapshots which
have materialized as the satirically rich lyrics on
Burnett's first three solo efforts: Truth Decay, Trap
Door and Proof Through the
Night.
These critically acclaimed
albums mark T-None's emergence as a solo performer.
To    compliment     the    vinyl
output, the Texan native has
also taken to doing numerous live performances;
something which he has
grown to love.
On stage, as his March
Soft Rock concerts attested,
Burnett likes to break down
the front wall between
crowd and" performer. He
does this effectively by joking, clowning around and
getting involved with the
audience; creating a special
rapport! Unfortunately, this
light-hearted facet of T-
Bone's personality is often
overlooked or not recognized
on his albums.
"My material is frequently taken as cynical. But I
don't like cynicism,"
Burnett says. "My songs
are really not fatalistic; underneath them there's a
hope, a positive feeling. . .
but they're not positive in
the sense of   'I'm  so  happy
Z111AJ
^
Domestics Imports: New & used
just came out.
Discorder: There seemed
to be an extreme amount of
tension or bad vibes between Black Flag and the
audience when you played
Vancouver last August.
What are your feelings
about that gig?
Henry: The audience was
full of jerks, a bunch of
drugged-out assholes. Every
time we play Vancouver we
run into the same problem
with jerks in the crowd.
Discorder: Yeah, I remember a bunch of people booing and yelling insults, just
because the band had "long
hair." I thought that was
kind of ignorant, if people
are going to judge a band
by how they look, then that
is being very closed-minded.
Henry: Exactly! They
should listen to the music,
it's not a fashion show!
Who cares if we have long
hair   or   if   we're   bald!   Let
and life is getting better all
the time!'"
The ability to deal with
"heavy" topics (such as
morai decline and increased
superficiality in our society)
without being heavy-handed
or "preachy" makes
Burnett's material enjoyable
listening. Humor softens the
biting satirical edge of the
songs. A good example of
this is evident in The Sixties, a track from the Proof
LP. The song deals with,
not surprisingly, the 1960s.
"The decade was a time
of great energy, promise
and ideas," Burnett reminisces. "But some of those
strong ideas, such as not
taking someone's word for
something just because he's
in a position of authority,
have been replaced by the
more superficial aspects of
the decade."
Weighty food for tought!
Right? Yes, but in Burnett's
song, the "message" and
his humor blend to give the
lyrics a subtle approach.
What about the eighties?
"In some ways, I'm optimistic about this decade. I
think people are growing
out of the sixties' cynicism," Burnett offers.
'em go to a fuckin' fashion
show if that's going to be
their attitude!
Discorder: Right on. I
happened to be talking to
Ron Reyes, who used to
sing for Black Flag a few
years ago, about that gig,
and he mentioned that that
was the best he had ever
seen the band play, the
most intense.
Henry: Well, we were pissed off after all that crap
started, so that's where the
intensity came from.
Discorder: So what direction can we see the band
pursuing in the future?
Henry: Just more "Black
Flag!" We're going to just
keep playing and playing.
There is no real "plan" or
direction we're following.
Discorder: That's cool.
Any words, then, for the
Vancouver audience for this
upcoming gig, then?
Henry: Yup. Stay home.
The 1980s should also
hold great promise for T-
Bone Burnett. Musically, he
plans to keep dabbling in
the broad, folk-rock category.
He admits, however, that
his music is difficult to pigeonhole into any particular
slot.
"There's an area near
New Orleans where the
fresh water of the Mississippi merges with the Gulf of
Mexico, resulting in a mixed
pool of liquid. . . my music
is like that: a blending of
styles:  rockabilly,  folk,  rock.
Burnett does, however,
see a change in his lyrical
approach. "The new songs
will deal more with individuals," he predicts, "rather
than the concept that we're
becoming a nation of images
instead of ideas. That dominated the first three albums. . ."
As for live performing,
the versatile guitarist would
like to do a Will Rogers-
type bit. That is, use the
songs to create a link with
the audience.
T-Bone Burnett. Keep
your ears open for the next
stop on his musical trip!
Steve Janus
1869 W. 4th 738-3232 DISCORDER    Pagt »
True West
"Pai-sley underground?
What paisley underground?"
Is there a subterranean fabric revolution, or what? Perhaps, just offhand, some
U.S. music writers thought
that this rather dumpy term
could apply to some vibrant
-bands coming out of sunny
California? True. True West.
A mini album came out in
May of 1983 bearing this
last name, and, since the
Dream Syndicate, 3 O'Clock,
and the Bangles' sounds
were already well known for
their '60s influences, the
"psychedelia revolution"
was quickly started; not by
the bands, but by writers
across the States.
I had a chance to talk to
singer Gavin Blair and guitarist Russ Tolman on Tuesday, March 20, before their
second show at the Railway
Club, and the two affable
chaps had a lot to say,
especially about record companies and the movement
back to more basic, traditional music.
D: How hard was it to
get. . .
RT: Interest?
D: That's it!
RT: We've had a lot of
passing interest, like A & R
people calling up and
saying 'What's this True
West thing?', but they don't
want to make any decisions,
they're     very    conservative.
At this point, there was a
threat of war, when S.J., a
transplanted Britisher at
CITR, attempted to attack
the band using invisible ray
guns through the plexiglass
window. Avoiding further
questions about England, we
touched on influences on
True West's sound, and the
future of their sound.
RT: We listen to a lot of
things. . . in fact, I used to
do college radio, the roots
of this band are in college
radio.
GB: George Jones! He's a
major influence!
RT: My two favorite songwriters are Hank Williams
and Bob Dylan, but we listen to anything from Ornette
Coleman and John Coltrane
to the Byrds and everything
in between. . .
Most of the younger A&R
people who are 'into' us
aren't in a position in the
company where they can say
'Sure, we'll sign you!' After
saying all that, though, we
are in the process of getting
things together to sign with
a major label, and the new
album will be out in July,
right after we return from
France.
D: Great! France is really
interested in you, then, as
far as touring does?
RT: Yeah! The New Rose
LP's doing really well, so
we're going to play in
France a lot, maybe England, Amsterdam and Brussels if things work out.
France is very hip to American music today: Gun Club,
Dream Syndicate, us, even!
When I asked the band
about their views on British
music, I got pretty well the
response I expected.
RT: / think that English
musicians are basically
snotty. . . there are bands
like Big Country where
Stuart Adamson says 'Gee. .
. no original music has ever
come out of America. ' And
I'm wondering where did
these guys come up with
their ideas? Haven't they
ever heard a Little Richard
record in their lives? I'm
not saying that everything
from America is great either, but . . .
GB: / had a band back
east, I was a singing drummer doing Gram Parsons
songs, I picked up stuff
from everybody. . .
RT:   Steve   Lawrence   and
Eydie Gorme,  Julio Iglesias,
Wayne Newton!
D: I've heard you described as 'apocalyptic'. . .
RT:    Not   in    the    Francis
Ford Coppola sense!
D:   No,   but   you   deal   with
some   heavy   topics.   'Holly
wood Holiday,' I feel, deals
with the depravity in California now.
RT: it's kind of based on
one particular experience,
but it does reflect the entire
feeling that you get from
Los Angeles, which is a
mixture of golden opportunity and decay and decadence
and sunburn.
D: What do you think
that the future of, not only
your music, but rock music
in general, is going to be?
RT: / think that there's
going to be a good resurgence of guitar bands, of
bands that are basically
'rock' bands, for lack of a
better term, who will mix
up lots of influences. The
new Dream Syndicate
album, after hearing most of
it, now that it's done, is
going to be on regular, real
radio and do really well;
they have A&M Records
really behind them, and
that's the important thing,
to have a record company
willing to spend all the
money paying off people to
get your song on the radio,
unfortunately . . . or fortunately, in their case.
If the present bunch of
bands don't do it, then they'll
set the stage for all these new
young bands in the garage to
come along, or all these old
hacks with conncetions in the
record companies will get it
together and write songs like
these kids are doing. Kids and
guitars go together; you know
the guitar is the universal
instrument that any kid can go
into the garage and bash away
on and come up with something.
That's what makes rock and
roll, rock and roll.
Jason
Perryscope
Concert Line Up
ROUGH
With Guests
APRIL. 16th • 8PM
Commodore Ballroom
CFOX presents
ffigC&H
T^OItVMtJiS
with
APRIL 23rd • 8 PM
U.B.C. WAR MEMORIAL GYM
C
CITR &   Soundproof present
CRAMPS
with guests
April 23rd • 8:30
COMMODORE BALLROOM
with guests
MAY 2nd
Pacific Coliseum » 7:30 pm
^H   ^^ CFOX   presents
<-r-ux   present
4&t
April 21
rPYtS^      8pm
W       V        War Memorial Gym
WELCOME HOME!
D.O.A.
May    4th
TIX: VTC/CBO, Eatons, Woodwards page6   DfSCORDER
^
&o^
e**
We//,   rte  was  an   ugly  guy
with an ugly face.
An also-ran in the human
race.
And even God got sad just
looking at him.
And at his funeral all his
friends stood around
looking sad.
But they were really
thinking   of   all   the   ham
and cheese sandwiches in
the next room,
[from Gravity's Angel]
A Laurie Anderson song
makes for good brain-food.
The words are always clear
and precise, spoken usually
as straight poetry. The
topics they cover include
pretty much anything
(everything?) imaginable,
from hockey rink attendants
and pilots of crashing airplanes to great lovers and
Thomas Pynchon novels (is
Laurie Anderson the first
person in the world to have
made some sense out of
Gravity's Rainbow?). The
accent is usually on the
weird edge of the blander,
more mundane and terminally normal aspects of life in
Americaland, planet Earth,
circa 1984.
The music is a lot like the
words, intricately structured
yet done so with subtlety so
that the result is a textured
backdrop of tones, rhythms,
and odd melodies that flow
through your ears with deceiving simplicity. Individual
sounds are important, whether real or synthesized.
They blend with the musical
accompaniment and complete a distinctly impressionistic soundscape.
In case you haven't guessed by now, this is a
thumbs-up review. Laurie
Anderson's second album,
Mister Heartbreak is at
least as good as its predecessor Big Science, better
even. It doesn't pack the
same novel punch, but then,
how could it? An artist of
Anderson's originality (eccentricity?) can only be
heard for the first time
once.
What Mr. Heartbreak
does is expand on Big Science. Ms. Anderson has obviously made a few bucks in
the last couple of years and
turned some noteable heads.
Adrian Bellew contributes
some debauched and otherwise abused guitar sounds,
Bill Laswell (Material) is on
hand with his bass, and he
assists with the production
chores. William S.
Burroughs provides a wryly
depraved lead voice on
Sharkey's Night. Peter Gabriel throws in his own inimitable weirdness on Excellent Birds , which he co-
writes, co-produces and co-
sings (watch out for the
video). Phoebe Snow is on
hand, and so are lots of
other talented folks. This
all-star cast works. While
there tended to be a slight
repetitiveness to Big Science, Mr. Heartbreak is distinctly diverse, yet surprisingly accessible: everything
from the expansive atmospherics of Kokoku to the
quirky danceability of the
album's opening cut, Sharkey's Day.
If you haven't heard any
Laurie Anderson before, or
if you were even slightly
intrigued by Big Science, by
all means check out Mister
Heartbreak. If 1984 can produce two more albums of
this calibre, it will have
been a very good year.
Gerald Bostock
$fS*Q
Di Eagle an' di Bear are
people livin' in fear
of impendin' nuclear
warfare.
But as a matter of tack,
believe it or not,
Plenty people don' care
wedda it imminent or not,
Or who first t'attack or
d'human race a go
survive or not.
I like Linton Kwesi Johnson.
I like this album, too,
making it four A grades in
a row for the man, although
we've had to wait three
years for this latest report
card, Making History , while
he contributed to various
cultural and political events
around the world, using his
dub poetry as a focal point.
The music itself is much
the same as before --' in
fact, a little too much the
same as before, the only
criticism of note. There is
the odd mild excursion into
other musical forms, notably
on Wat About Di Workin'
Class, with its jazzy horns.
Otherwise, the reliable
Dennis Bovell Dub Band
just chugs along with its
sparse bass and drums providing the backbone of the
backbeat.
In all fairness, though
it's not for the music that
one listens to LKJ , it's for
the words. He doesn't
mince them - no flowery
prose caressing one's ears
here. Rather, his words are
a clawed hand and a fist,
squeezing your conscience
and aiming for your solar
plexus respectively. His poison is a potent cocktail of
sorrow, frustration and
anger, laced with a strong
dash of militant defiance.
The topics, as before, are
the plight of blacks in a
predominantly  white  society
and oppression in general,
as in Di' Eagle and di Bear:
For though some is awake,
dem life already comin'
like a nightmare.
An you can see7 ever'
where, di famine an' di
fear,
Di doubt an' di drought,
desperashun an' despair,
An' you can see't all aroun'
di massahkah's aboun'.
Dead bodies all aroun',
d'atrocities aboun',
missin' people can't be
found,
Dictators get dethroned,
new clones are guickly
found.
LKJ usually includes a
slower, introspective poem
on his albums, and I
thought Reggae fi Dada was
it on Mcnuiig History/, a
track which highlights his
haunting, menacing voice in
all its compelling sorrow, it
being an ode to his dead
father, until suddenly, halfway through, he suddenly
lashes out at the oppressive
Jamaica he believes was the
cause of the death.
That quivering intensity is
carried through to the last
track, New Craas Massahi-
kah , the high point on Making History ■ If you've been
put off by the thick Jamaican patois accent up 'til
now   (why   should   you,   it's
half the beauty of this kind
of music f'crissakes!), then
this poem is a damned good
reason for you to try and
understand it. Dammit, I'll
translate it for you myself if
you call CITR!
It's about an arson attack
at a birthday party which
claimed the lives of 13
young blacks. LKJ bares his
emotions -- you can almost'
see him spitting the poem
at you, teeth clenched, eyes
glaring, nostrils flaring. It
slaps you in the face. I
challenge you to listen to
this poem and not be
moved.
The subject matter of
LKJ's work, along with that
of the late Michael Smith
and recent visitor Mutabar-
uka et al, has meant that it
has been largely ignored by
all but a few discerning
music fans. However, you
don't have to be black to
identify with this album.
Listen to it if you're a
woman, if you're gay, if
you're handicapped, if
you're a punk. Listen to it if
you're a part of any community that's ever been discriminated against. It throws
a glaring spotlight on anyone who's ever been guilty
of bigotry, prejudice and
ambivalence.
On you and I?
Sukhvinder Johal
-ftx®
^\oi
^
0*>°
■\o<«
<**
sP
Refreshing new sounds
are so hard to come by
these days, especially from
the diverse yet somewhat
stagnant British music
scene. You certainly won't
find any from this band,
unfortunately. The Alarm
pushed their way out of a
small town in Wales last
summer with a measure of
talent, some huge aspirations, and a ton of recycled
musical ideas.
This four-piece will surely
appeal to the "new generation" of music fans; those
who missed out on the truly
glory days of the Clash, the
Undertones, the Buzzcocks,
and other fine, hard-
edged pop bands. (One encounters great difficulty in
not comparing the Alarm to
other bands, since their
plagarism is so evident and
so blatant.) The British
music press --fickle, but usually accurate- are critical
of the Alarm for this plagarism (the NME dubbed
their lead singer "Bonzo,"
and their guitarist, "the
Fridge") and are justified in
this criticism. North America,  on  the other hand,   will
eat the Alarm up like
candy, and the Alarm will
stand on their high horse
and blow kisses to their
adoring fans . . . yecch.
Now, I don't mind the
power-pop of groups like U2
and Big Country; in fact,
the more I hear the Alarm,
with their blood-and-thunder
Christianity and savage moralizing, the more I respect
the other bands for their
originality. Inoffensive pop
songs abound on this LP:
brazen, trumpeting guitar
breaks, cymbal-crashing percussion, impassioned vocals
(Mike "Bonzo" Peters
sounds as if he'll burst into
tears if we don't listen to
him and agree with him);
it's not as if they didn't try.
Recognized as one of the
re-institutors of the acoustic
guitar to the rock world, the
Alarm have a sickening tendency to exploit a marvelous
instrument in a negative
way. Listen to Shout to the,
Devil then listen to U2's
Drowning Man (from the
War LP); ask yourself who
stirs up more emotion with
the acoustic guitar. Another
question: what do you think
of a band that puts out a
song entitled We are the,
Light? Sound pompous? You
bet.
Well-intentioned as they
may be, to bare your heart
on a piece of vinyl only
works when you have something meaningful, important
and original to say. If
you're looking for a band
that fuses a powerful message with powerful music,
check out the pace-setters:
U2, the early Clash, etc. . .
Never settle for the cheap
imitation when the real
thing is right at your fingertips.
Jason
o^>m (FRIGHTS
3 SONG ^Srrmjrn
J D records ^P
Available at:
Zulu Records
Cabbages & Kinx
. Collectors RPM Records
Odyssey Imports DfSCORDER  page 7
Program Features
MUSIC OF OUR TIME
Every Sunday, from 8:00
a.m. until noon, CITR presents a unique and unpara-
lelled musical experience -
Music of Our Time. This
acclaimed program features
the finest in 20th century
classical music, from the established landmarks of such
composers as Stravinsky,
Schoenberg and Webern,
the avant garde masterworks
of Xenakis, Ligeti and
Penderecki, to the popular
current composers Steve
Reich and Philip Glass, to
name but a few. In addition, local composers are
featured, many of whom are
working with computer music, artists like Jean Piche,
Martin Bartlett, and the
Cassation Group. Also featured are live and pre-recorded interviews with these
local composers and visiting
ones as well. These give the
listener a rare opportunity
to understand the composer's point of view, and the
New Music Calendar at
10:00 a.m. keeps you informed of contemporary
music concerts in and
around your area.
Hosts Jay Leslie and Ken
Jackson keep the atmosphere friendly and congenial
-r refuting the notion that
modern classical music must
be starchy, esoteric, and unapproachable. Tune in and
have  your  horizons  expand
ed!
KJ
SUN
MON
TUES
WED
THURS
FRI
SAT
7
8
MUSIC
OF OUR
TIME
-NEWS—
-SUNDA Y-\
-BRUNCH-
THE
ROCKERS
SHOW
AFFAIRS
9
PUBLK
9 AM
EAST REPORT   10 Ai\
10
BREAK
'
r         1
FOLK
11
NTER
ATlONALl
1
12
-NEWS'   1
REPORT   1
1
LUNCH
FM
2
3
RABBLE
WITHOUT
A
PAUSE
REAK  3:31
THE
PLAYLIS'A
SHOW    1
SEWSr
PM
4
SPORTSBREAK  4:30 PM
5
6
SUNDAY
DINNER REPORT  b PM                               c -r,rt>n A vl
MAGAZIN1
7
M
rAGAZINE\
7
8
SUNDAY
NIGHT
LIVE
HIGH PROFILE      8 PM
9
FAST
FORWARD
FAST
FORWARD
JAZZ
SHOW    !
JAZZ
SHOW
10
11
FINAL VINYL        11 PM
41
PLAYLIST]
12
1
LIFE
AFTER
BED
LATE
NITE
AFTER
NIGHT
name
this
show
PLACEBO
RADIO
\random\
AFTER    1
HOURS  insomniaX
2
3
II	
Hiah Profile
WEEK 1
APRIL '84
Mon   02
EINSTEIN ON THE BEACH -
3ART 1
Tues   03
FRENCH LETTERS
Wed   04
THE SMITHS
Thurs 05
FRESHIES
Fri      06
M & M
Sat      07
LINTON KWESI JOHNSON
WEEK 2
Mon   09
EINSTEIN ON THE BEACH
- Part 2
Tues  10
QUINTESSENCE RECORD LABEL
Wed   11
CHARLIE FEATHERS
Thurs 12
RAINCOATS
Fri     13
HOLGER CZUKAY
Sat     14
SUBWAY SECT
WEEK 3
Mon    16
EINSTEIN ON THE BEACH
Part 3
Tues   17
RANK AND FILE
Wed   18
GRANDMASTER FLASH
Thurs 19
BUZZCOCKS
Fri      20
YELLOWMAN
Sat      21
SHAKESPEARE
Mon   23
EINSTEIN ON THE BEACH
Part 4
Tues   24
3 HOUR SPECIAL
Wed   25
VIOLENT FEMMES
Thurs 26
TOM TOM CLUB
27
U.K. DECAY
Sat      28
BRAINEATER HISTORY
Mon    30
FLOATING ANARCHY
I
Public Affairs
CITR Public Affairs  is alive and  kicking,  and
hidden beneath this seemingly innocuous label
are shows designed to titillate, inform, enthrall
and generally make life worth living.
Tune in weekday mornings at 9:00 a.m. for:
Mondays: Et Cetera: covers a wide range of topics of
social, health and frivolous concerns. Usually hard hitting
but has fun topics, too.
Tuesdays: Dimensions: covers a wide range of political
issues, current events, topics of interest and relevance to
the community.
Wednesdays: Artists Only: featuring interviews and profiles with people in the arts world. Painters to playwrights and everything in between are on this show. If
you're one of the artsy types, this one's for you.
Thursdays: Heavy Issues, Heavy People: this is a newcomer on the scene. Whatever's hot and controversial,
this show tackles. The debut show featured a debate
between Clint Davy from Project Wolf and Dave Ball,
CITR's Veep. Immediate, hot, and heavy: that's the
format.
Fridays: Sports Unlimited: looks at what else? Everything
for the athletically minded type is on this show.
Just a reminder that this wide world of Public
Affairs is open to all. If you or your group has
something to say, we can give you the means to
say it. Or perhaps you'd be interested in a more
permanent connection. If you'd like to take
advantage of CITR's Access service or join CITR's
Public Affairs   Staff   call:
Venus Carson-Corkill    228-3017
TOP 50   BANDS
1. The Smiths
2. Iggy Pop   and the
Stooges
3. Echo and the Bunnymen
4. Jonathan    Richman    and
the Modern Lovers
5. The Cure
6. Laurie Anderson
7. Simple Minds
8. David Bowie
9. Fad Gadget
10. Trevor Jones
11. Bunny Wailer
12. U2
13. Siouxsie and the
Banshees
14. Violent Femmes
15. Psychic Healers
16. Agent Orange
17. Animal Slaves
18. The Clash
19. ESG
20. Elvis   Costello     &   the
Attractions
21. Eyeless in Gaza
22. DOA
23. Fred Frith
24. Go Four 3
25. Ray beats
26. The Three O'clock
27. Wall of Voodoo
28. Corsage
29. John Cale
30. Alien Sex Fiend
31. Ultravox
32. The Cramps
33. Talking Heads
34. Dead Kennedys
35. Bauhaus
36. Nina Hagen
37. Stranglers
38. Bill Nelson
39. Art of Noise
40. Joolz
41. The Jam
42. Tom Waits
43. Spear of Destiny
44. Orange Juice
45. The Alarm
46. Cocteau Twins
47. Magazine
48. 54/40
49. Black Uhuru
50. Joy Division
Please do not adjust your
DISCORDER. This is not a
test. This is a blurb.
B-L-U-R-B. What in God's
name is a blurb? And why
do I have to write one?
(Because we, the management, will remove a vital
organ from your wretched
carcass if you don't!)
Here goes! At long,
bloody, last, D.O.A., those
perpetual paragons of punk
and pith, have been supplanted from their No. 1
position. Mr. Keighley (the
spotlight Kid) now becomes
the Limelight Kid, at least
for this month.
More Notes . . . Jonathan
Richman's fantastic (and
well-attended) shows in this
fair city boost his airplay
immensely . . . The Smiths
have an LP out that follows
the pattern of consistency
established by their first
three singles . . . Where in
Sam Hill did U2 come from?
Heaven, I suppose . . .
Seven local artists here,
three with great vinyl . . .
Animal Slaves and 54/40 on
Mo-Do-Mu and Corsage (the
Phil Smith Album) on Zulu
Records. Buy 'em!
This list represents the 50
most-played artists, regardless of their present existence, the age of their LP(s),
or their present state (or
non-state) on the weekly
playlist. The list does not
reflect the tastes of any individual or group; it is,
however, a pretty good bet
that you will hear a number
of these bands during any
given portion of CITR's general programming day!
This blurb has been a
CITR presentation.       Jason 

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