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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1984-03-01

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guide to CITR fm 102
Branford Marsalis
FREE TA guide to CITR /m (02
X - Having much more fun?
I can't stand the first song
of a concert. The band tends
to try a little too hard, the
audience still worries if they
have used enough Joy-Gel,
taken the wrong amount of the
right drugs. Too much apprehension for me. So I wait
until I hear the opening
strains of "We're Desperate"
before I enter the ballroom.
It's electric. My feet start
hopping, my spine is tingling.
The audience stands calm,
Vancouver laid back. I don't
care to be cool -- gotta dance,
gotta move. X is in town, and
my ears ring with the
Exene stands wrapping
herself around her mike, like
some red-haired modern-day
Medusa. The energy with
which she bends her voice
against John Doe's takes her
concentration, rivets her feet.
Billy stands back, playing
wild, standing easy, grinning
slow like some blonde, baby-
faced James Dean. And John
bouncing his bass, dancing,
pulling it all together. His
voice croons half screams into
the crowd. Hot, hot, hot.
X, a study in contradictions.
Punky, yes, rockin', yes. But
there are strains of country
and western, sixties rock,
even rockabilly. The American
roots are there, but the lyrics
cut hard at the American
dream. Hey, John Doe, what's
going on?
"To me, the American
dream is to be able to get a job
and live. But you get all the
redneck nationality. I always
see the typical American as
being a farmer who could
come to an X concert without
ever hearing anything of punk
rock and saying, 'Goddam
those guys sure play fast, but
they're sure having fun and
these kids are having fun.
That's okay with me.' That
kind of open-mindedness.''
The band is aware of the
contradictions. Doe notes that
he feels that the clash between the music and the lyrics
is their main strength. For
him, the roots are real. Then,
he reflects on his government.
"I feel fine about the
people. But the government
won't respond. Like the
Central American thing.
There hasn't been a group of
people who have been able to
tap the American sentiment.
Overwhelmingly, the American people want to leave those
people alone, let them get
their farms together and live.
Obviously the government
wants to see it differently."
But Doe feels there
limits to a rock band's poli
effectiveness. "You have a
choice between playing music
or becoming one of the Vancouver Five. I feel you have to
make that choice. You can't do
both, you can't be a politician
with a guitar. Except you can,
raise a few people's
"I think it's a real slow
change in America. With all
the protests, we did eventually get out of the Vietnam
war. And you can buy wheat
bread in the supermarkets
Ultimately, X prefers a personal politic. Their songs are
admittedly autobiographical.
'Exeneand I go through all
sorts of weird things. The
songs are just made .i litile
more surreal. We just make
them a lot better or a lot
worse. Just a lot more of
whatever it is."
But it all comes back to
music. And though we baited
the category hook, John Doe
refused to bite.
"When the term punk came
to be, it meant anything that
wasn't Peter Frampton. When
it all started out, people were
listening to bands as diverse
as the Talking Heads, the
Ramones and Blondie. One
was an art band, another a
rock and roll band, and the
other a pop group. But they
were all punk because they
were different from the mainstream. Now punk doesn't
mean anything, except people
construe punk to mean hard-
"I think we sell records
faster. But they end up selling
the same amount. We are
able to tour a little more
comfortably because they can
advertise and get more people
out to the gigs.
"But the radio stations still
don't notice us. It's involved
with the Nazi politics they call
formatting, going from Styx,
Journey and Foreigner and
then pulling a switch and
going to country and western.
If that doesn't work, then they
try Duran Duran and A Flock
of Seagulls. It's just that
single mindedness that drives
me nutty.
"We are getting some more
exposure, even on the occasional FM chart, but it's still
mostly the college stations,
non-commercial stuff and
public support."
core, which is something you
do, like D.O.A., when you
first start out and you want to
play as loud and as fast as you
And certainly X started out
playing loud and fast. They
still do it as well as any in
the business. But the roots are
always there, and perhaps
because of this respect for a
broader musical spectrum,
they are one of the few
alternative bands to get picked up by a major label. Above
the din of those crying "Sell
out!" we asked Doe what this
has meant to the band.
So, John Doe, where does X
go from here?
"I really wish I knew,
because we're supposed to be
recording a record. Exene
and I have written a couple of
songs that are real personal.
X's records have been going
bummer, fun, bummer, fun
So I guess we're up for a
bummer with the next one.
"We might record the
Troggs' 'Wild Thing.' We did
it for a whim at a gig in Los
Angeles, and a couple of guys
in the record company went
wild. They think it'll be a big
hit. I don't care. I'll record it.
The guy who engineers and
produces Scorpions is going to
do it when we get back."
Back at the concert I'm still
shaking, but the band is
getting distracted. A wall of
spit forces Billy back to the
safety of the shadows at the
back of the stage. Exene
reminds the crowd that 1976
was some years ago. Her
complaint is greeted with one
particularly well-placed gob.
One more song, and the band
leaves the stage.
A chant of "no spit" rises
from voices frustrated from
too many years of misplaced
concert machismo. For several
minutes the situation remains
tense and tenuous. Finally, a
sense of mutual order is
established, and the band
returns. After a brief "Thank
you" from Exenei, the band
plays again like this place, this
crowd, this song is all that
Later in the dressing room,
I ask John Doe about the
incident. "I feel like I'm being
a Dad," he moans, "but it
was a good show, wasn't it?"
Exene offers a different
commentary. "What I think I
didn't do was be like a Dad. I
didn't talk like I was a parent.
I talked like I was somebody in
a bar and had just gotten spit
on. If I was in that hall tonight
and I was drinking a beer and
some guy came up to me and
spit in my face, my fist would
go back ana I would hit him."
I dare to suggest that she
handled the whole thing with
some degree of class, and
Exene bristles. "There's one
thing I don't know nothing
about, I don't know nothing
about class. I just recognized
the situation and decided, as
shy as I am, really, I better do
"But there's nothing you
can say, really. Especially
when you tell people not to
spit, and they keep spitting on
you. 'OK, well, make fun of
me. Fine.'"'And so X walked
off stage. Nothing new for
Exene .
"We do that all the time.
Anytime someone causes
trouble, we leave until the
problem is solved. We just
don't play under those conditions."
Often that kind of confrontation between audience and
performer can rip a show
apart. But for X it seemed like
the moment passed and the
energy inherent in their sound
just ahd to take over. Exene
is quick to explain.
"That's the way we are, you
know. When the song that
we're doing is being played,
that's all we care about."
David Firman cinn^DiSfccmpER
fffllOS Cable 100
Chris Dafoe
Fiona MacKay
Dave Ball
Harry Hertscheg
Jason Grant
Fiona MacKay
Dean Pelkey
Robin Razzel
Steve Robertson
Japhy Ryder
Michael Shea
Harry Hertscheg
DISCORDER is a monthly paper publisher by the Student Radio Society of
e University of British Columbia. Discorder provides a guied to CITR Radio,
lich 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 antennae attached to your receiver. For
those of you with persistent reception problems, CITR is also available
i at 100.1 in Vancouver, West Vancouver, North Vancouver, Burnaby
Richmond, Coquitlam, Port Coquitlam, Maple Ridge and Mission.
DISCORDER is distributed throughout the Vancouver area. Enquiries about
^advertising in DISCORDER or distributing free copies of DISCORDER at a
location can be made by calling 228-3017. General CITR business
inquiries or information about renting the CITR Mobile Sound System is also
ivailable at 228-3017. The request line is 228-2487 or 228-CITR.
DISCORDER   is   distributed   at   the   follow
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You too can
2475 Dunbar street
(604) 734-4617
Heddy Metal
and the Barbs...
.in search of the elusive
Airhead at Unit/Pitt's
Wrong Wave '84
OfR   H6Afe
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T 2A5
Jazz, Rock, Import Rock, Folk, Blues and Used
2936 W. 4th Ave., Vancouver, B.C.  V6K 1R2, Phone 734-2828
Dear Airhead,
At the current Corsage concert a very disturbing incident
occurred which prompted me
to write. A friend of mine was
roughed up, thrown down the
stairs, and forcibly ejected
from the building due to some
simple misunderstanding. A
person who was trying to
enter with a beer was pushed
into my friend by a security
goon; the beer was spilt on my
friend who then uttered an
expletive, and the goon
wrongly assumed it was directed at him. Attempts to
explain -proved futile as my
friend was being thrown down
the stairs. Appeals to the
other security goons resulted
in statements such as, "We
leave him alone; he's a
psycho; do what he says." As
CITR promoted the event, I
feel it is your responsibility to
control the security goons who
are supposedly controlling the
crowd. I am very disappointed
that something such as this
could have occurred, and I
expect it to be looked into. It
would seem that the policy of
your security goons is: Hit
first, ask questions later (if. at
A very disillusioned CITR fan.
I sympathize with your concerns, but I must inform you
that CITR does not "promote" events, in the sense
that we act as a booking agent
or production company.
Generally, our involvement is
limited to promotion in an
"on-air" context. Thus, the
security "goons" are not ours
and they are outside CITR's
jurisdiction. We do, however,
deplore the notion that a
security badge is a license for
Dear CITR/Discorder:
I have been listening to
CITR for about one year now,
since I moved to Vancouver
from San Francisco. I think
your station is fantastic! The
radio in Vancouver, except for
you guys, has to be the worst
that any large North American
city has.
The only complaint I have is
that your signal is so weak and
is not stereo. I would gladly
pay a fee every year in
order to fund your signal
expansion, and my auess  is
that a lot of other people
would, too. Say, $25-$30 a
I find myself extremely
frustrated every time I try to
tune into your station. If I
move around in my living
room while listening to CITR,.
the signal dies! I have to be
sitting down in order to enjoy
it. And, you must agree,
that's ridiculous.
I would also like to see
Discorder give info on what's
going to be on your station. In
the I BRAINEATER issue, all
there was was a box which
was so confusing it was useless. What album and artist
features are going to be on
this week? I don't know. Why
don't you list them in the
Well, that's about all I have
to say. Keep up the good
work. I love the station and so
do a lot of others.
Yours truly,
Ted Thomas Jr.
P.S.  You should  also go 24
hours . . . stopping at 1 a.m. is
Dear Airhead,
Now that I have your attention, I'm getting sick and tired
of all the asshole jocks around
campus! I went down to the
Pit downstairs of the S.U.B.,
and you wouldn't believe all
the jerks down there! Football
jocks, by the hundreds! And
they got the I.Q. of a piece of
furniture. They all got their
cutesy little fag bags! And
t-shirts advertising some faggot football or hockey team.
And the worst thing about it,
these macho shits look like
they had a tire pump shoved
up their asses and been blown
up. I walked in there wearing
my punk outfit, and at least 20
dozen eyes gawk at me for
about 5 minutes. Why can't
they just grow up and accept
the fact that we are here if
they like it or not!
Your faithful reader,
Joey Meat rack
I look at your "Top 50" in
the February issue and can't
help noticing how guitar-oriented and familiar most of
the artists are. It seems such a
shame that CITR presents the
opportunity to expose truly
innovative and exciting new
music and yet offers a top ten
that includes the likes ot
D.O.A., Iggy Pop, X,
Jonathan Richman, Cramps,
etc. — all worthy acts but
stagnant as hell compared
with what is really HAPPENING -- RIGHT NOW at the
forefront of today's music
scene. I am now referring to
bands like Portion Control,
Legendary Pink Dots, Nocturnal Emessionsand Einstur-
zende Neubaten to namevr
zende Neubaten to name just
a few (none of whom can be
found on your Top 50).
I believe your own Mark
Mushet is well aware of the
importance of these artists,
and so I hereby nominate him
as the new program director
for the station. Perhaps then
CITR might have some vitality, foresight and impact,
instead of dwelling on all
these tired old guitar rock
incarnations, few of which
were even new three years
ago, let alone now.
Yours sincerely,
Greg Rum
Personally, I'm partial to
Household Appliances, if only
because they're willing to gig
in my kitchen whenever I'm
hungry; and anything on the
Black & Decker label -- home
of the hits, as we handyman
hipsters well know.
Just  say  O.V.,   Joey,
they'll leave you alone.
For the second month in a row
Discorder is not terribly . . .
Thrilling. 54-40 sucks. The
standout track is Jonathan
Richman. Japanese fashions .
. . UCK. . .
Dear Airhead,
Discorder is cool, but it
needs more ads. How come
stores like Zulu and Odyssey
don't advertise? They
wouldn't be around if it
weren't for you guys (CITR)!
Why don't you tell that?
I agree; obviously, I'm slightly
biased. However, if you check
out back issues of Discorder
[admittedly scarce], you'll
find that Zulu has advertised
in almost every issue. Branford Marsalis - A Big Brother Talks
Bran ford Marsalis, 23, is
saxophonist in the Wynton
Marsalis Quintet, probably
the most successful jazz group
in America today. Led by his
22-year-old brother, the band
has recorded 2 critically-
acclaimed albums, "Wynton
Marsalis" and "Think of
One", and this year Branf ord
will be releasing his own solo
project. I talked with Bran ford
during the Quintet's recent
10-day stint at the International Plaza Hotel.
Let's first talk about your
own album - what's that
going to be like, and who's
on it?
The guys in Wynton's band
- part of it -- Jeff Watts,
Kenny Kirkland, and there's a
young 16-year-old bass
player, he's a phenom:
Charnett Moffett, he's incredible. And Ron Carter, drummer Smitty Smith, and Mul-
grew Miller, who plays with
Art Blakey now - that's most
of the people.
Are you doing any writing for
this record?
Yeah, yeah! I got three
tunes on it, which is a milestone for me, considering
that I've never written anything at any time in my life
before. And I hope people like
them. A couple of the tunes I
like, one's all right. One was
easy, I just played. It was fun.
The whole album was fun. It'll
be out next month, too. Save
all your nickels and dimes,
folks, don't go to the movies,
put it in a little piggybank with
my name on it; when the
album comes out, buy it. The
name of the album is "Scenes
in the City". The album cover
is absolutely bizarre, I think
you'll like it. I mean, it doesn't
look like a Nina Hagen album,
or Ozzy Osborne with dead
pigs all over and stuff, but for
jazz, I guess it's unusual.
Are there differences between you and Wynton as far
as your personalities go?
Yeah, I think so. He's a very
intense guy. I mean, to do the
things that he's done in such a
short span of time, you have to
have a certain intensity to
ward off all the wolves who try
to get to you and confuse you.
There's a lot of pressure on
him in what he does, what
he's doing. Four different
Grammy nominations in two
sections of music ~ that's
pretty demanding. I tend to be
more laid back. Things don't
bother me that much.
Do you think Wynton's
developed as a band leader?
Oh yeah, a lot. I mean,
leaps and bounds. His command over the band changes
as time goes by; he grows into
it every day the more that he
does it. He's become a lot
more relaxed about it. There
used to be a point where
people would say, "He lets
the band play too long." Well,
we can play for a million
years; when he's playing, you
know whose band it is.
So what do you say to a
critic who suggests that you 're
free-loading on Wynton's
I say thank you. I don't
know. I mean, in a way I am.
But people are family-oriented. They want to sell a story,
they'll latch onto something.
You know, a great trumpet
player's a good story, but a
great musical family's a bigger story. They don't say,
"The Wynton Marsalis Quintet", they say, "The Wynton
Marsalis Quintet with his
brother Branford on saxophone". I didn't walk up to
him and slip a dollar in his
hand and say, "Hey buddy,
why don't you put my name in
that paper?" I wake up in the
morning, and it's in there.
It's like Wynton; he wasn't
in high school saying,   "One
day I'm going to be a star."
He said, "One day I'm going
to get a record contract." He
knew that. And he was right.
He started playing music because he loved it. I play the
music because I love it and I
love playing in my brother's
How old are your other
brothers, and are they going
into music?
Ellis, the 19-year-old's a
law student at NYU. The
12-year-old's autistic, so he
won't be playing much of
anything. Delpheayo is the
18-year-old, he's at Berklee
College of Music right now,
playing the trombone; he's
either going to play music or
be an engineer. He has a lot of
production plans and things
like that.
And Jason is the boy
wonder; he's the child
prodigy. He's seven years old,
he has perfect pitch, total
recall and he plays three
instruments -- drums, piano,
violin. You can put on any
record, I mean, you can
put on a Miles Davis record
and say, "This is Clifford
Brown," he'll say, "No, that's
Miles Davis." When I was
seven years old, I could have
cared less, let alone actually
have known it. And he has a
tremendously  high   IQ   .   .   .
He's  a  genius.   He's   either clones, and I didn't want to
going to be a mental case, or sound like a clone, so I would
he's going to be one of the just avoid the music,  like it
greatest musicians who ever had   no   significance   at   all.
lived. It's that simple. Eventually, I had to come to
terms with it,  so I  did,   but
What   do   you   think   of mostly it was Charlie Parker,
commercial music these days? Cannonball Adderley,   Lester
I  used to really love com- Young   ...   I   listened   to
mercial music; now I'm mov- everybody,
ing away from it because it's
so processed. I mean, they're And tried to pick up stuff
trying to just get some music from everybody. . .
style where everything's just Exactly. I learned all of the
straight up on the seam, and trumpet   solos   on   "Clifford
soul loses its identity and rock Brown with Strings,"  bunch
loses its identity and it's just of  Miles'  solos,  Clark Terry
some hybrid stuff. solos,   'cause   they're   really
This   guy   Bill   Laswell's hard to play on saxophone. I
good. He has his own identity, figured   if   I   could   get   the
his own way he wants to do trumpet technique down, then
things;   I   like   it.   But   then I could use it in a way that no
there's other groups - Duran other    saxophone    players
Duran, The Police - they're could.
cutie-boys, but their music is I learned a couple of piano
nice; it's trendy stuff to me. It solos   because   their   accents
ain't going to set no pace. are different.   So you  try  to
That's my opinion, though, incorporate their accents into
That's the problem with being your music, and it makes your
a musician; you subject every- music   sound   different,   be-
thing to your standards.   It's cause   you've   started   to   do
hard for me to just listen to things that saxophonists tradi-
something and take it for face tionally don't do.
value. I mean, Duran Duran's
good 'cause it makes teenagers happy -- screaming fanatics. They have something to
it's an emotional outlet,
Do you ever think of leading
your own band?
Yeah, I think of it ... I also
think   of   getting   a   million
and that's important.  You   dollars or playing football for
can't expect people
around and enjoy jazz and
intellectual music, you know,
sit around and listen to Beethoven   and   Vivaldi   all   day,
the Green Bay Packers. I think
about it, yeah, but I'm not
really entertaining it sericjus-
ly. Not any time soon, 'cause
there's no reason to leave the
'cause   that   would    make   band I'm in. It's a great band,
people rather routine, and
would also diminish the significance of those kinds of
musics. Because most people
in the world just aren't overwhelmingly   intellectual,   you
we're accomplishing a lot of
things. I learned a lot of things
just being in Wynton's band
and watching the business
side, which, had I had my own
band, Wynton and I would be
know?  It's not meant as an    learning the same things at
insult, it's just that if everybody was a leader, then the
leaders wouldn't be anything.
Most people are followers,
and that's cool. That's what
makes jazz and classical music
so eclectic.
Of course, we have to talk
about what jazz records you
listened to when you first
started playing jazz - the all-
important ' 'influences"
Charlie Parker, then I got
into Miles Davis. I got into
John Coltrane very, very late.
This guy Billy Pierce, who was
in Art Blakey's band, forced
me to listen to some 'Trane
one day and explained it so
logically that I couldn't help
but like it. I was just so
afraid to play it because so
many people try, and his
music's so strong that they
fail;   they   just   sound   like
the same time, with nobody to
lean on ... it would be stupid.
And now we're together, and
as things happen! can be
there if he needs me, and I'm
getting a first-hand view of
things without having my neck
on the chopping block. I'm
just content where I am.
-Fiona MacKay
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Sparkle in the Rain
The first thing I wanted to
do when I saw Simple Minds'
newest release Sparkle in the
Rain was put a bag over it. It
must rank as one of the most
hideous examples of cover art
I've ever had the displeasure
of seeing. A friend even went
so far as to say that it was
worse than the Vancouver
Canuck's logo...(True!)
However, despite Sparkie in
the Rain's decidedly unorthodox album cover, I'm sorry to
say that from a musical standpoint the album is anything
''Conventional'' about
sums it up: Simple Minds
have decided they want to be
liked, preferably and particularly by commercial radio. To
be accurate, that decision
appeared to have been made
several releases ago with Love ,.
Song, their first Canadian
Top-40 single. Their musical
strategy has remained the
same since. Sparkle in the
Rain merely takes their desire
another step further.
Listening to this album is a
little like eating Cream of
Wheat the day after you've
had four impacted wisdom
teeth pulled: you may not
actually enjoy it for its' own
sake, but it slips down the
throat without  having  to  be
chewed. Sparkle in the Rain
suffers from similar bland-
ness. A little more contrast --
and a little less cloying drama
— would have made the
difference, would have lent
some bite to their material.
Steve Lillywhite got his
hands on this one and his lush
production has much to do
with Simple Minds' conspicuous and disconcerting resemblance to the bands Big
Country and U2. It is bound to
be argued that Peter Walsh
did a far more interesting job
with their last LP New Gold
Dream But the purpose of
hiring Lillywhite as producer
this time around seems plain
~ to make Sparkle in the Rain
a BIG SUCCESS. His stamp of
approval, however, may mean
the kiss of death in music's
alternative circles.
From Pop to Progressive to
Danceable to Hugely Successful -- is that the Simple Minds
master play? Maybe that's an
obvious question with an
equally obvious answer. And
perhaps the question of
accessibility as a musical
virtue is naive. Still, the
consensus concerning Sparkle
in the Rain may be that Simple
Minds are trying too hard in
the wrong direction and have
lost the more important
quality of individuality in the
Idealism aside, let us conclude that Simple Minds are
playing ball with the big boys
now. I still might be moved to
go home and play Sparkle in
the Rain at full blast while
I'm cooking dinner in the next
room. Why? Precisely because it IS reasonably likable,
certianly easy to listen to, and,
principles aside, more or less
inoffensive. Something to
dance to while you mince the
onions. It is — unfortunately --
NOT an album to be taken
Robin Razzel
Golden Palominos
This album fs a collaboration of six musicians who are
really making moves in the
New York music scene. Anton
Fier, Arto Lindsay, Bill
Laswell, David Moss, John
Zorn and Jamaaladeen
Tacuma have been making
appearances as The Golden
Palominos for about a year
and a half now; this is the
first time they've put their
music on record. The result is
a successful mix of 1970s
avant-garde rock and 1980s
Ornette Coleman-style funk,
with a hefty dose of that rare
spice, "danceability." This is
not a trendy pop album, but
for those who will take the
chance, there are a lot of
surprising, eclectic ideas to be
found in this band's music.
Anton Fier and Arto
Lindsay are credited with
most of the compositions; Fier
is known for his drumming
with the Lounge Lizards, The
Feelies, Pere Ubu and David
Thomas and The Pedestrians,
while Lindsay was the leader
of DNA (see the "No New
York" LP). Laswell provides
the   swirling  bass sounds
throughout, doubling up with
Tacuma -Ornette's band- on
two tracks. David Moss donates such interesting things as
"non-rhythmic percussion"
and "Bertola Sound Sculptures, '' and Zorn is on alto sax,
clarinet and game calls (more
about those later). Also present are Fred Frith and
Michael Beinhorn (Material
With such an eccentric
bunch as this, one might
expect an album of esoteric
meanderings through the outer realms of musical mayhem.
Fortunately, the combination
of talent here has managed to
avoid excess. The tracks on
this  LP are all  5-7   minutes
long, but the musicianship i
so tight that the tunes rid*
along without making the
listener strain to understand
what's happening. It's like
being in a very noisy disco
watching videos of Mutual of
Omaha's Wild Kingdom.
(That's where the game calls
come in: bees, horses, you
name it, it's there somewhere.)
A novel concept... if this is
the kind of music you've been
itching to hear, trot on down
to your local disc emporium
and buy this album.
Come Away
I wanted to tap my foot. I
wanted the room to vibrate. I
just wanted to DANCE, god-
damit! ESG make it so easy;
they play music that even your
bones can hear.
Come Away is an album for
people who take their writhing seriously. No pseudo-im-
spiring swirling synth overtures to grimace through
while we wait for this week's
pop star to invoke his all to
often impotent muse. ESG cut
right to the heart of the matter
using only the most basic
This album is dominated by
bass - chunky, throbbinh,
thoroughly overpowering
bass. A variety of percussive
devices --congas, cowbells,
and vibraslap-- embellish the
solid backbone of the bass
line, with just the occasional
pinch of guitar or synthesizer thrown into the recipe for
atmospheric effect. Voila, the
sound of ESG.
ESG is truly an R & B family
affair. The four Scroggins
sisters   -Renee, Valerie,
Marie and Deborah-- handle
bass, guitar, drums and miscellaneous percussion with
Tito Labran banging the congas. All the girls do some
singing, although Renee assumes the greater part of the
vocal chores.
But what's the message,
you ask? What colour is ESG's
high horse? Come Away is a
simple, happy exhortation to
transcend mundane reality in
the easiest way possible ~
dancing. Even those of us
who, for one reason or another, aren't overly fond of
getting up on the dance floor
and really babooning in, will
be hard pressed not to pulsate
to the sound of ESG.
Doldrums? Come Away is an
extremely therapeutic record
-with no side effects.
 Steve Robertson
Classic   to  Contemporary
open 7days
carrall   st.
Realistic Prices
King Kurt
Ooh Wallah Wallah
Cow noises! They got cow
noises I tell you, right at the
end of one song. And fiddles,
not just guitars and drums,
but fiddles. And listen to
these names: The Smeg,
Maggot, Thwack, Rory, John,
and Robert.
Collectively they're known
as King Kurt, a band of sorts,
and how they got Dave
Edmunds to produce them I'll
never know. Anyway, their
record is called Oohwallah-
wallah and the more I listen to
it the more I feel that...well...
it's just not serious!
For instance, look at the
picture on the back of the
album cover; six idiots with
funny haircuts leaning over
each other with their chins
outstretched. These are definitely six guys who you
wouldn't want to take to a
formal dinner with an old and
proper aunt. They'd probably
end up drinking champagne
out of shoes and wearing
lampshades on their heads.
And as for the record, well
it sounds just as goofy as
these guys look. Try to
imagine a barbershop quartet
on bennies all set to a speeded
up 4/4 beat with trival drums
an led by a guy with a mutated
Texas accent. No ordinary
rock band would dare sound
like this, but then again, no
ordinary rock band would
include covers of "Mack the
Knife," "Ghost Riders in the
Sky," and "When the Saints
Go Marching IN" all on one
I don't know, somewhere
down   the   line   these   guys
decided they were only in the
music business for fun and
damn it, it's contagious!
Listen to the single,
Destination Zululand; if it
doesn't get you bouncing off
the furniture nothing will.
So what I want to know is:
who told these guys life was
all fun and games? They act
like they can just stagger off to
any old place and have a
party, so what if they've got
this record to back them up? I
don't want fun and I don't
care how many times I hear
this record. I'm a serious,
mature person. I want
meaningful music. So there.
Dum di dum de dum	
oohwallahwallah oowallah-
wallah dance to the zulu beat.
Oh damn it, I'm hooked.
Dean "Rock and Roll is a
Serious Business" Pelkey John Cale
Carribean   Sunset
Alien Sex Fiend
Who's Been Sleeping
m my Brain
Dear Uncle CD,
Please help me! I'm confused! You see, all of my friends
have been telling me about
this new band from England,
Alien Sex Fiend. Some of
them say that these guys are
new, revolutionary, and exciting music that's happening
RIGHT NOW! The others say
that ASF are nothing but a
bunch of rip-off hype trendy
wankers. I borrowed the record, and I can't see what all
the fuss is about. Am I clued
out or what?
Your loving nephew,
Don't worry, you're not
alone. I can't fkgure what all
the fuss is about, either.
Jeffery Lee Pierce calls these
guys "Batcave Assholes;"
others tout them as the Next
Big Thing. As far as I can see,
it's really just another case of
the Brits stealing American
ideas (see: punk, rock 'n roll,
etc.), repackaging them, and
selling 'em back to the Americans at inflated prices.
ASF are TRASH: skulls,
bones, ghoulish make-up, horror movie lyrics, nasty sounding guitar, no bass. In short,
the whole shebang. This is the
good news. TRASH is fun!
And so, I suppose, are ASF,
but only to a point. Y'see, ASF
are not particularly inspired
Trash; I get the feeling that
they haven't seen either "Hot
Rods from Hell" or "Riot on
Sunset Strip" (two films essential to the true appreciation
Splendor of fear
It is a wet, foggy day, and
you hear the sweet strains of
music as you stroll along the
Seawall in Stanley Park. The
source of the sounds is a
small, wood-carved speaker
near a large, damp log. You
lie down on the clammy sand
and rest your head against the
log; you close your eyes and
listen to the music; the quiet,
gentle music.
Soon, you find yourself
floating slowly over the sea;
cascades of sleepy guitar lines
fill your ears, a heavy, understated drum thuds carefully in
the background, always in the
background. A dreamy, plaintive voice (the name Lou Reed
springs to mind) with a slight
accent breaks to the surface,
then subsides quickly, to return again only once.
All this time, you remain
unmoved. The music is never
happy, but remains somewhat
gloomy, not unlike the weath
er you are experiencing. You
snap out of the almost hypnotic state to find an album in
front of you: "FELT-The
Splendor of Fear," it says.
You vaguely recall a pair of
songs by this group that you
heard in another life (or was it
on CITR?), but you seem to
remember them as being
more interesting than this.
While the last guitar notes
fade away, your mind is
cleared of the haze and focuses once again. You now remember two singles, "Penelope Tree" and "My Face is
on Fire, " and an LP,
"Crumbling the Antiseptic
Beauty;" but the lingering
feeling that this album isn't
quite as good remains. "It
would be nice music to fall
asleep to," you think, trying
to find a reason to spend some
money on this LP, "But then
again. .."
Suddenly, the album cover
turns to dust in your hands
-and your doubts leave with
it- "Maybe I don't like this
weather after all. . ."
You get up -and start
walking again- your mind,
and your wallet, at ease.
Japhy Ryder
of TRASH).
To be blunt, Robin, Alien
Sex Fiend sound like A Flock
of Seagulls trying to be the
Now, you might say this is
not necessarily a bad thing. I
mean, it beats the Flock trying
to sound like themselves. But
Alien Sex Fiend fall short of
the inspired Trash of the
Cramps, the wit and originality that make the Cramps the
most wonderful band this side
of an acid flash-back.
What ASF give us is a
thud-dance beat, some groaning haunted-house synthesizer, some uninspired noise
guitar and a bunch of reedy
whining on topics chosen from
what Alien Sex Fiend suppose
to be the seamier side of life.
It's decadence worn like a pair
of deliberately torn fishnet
So, Robin, don't worry, you
aren't as clued out as your
friends might think. Who's
Been Sleeping in My Brain? is
a remarkably sexless piece of
vinyl. Seek your Trash elsewhere.
Your loving uncle,
This is Cale's twelfth record
in his post-Velvet Underground career and follows last
/ear's outstanding Music for a
New Society. The good thing
about Cale's music is that
even his most asinine songs
are much better than most
music released today, and
even his duff albums have a
few good tracks on them.
Having said this, I must say
that Caribbean Sunset is a
duff album, especially musically. It is definitely not up to
Cale's usually very high
standards. Cale does three
things beautifully: piano ballads, experimental music, and
incredibly violent thrash. This
album does not contain these.
There are three major problems with this album:.
1) There is too much synthesizer, especially when Cale is
trying to be aggressive. Much
of it is LAME and so repetitive
that it sounds like a Loverboy
backing track.
2) The guitar is mixed too
far down to be effective,
especially on songs like Model
Beirut Recital, Praetorian Underground,   and    The   Hunt,
whose lyrics, bass and drums
indicate that Cale is trying to
be violent. Part of the blame
for this should lie with guitarist Dave Young, who co-wrote
these songs without giving
himself any good parts.
3) There is too much inane
material. Hungry for Your
Love is as banal as the title
This album, however, does
have good points, such as
Cale's vocals, which growl
along admirably and contrast
nicely with the music. Songs
like Experiment Number 1
and Where There's a Will are
piano ballads which are both
pretty and powerful. The
album's title track is very soft,
with some lovely viola work by
Cale. The album even has twc
songs (Magazines and Villa
Albani) you can dance to.
For readers unfamiliar with
Cale's work, I would suggest
Fear, Sabotage, or Music for a
New Society, which all have
the rare ability to combine
stunning beauty with raw
power. For Mr. Cale, I would
suggest that he watch a few
more autopsies before recording his next album, as this
stimuli has worked well for
him on past albums.
Domestics Imports: New & used
1869 W. 4th 738-3232 Visible Targets	
 • Twilite Zoning
March 29th • 7:30pm
with special guests
War Memorial Gym U.ti.o.
Sponsored by
::21waterst. ?
]\ at Punch]ines ^
! 0PEH^ooMARCHl5
ftiSMotx Stow
For any^event call
The Visible Targets have
certainly made a name for
themselves in the Pacific
Northwest during the past
year or two, and with the
recent release of their 5-song
album Autistic Savant on Park
Avenue Records, that name
could extend beyond the
Rocky Mountains.
"No, no, it's certainly not
part of any grand plan. This is
a very up and down business .
thinrjs change from day to
day," states Pamela, a sentiment echoed by her sisters
Rebecca and Laura and drummer Ron Simmons. The four of
them were in Vancouver in
early February to play a
weekend of gigs at the Railway Club and the Soft Rock
Cafe, and to promote the new
disc, which was recorded here
in Vancouver at Mushroom
Studios and produced by Mick
.Why Vancouver? "Well,
it's always nice to get out of
town for a while, and we really
like Vancouver and the studio.
Mick had done some work at
Mushroom before, so it seemed like the logical place."
The Visible Targets originate from Yakima, Washington,    but   have   since   made
Seattle their base. They've
been together for almost four
years, and in that time have
become one of the more
prominent groups on the local
scene. Autistic Savant is their
second record release, and it
has recently been picked for
national distribution by Jem
Records in the United States.
Time for the big break?
"Well, it's going to take a
lot of exposure, and that
pretty well means a lot of
tourino," states Rebecca, who
plays bass for the band and
shares the sinqina duties with
Pamela and Laura. Besides a
"few major world tours of
Washington state," the Visible Targets have yet to venture farther south or east.
Their biggest touring coup to
date was backing up the
Simple Minds on their last
Canadian visit during the
winter of 1982-83. "A great
experience - one that we
enjoyed immensely. The
Simple Minds were great to
work with. They were very
empathetic toward us, being a
back-up band and all. They
made sure we were treated
As individuals, the Visible
Targets seem unassuming and
rather relaxed about their
current situation and what the
future might hold for them.
But on stage, look out! First
and foremost, the V.T.s are a
tight and fast-paced ROCK 'N
ROLL band. Perhaps there is
something to be said for the
special chemistry between
siblings — it certainly works
for Rebecca, Laura and
Pamela. They share the spotlight with ease and together
project warmth and sensuality. The whole show is driven
by the dynamics of drummer
Ron. They'll be back in town
soon. Check it out!
1925 WEST   FOURTH AVENUE       734-2822
MARCH 8&9    SHOWS 7 PM & 10 PM
$8.00 and
Advance       Jtf ffQPERN LOVERS
MARCH 10    SHOWS 7 PM & 10PM
$8.00 Advance        T-BONE BURNETT Program Features
Random Insomnia:
A Brief Primer
Four significant aspects
separate Random Insomnia
from not only all the other
programming on CITR but all
other radio programming
period (be it AM, FM, CB,
Police Band orShortwave; be it
past, present or future).
Aspect Number One: Its
name. Random Insomnia.
(Random: chance, haphazard.
Insomnia: prolonged or abnormal sleeplessness.) No
other radio show has ever
been called Random Insomnia
Aspect Number Two: The
time that it's on. Random
Insomnia is on every Sunday
morning at 1 a.m. (that's late
night Saturday). In the eight
or nine months that Random
Insomnia has been on the air
at CITR, no other radio show
has been on, in CITR's band,
at the same time (except for
the one or two times that
Random Insomnia hasn't been
on and another show has
replaced it).
Aspect Number Three:
Random Insomnia is the only
radio show ever (in the history
of civilization) to be expressly
dedicated to solving all the
world's problems. The means
by which this is being accomplished are, of course, secret.
However, we do need your
money, so please send whatever you can afford (or more,
if you'd like) to RANDOM
RADIO, 6138 S.U.B. BLVD.,
Just make your cheques out to
remember, it's 1984, not '83
(better still, why not just send
cash. Then nobody can trace
-Gerald Bostock et al.
Available at:
Be Bop
Black Market
Cabbages & Kinx
j      L/U    /COMPANY
j fr'ulaf-Kb/ckWpM
j GubBdUrcom-uee
) AM                                1
..NEWS .
i tmr.H
REAK  3:30
DINNER REPORT 6 PM                             SATrronAV
FINAL VINYL        11 PM
High Profile
1 Thurs   Jonathan Richman
2 Fri Floating Anarchy
3 Sat        Material etc.
5 Mon   The Shoes
6 Tues   The Freshies
7 Wed   Sisters of Mercy
8 Thurs Felt
9 Fri      Visible Targets
10 Sat     T. Rex - A personal memory Part I
12 Mon    Big Star
13 Tues   New York Dolls
14 Wed   Carl Perkins
15 Thurs ESG
16 Fri      21 Years of Jamaican Reggae
17 Sat      T. Rex - A personal memory Part II
19 Mon    Jah Wobble & Friends
20 Tues   Bowie Rarities
21 Wed   Gene Vincent
22 Thurs Cabaret Voltaire
23 Fri       Interview With A Street Musician
24 Sat      Neglected Adam & The Ants
26 Mon
27 Tues
28 Wed
29 Thurs
30 Fri
31 Sat
60s American Pop   6 to 9:30 p.m
Songs The Cramps Have Done
Delta 5
The Alarm
independent Singles 1978
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:
MONDAY--ETCETERA: Covers a wide range of
topics from numerology to alternative health
systems. This month ETCETERA featres Rape:
The Woman's Stance, featuring interviews \ '
lawyers, psychiatrist, health care workers and
others involved in this issue.
world class speakers on a potpourri of issues,
from the nuclear arms race to love and limit-
setting. With analysis and editorial comment from
Ithe CITR staff.
tical events, current affairs and issues of a topical
nature. If it's in the news, DIMENSIONS covers
Sports, Sports. More exciting than the 20-Minute
FRIDAY-ARTISTS ONLY: No, you don't need a
Canada Council grant to listen! ARTISTS ONLY
tackles the creative process: interviews with those
in the spotlight and those behind the scenes.
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
2 Iggy Pop
3 X
4 Echo and the Bunnymen
5 54/40
6 The Smiths
7 Agent Orange
8 Simple Minds
9 Nina Hagen
10 Raybeats
11 Siouxsie
and the Banshees
12 Trevor Jones
13 Bill of Rights
14 Cocteau Twins
15 Tom Waits
16 Dead Kennedys
17 Fleshtones
18 The The
19 Talking Heads
20 The Cure
21 Jonathan Richman
22 Fad Gadget
23 Brian Eno
24 Gun Club
25 Stranglers
26 Cramps
27 Lou Reed
28 Joolz
29 David Bowie
30 John Cale
31 Killing Joke
32 XTC
33 Grandmaster
and Melle Mel
34 Au Pairs
35 Violent Femmes
36 Gang of Four
37 Bill Nelson
38 Bauhaus
39 Art of Noise
40 Black Uhuru
41 Joy Division
42 King Kurt
43 Elvis Costello
44 The Clash
45 Ramones
46 Public Image Limited
47 Wall of Voodoo
48 Bill Laswell
49 The 3 O'clock
50 The Alarm
Surprise, surprise - DOA
makes it to No. 1 again
Canadian content rules all. A
larger number of playlist
artists have turned up this
month - our affable music
directors should be sending
belated Valentine flowers to
DJ's any day now.
This list reflects the number
of times songs by each artist
have been played on CITR in
the past month.
doi/er t>y
Ya (JAkJkJcx K[ake My job jus]
(K ImU CaSidr-? fhesJ comc
ou4   4W   K|on^v   M^hl!
TU£ F/A//US'


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