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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1984-05-01

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fA guide to CITR fm 102
factory glRffffrT
Expectations were high
and The Cramps didn't disappoint.
The set was a little short,
but maybe that's because
most people can never get
enough of a Cramps live show.
Buzz buzz buzz went the
human fly, dressed like an
electrically shocked Voodoo
Reverend. How can you
possibly not love a weirdo who
diets on microphones, crushed
bananas and audience
members (answers on a postcard please, the winner gets
the CITR handbook 'What to
Think About in the Split
Second it takes Lux Interior to
Leap from Stage to Your Body
Ten Feet Away in the
Audience'). Ivy in a cut-off
bin-liner --the original Garbage-woman.
With Ivy's smell of female
and Lux's, ahem, (ab)use of
the microphone, has the
emphasis moved away from
voodoo towards sex? "No.
There's no difference between
voodoo or sex," declares1 the
Reverend. "Any rockabilly
band with any hair on their
toes would have a little voodoo
in there, a little sex in there
--or a lot of those ingredients." So now we know.
Nevertheless, despite their
hassles and inactivity of the
past three years, The Cramps
haven't escaped the dilemmas
of success-paranoia. With a
watchful eye on their image,
especially, perhaps, in the
light of Batcave, it appears
that they are trying to break
out of any bracketing that
people may have put them in.
"No," Lux denies, "we don't
care what people say as long
as they keep talking."
I ask about their disbanding
the Legion of the Cramped,
their biggest fan club, based
in Scotland. It's obviously a
sensitive area, their answers
not being very clear: "It really
wasn't even representing The was wrong to
keep people excited about
something that should be left
alone at the moment."
They cite the bitterness of
their legal battles with the
record company as the main
antagonist in the plot, and,
unasked, go on to justify their
voodoo image. Their voodoo is
more spiritual than 'magic' or
a 'shtick thing'. "...If audiences do what they did tonight, they picked me up in
the air, they're a part of the
whole thing -that is voodoo."
says Lux earnestly. "I think
some people might miss the
sex (thing) because of their
own asexuality, it might make
it hard for them to know what
something is when it's happening," adds the Garbage-
It's getting heavy. Too
heavy. Ivy lightens the mood.
"I like being in the studio as
much  as  on's
my favorite kick." Does Nick
Knox enjoy playing live, I ask
the intriguingly stoic drummer, a sort of human drum
machine. "Huh? What?"
He's a man of few words.
"He's my best friend," declares Lux. "He's a cool
breeze," says Ivy as Nick
Knox, still wearing his sunglasses after dark, cooly
breezes by to get a cigarette.
Vinyl? They are at pains to
assure the world that they will
deliver the goods. "You just
have to trust us," says Ivy.
"We don't know where or
when, but it'll be soon and
they'll be good."
On behalf of a few restless
natives centred around a
downtown clothes shop I
enquire as to the exact wording of the opening line to the
Natives Are Restless.
" 'There's an uprising down
on Watusi Street'," supplies
Ivy. "Is that what I said on the
record though?" enquires a
mystified Reverend Interior.
"I have a problem with my
memory," he pouts quietly
like a guilty schoolboy.
"No, he gets inspired,"
defends Ivy.
"Yeah, I get inspired."
"It's like speaking in
tongues," adds Klik, standing
in for Ike Knox for six dates.
In the corner, Ivy chortles:
"It's voodoo."
-Sukhvinder Johal
> v
Building on what they
think we don't have
Please take my garbage out,
Mr. Glad
When you can see in the
You can always reach your
When you can see through the
When you can see through
the art
You will always find a
pumping heart
All encompassing eyes that
We hear your heavy sighs
But we're going to live.
Bolero Lava is a local five
piece (coincidentally all very
attractive femare) band that is
rapidly establishing itself as
one of Vancouver's best alternative groups. They've
been together as the current
line-up since last summer.
They backed up the Cramps,
and they'll soon be going into
Little Mountain Studios to use
the 24 hours of recording time
they won at the CITR/Pit Pub
Hot Air Show. Here are some
excerpts from an interview
Discorder did with the whole
band a few weeks ago, where
we talked about everything
from musical tastes to the big
record industry to how the
band functions as a whole.
If you had to describe your
sound to someone who's never
heard you, what would you
Laurel: "Psychedelic jungle
music" was the best little
phrase we coined, but that
doesn't really cover it.
Barb: It's an optimistic
music with lots of rhythm.
Phaedra: It's very percussive. We're also influenced by
King Sunny Ade.
Vanessa: Just basic strong
rhythms and a soulful feeling.
Something straight from the
heart, not too affected.
Phaedra: Vanessa writes
some interesting lyrics. Some
of it's kind of political and
some is personal. I don't think
there are any "love" songs, or
anything like that.
Laurel: It's more concerning things that happen around
Lorraine: When I write a
song, I write a love song.
Vanessa: I've been waiting
for a love song.
What do you feel is the
impact on a live audience of
seeing a band composed of
five Amazons straight out of a
fashion magazine?
Vanessa: It attracts attention, and we do get it; but you
have to maintain it after that.
Laurel: I look at it as a
handicap in a lot of ways
because I think we would
rather be respected as a bunch
of good musicians than a band
of Amazon women. I'd like
not to be associated with that
sort of thing.
Have you had accusations of
using your appearance as a
Barb: We've had a few
suggestions of that sort, but
as a whole, no, not really.
Lorraine: You can't rely on
Where did you get your
Barb: Vanessa and I came
up with it one day sitting
around. It's actually a collection of all our names.
Laurel: I'm the "la".
Vanessa: We were going
over all these names, and we
said, "Let's put all our names
together," and we laughed;
but then we did it, and it
sounded like "Bolero Lava",
so we kept it. Plus with
"bolero" you have your classical romantic piece by Ravel,
you have your dance, and you
have the bolero jacket, so you
have romance, music and
clothes. What more could you
want out of life?
--Gord Badanic DISCORDER    May 1984
c/o CITR Radio
6138 S.U.B. Blvd. ♦
Vancouver, B.C. 1
V6T 2A5 I
In response to the Airhead's    Dear CITR DJs,
fflllOS Cable 100   May 1984   VOL 2 NO 4
Chris Dafoe
Fiona MacKay
Dave Ball
Harry Hertscheg
Chris Dafoe
Fiona MacKay
Jim Main
Dave Ball
Harry Hertscheg
Krista Hannl
Jim Main
Dave Jacklin
David Jones
George Barrett
Jim Main
Bill Mullan
Dean Pelkey
Dale Sawyer
Larry Th iessen
Jeff Kearney
Gord Badanic
Sukhvinder Johal
Michael Shea
Mark Mushet
Rob Whittome
Society of the Uni\
guide 10 CITR Radi
FM 101.9.
CITR transmits
Campus. For best
is also available on
Non;i Vancouver,
Maple Ridge and f
aDou; advertising
CITR business enq
Sound System is a
or 228-CITR.
Duthie Books
Frank's Records
University Pharmacy
Video Stop
The Video Store
Bill Lewis Music
Black Swan Records
Broadway Video & Sound
Check-It-Out Clothing
Deluxe Junk
Hollywood Theatre
Lifestream Natural Food Store
Neptoon Records
Octopus Books
Ridge Theatre
Scorpio Records
Soft Rock Cafe
X-Settera Clothing
Zulu Records
The Bay Theatre
Benjamin's Funky Cafe
Benjamin's II
Breeze Record Rentals
Denman Grocery
Downtown Disc Distributors
English Bay Books
Little Sister's   ,
Manhattan Books
Melissa's Records
Be-Bop Beatwear
Cabbages & Kinx
Deluxe Junk
Golden Era Clothing
He-Runs Recycled Apparel
Sissy Boy Clothing
Video Inn
a monthly paper published by the Student Radio
ersity of British Columbia. DISCORDER provides a
>, which broadcasts throughout the Vancouver area at
its 49 watt signal from Gage Towers on the UBC
eception be sure and have an antenna attached to
lose of you with persistent reception problems, CITR
FM cable at 100.1 in Vancouver, West Vancouver,
Burnaby,  Richmond,  Coquitlam,   Port  Coquitlam,
istributed throughout the Vancouver area. Enquiries
in DISCORDER or distributing free copies of
;w location can be made by calling 228-3017. General
jiries or information about renting the CITR Mobile
so available at 228-3017. The request line is 228-2487
wing business locations:
A&A Records
Arts Club on Seymour
Black Market
Collectors' RPM Records
Concert Box Offices
Duthie Books
Kelly's Records
Odyssey Import Records
Railway Club
The Edge
Towne Cinema
Vancouver Ticket Centre
A & B Sound - Car Stereo
Collectors' RPM Records
Highlife Records
Joe's Continental Cafe
Kelly's Records (Oakridge)
Memory Lane Records
Neptoon Records
Octopus Books East
Roxy Theatre
Savoy Cinema
Treacher's Records
Vancouver East Cinema
Vancouver East Cultural Centre
The Waterfront
Western Front
A&A Records (Park Royal)
Kelly's Records (Park Royal)
Rave Records (Lonsdale)
Sam the Record Man (Cap Mall)
Deep Cove Bicycle Shop
A&A Records
Cubbyhole Books
Kelly's Records
Paul's Music
distributed throughout the UBC c;
ainland campuses, as well as var
r Public Libraries.
you can have your art on the cover of DISCORDER ... submit any
that you feel are suitable to our editor. Preferable dimensions are 10-14
high by 8-9 inches wide.
R WW A fe
Page 2
Dear Discorder,
Why the hell do you have
CFOX ads in a CITR publication??? I listen to CITR and
read Discorder to get away
from CFOX, The Romantics,
Accept, Saxon and all that
SHIT. Why must you force me
to stare at advertisements for
CFUX (sic) presentations of
The Scorpions and Golden
Earring while reading about
True West and T-Bone? Well,
your answer probably is, "...
er ... urn ... well, we need the
money." BULLSHIT. There's
a point where you draw the
line, and if that was your real
stand, you wouldn't be playing The Violent Femmes and
DOA on a non-commercial station. Aren't you defeating
your own purpose by printing
the filth you profess to be
opposed to? I think it's called
SELL OUT; I've heard your
DJs talk about "sell out"
many times. What are we to
expect next? Radio commercials on CITR advertising
AC/DC presented by CFOX,
or perhaps you'll start presenting such concerts yourselves? Oh, yeah, I remember, you need the money ...
Worried that his only radio
station is selling out,
Lee Chow
No, not BULLSHIT, Lee.
Idealism is fine in an ideal
world, but someone has got to
pay all those odious bills. If
you call that "sell out," so be
it. We simply don't have the
financial resources to refuse
advertising on the grounds
that its "hipness" is suspect.
And, let's face it, we're not
advertising the Leg Hold Trap
or anything like that. It's just
The Fossil ... nothing to be
afraid of.
Dear Airhead,
I would like to respond in
CITR's defense -since you did
dick-all- against that bitchy
letter signed Sally Saliva:
where did, she get all that
bullshit? CITR clearly does
give a shit about requests.
Only twice out of 20-plus
requests have I ever been let
down, and even then the DJs
have humbly apologized — it's
true! This girl is obviously
emotionally unstable, incredibly jaded, and verging on
psychotic. Why didn't you
stick up for yourself? You've
been getting a lot of shit
lately, and you just sit there
and take it. Surely you have a
bit more guts and wit than
that! Where's the cutting wit
that was so evident in the
letter to that guy —Tony
Beavis— who insulted you in
ANYWAY, I just wanted to
advise Sally Saliva to seek
professional help.
Also, I would like to say that
a guy with a name like Joey
Meatrack must be one of the
coolest people at UBC, and I'd
like to second the motion that
Mark Mushet be promoted to
program director, even if he is
a tad snobby and likes to drop
Lisette Bolduc
Airhead is quite a suitable
term for your wonderful employee (volunteer) in reference to his response to Greg
Rum's letter of March 1984.
The brand of "Black and
Decker" used by most of the
bands mentioned (Legendary
Pink Dots, Portion Control and
Nocturnal Emissions) happens
to be a tuned guitar, and the
"kitchen appliances" must be
in reference to the bass synthesizer. These instruments
have been used in a new way
(something CITR is not into),
but then how long does it take
an Airhead to get bored of
those Iggy, Delta 5, DOA,
Gun Club-style ridiculously
repetitive chord patterns and
sounds? I guess we can look
forward to seeing the bands
mentioned by Greg Rum on
your playlist in a few years'
time, when your incredibly
cynical group decides something else is cool. Signed,
"I'd Rather Not Listen
to CITR"
Ridiculously repetitive? I
guess it takes one to know
one. But seriously, I have
nothing against these bands.
What I object to is the kind of
"holier than thou" attitude
that holds that anything
"new" [and I have my doubts]
is the best of all possible
musical worlds. And since
there's undoubtedly something even "newer" and cooler on the horizon, novelty for
novelty's sake seems to be an
awfully superficial reason to
get worked up about something.
I am totally disappointed by
Greg Rum, who appears in
The Airhead in your March
issue. Perhaps the CITR "Top
50" is really strongly representing "guitar-oriented" artists, but, as far as I'm concerned, music is, as Jah
Wobble says in the 20th November issue of New Musical
Express, "the same where-
ever; it's just notes, and
there's only a certain number
of notes we can hear, and
that's it."
In an absolutely open-minded audience, there shouldn't
be "today's music" or "yesterday's music." Because
music functions as a bridge to
communicate, the intentions
and messages it carries are
what we have to concentrate
on. The location of music is
rather unimportant. Maybe
the irrational pursuit of the
"forefront" is just a method
of showing a higher degree of
intelligence. (It's only an assumption.)
Besides, I'm quite sure that
CITR can make up a list of
groups that no one has ever
seen before. You've Pink
Dots, Nocturnal Emissions ..
I've Christian Death, Last
Man in European Corporation, and soon. Any "Top 50"
list reflects the opinion of a
certain group of people; we
can use it as a reference, but
not as an absolute truth. If you
don't like it, you can make up
your own "Top 50."
Personally, I think CITR has
done a good job in the past.
This letter is highly emotional and subjective. If anyone has any suggestions or
advice, I am most glad to
listen and adjust myself.
Your Friend
Where in Sam Hill did U2
come from? It was I who put
them in CITR's Top 50 bands
for March through persistent
phoning and requests for their
songs to be played. Jason
Grant's amazement at U2 being in the Top 50 brings to
light a problem at CITR. Why
is it that as soon as an artist
gains any amount of commercial success, CITR stops playing them?
I understand that CITR is an
alternative music station, but
how do you define alternative
music? Some say that alternative music is music that commercial radio doesn't play,
and if I want to hear U2 than I
should go listen to CFOX. It's
not that I want to hear U2 (I.
have all their albums), it's just
that I consider alternative
music not only as music that
commercial radio won't play,
but as quality music.
If an artist puts out quality
music, CITR shouldn't drop
them just because they taste
commercial success. I can
understand if you no longer
play bands like Tears for
Fears, et at, who produce
music without any substance,
geared for commercial success. But why stop playing a
band like U2, who produce
meaningful music I want other
CITR listeners to hear, just
because CFOX plays them?
After all, you still play a lot of
David Bowie's music, and
he's higher up in the Top 50
than U2. Are we soon to
mourn the passing away of
The Cure, The The, Simple
Minds and The Alarm? I suppose if commercial radio
across the country started
playing the Sam Hill out of
"Love Will Tear Us Apart,"
CITR would stop playing Joy
Bono's White Flag
How do we define "alternative" music? That is the
$64,000 question for this
month. You seem to want to
define "alternative" as
"quality" music. That strikes
me as somewhat subjective, a
common problem with terms
like "new wave" and "alternative." So ... I want everybody to write in with a definition of "alternative," and
we'll print 'em next month.
[Please don't do this unless
Airhead promises to type his
own column himself. -Ed.]
Let's start a war of words.
when i go out of town the only
thing i miss is you
when i come back home the
only thing i do is listen to
when   i'm   not   working   12
hours a day & looking after
my 7 grandchildren,
you   young   whippersnappers
sure know how to make an
old geezer feel good,
i  worship  the airwaves  you
broadcast over.
a secret admirer
Aw, I bet you say that to all
the radio stations. May 1984    DISCORDER
On April 2nd a new dimension in reggae appeared in
1 Vancouver. Yellowman (real
\name Winston Foster), a
I Jamaican albino, is one of
1 the hottest DJ rappers to
I emerge out of Jamaica since
I the '70s. In 1974 he started to
I DJ sound systems "mobile-
\style", and in 1981 he won
1 Tasty's Talent Hunt Contest
I for deejaying. That was his
J first big public appearance; to
i audience,  it was a  wel-
The Three O'Clock on:
Baroque Hoedown vs. Sixteen Tambourines: It's the I
same idea taken with a little]
more time. It's the band progressing in that direction. Wel
always wanted that sound
back when we were The Salvation Army, but we just
couldn't achieve it. When Bar-
ogue Hoedown was recorded,
we had been together as a
band for only three months, so
we didn't know each other
very well. On Sixteen Tambourines we took each song
separately like a 45, whereas
on Barogue Hoedown we got
one specific sound for all the
instruments and went for it.
Wimpyness: Actually, in
L.A. it's very fashionable to
sound like that (side two,
Sixteen Tambourines). It's all
that sunshine.... It's just that
everyone's really into pop,
much more conscious of melodies than the beat or political
Being criticized: We don't
take it to heart. If someone
calls me wimpy or the band
wimpy, as long as it's wimpy
in a good sense...It really
comes down to how that criticism is written. If somebody
calls us the worst band in the
world but they write it intelligently, then we think that's
great. Someone once reviewed
us and said they didn't like us
'cause we had too many
George Martinisms. That's
really superficial; they aren't
getting into the songs and
seeing what songs are there
and whether they are good
songs. We were criticized for
having a slicker production
than the last record, and it just
seems   ridiculous.   How   can
come debut. King Yellow's
back-up group is now the
seven-member Sagittarius
Band, who are on contract to
tour with him at all times.
Their first big appearance was
with the 1982 Reggae Sun
Splash Music Festival. I talked to Yellowman after his
Commodore shows.
Are you a singer or a DJ?
Both of them, because, you
see, I have different sections
of the audience listening to
me. You have white folks and
black folks, so me do some
singing, soul music and some
calypso and country music,
too. See, lots of people listen
to me, so I don't base on one
The   Aces    International
ing to get a good sound?
On songs: Oh, they vary.
"Jet Fighter" is just kind of
an American-type song. You
know, Ronald Reagan. "Jet
Fighter" basically came about
because we were trying to
balance out the album with an
uptempo number. It was the
last song we wrote before
going into the studio. We got
it on the first take. "Stupid
Einstein" is about... LOVE.
On developing their sound:
Unlike the Go-Go's, we
haven't been under that much
pressure, pressure that might
come from having a super hit
album. So we can work on
improving and changing our
sound and making sure all our
songs are strong. We're progressing at our own pace.
We're not being forced in any
On their name: It came
about because of the law suit
over the use of "Salvation
Army"; we had three days to
pick a new name. One day
Michael came in with "The
Three O'Clock". And I can't
say really for sure where it
comes from. Except perhaps
famous American literature.
On Marty Van Buren, 8th
Sound System - is this where
you started out as DJ?
Yes, that's where my fame
comes from. I go around the
island with my Aces, the 14
parishes of Jamaica - that's
how my popularity comes,
along with the records.
Do you still DJ sound
systems in Jamaica?
Yes, of course I still do,
because I love the ghetto
people, so I have to do it only
in Jamaica. Not in foreign
What is your popularity in
Jamaica right now?
Four corners of Jamaica is
yellow. Four corners of Jamaica paint yellow — so, you see,
my popularity in Jamaica is
big 'til it burst out and come to
the foreign countries and all
over the world it spread. Jamaica is the root of reggae.
Do you give the same type
of performance at all your
Well, mostly. Take for instance New York - I do it
same way because my.ability
is to please the crowd. So I
mostly do every show same as
I do in all part of the world.
In some of your recording
you include Fat Head. Who is
Fat Head?
we liked the way he dressed
and looked. One show we did
gave us the opportunity to
have t-shirts made, and we
put him on them. He's been
around ever since.
On the future: Recording in
June and more touring. We
hope to go to Europe with The
Last from L.A., but only if we
can do it right. Our next
album may or may not be for
Frontier and it may or may not
be produced by Earle
Mankey. We've got all sorts of
big decisions to make when
we get home.
Their records are: Barogue
Hoedown (extra tracks on the
French issue), Sixteen Tambourines. Songs on samplers
The Rebel Kind and The Ra-
Fat Head used to DJ v
me, but we broke up because
I'm with CBS Record Com
pany, so I can't do any more
records with him. So now I'm
on my own. I used to have
Sister Nancy as my DJ partne
You sing the song, "I'm
Getting Married in the Morn
ing ".Is King Yellowman get
ting married?
No, I don't think so,
cause I would have to stop
running up and down. I have
to tour all over, and now I'm
with CBS Record Co. I have to
tour plenty. I might have to
tour the four corners of the
world, so I won't have any
time with my wife if I marry
Best thing me just cool.
King Yellowman is not the
only DJ rapper in the reggae
business. Active today are
U-Roy (the man who inspired
Yellowman), l-Roy, Eek-A-
Mouse, Michigan and Smiley,
Leevan Cliff, Sassafrass, Trin
ity, Brigadier Jerry, Toyan
Welton trie, Errol Scorcher
Prince Jazzbo, Nigger Kojak
and Josey Wales, who has a
new LP with Yellowman
these are just a few. As for
Yellowman himself, he has 27
LPs and a large number of
45s. The greater part of his
recorded material is on the
English Greensleeves label
His first LP on CBS Records
called Strong Me Strong, wil
be out before June, and June
should also see King Yellow
performing live in Vancouver
again. In the meantime, keep
a smile on your face and rock
to the drum and bass.
-George Barrett
soon-to-be-released fab video
of "Jet Fighter" at a theatre
near you. Remember The
Three O'Clock: a nice, down-
to-earth group of people who
are raucous live and record
some of the day's best pop
you criticize someone for try-   President of the U.S.A.: Well,    dio Tokyo Tapes. Catch their
The Three O'Clock
-No. 1
phone    738-0288
Books   Records Games
2297 West   Broadway Vancouver B.C.  V6K 2E4    ^
*r*nr*  CIJR
^W/?j*J' fi *'L* f 4f*T^\
cases7 causes
FRI*MT 11:30AM-12IW/SUN 5-9
733-37)^^.^2904 VV.^Ate
•^1W IW^^^T^om
^U/i/1    l^lr^^^^'^^Nf^          ^-gf - ^ ^-="   *~~*
s^eg*-^ t jfi^-TTfgir^sg^=
^miB^M 3N§§S
Page 3 JDISCORDER    May 1984
The Smiths
After having listened to this
LP, I feel qualified to proffer
one piece of advice - don't
bend over in a room full of
Smiths. These young fellers
are bent and seem intent on
taking you, the innocent and
hapless listener, with them,
on their twisted little ride.
Stop! Think! Don't let them!
Normally a bent character
may be a sign of recommendation, but, in the Smiths case, a
little revision is required.
The Smiths may be silly
(we'll get to that) but not
stupid. They dress up their
trite tunes with catchy instrumentation, jangly guitars and
a swaying beat. Morrissey (no
first name -- very cute), the
vocalist, warbles along like
Julie Andrews with a sock in
her mouth and almost snags
you into singing along to some
of the most hilariously stupid
lyrics this side of the new
Venom album.
It's insidious and almost
subversive. In fact, the lyrics
are the real treat of this
album. A few random selections from the lyric sheet
should have you quickly concluding that these Smiths are
strictly for the smelly pee-pee
set. Take, for example, the
first single, "Hand in Glove".
Hand in glove, the sun shines
out of our behinds, no, it's not
like any other love. (Boy, I'll
say!) Or, / recognize that
mystical air, it means: I'd like
to seize your underwear.
(Fruit of the Loom, no doubt.)
By the way, that song,
"Miserable Lie" (and there's
a tip-off) delivered in the most
irritating falsetto ever committed to vinyl - enough to
make you envy the deaf. Or
try this one: Under the iron
bridge we kissed, and although I ended up with sore
lips, it just wasn't like the old
days anymore. (Thank God for
The whole album is just rife
with this sort of drivel. Big-
alternative-hit-single "This
Charming Man" tells the
happy tale of our young hero/
heroine waylaid by the roadside with a flat bicycle tire
until a nice gent "rescues"
him, resulting in further waylaying of a dubious nature.
Main Smitty mouthpiece
Morrissey seems to have had
a tough time growing up. It
would be nice in future releases if he kept his homo-
eccentricities to himself.
Check out the overtly queer
cover, apparently a still from
some pathetic Warhol celluloid sphincter-stretcher.
This is not a record that
dignifies homosexuality (unlike the noble Tom Robinson
who said, "Yeah, I'm queer -
so what?"). This is a record
that makes being gay dirty
and shameful (despite "What
Difference Does It iMake",the
only Smiths song that really
delivers)-The Smiths are bigger women-haters than any
heavy metal beat-the-cheat-
in'-bitch-up band will ever be.
To make matters worse, this
record is the usual con job:
three good singles fleshed out
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Page 4
with eight tracks of dirgelike,
tepid, languid mush that
seems all to common in pop
music at the moment. Fuck
the Smiths (they'd like that),
listen to real pop-rock, i.e.
Plimsouls, Shoes - something
with panache and dignity.   .
-John Smith
The U.S. music press thai
have pummelled the general
public over the head with yet
another rendition of the "British Invasion" are now showing the other side of their two
faces. They have wearied of
the Brits and are now calling
for people to "rally 'round the
flag" and kick those synth-
playing poufs back where they
came from.
Now they have unwittingly
stumbled upon a new manifestation called "American
Music" (catchy title-n'est-ce
pas?). A great deal of the
writing about this new music,
which is merely a return to
basic simple songs with roots
in pop, rockabilly and country,
leaves you with the impression that it is being created
solely as a backlash against
the British.
The truth is, bands like
Jason and the Scorchers and
slbums such as Fervor exist
and are crafted out of a love to
play music and pride in the
roots it came from. Fervor is
raw, honest and full of the
virtues country music originally had before it started to cater
to the masses with one vacuous song after another about
one's dog/woman/man/truck
either dying or leaving.
Nashville, the mecca of
country music and home to
The Scorchers, hasn't produced anything of this calibre in a
long time. The Scorchers show
that they are in touch with
America s sensibilities
throughout Fervor's seven
songs. The lyrics of the
anthem-like "hot Nights in
Georgia" keep it a cut above
the run of the mill glut of "ode
to the south" songs - Aging
Kings shout out in all their
glories/ Dripping from their
dessicated souls/ Gears of
grinding pain, they tell the
story. R.E.M.'s Michael Stipe
also adds some nice harmony
vocals on the track.      ..4«k.
"Pray for me Mama (I'm a
Gypsy Now)" is a nice treatment of the time-worn C & W
ballad- So the trigger pulled and the red lights flashed,
their sign I The battle was
yours but the victory was
mine. Dylan's "Absolutely
Sweet Marie" fits in well with
the band's own material, and
they give the song a needed
kick that was missing from the
original. The remaining tracks
are hard-edged and very uptempo, with "I Can't Help
Myself" bordering on hysteria.
Dave Jones
Cheap at Half the Price
(Ralph U.S.)
Fred Frith has never made
things easy for his audience.
New phases in his musical
development come frequently
and suddenly, each phase being radically different from
the last. Sometimes Fred will
be pursuing many different
directions, with different
people, at one time. Frith's
fans are encouraged to be very
catholic in their tastes if they
want to keep up. As usual, his
latest album shows that the*
extremely talented guitarist
has yet more surprises up his
Cheap at Half the Price
couldn't be counted among
Fred's best work. There is not
the adventurous spirit of
Henry Cow, the visceral but
fascinating atmospherics of
the Art Bears, or the urgency
and energy of Massacre. This
time out we are given a taste
of his humorous side previously only hinted at on his past
solo albums. Set over backing
tracks that range from country
to a sort of folksy electropop
(the miniature, low-priced
synthesizer called the Casio-
tone M-101 figures heavily on
this album), Fred's new songs
exhibit a considerably lighter
feel than do most of his older
Fans of Fred Frith's older
material may have some
trouble getting used to this
record - some of the tracks
even resemble (ugh) POP
music! However, songs like
"Some Clouds Don't" and
"The Welcome", with their
instant appeal, could win him
some new fans. Those longtime Frith enthusiasts should
give the album a second
chance; it does grow more
appealing with repeated listenings.
This LP represents a first
for Fred in that he takes up
singing. Vocally, Fred is still
in his adolescence. I mean his
voice cracks. But if that shortfall can be ignored, the album
is a pleasure just to hear Fred
play. His guitar solos are
spaced throughout the record
like delectable tidbits. Fred is
also extremely adept at bass,
drums and violin, as well as
being able to squeeze more
interesting sounds out of his
small Casiotone than most of
today's Human Duran Clubs
can' get out of ten thousand
dollar computer systems.
Fred Frith has a fanatical
cult following - as was evidenced by his enthusiastic
reception March 29 at the Soft
Rock Cafe along with Tom
Cora, the other half of the
Skeleton Crew - and they
should not be deterred by his
latest album's weaknesses.
Sure, it's flawed, but Cheap at
Half the Price has qualities
which cannot be found anywhere else on record today,
except on Fred's other
albums. Once again, despite
the record's shortcomings,
Fred succeeds in becoming
that rare artist who truly
stands out from the crowd.
-Dale Sawyer
The album was released
independently last year but
has since been remixed and
released by E.M.I. The remix
is up to today's hi-tech standards and allows you to hear
clearly Warner Hodges' surprisingly sophisticated and
stinging guitar licks. Add a
thundering bass, walloping
drums, Jason's acoustic guitar
and country twang, and you
have an extremely tight
Jason and the Scorchers are
currently a hit with the critics;
perhaps by next week they'll
be forgotten and discarded
and keep quietly putting out
"American Music".
-Jim Main
Songs of Love & Lust
(Rough Trade UK)
Throbbing Gristle, until
they disbanded early in 1981,
always received a certain
amount of attention and appreciation as perhaps the
quintessential "underground-
industrial-art-rock" group.
There were always intimations
of demons present at their
concerts, and while only a few
of their albums were studio
released, they left behind
them a reputation as a very
nasty but creative force. May 1984    DISCORDER
Fred Frith? Where did f/7af
name come from? Any of you
that pay attention to album
covers will recall it in the same
breath as Henry Cow, The Art
Bears, Brian Eno, The Residents, Material and associates,
Henry Kaiser and V-Effect,
and the New York experi-
mental-improv scene. Fred
has also done a lot on his own,
including three LPs for Ralph
Records and a series of experimental guitar excursions
that were released as the
"guitar solos" LPs.
Skeleton Crew has been the
object of Frith's concentration for two years now. He,
along with guitarist turned
'cellist Tom Cora, can easily
be called a two-man five-piece
band. To say they overextend
themselves is an understatement. Fred, in his usual anarchistic fashion, is responsible
for playing half a drum kit,
guitars, homemade bass (on
table with chain as pick),
Walkman (with a random selection of tapes), Casio, vocals
(fed through God-knows-what
and then through his trusty
HH mixer), and a cheap Chinese violin. Tom, the lucky
fellow, only has to deal with
the other half of the drum kit,
'cello (complete with rubber
bands, a wheeled toy, and a
black thing that looks like an
electric prodding device used
to torture innocent Chilean
labour leaders and academics), and bass.
Sounds like a wild night of
haphazard improv, right?
Well, an Italian reviewer said
that a Skeleton Crew perform-
ance   was   like   watching   a
slowly sinking ship somehow
make it into port for a hero'
welcome. Their Soft Rock gi
saw them in fine form withou
a leak in sight. Obviously wel
rehearsed, the duo managec
to combine their mutual inter
ests in East European anc
Latin American folk mus
with some very clever am
often amusing improvise
passages. Apart from the oc
casional foray into uncharte
territory, many of the song
were tightly structured an
are slated to appear on th
first Skeleton Crew album du
out soon on Recommende
UK and Rift America.
Sometimes things wen
wrong, as is wont to happe
with such elaborate lo-tec
setups, but Fred and Tom
obviously used to adversity
made light of each obstacl
with some very interestinc
results. A broken string in th
first minute of the show led
via one of their preparec
tapes, to some suggestive ex
ercise instruction and a lee
ure on how rock music is base
sexually derived and leads t
anti-humanist trains o
thought. The encores wer
fairly straight renditions of
song from Kashmir and
wedding song from Ecuador
The full house was left stand
ing and wanting more, thoug
they were not to know tha
Fred, exhausted from th
day's hassles at the borde
and then soundcheck prob
lems, had gone immediatel
to the dressing room to settl
down to a short coma. Th
Soft Rock has never seen sue
a show.
      -Mark Mushe
Chris Carter and Cosey
Fanni Tutti showed what they
contributed to their origins
with their first release, Heartbeat. The raw electronics, rhythms, sound bending and
spacey vocals were still there.
What was missing was the
ANGST - the disturbing, relentless negativism. Their second release, Trance, showed1
progression. There was a reflective darkness to this release which made it abstract
but still attractive. The release
of their "October (Love Song)"
single last year brought mixed
The same mixed reaction
will greet their newest album,
Songs of Love and Lust. At its
best, it is well-produced. The
sound is clean, crisp and occasionally even big and powerful. Those who appreciated
the individuality of Heartbeat
will enjoy the beginnings of
tracks such as "Love Cuts"
and "Tantalize". "Gardens of
the Pure" and "Lament" are
appealing if only because they
are brief, and therefore the
endless repetition sometimes
inherent in danceable electronics does not have time to
become tedious. For the dance
freaks, almost any cut on the
disc will work well.
As is so often the case with
electro-funk, some strong
points will also be weak points
for the hardcore industrialists.
Cafe Bleu
Well, here it is. At long last
The Style Council have released a full length album of new
material. Entitled Cafe Bleu,
the album has also been released in North America as
My Ever Changing Moods,
with a few different songs and
a punchier version of the title
track. More interested in what
the album was originally conceived as, we asked The Espresso Kid, confidante and
chronicler of Style Council
events to relay some of the
history of the album to us.
The sun glinted off the pond
and bathed our two chummy
scoundrels in an effervescent
glow. Mick hugged his sides
and Paul paced the tarmac.
The feeling was there, and
they sensed it, but the time
wasn't right for words.
Heeding an urge to explore
it further, the two adventurers
retired to the warm surroundings of a small cafe with
fogged windows for further
discussion. Steaming cappuccinos placed in front of them,
Paul seized the thought, and it
blurted out, cascading off the
Formica table tops and echoing through the room.
"Rock'n'roll is dribble," he
stated bluntly, and Mick nodded agreement. "People who
listen to rock 'n' roll are
dribble," he continued, getting into the swing of things
while Mick smiled. "They
have no style, and style is
Their goal defined, their
cloud of despair lifted, the
mates knew what had to be
done. After a series of singles,
it was time for an album.
Beneath an apple tree in full
blossom, they laid their plans.
They would base the songs on
their lifestyle, their image,
and be damned with everybody else. If the general masses don't like it, it's because
they have no style. And Paul
and Mick are "RockThe Style
Council. And they would set
the tone for what was acceptable, never mind the English
While the album is clean,
perhaps it will seem too clean
— possibly even scrubbed
within an inch of its originality. Many of the cuts are 5:00
or more in length, and while
this is not unreasonable, some
will find the lack of variation
somewhat irritating. There is
nothing wrong with electro-
funk; but right now, any endeavour (good or bad) in this
direction, unless it is strikingly innovative, runs the risk of
sinking into the proliferation
of overpackaged, under-
thought garbage being offered
as ART these days.
—Larry Thiessen
vagabonds or Yankee yokels.
Studio time was booked, the
lads set to work, and after
some months the result was
Cafe Bleu . The pair was ecstatic. Here was an album that
captured their true essence.
Pale, pallid, a damp fog hugging ground level, background noise for old 1940s
black and white movies, a
scratchy old Motown record
playing in your sister's room
next door. All of this and less,
this is what The Style Council
stand for.
"People who live basement
lives are forever stuck at the
bottom of a damp staircase,"
Paul tried to rationalize to
Mick. Mick just nodded, content in the fact that his tinkling of the ivories lent some
small justification for the production of the album.
When questioned by those
who worry about such things
as why listening to the first
side of the album was like
watching Dad fall asleep in
front of the telly, the Condescending One simply smiled
and breathed the words,
"Style: you wouldn't understand."
Day-to-day life isn't concerned with style, and rock 'n',
roll all too often mirrors this
near fatalistic, misguided assumption. But the lads have
found an antidote, and if it
doesn't relate to your sphere
of life, well, in the words of
Maestro Paul, "Tough Shit."
He doesn't worry about speaking for anyone, never has,
never will. Why worry about
powerful music when- wimpy
music does just as well. He
has an idea, a memory, a
feeling, an image. Catch it
and share it with him. But
you'll probably throw up.
-The Espresso Kid
for males and females
221 Carrall   Gastown 683-0080
We   buy   &   sell     used &   collectable records
5766 Fraser Street,
Vancouver. B.C. V5W 2Z5
Rock Videos available
(604) 731-1013
Rob Filth (OWNER)
New Used Imports
Rare Albums       Special Orders
741 Lonsdale Avenue,    985-8015     0pen Noon '" 6   -
North Vancouver ° °U1 *     Tuoaday through Saturday
Jazz, Rock, Import Rock,
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2936 W. 4th Ave., Vancouver, B.C.  V6K 1R2. Phone 734-2828
Page 5 DISCORDER   May 1984
with guests Bon Jovi
MAY 2nd
Pacific Coliseum « 7 30 pm
^^CKLG 73 Presents
3 Ballroom
■ TTpamiW PI
Soldiers w. -^
639 Com"^
CFMl Presents
An Evening With
rf Too ^ee^-^c^^^)
-rft£ £>e£"rO^S? ,
-T12.V   VOlTll^rHrtsiG,
High Profiles for May '84
nightly  at   8 PM  on  CITR
The Chords
Tones on Tail
Human Hands
Skids/Richard Jobson
King Crimson Part 1
TV 21
Jerry Lee Lewis
U2 - Bono Vox Birthday Special
Independent Singles 1980
King Crimson Part 2
Jam Rarities
Can Con
Pistols Potpourri
On The Soul Side Part 1
The Times
Psychedelic Furs
Steve Harley & Cockney Rebel
"Wild Style"
On The Soul Side Part 2
3.5 Hour Special (6:30 p.m. start):
Pre-draft ELVIS
Melodic Energy Commission
Egghead, et al
Jim Main
|Eartha Kitt lends credence to
the phrase, "Like fine wine
she gets better with age' ,
during two fine performances!
at the Commodore
Sunday, April 15th, was the
end of an era at CITR. At 6:00
p.m. the words: "If the Good
Lord's willing and the creeks
.don't rise, this is Hank
Williams saying so long,"
were heard for the last time as
Rabble Without a Pause ended its final show. For five
years Rabblers Steve Hendry
and Murray Cahen presented
what I feel was the most
unique show ever heard on
Canadian radio, complete with
guests and special weekly features. Steve graduates from
UBC this year, and Murray
has gone off to San Francisco
State University; we'd like to
thank them for their unrelenting persistence and sense of
The Rabble time slot, 3:00-
6:00 on Sundays, will be filled
in the coming weeks by various DJs, all battling for the
honour of being Rabble's successors. The final decision will
be made by CITR Executive
members, but we welcome
your input; please listen and
call in on Sundays to vote for
your favorite new Rabbler.
Page 6
\S $W* MNb $£T.T,fc&TV\kN ^MEk \nTC\V
M.%\>tA Z COUCEfcT, 9£M\EWS VO& HOSVC m^ACX'. (-
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\ny-at cai\a ^ mvf. ^K3^t\&LtTA\r\N twe. Pv\Gue
COrAWQ, SOOW QAVu (fcoqyw-1373
MONDAY-Jazz Albums
May 07 John Lindberg Quintet - Dimension 5 (Black Saint)
14 Sonny Rollins - Saxophone Colossus and More
21 Anthony Davis- Hemispheres (Gramavision)
28 Ornette Coleman - Broken Shadows
(CBS Masters Series)
TUESDAY & WEDNESDAY - New CITR Playlist Albums
THURSDAY - "Mel Brewer Presents": interviews and music
of local artists
FRIDAY-      This   month   features   soul   and   reggae   albums
SATURDAY-CITR's #1 Playlist Album
SUNDAY - "Fast Forward" Album: depends on what Mark
Mushet gets in the mail -- always impeccably
Public Affairs
MONDAY: ET CETERA - current social issues covered with
an unusual twist.
topics of political interest from
the local to the international
ONLY - interviews and profiles with people in the art
world, from painters to playwrights and beyond.
whatever's hot and controversial, it's tackled with
FRIDAY: SPORTS UNLIMITED - muscular and flexible
coverage of the sports scene.
Please remember that CITR's
Public Affairs is for YOU, the
public. If you or your group
has an interest in any issue of
significance, we can get your
ideas  on  our  airwaves.
May 1984   DISCORDER
50 Most Played
Bands on CITR
Iggy Pop (and the Stooges)
Laurie Anderson
Violent Femmes
Echo and the Bunnymen
The Smiths
The Cramps
Trevor Jones
Siouxsie and the Banshees
The Three O'Clock
The Clash *
The Cure
David Bowie
. Simple Minds
John Cale
Jonathan Richman and the
Modern Lovers
Fad Gadget
The Jam
Orange Juice
Brian Eno (and friends)
Kate Bush
Prefab Sprout
The Stranglers
Linton Kwesi Johnson
Roxy Music
Dead Kennedys
The Style Council
Lou Reed
Grandmaster and Melle Mel
Eartha Kitt
The Buzzcocks
The Beverly Sisters
Chris & Cosey
Elvis Costello and the
Special AKA
Cocteau Twins
Jason and the Scorchers
Stiff Little Fingers
Talking Heads
Psychic Healers
Peter Gabriel
Public Image Limited
After playing second organ
-er, fiddle- to DOA, PiL, or
the Smiths for the past 5
months, the lg has squirmed
his way into top spot on this
month's chart. One of my
detractors, Mr. Rum, should
find it somehow convincing
that the number one artist's
name is "POP".
Notes -Laurie Anderson can't
do much better than no. 2, but
her performance on June 1
could improve her status anyway...A new single, "Crystal" shouldn't hurt the Bunnymen...Amazingly, Trevor
Jones continues to stick in the
top 10, on the strength of only
4 demo tape tracks (they're all
strong, though): perhaps it's a
Remember, this list represents the 50 most-played
artists during the last month
and has no real bearing on
what each DJ decides to play.
Best 8 track prices in town
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The Tracking Room
3607 W. Broadway V6R 2B8 ct>
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