Discorder CITR-FM (Radio station : Vancouver, B.C.) 1984-10-01

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  DISCORDER October, 1984
Oct. 2-4    LA's Blood on the Saddle
Oct. 9-13   The K.D. Lang Show
Oct. 17-18 Love Tractor (from Athens,
Georgia) & Deja Voodoo
(from Montreal)
Oct. 23-24 Jerry Jerry & the Sons of
Rhythm Orchestra
Oct. 30    Toronto's Forgotten Rebels
Oct. 31     HALLOWE'EN with
Forgotten Rebels
^0°U   r30
The Savoy Nightclub
6 Powell Street, Gastown 687*0418
October 1st
Fifth of November    Ominous Cinema   One Fell Swoop
My Three Sons Soldier of Sport      Out of Proportion
Eigth Day giZmo 5 Year Plan
The finalists on December 10 will win:
1st Prize:   24 HOURS of RECORDING
2nd Prize A Yamaha MT 44 Portastudio
3rd Prize: 24 Hours Recording Time
from Profile Sound DISCORDER October, 1984
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 is
also available on FM cable at 100.1 in Vancouver, West Vancouver, North
Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Marple
Ridge and Mission.
DISCORDER is distributed throughout the Vancouver area. Enquiries
about 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 Sound System is also available at 228-3017. The request line
is 228-2487 or 228-CITR.
Editor: Chris Dafoe Photo Editor: Jim Main Program Editor: Gord Badanic
Advertising: Dave Ball, Harry Hertscheg Layout: The Usual Animals
Photography: Bev Davies, Dave Jacklin, Jim Main Contributors: Gayle Scott,
Gord Badanic, Candace Batycki, Jerome Broadway, Mikey Clupper, CD,
Mike Dennis, The Girl, Julia, Kandace Kerr, Mark Mushet, Dean Pelkey,
Richard Putler, Phillip Random, Mick O'Shea, Paris Simons,
Dale Weiss, The Observer
A&A Records & Tapes
Arts Club on Seymour
Black Market
Bronx Clothing
Camouflage Clothing
Check-It-Out Clothing
Collector's R.P.M. Records
Concert Box Offices
Duthie Books
The Edge
F°451 Books
Kelly's Electronic World
Luv-A-Fair Cabaret
MacLeod's Books
Minus Zero Leather Works
Montgomery Cafe
Oddyssey Imports
Railway Club
Studio Cinema
Tamara Restaurant
Vancouver Ticket Centre
The Web Clothing
Whittaker's On Seymour
The Bay Theatre
Bayshore Bicycles
Benjamin's Cafe (on Davie)
Benjamin's Cafe (on Denman)
Breeze Record Rentals
Camfari Restaurant
Denman Market
Downtown Disc Distributors
English Bay Book Co.
Little Sister's Book & Art
Manhattan Books & Magazines
Melissa's Records & Tapes
A Piece of Cake
Cafe Madeleine
Dunbar Theatre
Duthie Books
Frank's Records & Books
University Pharmacy
Video Stop
The Video Store
West Point Cycles
A & B Sound - Car Stereo
Bikes On Broadway
Changes Consignment Clothing
Collector's R.P.M. Records
Highlife Records & Music
Kelly's Electronic World
Memory Lane Records
Neptoon Collectors' Records
New York Theatre
Octupus Books East   ^$Pj|
Roxy Theatre
Vancouver East Cinema
Vancouver East Cultural
Western Front Lodge
Bill Lewis Music
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Broadway Records & Tapes
Deluxe Junk Clothing
Hollywood Theatre
Lifestream Natural Foods
Neptoon Collectors' Records
Octopus Books
Ridge Theatre
Scorpio Records
The Side Door Pub
X-Settera Select Used
Yesterdays Collectables
Zulu Records
Afterimage Photo Service
Basin Street
Be-Bob Beatwear
Cabbages & Kinx Clotbif_$ $*»
Deluxe Junk Clothing
Firehall Theatre
Golden Era Clothing
Pow-Wow Clothing
Reptile Leather
Re-Runs Recycled Apparel
The Savoy Nightclub
Sissy Boy Clothing
Smilin' Buddha Cabaret
Video Inn
The Waterfront Corrall
ZZ...on Water    ZZ...West
October 1984 Vol. 2 No. 9
Airhead   4
Bunker Beat    5
M.I.A.      7
Animal Slaves 11
Marv Newland 12
D.O.A ..14
Semi-Finalists .... .15
Bus Surfing With
The DKs.. ...16
CITR Program
Guide 20-23
Demo Derby .....   .. 24
Vinyl Verdict ...25
The Roving Ear 31 DISCORDER October, 1984
SUB Ballroom - U.B.C. • 8:30 pm
ADV. TIX: VTC/CBO & usual outlets. INFO: 280-4411
Charge by phone 280-4444 NO MINORS PLEASE
Produced by AMS concerts
TIX: $6.50 ADVANCE $8.00 at the door
available at: Zulu Records, Odyssey Imports,
Highlife Records (1317 Commercial).
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T 2A5
Dear reader in CITR!
First of all I want to excuse for my English because some times I got
trouble with it. I speak English just one year and that's why I got this
problem. But I think everything will be OK after cople years. I write to
you because I don't know who kan help me. I'm 23 years old and I'm
realy intersting of musick. I was born in Czechoslovakia and I use to live
there 19 years. From age of 18 I spend my time (spere - free) with my
cousine who is D.J. He showed me and tel me everythink abaut this job.
When I was 19 I made my own Disco aparatune and I started do some
Discos. But it was werry hard and wery expensive becose I record over
ther cost around $20. That's why I desided left my contry and try luck
somwhere else. After that I was in Austria for 11/2 year and I did Disco
D.J. in Disco name of White Store in Wiena. I've got there great time
but many friends of mine been in Canada and I left Austria December
1982 and I came to Hamilton Ontario. There I went to school for English
corse and after 6 month I start work par-time like D.J. in DM. studio.
This job was O.K. but I didn't like Hamilton because it's city of low lifes
and there is many factories. And I didn't like Ontarios climat, that's why
I dicided muved to B.C. I can say I low Vancouver and I want to stay here.
I'm here 3 month and I always try foad way: how to be D.J. but I don't
know what to do, becaus I got stron accent. That's way I want ask you
may be you can help me.
Dear reader in CITR,
Can we help Brano?
Write B.R.A.N.O.
c/o Airhead
6138 SUB Blvd., UBC
Dear Airhead,
Since CITR has become a stereo channel, in order to listen to it I have
to hold my radio's antenna, plug my headphones part-way in, and turn
the tone down all the way (which also reduces the treble) to get rid of
the hiss, which is still there anyway. On a clear day I can hear CI IH with
only minimal interference from KISM, my refrigerator, police walkie-talkies,
and my electric clock; other days I can barely hear you at all. When you
came in from the airwaves in Glorious Mono I didn't have to go through
all this crap! I only live in downtown Kerrisdale! I hope you are planning
to use some of the membership money to get some more power behind
your stereo signal. It would be much better, otherwise you haven't done
a thing for improvement! It's gotten worse...Yes, I'm finished now, so ciao.
We will soon be applying to the CRTC for additional power. Our
listeners can help us by writing letters, supporting our effort.
Address them to: CITR
6138 SUB Blvd.
V6T 2A5
Have I been sleeping through the last couple of issues of the
DISCORDER? Your reviews in the August-ish were generally very
good—the best being written in Vancouver these days (which, by itself,
isn't saying much). Congrats.
Just one complaint, this is the twentieth century (1984 to be exact),
so methinks we needn't suffer through "man's hope lies within his soul"
type of language much longer.
Mix those pronouns up a bit, eh Kevin. A little more judicious editing
too, Chris.
If the buses weren't shut down, I wouldn't expend 32 cents on a stamp,
but at least I've recycled the envelope.
Borden Spears DISCORDER October, 1984
Last month, we invited our readers(or listeners
or whatever) to picture the following catastrophic
Imagine that, through no fault of your own, you
are trapped in an atomic fallout shelter with a
bunch of Nice Young people. You know, the kind
of people that show up in the Province's "Smile
of the Day" feature. To combat these years of being trapped in this bathrcom-sized bunker with
these bozos, you are allowed to pick your 10 fave
rave LPs of all time. Here's a sampling of some
of the most interesting "Bunker Beats" so far:
1. The Clash - London Calling
This record changed my life. The finest of
Clash City Rockers, guaranteed to blow away
the blahs and make you feel like going out
and beating up a used-car dealer. Great
music from a then-great band.   £1 x   \
2. The Jam - Setting Sons
Sorry Gordo, this one's their best. Every
song here is dynamite, and, taken collectively, they form the best commentary on the
tragic downfall of Britain that this UKer has
ever heard, read, or seen. So there.
3. Pointed Sticks - Perfect Youth
Unquestionably the best record to ever come
out of Vancouver. Bill Napier-Hemy's guitar
work alone makes this a classic. Everything
else is superb, too, from Nick's vocals to the
wonderful sax breaks. A bargain (my copy,
. brand new, bought in a downtown store, cost
$1.37) plus great cover art from the Braineater, Jim Cummins.
4. Any record by Jonathan Richman
Man cannot live without J.R. Anything of his
would suffice, but, if pressed, I would opt for
Back In Your Life or Jonathan Sings!
Anyone who sings, "If I were a shopping centre, I'd sure be em harassed / I'd never get
a date with some cute little building, like,
from Paris," is a man of great wisdom. This
man holds the key to life, the universe, and
5. The Hitchiker's Guide to the Galaxy &
The Restaurant At The End Of The
This is cheating, as they are actually two
separate albums, but they should be one.
Vitally important for the survival of mankind,
as the Vogons may show up at any moment.
6. The Specials
Even in a bunker, I'm gonna want to dance.
This is the first and the best of the ska
revivalists. The cover of "Monkey Man" is
particularly outstanding, besides, how you
gonna do the dog without the music, eh?
7. Peter Gabriel (1980 LP)
This is the melting face cover and it's
Gabriel's finest. The supporting cast is excellent (Paul Weller, Kate Bush, Robert Fripp,
Dave Gregory, Tony Levin, Larry Fast, and
others). Brooding excellence from one of the
most intense musicians around.
8. Stars Wars Soundtrack
Cinematic symphonic bombast at its finest.
The cantina band is here, so's the main titles,
and you can relive the attack on the Death
Star. Pretend you're thirteen again. Blammo.
* y I/te had &&W> wntfti &. catffr:
Kapow. Zowie. What more can you ask for?
9. Gang of Four - Entertainment
One of the great debuts, along with The
Clash and Violent Femmes. A raw, tortured
sound, trendy politics, and one of the finest
pieces of feedback recorded this side of the
Velvet Underground. Question: How did
Andy and Jon go from here to "Is It Love?"
Requiem in pace, GOF
10. Elvis Costello - This Years Model
Even in a thousand years, men will still say,
"This was his finest hour" (or his finest 33
minutes and 11 seconds, anyway). Elvis at
his musical and lyrical best. If this record
leaves you cold, you walk on four legs, have
a tail, and wear scales. My nominee for the
record of the century.
Honourable Mention (i.e. almost but not quite)
Sandinista! - The Clash: The Clash variety
Hallowed Ground - Violent Femmes: Gordon
Gano for President.
Sundown - Rank and File:  This is country
View From The Bottom - The Modernettes:
"The Rebel Kind" is a classic.
Mister Heartbreak - Laurie Anderson: Best
avant-garde record in existence.
A Tonic For The Troups - The Boomtown Rats:
Do you love Eva Braun?
The Planets - Gustav Hoist: Classic classical.
Triumph Of The Ignoroids - DOA: Only record
whose cover bears Maggie's beaver.
There they are, hope you like 'em (if you don't,
well, fuck you).
Yours in verbiage,
Ford Prefect
P.S. My tape deck is glowing green. Where's the
7. Mott the Hopple - Mott
8. Frank Zappa - Hot Rats
9. Thelonius  Monk - Criss  Cross  (w/Milt
Jackson) -&1|ffl
10. Ravi Shankar - Live at the Monterey Pop
The raving Jazz fan,
Brent Cooper
Dear GITR,
Here's my suggeston for a Bunker Beat Top 10.
1. Bela Bartok - Mikrokosmos
2. Glenn   Gould - Preludes,   Fugues and
FUguettas by J.S. Bach
3. Mahavishnu Orchestra -Birds of Fire
4. Miles Davis - Bitches Brew
5. Ten Years of Jazz 1949-1959 - A Blue Note
6. John COItrane/Johnny Hartman - Live (I
don't have this album so my title is not quite
Hmmm, choose ten records with which to
while away fifteen years rn a hole in the ground
...that's not even one record per year, Jesus...
I mean what do you do? Do you pick records that
happen to be current fave raves or do you pick
the old chestnuts that you've liked for years? It's
a bit like being told "You've got 24 hours to live.
What are you going to do with them?" Well
maybe not, anyway...
Joy Division - Unknown Pleasures. Well, with
approximately 5,500 days and nights in the offing I figure that there's going to be a few when
I'll be feeling a bit depressed and there's nothing
like Joy Division to get the best out of a good
The   Stranglers - Rattus   Norvegicus.   The ;
Stranglers at their loudest, dirtiest and best. I can
quite happily turn the volume up full blast, with
lots of bass, safe in the knowledge that neither
the neighbours nor the police are going to come
knocking on my bunker-door telling me to keep
the noise down.
Wire - Pink Flag. Wire never learnt how to make
a bad album, so any one would have done really, but I think this one just about beats the other
two. I can't live without this LP now, so how could
I possibly live without it post-nuclear holocaust?
The Abyssinians - Forward Onto Zion. So I'm
down to the last gram of hash that I swiped off
some Rasta who was more concerned about his
hair falling out in all the commotion of the
4-minute warning. So to enjoy it to the fullest I've
got to have a reggae album, and although this
isn't exactly roots it's my favourite reggae disc
of all time bar none.
Ella Fitzgerald & Louis Armstrong - Ella And
Louis. Dinner is cooking nicely, the radio-active
glow that was once Vancouver is looking particularly breath-taking tonight, the scatter cushions
more Bunker Beat p. 6 DISCORDER October, 1984
More Bunker
have just come back from the cleaners and Ella
and Louis is on the turntable...now I'm sure I told
her to be here at about 8:00.
Gang Of Four - Entertainment. This album is
a classic, every track is pure gold and an absolute must post- or pre-bomb. And it's practical.
If I play "Anthrax" at 45 r.p.m. the intra will kill
99% of all the cockroaches that are rapidly taking over my pogoing space.
The Ruts - Grin And Bear It. Talking of pogoing, I had to lower the floor of my bunker another
two feet so as to minimalize the chances of
severe head injury while bouncing to such gem's
as "West One (Shine on me)," "Babylon's Bur-
•ning" and "In a Rut." But what do you do with
500 cubic feet of good top-soil in a post-nuclear
attack society?
Brian Eno - Before And After Science. Brian
Eno had lost his'hair before we all got fall-out
but he was still able to write this album of essential music. Somebody told me he was in a lift
when the big bang came and is still trapped there
having to listen to a tape-loop of Jon and
Vengelis. And I though I had it bad.
Talking Heads - 77. Their first album and before
David Byrne became too clever for our own good.
I can hum along with "Psycho-killer" while
dusting the portrait's of Ronnie and Maggie on
my wall and I like listening to "Don't worry...
About the Government" while thumbing through
one of those "l-Told-You-So" pamphlets that the
Jehovah's Witnesses are always pushing underneath my bunker door.
Linton Kwesi Johnson - Forces of Victorv.
While pondering the demise of the Nuclear Family in the Atomic Decade and it's metamorphosis
into the Nuked Family in the Atomic Decay I can
slap on this enormously fine record and remember the days when racism, discrimation and
fascism seemed more important.
—Enola Gay
If you already have all your hippest discs picked out for post-atomic pleasure, send your
Bunker Beat" submissions to:
Bunker Beat
c/o CITR
6138 SUB Boulevard
U.B.C, Vancouver, B.C.
V6T 2A5
—Dr. Strangelove
16th & Arbutus
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SEPT. 304 OCT3
"Modern Times"
OCT 7 and 10TH
OCT 14 & 17 — 1947
OCTOBER 21 & 24 - "LIMELIGHT" - 1952
Mq;wmwM Illt-SOIMTOHSIlltW I   R0CKY horror show
UHW ill. J-il- I       HOL|DAY weekend - FRI.SAT.SUN
OCTOBER 5, 6, 7
Urgh! A MuSiC War   The   Pohce.   The   Go-Cos.   Orchestral  Manouevres.
Tovah Wilcoj. TreGrampj. Dead Kenntdvs. Klaus Norm, t
IN CONCERT <^»>        OCTOBER 13
Studio Glnoma
Bits of Black Tape finds the pride of Vegas punk
*"m b"'dC«a;  «nTbe Pushed ,00
with our music."
You know when you have one of those days when NOTHING goes
right? Or an event goes awry even amidst best laid schemes? My
experience with MIA started out like that—total disaster. I almost
missed them. I couldn't buy their record Murder in a Foreign Place
anywhere in town. And the night of the gig I couldn't get into the Buddha to even interview them, let alone see them perform.
I was not feeling good. I mean, there it was almost midnight and I was
on a Hastings Street corner in the pouring rain, trying to get all of my
28 years into a club to hear the first band that's excited me in a long,
long time...Somehow, by luck of the long wait outside and some fast talking with the guy at the door, I managed to get in.
Just in time to hear a blistering, slamming set by MIA—a foursome
from Los Angeles.
Remember last month when I wrote here that these guys would be
good live? I lied. They were fucking great..
The day after the gig, and the afternoon after some post-gig partying,
MIA showed up at the ClTR studios, ready to talk and looking for a good
place to eat. MIA is the first 'punk' band to break out of Las Vegas.
Discovered several years ago by Jello Biafra of the Dead Kennedys, MIA
is one of a growing number of "born in Las Vegas" bands, including
Subterfuge and SA. MIA is now based in Los Angeles, but still calls Vegas
home. Las Vegas isn't the only Nevada town with an active subculture.
Mike Conley (vocals): Reno's really happening. DOA's been playing there
for years.
Larry Pearson (drums): Reno's great, they've got all kinds of bands. 7
Seconds has been playing there for years.
BOBT: It's not the place you think of. I mean, when you think of Reno
and Las Vegas, you think of Wayne Newton and. bingo tours. Where
do punk bands come from in a place like that?
Nick Adams (guitar): Well, it's great because in those kinds of towns
it was wild, thrashing and all kinds of kids showed up.
Mike: It was a real good attitude.
MIA is not well known up here, or at least weren't until their Vancouver
gig on September 10. Their show here was their first time in the city,
and was one of their last dates in a two month tour that had taken them
from L.A., across the south, up the coast and across Canada. Being
unknowns is the Usual story for the band—as is the reaction that follows
their gigs.
Mike: Most of the people haven't heard of us but they're taking a risk
and that's good, because I hate to see any negativity towards new
bands. Normally when we're finished playing we sell a lot of our
the age to have any kind of fun is 21, and the youth really has.
a hard time. I mean, if you don't have a lot of money to play pin-
ball there's not much you can do... The whole entertainment industry's geared around older people and people who have a lot
of money so, that's how punk flourishes there...
Paul Schwartz (bass): A lot of people can't imagine Las Vegas as being
a regular city, they just think it's casinos. It's just like every scene,
it's the kids and the middle class working people and people off
the street.
Mike: It's funny, a lot of scenes don't seem like there'd be anyone there,
but a lot of the small towns we've played, we've had a bigger attendance than some of the big cities.
Larry: ...plus they're smaller and they appreciate the bands more.
Paul: We went through New York City and we couldn't get a gig there,
and then we went through a place like Muskegan, Michigan and
more MIA p. 9 PffpORPER October, 1984
\Ontyut o£t6eSpecies
More MIA
T-shirts and records. We sold all our T-shirts in the first four gigs,
so now we're going home to hopefully make another record and
do some more T-shirts (laughs).
Murder in a Foreign Place is MIA's first major release on Alternative
Tentacles Records. But the band has more music...
Paul: We're on another record that we share. We're on the B side of an
album called Last Rites for MIA and Genocide on Smoke 7
Reocrds. You don't see it around too much. It's old.
Mike: Around 1980. It was a demo tape, actually, and the band broke
up for a while due to some personal things. The tape was sent
around to a few places and they decided to put it on a few compilations. We have a song on the American Youth Report compilation, also on the Not So Quiet on the Western Front album,
this new Half Skull EP 7 inch with four bandsand one other
BOBT: And the album we have here is Murder in a Foreign Place, on
Alternative Tentacles. How did you get connected with them?
Nick: Jello 'discovered' us in Las Vegas.
Mike: We played a show in Las Vegas and he really dug us and came
up to us after the show and (laughs) said "Hey, I like your band,
do you want to be on our label?" and we said, "of course, yes."
BOBT: Do you see your music as a political motivator, as a way of getting people to act?
Nick: We use our music to express how we feel about certain things
going on around us...it's kind of an art form, trying to express a.
truth and so, you know we just try to point things out that are happening in the world, to define them in a certain way.
Mike: A lot of bands tend to dwell on certain topics and it's like screaming at a wall...it won't fall down but you can let them know you
are aware and that you won't be pushed too far, and I think that's
what we are doing with our music. It's kind of like a standoff...
One thing I like about this city is the grafitti (yeah)...it's intelligent
...it's protesting... I like tnat...
BOBT: As a listener I know it's very comforting to put on a record and
hear that somebody else, no matter how many miles away, is thinking the same kinds of things that you are.
Mike: I think there's a lot of people like that. A lot of bands tend to be
too straight to the point, but we go about explaining it in a very
different way. A lot of our songs, like Who Will Survive—well, it's
not saying we're going to die in a nuclear war but it's saying we're
going to die from what evil men create, and that could be any
number of things from greed and corruption to what evolves.
TheBuddah gig may have been their first in Vancouver, but that doesn't
mean MIA is not familiar with local bands. Nick was wearing a DOA T-shirt.
Mike: They've been like Larry and mine's favourite band. We've met them
in L.A. before...they're great people and a great band, and I really admire what they're doing.'
All: Three cheers for the Icons!
Larry: And Bill of Rights...they were cool too.
BOBT: What about other Canadian bands you've heard or met?
Mike: S.N.F.U. from Edmonton. (All: They're great...watch out for that
band...they're playing here real soon...)
BOBT: How did you find the crowd at the Buddha?
Mike: The people that were there were great, but...
Pual: Yeah, we had no idea what the situation was going to be like there
and for all the people that couldn't get in for one reason or another
we'd like to apologize.
(The Buddha has a very sticky and what appears to be somewhat arbitrary policy regarding the proper I.D. to get in to the bar...at least half
of the people who tried to get in to see MIA were turned away, including
several who were over the legal age in this province.)
Larry: Next time we'll be doing a different show.
Mike: ALL ages...don't miss it.
MIA is considering a northern tour in the next few months, and promise
they will do an all ages show—ONLY. They say they'd prefer to do nothing
but all ages gigs. Meanwhile, you can hear MIA on vinyl on Murder in
a Foreign Place and other compilation albums. If you can't find the album,
call CITR and request it.
—Bits of Black Tape
I-3 Glass Aunts
4-6 Jim Byrnes
10-13 Vox Phantom     W     S?<
17 The GLADIATORS  .from J A. >
22-23 Sir Douglas Quintet
^   66 WATER ST      y\ DISCORDER October, 1984
1895 Venables at Victoria Drive
Larger than  life  puppets  in  the  highly I
acclaimed production of J.R.R. Tolkien's
classic adventure. Join Bilbo and Gandalf
on their amazing journey to the heart of j
Lonely Mountain.
"Theatre Sans Fil's production is a bold I
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age." (Washington Post)
OCTOBER 10-13, 7:30 p.m.
One of Canada's most active and
dynamic modern dance companies
returns to the west!
"Seldom does an evening so totally
entice the senses and so soothingly
tickle the fancy." (Globe & Mail)
OCTOBER 16,17 & 18, 8:30 pm
ihichel Lemieux
The toast of Montreal!
Musician, artist, actor and master
performer, Michel Lemieux is known
to Vancouver audiences as the
composer/ musician who toured
with LA LA LA (Edouard Lock
Dancers) last spring.
"Multidisciplinarian . .. the man is
a miracle with more talent than he
can contain." (The Gazette)
OCTOBER 23, 24 & 25, 8:30 pm II
"... a cause for special celebration." (Max fB/8B£
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-  DANCEMAKERS  attracts great  praise    ^»
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DANCEMAKERS. "Technically brilliant and 1
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OCTOBER 26 & 27, 8:30 pm fin}
Want to see Toronto Dance Theatre AND Dancemakers? Come. to a TDT
performance and you'll receive a 99<£ OFF Coupon for Dancemakers (evenings only)
&  Saturdi
IpM   - 5i
Don't   Forget   You're   all
Invited to
Spend The Night
For our 2nd annual
Sunday Oct. 7th    9pm -4am
Have you're next PARTY with  us
We are now available
for  private bookings
10 DISCORDER October, 1984
Animal Slaves
Take A Walk on the Vile Side
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THE   KNW<_ 5LAves
f -F*
Wanuary 1984...with the slightest trepidation, the Animal Slaves
unleashed their taunt and challenging sound of music on an unaccustomed world—a sound that up until this time had been confined to the
ears of a fervefit cult of listeners here in Vancouver and lesser-known
outlying areas. ' 'S-CV
Their 5-song EP (the ninth release on the local MoDaMu co-operative)
was met with a grab-bag of critical responses. It seemed everybody had
something to say about it... "Beefheartian excurtionist lyrics"..."jazz-avant
obligati (!)"... "they make Romeo Void look like the Beach Boys"... "primal
funk"... "steady beat"... "erratic vocals"... "captivating bass work"... "a touch
of fury"...were just a few of the catch phrases tagged to the Animal Slaves
and their first vinyl release.
Whether the record cultivated feelings of esctasy, depression, or merely
indifference, most would agree that it is true to the Animal Slaves' peculiar
form. Uncompromising and occasionally overbearing, they lack most of
the musical and lyrical pretensions that the majority of budding 'rock
artistes' feel compelled to apply when developing that accessible, albeit,
derivative sound in the attempt to seduce as many lazy ears as possible. Not everyone is going to like the Animal Slaves because they don't
sound like anyone else.
Well, what's the problem then? Why aren't they playing spunky funk
tunes and singing about the extraneous topical circumstances that
affect humankind today? Why not suck the big one and make the music
they play pay?
"Oh yeah...someday we'd like to support ourselves, make a living or
whatever you want to call it, with our music, but," states erratically-coiffed
vocalist and keyboard player Elizabeth, "we'll do it our own way."
Elizabeth may be speaking for the group, but perhaps the most impor
tant aspect to remember when developing an impression of the Animal
Slaves is that it is no more a 'group' as it is three distinctly different individuals. Differing in age, background and attitude, Elizabeth, drummer
Ross, and bass player Rachel usually only agree on one point—that they
disagree a lot. But any internal disorders caused by their occasional lack
of emdtional compatibility aren't evident when the Animal Slaves take
to the stage. They're smiling a lot more these days and project a stronger
feeling of confidence about what they are doing and why they're up there
generally making fools of themsleves. The Animal Slaves are still capable
of radiating those "fucking ridiculous vibes", but therein lies part of their
The success of the EP (top 5 airplay on most major college radio stations in Canada and on the west coast of the United States, and some
UK exposure by way of John Peel's BBC radio program) has inspired
Elizabeth, Ross, and Rachel to pack their bags and hit the trail. The
three minstrels recently completed a relatively successful club tour down
the West Coast and now have their sights set on the Golden Triangle
to the east—Toronto, Montreal, New York—along with appearances in
Calgary, Edmonton, Regina, Saskatoon, and Winnipeg to keep them well-
fed along the journey. It's a complete do-it-yourself package—contacting
friends and associates in each city to secure the dates and posting promotional material to the press and radio stations, all without the aid of a
national booking agency, a manager, and a large amount of cash. The
Animal Slaves will be gone for the month of October and they'll be playing such diverse venues as underground clubs, community halls, disco-
teques, and well-known spots like Ten Foot Henry's in Calgary, Foufoni-
quesd'Electriques in Montreal*, and the Pyramid Club in NYC. They'll
be back in town November 5th for a date with NoMeansNo at the
When asked about future plans, the question is met with an 'it's
anyone's guess' sort of response. Elizabeth, Ross, and Rachel may have
their differing opinions on what they might like to see happen, but as
a group they are faced with the same uncertainties. A trip to Europe,
perhaps...another record, hopefully..a major recording contrct? Nah...the
Animal Slaves may have taken their dogma for a walk but they haven't
let it off the leash. %W$®.
—Mick O'Shea
11 DISCORDER October, 1984
I ary Newland is not having a good day. For some reason forces
unknown seem to be conspiring against his attempts to show some
visitors to his Richards Street studios a copy of his just-completed film
Anijam. First there was the video cassette recorder. When he went to
plug in the tape, there was an empty space where the machine should
have been. Newland searched the whole building before the errant hardware appeared through the door in the arms of the breathless borrower.
Breathing a sigh of relief, Newland retrieved the machine and, grabbing
a small TV set, headed up the stairs to the offices of International Rocket-
ship, the animation company he's headed since 1974.
He is now standing at the top of the stairs, looking down the hall to
the office door. It is closed. And locked. And his keys are on the other
side. Newland sets down the machine and, taking what he has been
told are "master keys," attempts to open the door. The key doesn't even
turn in the lock. "Looks like I'm going to have to break in," he says. As
he crawls through a hole in the wall on his belly it becomes apparent
that the cartoonist cannot pass through walls with quite the ease of his
Moments later Newland reappears on the other side of the door, chuckling at his mishap as he ushers his guests into the small screening room.
It seems ne s used to things like this happening. This isn't the first time
he's had trouble getting a film shown.
Marv Newland labours in that all but forgotten genre of film: the
animated short, or as it is more humbly known, the cartoon. ("You can
call them animated shorts if you want to get a grant," says Newland.)
In this age of big budgets and small theatres it's not often that a moviegoer gets a cartoon as part of the admission price. And while there are
still cartoons on the tube when the kids get home from school—Tom and
Jerry, Popeye, Bugs Bunny—they are all pictures made years ago. Most
new TV animation, usually aired on Saturday morning to occupy the tots
while Mom and Dad sleep in, seems to consist of badly drawn, crudely
animated versions of video game characters or adaptations of mindless
shows from the evening airwaves. In short, Marv Newland seems to be
practising what many believe to be a dying art.
It wasn't supposed to be that way.
"When I was a film student I wanted to make live-action films," confesses Newland. "I wanted to wear the jodpurs, carry the megaphone
and whip, and do all those other things directors do. But then I was making my second film, a thing called On Cloudy Days I Sleep In at the Art
College of Design in Los Angeles. The film was nearing completion and
all I needed to wrap it up was a stop-action sunrise. Well, in the week
before I was supposed to hand the film in, there wasn't a single clear
day in L.A. So, in a panic, I hurriedly threw together an animated film
that had been running about in my head for about a year.
That film was Bambi Meets Godzilla, a 90-second cartoon of Disney's
deer grazing quietly in a meadow, while the credits, all reading "by Marv
Newland," roll past. Bambi meets a messy end when Godzilla's foot
comes crashing down, putting an end to both Bambi and the film. Bambi Meets Godzilla was an underground hit of sorts, or as much of a hit
as a 90-second picture can be, and established Newland's name as an
animator. After graduation, Newland went to work doing animation for
TV commercials. As the money rolled in, and Newland grew fonder of
his accidentally adopted craft, the dreams of the director's chair faded
to black.
It was eleven years before Newland's next theatrical venture hit the
screen. Sing Beast Sing involved five years of sporadic work before emerging as a cartoon dedicated to all those people behind the scenes in the
entertainment business. At nine minutes it's longer than most North.
American commercial cartoons. The plot is simple to the point of absurdity, and the pacing is deliberate, in contrast to the slam-bang,
amphetamine-fuelled action common in most weekday afternoon fare.
What Sing Beast Sing lacks in frantic action, however, it more than makes
up for in detail. Each frame of the film is carefully drawn; there are none
of the cheap stock sequences^ usecT
by some animators to cut costs and production time. Even if its star is
a grotesque called Toledo the Mung Beast, Sing Beast Sing looks like
a labour of love.
Indeed, it probably is a labour of love; there's precious little money
in cartoons. Costs are high, because of the enormous amount of work
that must go into each frame, and revenues are low, since so few theatres
include cartoftns on their bills these days. The only financial consolation is that animation doesn't date as quickly as live-action film. The best
of Disney and Warner Brothers cartoons look as fresh today as they did
the day they were made. So Newland's cartoons may pay off some day.
But it probably won't be this week.
This week Newland isn't concerned too much about bills anyway.
Despite the problems with the machine and the door, he's on a bit of
a roll. His new film Anijam recently won the Special Jury prize at the
Canadian International Animated Film Festival in Toronto, a vindication
of sorts, since the same festival rejected Sing Beast Sing. And he's just
returned from a festival in Telluride, Colorado, where Anijam won the applause of the likes of Wim Wenders and Werner Herzog. Soon the film
will be off to Italy for the Lucca festival, and New York City for the Film
Forum Festival.
Newland describes the film as an animation free-for-all: "Anijam is short
for animation jam, and the film is sort of a jam session for what I would
consider world-class animators, as many as I could contract and con
into working on the thing. There ended up being 22 animators from nine
"I started things off by designing a character, called Foska. This
character was sent to an animator with the instructions that they should
animate a 15 second sequence; that's about 180 drawings. The only
restriction was that each sequence had to begin and end with Foska.
That animator sent his drawings back to us and we took the last draw- DISCORDER October, 1984
ing and mailed it to the next animator, who used it as his first drawing.
No one know what came before or after their sequence, just that each
sequence began and ended with Foska. Then we took all the drawings,
added colour, put them together, and added a sort of tango soundtrack
by a Vancouver composer by the name of J. Douglas Doddf
The concept behind Anijam is reminiscent of the old party game where
each person contributes a line to a story, or of the Dada portraits, in which
a series of artists contributed to the drawing of a picture by carrying on
from where the previous artist's lines left off. Both those techniques,
however, are better known as commentaries on the process of creating
than they are for achieving results. The results of the chain stories and
the Dada portraits are more notable for their absurity than for any literary
or artistic merit. Curiously, Anijam doesn't suffer from the same problem.
Perhaps because we don't expect much in the way of plot or character
development in cartoons in the first place we aren't disappointed when
Anijam doesn't provide them. What the film does provide is a series of
variations on a theme, as Foska goes through a series of metamorphoses
at the hands of animators with vastly different styles. Rather than distracting the viewer, the clash of styles becomes one of the chief points of
interest in the film.
No one is more surprised that Anijam works as a film than Newland
himself: "I imagined it would be really schizophrenic, indecipherable,
almost impossible to watch. But looking at it now, it seems to play. J don't
know if it makes any sense, but it seems to play.
"In some cases there were some uncanny connections from sequence
to sequence. There's one bit where a Danish animator living in London,
Ontario did a sequence where Foska eats a bomb. In the next sequence,
by a Japanese animator, the character vomits. In between the eating and
the vomiting there's a little walk that Foska does. The Danish animator
ended his segment in the middle of the walk, and the Japanese animator
started his segment by picking up exactly the same walk. And he could
not have known in any way what the character was doing, not from one
While Anijam can be judged an artistic success, Newland now faces
the task of getting the film shown. It has already been included on a
program of new Canadian animation assembled by Pacific Cinematheque
that will be shown Oct. 27 at the Robson Square Cinema. He hopes to
convince the Odeon Theatre chain, who occasionally show Sing Beast
Sing before their main attractions, to give Anijam similar treatment.
The fact, however, remains, that a cartoon on the bill is the exception,
not the rule. Getting Anijam shown will be an uphill battle. Once that
question rears its ugly head: "Is animation a dying art?"
In spite of the daunting evidence to support claims of its demise,
Newland remains optimistic about the future of animation. "Right now
shorts aren't being shown in theatres, because theatres are selling you
a seat, they're not entertaining you. Maybe when things get tougher, and
fewer people go to movie theatres, cartoons will come back as the theatre
owners try to put on more of a show. Right now, though, animation is
going straight to video, with compilations of short films, like the Fantastic
Animation Festival, or the Animation festival.
Rock video also beckons. Animation is well suited to a medium, like
MTV or MuchMusic, where a clip is repeated ad nauseum. Says Newland:
"Ry Cooder once told me that the two things that hold up best in rock
videos are porn and animation. Those are the two things that people
will watch over and over again."
While encouraged by the alternatives, Newland would still like to get
his films to the big screen. "I'd like to slip it into some of the local
cinemas," he says. "Maybe beat up a projectionist and slip it in between
reels of a feature film."
Newland is laughing, so one might suppose that he's joking. But then
again, maybe not. After all, Marv Newland is a man who'll walk through
walls to get his films shown.
VideouPick of the Month
\krl::i    My Break
Heartland Reggae
elieve in Tears
1829 WEST 4TH AVE. AT BURRARD 734-0411
~13 DISCORDER October, 1984
r        ,0 crea»DIU J
14 DISCORDER October, 1984
I t's Monday, September 10.1 jog up the steps at #6 Powell Street, knowing that before 10 p.m. I can get in free and stock up on cheap browns,
before happy hour ends. It's the opening night of SHINDIG, CITR's Hot
Air Show revival.
10:15 The M.C. introduces Laughing Academy. The band is tense, nervous and after a short delay they are off to a slow start. Weak saxophone,
average guitar—the tempo never picks up. Time for another brown. I hear
some weak cheers, and polite applause. The band is gone when I get
back to my chair. Oh well.
11:15 Procedures for Approval take the stage. The lead singer is confident and cool; they look like preppie-pop college boys. Someone tells
me they are. The music is polished and tight. I am too. The bar is full,
the dance floor filling. It's apparent that PFA's guitar oriented synth-pop
has won the crowd over.
Midnight The M.C. delcared PFA the winners of SHINDIG, round one.
Some of the crowd cheer.
I Proceedures For Approval
fetter used clothing & accessories        ".'.'.'.'^i
251-7390 1204 contmerical drive
...One week later, same time, same place. I'm stocking my table with
happy hour beers. The crowd is different from the week before. More
punks, more piss tanks.
10:15 Out come the band. They're young, they're dressed in black
leather and jeans. The sound is loud—an onslaught of fast guitar-
Sudden Impact. They live up to their name. Some guys are slam dancing. The singer is beer slamming. Much energy. Four songs later the
singer's staggering. Someone pukes on the stage. I'm bored. Time to
refill the table. When the music ends ten guys fill the floor, screaming
"IMPACT, IMPACT, IMPACT." The guy behind me says, "What is this, Birmingham '76 revisited?" I give him a beer.
11:30 The crowd is getting restless. The MC*comes out and plugs an
Iggy Pope T-shirt. What is this, a fashion show? I want some music. On
come Red Herring. The music is original and totally different from the
first band. Muddy vocals, but some solid guitar work. They're more accomplished musicians than Sudden Impact. They keep their dinner down
12:30 The MC says Red Herring is the choice of the judges tonight.
Half the crowd tells him to fuck off. The other half calls for an encore
I call for more beer.
1:00 Short encore—maybe six songs. My beer lasts longer. Okay qiq
Good drunk.
Round Three. September 24
Shit. It's 10:15, the band is on and I've missed happy hour. There's
a lineup. I tell the doorman I'm with the band. He's goes to check and
I sneak in.
A girl tells me the band on stage is the Young Pups. Great guitar—
these guys are cool. I've heard them somewhere before (if only I could
remember where). The place is packed. (Lotsa cheeeks.) The Young Pups
aren't flashy but they seem to be holding the crowd's attention. Must
be the music. Some people dance. I go to the bar. One beer at a time
tonight—no table to stash the extras. The band says their thank-you's
to the crowd. Major cheering. Me too.
11:15 The MC comes on stage. Seems that there are three bands
tonight. Out trot Fun With Numbers. Clean band—obviously think they're
the Kinks. Round out the set with two Kinks covers. Not bad. My beer
is empty. Off to the bar.
12:15 The Savoy is packed as Beau Monde is introduced. People
dance. The band is good—they have a broader range than the other
two bands. The dance floor is packed by the time they finish their set.
Tonight's a toss-up for me—I like the Pups, but Beau Monde is good too.
1:15 The MC comes on to announce the winner—Beau Monde. They'll
go on to the semi-finals (or whatever) October 1st. If they win that, it's
on to the final and big prizes ("Alright, Beau Monde, do you want the
recording time? Or will you take what's behind curtain number one?").
2:00 Last call has come and gone; the bar is thinning out.T get up
to leave by my leg's gone to sleep. I fall on my face. Have to remember
to put my hands out next time. Also to get here early next week. Time
to crawl home.
;&$?-* —The Observer
See Red Herring, Procedures for Approval, and Beau Monde battle
for a trip to the SHINDIG finals, Monday, October 1st at the Savoy in
15 DISCORDER October, 1984
Bus Surfing   with
Or How I Spent My
Summer Vacation
by Candace Batyckii
It weighs 4900 kilos, sleeps
at least nine, and covered 8500
miles in August of this year.
I'm glad it can    talk.
16 ~
^^ n August 7th seven Canadians, two Dutch, and one American
^™ departed the Pacific Northwest on a modified school bus and headed south. Brainchild of the Intemacionale Plaza gang, the rolling raunch-
out was conceived as a working vacation. Vancouverites, under the
guidance of booking agent Ken Lester, would follow the Dead Kennedys
on their 12-day tour of the Southwest U.S., selling T-shirts and other
merchandise to offset expenses.
The adventure lasted three weeks. Sometimes it felt like three years.
And the whole thing ended much too soon.
A time of intense heat, excessive drink, and endless waiting. A punk
rock hell-on-wheels turned into a chance to meet lots of people, get acquainted with new terrain, see tons of bands, and have vast amounts
of too much fun.
The DKs tour parallelled a few other tours, most notably that of BGK
from Holland and Cause For Alarm from New York City. Riistetyt (Finland)
and Raw Power (Italy) also played some of the earlier shows. It was an
international juggernaut bound by common ideals and a desire for
intense experience. Talking to the Europeans it becomes evident that
hardcore is alive and well on the continent. There's a big difference between reading about these bands in Maximum Rock and Roll and actually seeing them play. BGK in particular absolutely shred; expect them
in Canada sometime next year.
August 10th, Los Angeles. Streets full of people hawking parking spots
for the Olympics at $5/day. The Olympic Auditorium is an incredible place
for a gig: 4,500 spiked, booted, creatively-coiffed Angelenos in a wrestling arena. It was more than a little scary. We sold almost all of our stock
of T-shirts before second-billed BGK finished their set, and scurried to
pack up before any serious shit went down. A quarter of the way into
the Kennedy's set, the first show of the tour, some geek lept onstage,
twisted Biafra's leg, and leaned on his knee. Eeyouch. Jello and the boys
finished the show, including encores, but Mr. Biafra, reknowned for running amok on stage and spending half his time leaping into the audience,
spent the rest of the tour in a Velcro cast, walking on crutches and singing from a stool.
These impediments only slowed his performances down marginally.
The man conveys more energy and expression from the waist up than
most able-bodied singers. The acid wit and manic mime remain intact.
Day Two, San Diego, was unremarkable but for the intense heat and
some WICKED slamming courtesy of the local army boys.
It was 110°F in Phoenix the following day when we learned that disaster
had befallen. The van with the two roadies and all the DK's equipment
had dropped its transmission in Banning, California. With no time to have
the van repaired, it was decided that the crew and equipment would travel
in the bus. And so it was that "bus people" learned the joys of Motel
Six's poolside "stylin' ". In retrospect this was a huge blessing, for the
bus people anyway. We averaged eight-hour drives between shows, with
the temperature anywhere from 90°F to 110°F. Air-conditioned motel
rooms with showers and some degree of privacy probably prevented more
than one attempted homicide.
While the bus fetched the roadies and gear, the DKs played on borrowed equipment. Bus women took over stage security and enjoyed a DISCORDER October, 1984
fun, loose gig, with lots of requests.
Then Texas! The Sancho Brothers Ballroom in El Paso, home of the
fabulous Rhythm Pigs. We received an enthusiastic reception there;
apparently El Paso sees very few punk shows and some fans had driven
200 miles for the occasion. We were mobbed by people at the T-shirt
table; thankfully we had been restocked by then.
Our first day off enabled us to cross the Rio Grande into the Mexican
border town of Juarez for cheap tequila and tacos that later returned
in uncomfortable form.
After an unmemorable show at the Villa Fontana in San Antonio (local
outfit Marching Plague was impressive) we headed for bayou country.
Excitement was high as we approached New Orleans, and the city lived
up to expectations. We used our second day off to take in the World's
Fair (disappointing, a glorified PNE) and the famous French Quarter.
(All together now: "I left my mind, at Pat O'Brien's.") I know I'm not the
only one who fell in love with New Orleans. Selling out all our stock at
the show at Jimmy's meant we had the rest of the tour off. Partee.
Being a somewhat outrageous-looking crew we were a little wary of
rednecks and good ole boys, but most people reacted to us with good-
natured curiosity. It's impossible to say, based on our experiences, what
others might expect. Certainly a busload of Canadians with funny hair-
There appears to be a lot of dead weight
in the American punk scene; the people
that genuinely care and make things happen are often outnumbered by bored,
unimaginative kids, punks in the tradi-
tional sense of the word.	
cuts is bound to elicit a more bemused reaction from motel staff and
shop clerks. "Are y'all with that bayand?" Bending over backwards was
not uncommon.
Back to Texas for the Houston show. We found ourselves at a huge
hall called the Consolidated Arts Warehouse, the closest thing I've seen
to an American version of Europe's youth centres. The walls were hung
with local art, and beer prices were negotiable. Unfortunately, the CAW
was bought by a bank shortly after we were there and slated for immediate
demolition, leaving Houston without a viable venue.
The next day Austin felt like a mecca in the Texas desert. The gig was
at a club with only a partial roof called the Liberty Lunch, which boasted
a full-colour mural on two of the walls and an impressive concert calendar. However, some members of the crowd proved surprisingly violent,
intentionally pushing Biafra off his stool at one point. There appears to
be a lot of dead weight in the American punk scene; the people that
genuinely care and make things happen are often outnumbered by bored,
unimaginative kids, punks in the traditional sense of the word. Nazi Punks
Fuck Off never seemed more appropriate.
It would be unfair to pass judgement on local scenes, as we spent
more Bus Surfing p. 19
•Aug. 10th L.A. (Olympics)
•Aug. 11th San Diego
•Aug. 12th Phoenix
•Aug. 14th El Paso
•Aug. 15th San Antonio
•Aug. 16 New Orleans
•Aug. 18th Houston
•Aug. 19th Austin
•Aug. 21st Dallas
639 Commercial Drive
17 DISCORDER October, 1984
v£C!?ber 14,8pm
War Memorial Gym U.B.C.
C\TR presents
Tlx: Odyssey, Zulu,
VTC/CBO and all usual outlets
Info: 280-4411
Charge by phone: 280-4444
CITR presents
with Q^sts
October*^"     7:30
with guests
October 22 . 8:30 pm
Commodore Ballroom
by Perryscope DISCORDER October, 1984
More Bus Surfing
only one day in each place. There is definately the usual problems in
finding places to play, but the logistical difficulties inherent in transporting ten people on a bus hampered us from finding out more about other
alternative outlets. We did see quite a few fanzines, some really original,
some just plain awful. Certainly the Dead Kennedys draw a bigger crowd
than a local gig would, attracting people who would probably never be
seen at any other punk shows in that city.
On August 21 we were finally in Dallas, Rocking Against Reagan in
front of the Republican Convention. We had hoped for more from this
show. About 2,000 people turned out to the parking lot allotted for the
event, but the general atmosphere was no different than any other rock
show. Yeah, there was a table set up with leaflets, buttons, etc. In the
afternoon the RAR people laid out food for those working the show. The
Yippies raved into the microphone like discredited dinosaurs. The Church
of the Sub-Genius did an inspired 15 minutes. But inevitable comparisons
to the Democratic Convention in San Francisco, where the Dicks and
the Dead Kennedys played to 5,000 people and the gig was followed by
an impromptu street action, left the Dallas RAR show looking rather weak
politically. The DKs tailored their set to feature their more political stuff
and Biafra, by now on the mend, wore a hideous rubber Reagan mask
and led the crowd in a "Fuck off and die" chant as the "rich Christians"
left the convention centre. Tension earlier in the day when mounted police
and riot-equipped cops surrounded the protest cooled out as the night
wore on and the tameness of the event became apparent.
And that was it. Goodbye to BGK and CFA, the Kennedys fly back,
and the bus people wind home via Oklahoma, the Grand Canyon, Lasv
Vegas, Los Angeles, and San Francisco. Through all the physical exhaustion and emotional roller coaster rides, the bus experience was one that
I would have no qualms about repeating tomorrow. To quote roadie Patrick
O'Pillage, it was "Full-blown art."
RS. For a guaranteed good time and a chance to hear some killer new
material, catch the Dead Kennedys at the New York Theatre, 639 Commercial Drive. Two shows, October 20 and 21. All ages welcome.
ffelcct UseJ
lS7*t IN «4,h DISCORDER October, 1984
TA guide to CITR fm 102
African Show   (Wednesday 9:30 pm-12 am)
A program featuring African music and culture.
Every week, with news, current events and local
African music events.
Folk International (Saturday 10 am-12 noon)
Folk music from around the world. Tune in on the
first and last Saturday of each month for traditional Canadian folk music, and on the Saturdays
in between for Indian music.
Jazz Show (Monday 9:30 pm-1 am)
An evening of varied traditional and avant garde
jazz on one of Vancouver's longest running all-
jazz programs. Now that C-JAZ has become
"FM97" this is one of the only places you can
hear jazz on the radio before midnight. Hosted
each week by Gavin Walker or Bob Kerr.
The Midshow   (Wednesday Midnight-1 am)
Midnight, mid-week, mid-dial. William S. Burroughs, Tammy Wynette, ABBA, Laurie Anderson, the mid-show combines music and poetry.
Hosted by John Anderson
Music Of Our Time   (Sunday 8 am-12 pm)
Music of the 20th century m the classical tradition. Hosted by Ken Jackson and Jay Leslie.
Fast Forward (Sunday 9:30 pm-1 am)
The latest m the exciting and vibrant world of experimental, independent, minimalist, electronic,
avante garde stuff. Actually, this program is yef
another alternative to CITR's general "alternative" sound. Keep abreast of independenl
cassette releases around the world, as well as
listening for rare live recordings or more welf
known non-mainstream artists.
Voice of Freedom (Sunday 6:30 pm-7:30 pm)
Satirical broadcast from a mythical radio station
on a secluded American military base (Dtegc
Garcia) where all the records are twelve years
out of date.
Rockers   (Sunday 1 pm-3 pm)
The latest and best in toasting, rockers, dub and
straight  forward  reggae.  Hosted  by George
Playlist Show (Saturday 3 pm-6 pm)
The countdown of CITR's weekly top 40 singles
and albums, featuring new additions to the
Playlist. Listen for Michael Shea.
Insight (Weekdays 9:43 am and 6:13 pn
An editorial comment on current issues open k
the community. If you have something to say, cat;
228-3017, ask for Doug Richards.
Generic Review
(Weekdays at 8:35 am and 5:35 pm  Also or
Saturday and Sunday Magazine)
A critique of local entertainment, theatrics
events, movies, and exhibits.
Sunday Night Live
Rare live recordings of
national artists
8 pm)
local and inter
High Profile
(Monday through Saturday at 8 pm)
Spotlighting one artist's music and career Refef
to High Profile listing for artists.
Final Vinyl   (Nightly at 11 pm)
Albums played in their entirety. Refer to the fine!
vinyl listing in this section for a more detailed
News and Sports (Weekdays)
Local, national, and international news arte
sports. News and sports reports at 8 am, 10 am
1 pm, and 6 pm Newsbreak and Sportsbreai
at 3:30 pm and 4:30 pm. On Saturday and Sun
day, regular newscasts air at 12:00 noon
Saturday and Sunday Magazine
(Saturday & Sunday at 6 pm)
Weekend magazine shows presenting specia.
news, sports and entertainment features.
Public Affairs   (Weekdays 9 am)
Current events and issues around Vancouver, as
welt as in depth coverage of social problems,
political events and public figures.
Proper Gander
(Saturday 6:30 pm-9:30 pm)
Everything but a well-dressed
Mel Brewer Presents   (Thursday 11 pm)
A program featuring exclusively the newest anc
best m local talent with new demo tapes, live in
->s and local music figures
- and lotsa hot juicy gossip ,
■■% p*% ^%. ^% ■■% ii mi
I I 1 1
OF OUR  ioam
SUNDAY   4pm
-wr?nrrro~6PM^ uiNNbH Htrum vv
CITR broadcasts daily at 102 FM and
100 cable FM, from 7 AM until 4 AM.
4PM     THE
spm SHOW
guide to CITR fm 102
ligh Profiles are 45 minute documentary
style music specials, encompassing individual
bands, musical movements and styles and
scenes around the world. High Profiles include
biographical material, histories, discographies
and a good sampling of music. High Profile can
be heard Monday through Saturday evenings at
8:00 p.m.
Starting this month, we are offering a new
feature in our High Profile's time slot: 'Arts
Underground," which will be a 45-minute program on alternative cultural happenings around
Vancouver. This month's show will be "Dance...
A Sound Perspective" featuring experimental
music artist Ahmed Hassan who scores for the
Edam Dance Soceity and will soon be working
for the National Ballet.
Wed     31
The Remains
Delta 5
Guilty Pleasures
Patti Smith
Kenny and the Kasuals
The Small Faces
"Arts Underground"
Public Image Limited
Men Who Hide Their Faces
Tom Waites
The Undertones
The MoDaMu Record Label
Early Pavarotti
The Dead Kennedys
Men Who Grunt
Early Rolling Stones
The Enigmas
Paul Rudolph
Savage Republic
Men Who Gargle Drano
Brian Eno
The Suburbs
Things I Hate
Nightly at 11 p.m.
New and neglected albums played in their
Monday - Jazz Album
Tuesday & Wednesday - New Playlist Album
Thursday-   Mel Brewer Presents
Weekly showcase of local artists. Highlights include interviews, new releases, demo tapes and
plenty of juicy gossip.
Friday - Mixing, Matching, Blending,
Scratching ALBUMS
Saturday - CITR 11 Playlist LP
Sunday - Neglected LP with Mark Mushet
FM 102
Membership Application
Welcome, Friends, to Reverend Larry's House
of Radio Miracles. I'm asking you to be audially
healed! I'm begging you to take that first step
towards musical salvation.
Put your hands on your radio and feel the power
of alternative non-commercial broadcasting. Feel
it surge into your ears, swelling your cranial
cavities, popping those palpitating pleasure pots
known as your eardrums! Yea, Friend, you have
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Now, to help continue this fine work at Reverend
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not. And help us save others from the degradation of dog food radio...
Thank you, Friend.
22 DISCORDER October, 1984 DISCORDER October, 1984
"emo Derby takes a look this month at a number of bands and songs,
all of which really are (except for a couple of them) demo tapes sent
in to CITR. So without further explanation...
Corsage finally has a new demo tape out (actually, a live recording of
a Commodore Ballroom gig): an original called "Season of the Witch."
Bill Napier-Hemy's guitar sound is tastefuly fantastic, as usual. This song
is not as meticulously arranged as Corsage's studio work, but the energy
Phil Smith exudes and the audience response in the background help
to make up for that. Hopefully, the band will have something new to offer
Bill of Rights have completed the work from their second major venture into the recording studio (six songs this time) and the band has really
learned from its past mistakes. With production help from DOA's guitarist
Dave Gregg, this set of songs sounds far better than their previous
release, their debut 3-song single. "Blind Society" and "The Core" are
the two songs the band has sent to CITR, both of which will be available soon on the upcoming record. Both songs are straightforward punk,
far less hardcore/thrash oriented than the first Bill of Rights disc. If these
two songs are anything to go by, the new record will be something worth
looking out for.
Quick! Think of four great non-hockey things from' Edmonton:
2. S.N.F.U.
3. Junior Gone Wild (now defunkt) and now...
4. Jerry Jerry And The Sons of Rhythm Orchestra
Two songs from the Jerry Jerry demo tape have at last found their way
onto the CITR airwaves: "Gospel Surfer" is a really good surf instrumental, with lotsa guitars and drums, kind of like the Sid Presley Experience
or Agent Orange; and "Baby's On Fire" (not the Eno tune) is an upbeat
rockabilly song, reminding me mostly of Tav Falco's Panther Burns. I'd
guess these guys are a lot of fun live.
CITR now has a second demo tape from the fantastic/terrific/great/intel-
ligent/thrashy/virtuoso three piece band NoMeansNo. "Somebodies"
explores the play on words "...some bodies I like, I wish somebody would
like me..." Actually, very well thought out lyrics with interesting views into the life, the universe, and everything. Brilliant playing as well on this
song which, although not quite as driving as "Self Pity," is equally as
Asiyah have just released a two song cassette single featuring the
originals: "How Could I Forget" b/w "A Little Bit of Love," now available
in most local independent record shops. The music itself is very competent reggae, but the lead singer reminds me of the guy from Little River
Band. As this is the first actual local reggae release, this should get some
support from the local scene.
A new band called Unovis have come up with a song called "Lonely."
Having a vocal style very much like that of Polystyrene, and an overall
playing style of X-Ray Spex, comparisons to that band are immediately
made, but Unovis are somewhat more pop-oriented. They are original
enough that they are more than mere clones of the late, great X-Ray
Spex. Hopefully Unovis will play live somewhere soon.
Tim Ray and AV finally have another demo tape out: a catchy pop/dance
tune called "Mondo Caine." Good rhythms, instantly accessable hooks
and clean production make this another in a long line of fine releases
from this band. AV should record more often.
—Big Dummy
th Avenue 738 DISCORDER October, 1984
Public Image Limited
The Commercial Zone
This Is What You Want...
This is What You Get
Once upon a time there was an ugly hunchbacked little man with red hair and green teeth
and an ear to ear sneer. When he wasn't obnoxious and outspoken, he was sullen and condescending. He called himself Johnny Rotten. Some
people called him a nihilist. Others thought he
was just an asshole.
Now it seems that Johnny was the singer for
a band called the Sex Pistols who played very
loud songs about all sorts of subversive things.
Everyone who didn't love them, hated them. They
used to throw up in airports and things like that.
Such bands don't often last long and on their first
American tour, the Sex Pistols disintegrated.
But it wasn't in the cards that Johnny would
fade into oblivion. One fateful day he ran into
Keith Levene, a guitarist with classical piano
training who often wore clothes that appeared
to be several sizes too big. Some people called
him a heroin addict. Others agreed.
John decided to chuck Rotten (too unsophisticated I guess) and reassumed his family name,
Lydon. Then came the announcement, amidst
much hype, that Lydon and Levene were forming Public Image Ltd. They took pains to stress
that PIL wasn't a band, but rather a limited company, the mandate of which was to destroy the
concept of rock band and all its ostentatious trappings. They said they planned to produce films
as well as make music, and do so as autonomously as possible. As Lydon put it, in typically
vitriolic fashion: We want nothing to do with producers and that sorry lot. Why should we pay
some dreary hippie to tell us how we should
From a musical standpoint, PIL was an unqualified success if only because the first three
albums were uncompromisingly different. From
the jagged, angry sound of First Issue to the exotic, percussive and often excruciating thump of
The Flowers of Romance PIL remained unpredictable. Drummers came and went—Vancouver
native son Jim Walker, Richard Dudanski, Martin Atkins and Budgie—and bassist Jah Wobble
left under rather acrimonious circumstances
shortly after the release of Second Edition. All
this only confirmed the fact that the core of PIL
was Levene   and Lydon.
Unfortunately, Lydon and Levene have been
on bad terms for the past year and, as a result,
PIL has been a confusing proposition of late.
Why? Becauce Lydon and Levene have each
released a new PIL album; or perhaps I should
say they've each released an interpretation of the
new PIL album because these two discs have
a lot in common.
Actually, it was announced some time ago that
Keith Levene had left PIL, so the appearance of
Commercial Zone comes as a bit of a surprise.
Judging by the title, I would speculate that the
album, released as a quasi-bootleg, is Levene's
parting shot at Lydon and Virgin Records. Obviously Levene absconded with tapes from one
of the last recording sessions in which he and
Lydon collaborated, because Lydon's voice appears on many of the songs. Essentially, what
we have here are basic rhythm tracks overlayed
with uncharacteristically understated Levene
guitar work. Lydon's voice is rather low in the mix
and sounds only mildly annoying, which seems
to lend more credence to the notion that these
versions were early studio outtakes.
The exact opposite is true of the official new
PIL album This is What You Want.This is What
You Get. In a nutshell, no John, this is not what
we want! The album kicks off with a truly hilarious
version of This is Not a Love song replete with
horns on the chorus. Evidently, Johnny boy has
been at the Philadelphia cream cheese a few too
many times. Put simply, this album is severely
bloated by overproduction because, I suspect,
Lydon and the Virgin brass (ha ha!) realized at
the last minute that they had a complete dud on
their hands. This has to say something for
Levene's talents because he has taken many of
the same songs, economized on the production,
and come up with great stuff. Furthermore, the
songs on This is What You Want... that Levene
did not co-write are just plain boring, more
evidence that Lydon, fresh out of ideas, is simply
trying too hard to create something new.
So let's face it. Public Image Ltd. is, for all intents and purposes, dead. Levene, unquestionably the musical genius behind PIL, says he
won't work with Lydon again, and without Lydon's
voice, PIL just isn't PIL. Unfortunately for Lydon,
PIL without Levene is simply PIL not worth having. If you can find a copy of Commercial Zone
buy it, it's good. If not avoid This is What You
Want...This is What You Get. It's not what you
want. John Lydon would have you believe that
he's laughing. I think he's panicking.
—Mikey Clupper
25 DISCORDER October, 1984
7 Seconds
The Crew
Faster than a speeding bullet...more powerful than a steam locomotive...more fun than a
barrel of monkeys...it's ..it's ..7 Seconds. Who
or what is 7 Seconds? They are a band from
Reno, Nevada and The Crew is their first full sized
LP. Yeah, you could call it punk; but this is "thinking man's punk," recorded, mixed and packaged
in a manner which is very impressive. And their
music gets your blood boiling...FAST.
7 Seconds is not a new band; some of you may
remember the opening night of Hardcore 81
when the band, at the time in their teens, virtually
blew away the headliners: Black Flag and DOA.
They have managed to pack 18 songs onto this
disc; all rip-roaring balls-out tunes. Their music
is a form of punk rock known to punk aficionados
as American hardcore, pioneered by such bands
as the now-defunct Minor Threat and Youth
Brigade. (Calling it simply "punk" is actually a
misnomer, nowadays everything from Wendy O.
to Culture Club is called "punk" by the mass
media airheads.) American hardcore is characterized by rapid, four-on-the-flow drumming,
chainsaw sounding guitars, lack of self-indulgent
solos, and vocals not sung; but actually yelled
in a speech-like fashion. 7 Seconds' lyrics are
mostly concerned with condeming the evils of
war, racism, machoism, and drug abuse. Yeah,
these guys give a shit. And you thought punks
were more interested in slicing themselved up
with razor blades or mugging old ladies!
O.K., now that you have a general idea who
7 Seconds are and what they are are about, you
are probably saying "Big Shit, so what's so great
about this LP then." Well, the songs rip, or most
of them anyways. I especially liked "Clenched
Fists, Black Eyes" for its catchy riffs and bitchen
bassline, and "Not Just Boy's Fun," which steps
on "macho pigs." My only reservation about the
songs is that too many sound remarkably the
same. But I guess when you put 18 songs on one
record, a few are bound to. The production on
this record is first rate, every instrument is clearly
audible. The packaging on the record is also very
professional, with the well-executed design and
striking color scheme on the cover. A nifty lyric
sheet is included for those who like to sing along
in the shower (make sure you cover it with plastic
first, though).
Another pleasing feature about this record is
that it was brought out by the Better Youth
Organization, a label which was started by some
bands in California for the purpose of improving
lesser-known alternative bands' chances of getting their music heard. It sure beats stuffy
businessmen in 3-piece suites trying to make
money off of rock'n'roll.
—Mike Dennis
The Bluebells
Inside sleeve: envision Bobby, Kenny and
Davey in bumper cars, on swings, and just looking oh so popsy-suave. This is a big budget gimmick, which after aurally contributing myself to
for as long as I could without carmelizing, struck
me as rather uninspired sing-song stuff which
could only push its way under the spotlight in this
progressive (?) video-dominated age we live in.
Remember how much fun it used to be to stay
up late—I mean REAL late—to catch two minutes
of (fill in the name of your fave
singing sensation(s)) on Burt Sugarman's Midnight Special, almost invariably hosted by Kool
and the Gang? What does this have to do with
anything? Quite a bit in actuality. Now I'll try to
keep my rantings about how video successfully
takes the mystery and exitement out of rock
music through overkill...saturation...intravenous...
to a minimum. It's come full circle to the point
where image is once again vital to recording art-,
ists as well as recording non-artists. A throwback
to the days of the Zombies, whose chess game
we were made to salivate over, and, of course,
the overly huggable and squeezable Davy Jones
who would never go parking with your sister.
Maybe you've seen The Bluebell's "Young at
Heart" video, fraught with Fun, the teenage
wholesome kind, not to mention a band member
who looks like a Monkee sans touque. Good
marketing and timing, boys. Long term success?
No way. Meantime: quasi-decent poptoooooonz
to share a soda by. (NO BACKWASHING!)
—Girl Caster
Skeleton Crew
Learn To Talk
Tse Tse Force
Scar Of Youth
Learn to Talk and Scar of Youth are records.
In many respects they are just like most other
records. They are both black and they are both
made from a synthetic compound commonly
known as vinyl. They are round, they are flat and
they are approximately 12" in diameter. They
both have two grooves cut into their surfaces, one
on each side, and they both have two small holes
in the centre, one on each side. They are packaged in cardboard envelopes measuring approximately 12" x 12" which is adorned by two-
dimensional designs and a collection of symbols
chosen and arranged in such a manner so as
to convey a certain meaning to the reader. They
are inedible.
When these records are coupled with a
machine capable of transforming kinetic energy,
in the form of friction, into an audible signal that
the human auditory senses are able to understand we have, what is loosley termed, music
(this statement is open to discussion). The experience is supposed to be pleasurable, but it
is at this point, however, that the concept sometimes runs into trouble and unfortunately the
tendency is that it does rather than it does not.
Anybody can make a record; it just takes a bit
of time and a lot of cash. But to make a good
record there are a number of indefinable qualities
needed, and of the two records in question
Skeleton Crew (Learn To Talk) appear to have
them, but Tse Tse Force (Scar of Youth) undoubtedly do not. I suppose one out of two isn't bad.
Tse Tse Force are a Seattle group consisting
of two chaps and two chappesses. They have the
usual two guitars, bass and drums format and
they produce the usual stylus fodder indicative
of today's "contemporary/progressive" musicians. There is nothing different here and there
are a whole host of groups who do the same
thing about a thousand times better at a PC.
Fortunately, Scar of Youth is only a 6-track mini-
album, even so I was ready to call it a day after
the first two. After enduring the remaining four
tracks I could see the relevance of their name.
Just as surely as the tsetse fly will induce sleeping sickness in its victims, Tse Tse Force had a
similarly soporific effect on this hapless scribe.
The songs invariably start slowly and quietly
with a lame melody hacked out on one of the
guitars or with a vocal line that bears more than
a passing resemblance to some of Siouxsie
Sioux vocal inflections (when it's the turn of the
female half of the singing team). Then the drums
come in, after a couple of bars, and the songs
build up into an awesome "wall of sound," although this wall is more reminiscent of a picket
fence than one of bricks and mortar. The songs
continue for another two or three minutes and
then end suddenly and that's it. It happens six
times and that is six times too many.
Imagine, if you will, Gang of Four without the
Gang, Siouxsie and Banshees without the Banshees, Joy Division without the Joy and New DISCdRDER October, 1984
Order without the New and you have Tse Tse
Force and all that the name implies.
Skeleton Crew are a different kettle of piranha.
Skeleton Crew are Fred Frith and Tom Cora.
Skeleton Crew have produced a long-playing
record called Learn to Talk. Skeleton Crew are
a pleasurable experience. Things are as they
should be.
Learn to Talk is a marvellous jumble of styles,
rhythms and sounds sometimes cacophonous,
sometimes polyphonous, always interesting. If
you're the type of person who likes to turn to the
back of the album cover to see which make and
model of synthesizer they used then I'm afraid
you're out of luck. Cellos, homemade drums,
homemade basses, pianos, violins and "contraptions" have a habit of remaining anonymous.
Skeleton Crew do make liberal use of modern
technology but the emphasis is on the technology being used by the musician rather than the
other way around. There is no horn section.
The LP's twelve tracks range from an arrangement of Sousa's Washington Post to an arrangement of traditional Ecuadoran folk-song ("Los
Lolitos") to a fast and furious "pop" song with
a great chorus ("It's Fine"), to a rhythmic little
ditty with a guitar riff that King Sunny Ade would
have been proud of ("Zach's Flag").
This record is fun, in a Residential sort of way,
and you get the impression that it's not meant
to be taken entirely seriously. The production is
thoughtfully understated and the little mistakes
that have been left in are endearing rather than
tiresome. The overall effect is a refreshingly
diverse album that has remembered that music
should be entertaining, unpredictable, amusing
and unpretentious. I would think that Tom Cora
and Fred Frith had a lot of fun making this record
—I know I had a lot of listening to it.
—Richard Putler
A^« fo*»*-*
Steven Brown
Music For Solo Piano
(Sex and Sorrow)
Another Side 8405
The Players: Steven Brown, piano, clarinet.
Blaine L Reiniger, violin.
The Story So Far: Steven Brown is born in
Illinois. He promptly moves to San Francisco
to found Tuxedomoon alongside chum Blaine,
Michael Belfer, Paul Zahl, and notorious S.F
performance artist Winston Tong. The year
is 1979. The group released two EPs and goes
on to fame and fortune recording for S.F.'s
prestigious Ralph Records. Well, perhaps not
enough fame and fortune. After undergoing
a minor personnel change, producing two
superb LPs with Ralph, and being responsible for many people claiming to have been
saved at their live performances (two occurring in Vancouver), the group decides that the
majority of football and Van Halen loving
Americans are not ready to embrace their
rather peculiar blend of sardonic humour, atmospheric electronics, and twisted pop
approach. So, it's off to Brussels in '82. There
must be someplace else to live, they haven't
found it yet.
Setting: Underneath grey Belgian skies, the
ground is slick and wet. We are sitting at a
Brussels cafe, sipping cappuccino with slow
Krakenbus: Well, it's not exactly uptempo, or for
that matter solo piano.
Duvelhond: I don't care, I'm overwhelmed,
though I can understand why he looks so
glum. Besides, you well know my infatuation
with atmospherics, and, of course, his alma
mater, Tuxedomoon.
Krakenbus: Does this guy think he's a mid-life
Duvelhond: Hardly. I just think the "European
experience" has left him rather shocked and
Krakenbus: It's clear he's been affected by alien
traditions. Good to hear someone bring
stylistic echoes of Debussy, Bartok and
Shoenberg to a presumably uninitiated audience; not that I'm putting him in their
Duvelhond: The hints were there. Tuxedomoon
doing the score to Bejart's ballet Divine told
us of a more serious direction. But the incessant references to Greta Garbo, including excerpts of film dialogue made sure tongues
were kept firmly in cheek.
Krakenbus: Sex and Sorrow might have been a
Woody Allen title; but this isn't comedy.
Brown's music is directly romantic and pretty. Mind you, it's not Mantovanni; melodic in
cont. p. 28
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27 DISCORDER October, 1984
contemporary terms, but not syrupy.
Duvelhond: I think it's just that he hasn't been
laid in a while. That can do it to a fellow,
y'know. You get all somber and introspective.
Krakenbus: Ah, the classic themes...Sex and
Duvelhond: Death? I thought it was s'orrow. Oh,
I guess that comes afterwards...or before.
Say, the two are related, aren't they?
Krakenbus: The distant sound of the album suggests a nostalgia for times past. Even the
cover is patterned after Deutche Gramaphon
classical releases of 25 years ago.
Duvelhond: That's funny. Quite removed from
the Tuxedomoon cover art of the past few
years. Patrick Roques used to be satisfied
with futuristic, trendy cubes, lines, and swirls.
Since there are no covering notes, he may
intend this one to be a spoof. Oh sorry, you
see Patrick used to do a lot of graphic work
for the band.
Krakenbus: Nice Record.
Duvelhond: Beautiful record!
Krakenbus: Hmmm.
Duvelhond: Hmmm. Garcon! Two Cafe au lait,
s'il vous plait. Oh, and one for Mr. Mxyzptlk
as well.
—Paris Simons
Mark Mushet
; r ■■
rl ifftlfl I
Lenny Kaye
I've Got A Right
I've Got A Right is the first solo album by Lenny
Kaye. You remember Lenny Kaye don't you?
Guitarist with the Patti Smith Group, former rock
columnist under the name "Doc Rock." This
guy's a New York legend (sorta'), he's been
around. He's worked as both musician and
media. He understands the biz and now he's put
out a record.
So you'd think that with the credentials Lenny
has that this would be a top flight record, right?
I mean, he recorded it over three years, 1981-84
and he's got Jim Carroll helping him out on a
couple of tracks. He's had time to think, to write,
should be some great tunes here. Too bad there
Actually, it's not a horribly bad record, more
like a sub-mediocre record. Thin is also a good-
word for it. After hearing it a few times boredom
sets in and it's filed to the back of the pile.
The problem seems to be that Lenny can't
decide if he wants to be romantic poet or intelligent rocker. When he goes for the rock the album
almost seems to work as on the title cut when
Lenny takes a swipe at some of the Moral Majority types.
But, and it's a big but, as a romantic poet he
makes the guys who write the verses in greeting
cards look like geniuses. The worst examples are
contained in the longest song on the album, As
I Make Love.
"I take a walk upon the ocean
Inside the belly of emotion"
Lenny croons then goes on to add,
"/ kneel beside you in the gravel
Across a space never travelled
While rope and hopes unravel
As I make love to you."
A nice sentiment perhaps, but a song more
appropriate for Tom Jones or Julio Iglesias.
The only track which really stands out is "Still
Life" which happens to have been co-written by
Jim Carroll. Although the lyrics for this one aren't
included, the song has an interesting synth hook
which sticks in your head and wouldn't be out
of place on today's AM radio.
In retrospect the whole album seems almost
geared for AM radio. Pleasant little pop ditties
mostly with innocuous lyrics. Production is thin
with the guitars mixed down and the vocals up
front. Remember early to mid 70's pop songs?
Well, that's the sort of production we're looking
at here.
The back of the album has a picture of a happy Lenny with his wife/girlfriend/lover and I
presume their baby. Lenny looks quite content
in family bliss which is nice because if he keeps
pumping out albums like this he won't have much
else to be happy about.
-Dean Pelkey
Palais Schaumburg
Parlez-Vous Schaumburg
The changes which some groups undergo during the course of their musical careers provide
a wealth of speculation for the listener who
follows them closely from the beginning to the
zenith of their success (or nadir, as the case may
Palais Schaumburg started off as a "silly German group having lots and lots of fun." Several
very eclectic singles, including "Telefon" and
"Rote Lichte" preceded the release of their first
album, untitled, in 1981. The music was zany, fun,
bouncy—combining progressive jazz, nonsensical lyrics and a variety of sounds ranging from
treated brass, synthesizers & raw white noise all
the way to penny whistles. Shortly after their first
album release, Holger Hiller left the group to
work on his own. His own efforts have had some
success. He was involved with Pyrolator in the
production of their Ausland LP and his first solo
album was released earlier this year. It shows the
same innovation & irreverance to everything that
came to be expected from the original group.
Palais Schaumburg, on the other hand,
became quite a different group without Hiller.
Their second album, Lupa, had none of the
panache of their earlier material. Hitler's off-key
and slightly hysterical vocals were replaced by
a more even, full voice. The lyrics were not as
silly and the material in general had more depth
and organization. The release of the Hockey
single last year saw limited success among those
who appreciate "cute" music, but if anyone actually went out and bought it, the odds are pretty
high that the flip side, which has some very
interesting quasi-big-band jazz, received a single
hearing before being shelved away in the dust
along with the Go Gos, the B-52s, and all the
other FUN bands.
Palaise Schaumburg is still a lot of fun, as their
new album, Parlez-vous Schaumburg? makes
fairly obvious. It's also a lot more than just fun
once it has been heard a few times. The new
vocals suit the group's new style more than Hiller
could ever have managed. The sound has
expanded—almost to the point of sounding symphonic. Added background vocals and a superb
engineering job complete the picture of the new
Palais Schaumburg...adaptable and at times
quite powerful while still remaining fairly accessible. The new accessibility is quite intentional. The
group is pushing for a larger share of the British-
North American market by changing to English
lyrics and acquiring a more listenable stance.
Hopefully they will be successful, because they
are doing it with an incredible amount of style
and class.
Certainly such cuts as "Beat of 2" will merit
a few good fox-trots at the local dance parlours,
sandwiched amid the current plethora of DMX
and mindless electro-funk—providing they're
well-hidden. However, even this song is far too
intelligent to be tolerated in such an irrelevant
atmosphere and should therefore not be wasted.
Other cuts such as "What's the Time" will stand
up to a fair amount of listening simply because
there is so much in them to hear. It is not often
that a group can gain comercial success without
sanrificina a certain amount of integrity due to
a lack of musical depth. If Parlez-vous Schaumburg is any indication of this group's potential,
this situation is not likely to occur.
—Larry Thiessen
Chains of Hell
One Bad Trip
The woman in the black sedan promised me
a lost weekend, and she wasn't kidding. I lost
my wallet, car keys, and my Pavarotti World Tour
jacket. To make matters worse, most of the weekend is a blank, and all I remember is waking up
on the floor of a monastery near Haney, with fifty
screaming monks attempting to burn me in effigy.
Now the obvious questions here are: what is
a lost weekend, why did I go on one, and what
does it all have to do with anything? Well first off,
I don't know what a lost weekend is, but when
a Catherine Deneuve clone, dressed in a feminine version of a Road Warrior costume and
armed with a serrated backscratcher, offers you DISCORDER October, 1984
°ne, you accept. Or at least in my case you accept. You also naively ignore the woman's suspicious activities, turning a blind eye to the fact
that the woman is driving a rebuilt hearse loaded down with blood transfusion equipment, and
that the reading matter in her glove compartment
includes "The Pharmacists Guide to Prescription Drugs," and "Tortures of the Spanish Inquisition." Needless to say, my lost weekend was one
bad trip. However, it was not as bad as the
Seattle-based Chains of Hell Orchesta's ep One
Bad Trip.
CHO's ep is composed ot tour songs, inciuaing
a French version of Creedence Clearwater
Revival's "Born on the Bayou." Which, to my
addled brain, sounded better when slowed down
to 331/3. All the other three cuts, "Big Hands,"
"Over the Wall," and "One Bad Trip" all seemed
to have the same intra. An intra which strangely
enough reminded me of the intro, performed by
the USC marching band, to the Fleetwood Mac
tune Tusk. This is to say that these three songs
all have a monotonous droning, similar to the
pounding that rushes through one's head when
one finds themself lying face down on the floor
of a stranger's house, 7 a.m. Sunday morning.
So, what does it all mean? Well, if given the
(Choice between listening to CHO's One Bad Trip,
or facing fifty crazed monks who have all relinquished their vows of silence in order to hurl
abuse in my direction, I'd take the monks.
—Jerome Broadway
Andy Summers &
Robert Fripp
"Bewitched is an upbeat, colourful expansion
of the unique sound that has emerged from Summers and Fripp in the past. There's a synergy in
the playing that charges the record with undeniable power whether they're laying down a dance
groove or painting melodies with the haunting
qualities of a dream." (Excerpt from an A&M
press release)
Bizarre as it may sound, sometimes studio
press releases concerning brand new albums
are not just so much bilge. Occasionally, situations do arise when the quality of a record product is up to the pretentious drivel which is being
used to promote it. Such is the case with Bewitched, the second Andy Summers & Robert Fripp
In case you've been dead for the past few
years and you're not aware, Andy Summers is
the guitarist from the Police, and Robert Fripp
is the founding guitarist from King Crimson. Both
are widely reknowned as guitar Gods, axe magicians, innovators and virtuosos.
"So what," you say, "the important thing is not
how fast one plays his instrument, or how difficult'
the piece is he's playing. What matters is the
relative listenability of the final product. Technique
is for dinosaurs. It's got nothing to do with gooc
Agreed. That's the point I'm trying to make.
Bewitched is like the press release says: a
tasteful blend of atmospherics, sturdy rhythm and
hot guitars. Unlike Fripp and Summers' previous
collaboration in 1982's I Advance Masked which
was strictly a two man effort, this one involves
a full backing band: two bass players, a drummer, a percussionist and a saxophonist. Where
/ Advanced Masked has the tendency to sounc
a bit much like a randomly chosen selection ol
outtakes from a virtuoso jam session, Bewitched truly clicks as a coherent forty minute piece
well worth paying money for.
The album starts out fast and upbeat with a
short piece called "Parade" and then slowly—
and I do stress slowly—winds itself down so that
by the last three cuts on side two, it's slipped into an easy and agreeable three o'clock in the
morning style ambiance.
Bewitched is an enigma for these days: an
album which actually makes sense in terms of
itself, as opposed to in terms of some lofty and
stupid commerical end. Fripp and Summers are
two talented musicians who obviously enjoy
working together. Their releasing Bewitched is
a means to sharing the fun. Top marks.
—Phillip Random DISCORDER October, 1984
The Roving Ear
I he statue of Buddy Holly standing outside the Lubbock Civic Center
has turned green since 1980, as bronze statues will. Little else has changed in the four years since Buddy Holly's home town finally saw fit to honor
their most famous son. Not even the presence of Bill Griggs, president
of the Buddy Holly Memorial Society, has been able to effect any change
in the seeming indifference to Holly and his music in this west Texas
city of 200,000.
And yet, Holly himself never would have expected to become the international legend that has continued to grow since February, 1959.
Holly was killed in the crash of a light plane that year along with J.R
"The Big Bopper" Richardson and 17-year-old Ritchie Valens. The plane
had been charted by Holly so he and two members of his band, Tommy
Alsup and a young Waylon Jennings could avoid another all-night ride
in an unheated bus, and get to Fargo, North Dakota in time to launder
their stage clothes. Alsup lost his seat to Valens on a coin toss, and Jennings reluctantly gave up his to the Big Bopper, who was already ill with
the flu, provided he got the use of the Bopper's down-filled sleeping bag.
Holly's parting comment to his good friend Waylon Jennings is supposed to have been something like, "I hope the bus stalls and your feet
freeze." (Holly's drummer on the tour, Carl Bunch, was already hospitalized with frostbite.) Jennings' reply to his good friend Buddy Holly—'I hope
the damn plane crashes." The plane went down less than 10 minutes
after takeoff from Clear Lake, Iowa.
Buddy Holly's recorded legacy continues to grow in popularity. The
1983 release of demo recordings done by Holly and his band in 1956
(pre Crickets) has sold over 300,000 copies in the U.S. alone, and during Buddy Holly week in Lubbock this September gold records were
awarded to Holly's widow, his parents, and members of the Crickets for
the 1978 LP 20 Golden Greats. At the same ceremony, Steve Hoffman
of MCA Records in L.A. announced the recent discovery of "two to three
album's worth" of perfect studio quality demos and alternate takes, as
well as several previously unheard masters of cover songs by Holly and
the Crickets recorded in Clovis, New Mexico at Norman Petty's studio
in 1957 and '58. The first release of this "new" material should be in
stores by the spring of '85.
Other news at this year's convention of Buddy Hoily fans included word
of three movies in the works based on the lives and legends of Eddie
Cochran, Richie Valens, and the long overlooked Bobby Fuller of "I
Fought The Law" fame. Chip Kinman of Rank & File is said to have been
screen tested for the lead in the Eddie Cochran story.
I L0V&
Youi? HAl?/
Joe Ely Rocks
Although there was no planned memorial concert at this year's convention, the "Ear" was lucky enough to stumble onto a Lubbock highspot
called Fat Dawgs, not far from the campus of Texas Tech.
A $3 cover got me into an already crowded club that was jumpin' to
the sounds of Jesse Taylor and his band. Jesse Taylor is a Lubbock legend
that is unknown outside his home town except for his involvement on
several Joe Ely albums and tours, but the guy is an amazing blues, rock,
country, rockabilly guitar hero of the first degree, and his band that night
was like a red hot poweder keg of controlled intensity that threatened
to explode at any minute.
They worked their way through a solid hour of old blues and rock standards as well as several Fabulous Thunderbirds' tunes that never sounded so good. The second guitarist and pedal steel player were both trading
off solo's with Taylor, as was the pint sized dynamo at the piano (not only Jerry Lee can rock a baby grand).
I have never encounteded such a performance where the audience
was moved to spontaneous standing ovations while solo after rockin' solo
was kicked out by this amazing group.
Later in the evening, after a lacklustre set by Lubbock's MTV. hopefuls,
the Nelsons, Taylor reassembled that incredible band with the addition
of two fiddle players, and while tuning up, turned to the audience and
said, "Let's see if we can get Joe Ely up here and sing a few for us."
All hell broke loose at that point, I mean the joint went crazy! The band
was totally out of control at this point, and yet still tight, still "together"
as though they had played together for years—and they probably had.
This was an authentic Texas jam where everybody knew almost by instinct whose turn to solo it was and of course they all knew the songs.
Ely's songs were familiar to most because they had all been in his bands
at one time or another, and the Buddy Holly songs they played wre
nothing short of a Lubbock birthrite. Ely is an amazing live performer.
Absolutely none of his albums convey the energy of his live show. He
put on a 40-minute non-stop display that I've never seen the likes of.
Not rockabilly, punkabilly or funk junkabilly, but high energy rock'n'roll,
pure and simple. An unforgettable night. Look for Ely to play Vancouver
sometime early next year, and don't miss him.
Upcoming Events
Jerry Jerry and the Sons of Rhythm Orchestra will be making their
Vancouver debut October 23 and 24th at the Savoy, followed by three
nights at the Railway. Also at the Railway in late October for "one night
only" will be California's Game Theory. Fans of the 3 O'Clock won't want
to miss this band whose second 12" EP was produced by the
3 O'clock's Michael Querico.
—E.R. Drum
30 DISCORDER October, 1984
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