Discorder CITR-FM (Radio station : Vancouver, B.C.) Jun 1, 1991

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CGet your kicks at Route 66*)
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&>uuu4 &04t<Z& *D.$. S&ftte SfU*t& *r¥ot *7ct*t€4,
OPSTt: X:006*k - 2:00<xm 7ue& - Sat, ScauCw to- 'THuUtett
315 East Broadway at Kings way
876 - 7003 CAGED GOGO
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down the street and feelln' mighty fine
cause after weeks of rain the sun hegan to shine
Baby do/1 and me Just wonderln' what to do
k/nda shif to mention but I'm telling i/on It's tm
We need a little music to liven np onr plan
We should tab a trip down to Sam the record Man
They've got rockin' house hip hop and Jack swing too
All the latest sounds plus oldies Jaiz and blues
Country folk classical and some videos
The latest by Costello. F£M and the Black Crowes
Tm thinking what we need Is some hot new rap
fyto Boys, Twin Hype, fyccl Crew and fyngsta M
fyod Old Sam can help ns out,
of that you can be sure
It's Sam the Record Mian
'cause music Is the cure.
«w                       . o/ war yvn can «* vw*                      —^
^v It's Sam the Record Man
|JJR                          \^    'cause music Is the cure.
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CHOICE - The Big Payback
DISCO RICK - The Negro's Back
'GANGSTA PAT • Number 1 Secret
LOW PROFILE • We're In This Together
WILLIE DEE - Controversy	
~EASY E - Easy Does It
B.W.P. - The Bytches
VARIOUS - Gangsta Rap
MC POOH ■ Life of a Criminal (cass. only)
 1 r 1—
Can't Find It? Sam's has Western Canada's Largest Selection and most Comprehensive Special Requst Service!
Dear Airhead:
RR- The Best Damn Issue Of Discorder
Since Bill/Matt Worked There...
This is a letter lo you. A letter thai major may not be serious. It's concerning
this month's issue of the Discorder,
n:-i> '■ i be 1.1 -..": iei .' a
joke. Hhmm. This issue reminds mc of
fonder memories... memories of Discovers too weird to put dov. n and ful i of
enough practiele (spelling...) 'about
town' information that a person just
couldn't help but thoroughly thumb the
thing! I suppose what first attracted rae
to the magazine were the obvious ideas
of the anti set. Ideas about breaking
away or overthrowing of established
order (which, by the by, is exactly how
"Soap 800" is gifting where it is today,
by being commercial radio's 'bad boy'...
hey, we've all listened to it and heard the
'Station THEY tried to stop' cart they
play endlessly), activity that seems to
have nomeaningVSfeems to be the road to
freedom — indeed, stardom...! Perhaps
the problem lies afet in letting too much
light in thereby kilting the mysteries of
the shadowy life... Of course Tom was
right (see Anselmi). The "scene" was
dead sometime after Expo (exposure?)
The scene was seen,man. Like boredom
was fast on its heels totally. Anyway,
getting back to the publication, page7 is
totally unbelievable. Okay, you catch
the dear readers with the 1991 survey
headline. We (the dear readers) skim
over the page seeing thai the'big square'
needs more work and that the slim
angular column (fit
clues/answers to the 'big picture'. Ah
ha! Reading then " *
may begin to nod
thinking, yep they
at etc., etc. and sc
survey'. Brother. Nc
haps) hearts can spill
after feedback, all ft
type of thing. They (]
this problem-solving
by MIT of Rosenberg and Smith...?)
only to pause, then stop then jusl read
the funny story (read survey) to see what
inside jokes might be in it Hell! I think
it's a gas man butyou know Lisa, I think
lhat 43^ (incl GST) might be a lot for a
mail-in joke, get il? I dunno. Maybe it
again reflects the futility of it all? No, I
think useless is more the word. Okay,
okay, what the heck-olawould'veldone
anyway survey wise. Well lemme see
here... probably be more exploratory for
example. Ifyou were really looking for
format ideas you probably wouldn't
dwell so much on this 'punk' thing.
Especially nol after lhat terrific Anselmi
quote. Besidesyou've gol tolhink young
and everybody knows that all the writers
for Discorder are way old and can't
think of any new labels anyway! Dredge
dredge...mystique is everything! Why
use some old word like 'punk' or 'nice'
lhateverybody knows and ignores. Why
not use some new made up garbage
that'll make people think you're on the
culling edge (or dislex...dyslex...oh,
dumb) like,' the gig was pank, ihe band
was complelly fluken man'. Well. If I'm
laking this all loo seriously, rest assured
I'm not and you haven't had a cup of
coffee yeL You'll receive far too many
dead-pan responses (although I hope not
for your sake), totally devoid of humour. Of course my critizing is completely based on my lack of insight to
Discorder's direction. I guess if you're
Q not on the inside ya just don't get it, no?
S No. I think (no joke) this has to be the
| finest (albeit thin) issue of Discorder
§ since Chris Dafoe's Sept '86 blowout.
^ Indeed you will, with this issue, inspire
8 hate, reaction, response, revolt, rcsigna-
§ lion, perhaps some rallying, but mosl
_ important you'll pull back some shad-
| ows and dim Ihe lights. This issue peo-
2 pie will thumb through, pick up, put
£ down (repeatedly I bet), examine, cut
then... ^§___NHH-HPV_[
Irt the bonds,
Johanna Block
P/S The Cruel Elephant gig was sur-
prisingly good. See pictures enclosed.
yiii ■:.-.       ilubtf.
PP/S Where is Discorder now? On the
bottom ofTwcety's cage, snark.snark...
bul seriously baby,', personally, avoid
because they're
cruel and often
that are really interesting (like who?)
don't bother to show up and reminis
(really my spelling!) smokin' in the
bleachers., .blech.
oh yeah, by the way I took the
liberty of conducting my own little survey asking the' scene-starved' youth of
Harrison Hot Springs what sort of name
they would choose for a magazine similar or exactly like ThatDiscorder newspaper rag that they pick up at our gallery. So we came up with a few suggestions. My mum got a real kick out of it
all and is still asking people what they
think...of course real conversations art
difficult to come by in that bo-dee-do
neck ofthe woods.!.
...so here areafew.. .feel free to lake itas
a joke as it ralher is...
{picture these banner headline names)
1. BULLHEAD - number one choice
because it sounded tough and inexpli-
c able plus, as trie kid pointed out, the
Bullhead is a very ugly, smelly fish that
eats crap and dead things that sink in ihe
muck of slagnent ponds.
2. SCREECH - number two...sounds
As the ever-quotable Bill ""
cenliysaid: 'Times*
lake a joke."
- j      " ' /' -     <       '
.   ....
ing. Where Are They '
way meant to be the ('
men, synopsis fo
graced a pagr
CiTR—ifyou want eulogies, kill yourself. Rather, it was intended to be a little
poke at ourselves and our colleagues,
some of whom even used to be our
friends! That's it. Andwe'd have been
more than happy to coil up you, and
everyone else who appeared on that
page, and hear all those incredibly interesting and important details of your
life, bul alas, we wettteo busy running
around in a frenzy jmitrying to get the
issue together. Anyone who's worked
pasl years knows lhat production conditions are less lhan ideal, in this case
they were utterly horrific. Four demented souls worked around the clock
for five days straight to get the thing to
the press on time. Oh, yeah, -we had
high hopes for participation initially.
A list of names of the more aclivei
print in these illustrious pages. Send
submissions to U233 - 6138 SUB Blvd.,
|.C. Canada, V6T 2A5.
| Canadian stamps and
nyour stuff whenwe're
w **w
people were phoned, a meeting was
held 'way back in January Anil some
people even showed up. We exchanged
ufe.:-.' ideas, we made afew plans. At the
next meeting, no one showed up. Hmm,
jyour Bull? I would like
f Gav Brown. Gav may
think bars arestupid, but I think that he
these clubs he "reviewed"? What gi\
him the right to review these clubs
anyhow? I am a frequent visitor to the
Luvafair and I never drink vodka. The
only funny thing in the article is the bil
about the Town Pump smelling like
urinal cakes. Ireadin Mackie's column
lhal the pump was locked out because
they did not make S100 000 worth of
'cause urinal cakes only cost$1.99 each.
Maybe they should hire some extra
Hy the way, does Gav
Brown have a job? 1 le seems to have a
fascination with body fluids.
Olher than that, Ihe issue was a
good one. Keep up the good work.
J. Friesen
Gavin. Brown ;• currently unemployed.
He spends all Ids lime, at clubs. What
gives him the right to review these clubs
is the fact Ilia! he wanted to, pure and
simple. Discorderwill print any article
on any topic in any style by any body
* and '.liai inctwicsyou, baby) as long as
n, thoughl-provokingand
interesting to real >'.• >u don I have to be
5. DOTS - this one's my mum's second
fave next to Bullhead...well, no real
explanation except that we get an older
crowd (65+) in the afternoon...
Tm singing, I'm singing. Welcome lo
the editorial staff, Johanna.
To whom at Discorder this may con-
It was recently brought to my attention
lhat Discorder's 100th issue featured a
"Where are they now?" update on the
lives of former CITR/Discorder contributors. What a nice idea. There are
many people I remember from years
past whom I've not heard from and am
curious about. But as I read through the
list I found gross misrepresentation
everywhere, which suggests lhat there
was little or no real research conducted
whatsoever. I also noted the pungent
disdain for anyone who went on to any
measure of success in their lives, leaving you people looking stagnant, resentful, and rather pathetic.
While I certainly would have expected a few snide remarks, I would
have been happy to answer a phone call
asking for an update. If you care lo
know, I am in corporate video services,
film and photography (commercial and
creative) [business card attached]. As it
was, the best you could do was to imply
that I am a thief. Where this odious
notion comes from I have no idea. And
it then seems odd that you chose to
quote ralher heavily from the scores of
reviews I'd submitted over Ihe years. If
this is Ihe reward for one's efforts at
CITR/Discorder then there seems to be
room for considerable regret at ever
having spent the time.
I expect this letter lo be published
in full and an apology offered for the
al hand. Even you, dear Mr Musket
should be able to figure oul the connec
tion between the I
your many
receive complementary review copies
as thanks for the work put into lo writing the review itself. Who implied anything about theft?
I noticed Ms. Beeman's rev iew of Splatterpunks in her "Subtext" column in
your April issue, and I want to write just
a few words of gratitude for her relec-
tions. I am a traditional author of horror
fiction, and I see the whole Splatter-
punk thing as a publisher gimmick for
kicking a bitmore interest from readers
into the horror GENRE, to pick up
The whole thing is such an obvious gimmick. What's "new" about excess violence and gore? Splatterpunk
reminds me of a bunch of stupid boys
doing a circle jerk, but instead of who's
got the biggest dick or who can shoot
the biggest load, it's who can be the
gross-king of horror. I say "who fucking cares."
The term "cutting edge" is far
more real for me, for it implies intent
and artistic merit, an attempt to go beyond the genre and create stories of
Thisisall sour grapes onmypart,
cos my newest fiction ain't selling very
well cos I'm not being gross or violent
enough. I'm sick of these splatter yobs
who think they are so "now" and who
seem to have impressed editors and
publishers with their excess wank.
Blah, blah, blah, I know.
You's do a swell job wilh DISCORDER. Keep up the good work.
Wllum Pugmlre
Seattle, WA
Discorder's always looking for fiction
and comics (any genre, any country) to
Dear Airhead,
lam writing this letter in responselothe
writers of the "No Minors" letters printed in your 100th issue. Being only 21
years old, I am neither too old to remember what it was like, nor young
enough to worry about I.D. However,
having worked at a nightclub/venue
since age 18,1 am able to see the "all-
ages" issue from more than one angle. I,
too, remember the frustration of hearing about an excellent upcoming gig,
getting hyped for the event, going, facing the dreaded I.D. check, and leaving
Bands tour & play for one main
reason: money. Disillusioning, but true.
No matter how "non-commercial" your
favourite bands profess to be, many of
them do seek the almighty dollar(boost-
ing album sales, etc.) and, the bigger the
band, the more money they want (usually up front). For a one night gig, for
example, the Dead Milkmen wanted a
guarantee of between $4,000.00 -
$5,000.00 (plus rider - food, lodgings,
etc.) Now, the only ways thai a club
operator can afford to pay out those
kind of dollars, plus make themselves
something, are to either charge between
$20.00 - $40.00 at the door (ridiculous,
e colisc
h!), or rely on liquor sa
ly) unable to sell alchohol to minors, an
all ages gig for somewhere like 86 Street
will invariably run in the red. It is not
worth the club's time, effort, or money
to hold such a gig. The fault lies not
with the venue, but wilh the booking
agent and, ultimately, the band itself for
wanting exorbitant amounts of money
to play.
Now, that is not to say that all-
ages venues can' t exist. The York Theatre is a shining example of such a
place. There have been others. The Paramount Dance Club in New Westminster, for example. This was a superb
venue for all-ages gigs. I worked there
for 2 and ahalf years. It's doors are now
closed, however. Why? Lack of interest A lack of interest from those people
currently WHINING about their inability to see bands in all-ages venue!
We held some excellent gigs at
the Paramount. DOA (3 times, once
with lello Biafra), No Means No, 54 '40,
Bob's Your Uncle, Annhilator, Testament, Oversoul Seven, plus tons of up-
and-coming local talent And, with Ihe
exception of DOA, they all wanted a
fair amount of money. However, these
gigs could have been successful. There
could have been more and better shows,
had you people shown more interest &
support- Indeed, we had plans for the
Paramount. We were only a step away
from getting bands like the Creatures,
the Dayglo's, Dead Milkmen and others. Our overhead was fairly low, but
the people showed little interest. So,
too soon, due to a lack of interest &
support (financial and otherwise), we
had toclose our doors. This was not for
a lack trying on OUR part, but on the
part of those who never bothered to
So, please keep your whining &
crying about the lack of all-ages gigs to
yourself. When you did have the opportunity to go to them, you were not
interested. Now all you can do is con-
o try tc
(and I wish you luck), and wait until
you're adults yourself.
Tony K.
Hey kids: keep your ears open for irregularly-scheduled all- ages gigs pul on
byTheCruelElephant.PX)' sllotShop,
those nice kids al Gest Quest Co-Op,
and Nardwuar the Human Serviette.
Remember when Dicks on Dicks was
the Laundramat
Dear Airhead
Hey Edward Humprhey! Your write up
in the May issue was typical. Once
again I read some polished babbling
about punk and How it Was and How it
is. Fuck, not that I wantto sound like the
laded assholes out there already, but,
you dont have a clue about punk. You
just see the tip ofthe iceberge like most
people you dont understand. It gets
diluted or Generic because of people
like you who jumped on the bandwagon and found II Wasenl Comfie for you
and put nothing back into it.
People like you drag punk Down.
You Dont see the problem because you
are iL Fuck off, we don' t need you, you
only drag us down
Modern Sniper Rifles
For more on "punk," see the 1991
Readers' Survey results, page 7.
To Airhead,
In Felecity Dunbar's recent review of
The Hit Men's SMASHFACE LP and
promo kit, it is claimed as Green Monkey's firsl LP release. Please allow me
to correct Seattle's Green Monkey
Records Label has released Nine full
length albums prior lo The Hit Men.
Three have been relicensed overseas,
three are sold out of print, and the firsl
CD was introduced in March. Pretty
isolated with that bag over your head
Felecily Dunbar?
Joe Leonard
Evidently, Smashface pul Felicity in
suchafrenzy,she couldn't see straight;
she took the "its first LP release" to
refer lo the label rather than the band.
Thanks for caring.
JUNE 1991   5 £3§
more fun than a Socred leadership race
Student Union Building
Lower Concourse
All Ages Welcome
People will believe anything....
David Allen Spins
New Season
New Motion
Reggae Wednesdays
©with 0
DJ George Barrett
nIrVAnA Thursdays
^ The Mixtress Venus invites you ^
*       • •       *
* Doors open at 9 p.m. *
with DJ Mick Shea ^k   no cover before 11pm
(not recommended for wallflowers)
with DJ Mixtress Venus
1250 Richards St, Alley Entrance, Vancouver 688-2648 Well, that's it: another readers'survey out of the way. Ofthe 17,500
copies circulated, we received a total of 21 responses, from as far away
as Ottawa and Regina to right here at CiTR. 21: that's 0.12% of our
total readership, excluding those that read borrowed/found copies. In,
a sense, we're sad to see such a dismal turnout; the utter lack of interest
in the preseivation/alteration/elimination of the magazine that made
the Vancouver scene what it was/is presents concrete proof that the
gangrenous apathy that has been slowly rotting away that very scene
over the past few years has finally made it to the heart of the beast, its
willingness to act. If, as the graffiti used to say, 'Talk • Action = 0,"
what, then, does 0 - Talk -Action equal? Perhaps a cipher - an
unknown quantity, which, like a black hole, can only be proven to exist
byobservingitseffectonsurroundingobjects. These21 responsesto
our heartfelt plea for help are perhaps the only ones that were able to
reach our mailbox, with the remaining 17,479 copies being irretrievably drawn into the vortex of self-interest, carelessness and sloth
caused by the sudden and all-consuming implosion ofthe once-bright
sun we referred to as 'the scene.' Where they should have been
included in the tally you see on this page, they wound up being used
as kindling in the fireplace before which you reclined with a glass ol
scotch andyourremote control to watch TiePunkRockMoveon video
I to celebrate your graduation from med school. 'To think we actually
used to dress like that!" Indeed.
From another perspective, however, we're encouraged by the overwhelming number of respondents that urged us to continue on the
course we have setfor ourselves: to "e) STAY THE SAME." Unlike
the reticent teenager who, during a rare fit of Jack-Daniel's induced
pique, shaves his hair off with mother's lint-removal tool, visits a
tattoo parlour to have the likeness of a nude Axl Rose emblazoned on
his forehead, and drives all night to Los Angeles JUST FOR A
CHANGE OF SCENERY, only to wake up the next morning (and
every morning thereafter) as a self-pitying side-show oddity who
would gladly give up his $10-a-dayjobas relief cashier at "East L.A.'s
FINEST Adult Book and Novelty Bazaar" just for the chance to have
mommy tell him to clean his room one more time, the majority of our
respondents realized that a superficial change (the title, the look, the
content) in Discorder would be pointless, degrading, and embarrassing to all involved. Or perhaps, rather than demonstrating an aversion
to sudden change, you were shouting a collective 'hurrah!': an
enthusiastic expression of support for our efforts thus far, and most
importantly, making a touching assertion reminiscent of George and
Martha's unspoken epiphany as the dawn breaks in the final scene of
Edward Albee's Who's Ataid of Virginia Wooll?, that you will accept us, in spite of our shortcomings, AS IS.
While the results to the right speak for themselves, we felt some ofthe
most telling comments were to be found hurriedly scrawled in the
margins of the surveys, on sheets of generic "While you were out..."
I nolepaper, and, in one case, on a full sheet of foolscap included in your
responses. Here then, innoparticularorder.aresomeoftheconstructive,
revealing, and occasionally upsetting remarks you made about us:
"Blow them upyomass Vaseline fix-cure!... You guys [should]go
\ find "The Big Thing." It's nol up to me, otherwise I'd be working for
you... [Jackj Klupnan's got cancer, layoff why don't you... Weall
wantlofucka wcmanfromtheSovietUnion...Don'tchangeanythmg,
yer the best mag in Canada, the last one left that's fun lo read from
covertocover...Ohh,yeahwho'sBruno?... We want an article on how
many trees Discorder has killed since 19S3, and how many brain cells
CiTR has kllcd since 198Z.. As forNile Moves and GS: pul-eeeic!
Does "Music Scene" = Live Exotic Male Dancers? I gel aH enter-
tainmenlschedulesfromyou. GoloZulurecords. PATRONlZEyoui
advertisers-it's true. UTV sucks. It's too confusing.... Congrats on
100-did you make WMard [Scottj?...!could orgasm... whogiyesa
jock strap thinks of you. You 're an intelligent and interesting publication. Ignore your aides and stay the same."
Thank you all for your kind participation in our 1991 survey. And a
special thanks to the hard-working staff at Kagetsu whoso diligently
tabulated the results. The reality is, however, that it was up to us to
decide how, if at all, we would act upon these results. Several
meetings, a few flats of beer, and far too many cigarettes later, we
remain deadlocked. The split between those who wish tochangeour
format, those who wish to stay the same, and those who would cease
production entirely is almost equal. To paraphrase a cliff-diving,
performance artist friend of ours, however, "You can stand at the top,
looking down, but no matter what, once you jump, you won't crash.
Oh sure, you might flip over, but..." Too right.
So, here we stand, gazing down at the crashing, foaming breakers of g
the future, thousands of feet below us, trying in vain to time our jump
so as not to wind up with our crushed skulls buried in the sand ol
I misplaced idealism Rather, we hope to submerge ourselves in the
cool, silent waters of mass acceptance, surfacing to find a crowd of £
vacationing well-wishers rising in unison to a standing ovation and   j
begging usto join them at their tables later for a feast of exotic fruits- 8
de-mer. Here goes! 1....2....3....
The following are the results of the 1991 Reader's Survey conducted for DiSCORDER magazine by Kagetsu Associates. 17,500 copies were circulated, and all reader-
were invited to participate. The results were tabulated into percentages, and presented ina variety of formats, depending on the nature of the original question. In surveys
such as this one, the first order of business is to identify the average respondent. Our average is a male, over the age of 25, who listens to CiTR, has regular employment,
and classifies himself as a 'punk.' He expresses an overwhelming desire to see the magazine remain essentially unchanged. In tabulating the responses, some percentages
may add up to more than 100, owing to the occurence of multiple responses. Choices which received no responses have been excluded. Here, then, are the results in full:
1) What format should the Discorder take?
Stay the same 81%
Old Format 14%
Leatherbound 14%
Photocopied 10%
Glossy Cover 05%
2) How should we change local music coverage?
Be More Flip 38%
Stay the same 29%
More Supportive 24%
Cover Vertical After 14%
More Positive 05%
3) What bands si
Who Cares?
Lifestyle/Musical Taste
Fashion Statement
29% each
No effect/Fuck Off 76%
Upsets Elderly 14%
Reduces Vocabulary 05%
Comments: Too much anal doo-doo.
"I think the new Discorder should..."
Stay the same 43%
Have Less Writing by Bruno 19%
Have More Swearing 14%
Bear A Warning Sticker 10%
10) Which words should be censored from DiSCORDER''
Others: Punk Rockers, Poop.
11) How should we deal with Coast AM 8l
The following received one vote (5%) each: Tombstone
Ettiquette, Jack Feels Fine, Valentinos, Supreme Masters of Relaxed Living, Roots Roundup, Octatrackter,
Lung, The Knobs, Speed Queens, Syndrome, TT Racer,
Perfume Tree, Modern Sniper Rilles, Bombshells, Squirrels, MC Bonzo, Friendly Fire, Wongs, Poopy Pants, Kiss
Kiss N Bang, Puke Theatre, Croup 49, Cab Calloway,
Young Youth, Paul Schaeffer, Glee, Holy Cows, and The
4) What bands are you in?
See Above 19%
Respondents claimed membership in the following acts:
Independent, Ampallang, Skinny Puppy, NIN, Group 49,
The Big Lie, TOS, Terror T and the Beat Assassinator,
Anonymous Pig Farmers, Squirrels, Poopy Pants, Wongs,
3-D Glitter Pumpkin, Chris Hebb Fan Club, Fire Retardant
Material, and The Revolting....LIFE!
Comments: None: someone's gotta watch.
5) What does 'Punk' mean?
Stay the same 29%
Be Supportive 24%
Don't Worry, They Suck 24%
Give Up 19%
Comments: Stroke, man, stroke. Don't compete-youlost
No-one gives a fuck. Try an increase in power. Room tor
everyone. Coast sucks!
should we cover?
19) Who is unfairly 'picked on' in DiSCORDER?
Nobody 67%
Skinny Puppy Fans 14%
•Quincy Punks' 10%
Others: New kids on the bbek.
20) "I would be willing to pay for DiSCORDER if...'
It Was Still Free 43%
Cows Could Fuckin' Fly, Pal 38%
It Helped Support CiTR 14%
It Had Interesting Stories 10%
Stay the same 62%
Money/1983/Bands/Politics    10% e;
Fashion 05%
13) Suggest a feature topic/title that interests yr.
These Cars...Chickenshit 33%
BC Communists/No Idea 24% each
My Three Sons...Again! 10%
Red Adaire/Anaesthetics 05% each
Others: Angel Hermaphrodite. As much as possible.
3) Do you listen to CiTR?
Comments: All ol the above. A Junkie on welfare?
6) What other publications do you read?
Straight/AF/Nite Mvs 52%
Outlaw/E.Rider/R.Digest 24%
Province/Sun/S.Street 19%
No Can Read 19%
Homemaker's Crap 14%
Each of the following was added at least once: High Times,
Village Voice, Holy Bible, Nothing, Disney Comix, Poplust,
Anything that's free, Modern Detective.
7) Who should be a guest editor?
Other (see below) 38%
Me 29%
Joey Shithead 24%
Spike Lee/Nobody 14% each
Joey Meatrack/Chris Hebb 10% each
Suggestions: Vander Zalm, JB Shayne, Lisa Collicut,
Alexander Varty, Sid Vicious, Johnny Thunders, Jesus
Christ, Henry Winkler, Bob, A native woman, Slick, I
14) How can we improve our layout?
Stay the same 38%
More Creativity 33%
Larger, Easy to Read Type 24%
More Pix/Less Talk 14%
Re-hire Mullan/Richards 10%
Comments: Fire your staff. More cartoons.
15) What D-Mag features should we ressurect?
Stay the same 43%
Mentions of Alex Varty 43%
Didn't Understand D-Mag 14%
Corporate Ownershi p 10%
Suggestions: Satanism.
16) What new name would you choose for DiSCORDER?
Stay the same 48%
Horny Biker Slut Comix 19%
How Sound 05%
Others: Hard One!, Dumb Useless Opinions by Numb
Nuts, Miscorder, This Quarter, Dots, Bullhead, Freeky,
Screech, The Pore, The Hot Potatah, Extra Limp Castable.
17) How many bubblegum do you wish?
Stay the same 38%
Haven't Read This Far 24%
1/2 10% each
Comments: WHAT THE FUCK? Fuck off. How many are
there? Shut up... no, YOU shut up! Gimme EXTENSION?
18) What would be a good, new slogan/byline?
Don't Bellyache...Pay For       14%
Adult Readers ONLY 14%
Shifting Gears. .40 Years       05%
Of Course Not
Comments: [I] try not to. I'm in Seattle.
4) Occupation:
Real Job 57%
Welfare 24%
Music Related Business 24%
Others: Student, you
5) Are you 'punk'?
On Weekends
Others: ad Hippy. [Punk, but]n
maniac. Pank.
ot Quincy. Funky
Gentlemen: As you are aware, the majority of our questions were
designed with a dual purpose in mind, and several interesting
results have come of this. The fact that most respondents chose
a pre-written answer rather than composing one of their own,
concurs with the resultsof other recent surveys. A theory currently
undergoing analysis suggests that the majority ot today's consumers (while 'quality' is still considered a valuable asset) would gladly
choose inferior products if it meant saving themselves from
involvement in the products' creation (these results especially
apply to food and recorded music consumption). The overwhelming responses to #'s 8(e), 10(d) and 13(f) are disturbing. In these
cases, we employed what is often called a "hook" or "throwaway
line": an obviously humourous, irreverent choice. That so many
respondents chose these "hooks", combined with the extreme
amount of profane and juvenile language used in several responses, suggests that a high percentage of respondents approached the survey with less than serious intent. This percentage can be factored out to approximately 44%. This. then,
eliminates 11 surveys as invalid or spoiled. With only 10 surveys
remaining, that allows tor a response of only 0.06% of the
readership. We strongly urge you not to act upon these results
(utilising results such as these would be akin to holding a federal
election in which only 16,000 people vote; a sellout crowd at the
Pacific Coliseum holds 16,200), and enclosethem only as a matter
of interest. Thank You. e   1991   Ki_euu   __m_mi
RUMOR    A^D     5IG-H
Richard Thompson is a lyricist
laureate, and <
His latest album is a
collection of 14 sterling new
songs, filled with characters
to its author's pen; drunks, lovers,
Features the singles
"Read About Love"
$8  CASS §14  CD
it find it? Sam's has Western Canada's Largest Selection and most Comprehensive Special Request Service
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1 32 POWELL STREET   688-1 752 (PHONE OR FAX) & 669-01 27
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"Music, poetry, self-introspection,
prose, video-production, mind-projections... All these show how we
characterize our way of life to feel
free. We are not intending to send a
disparate message to the world. On
the contrary. We want to invite everyone to express their skills so as to
leave the schemes imposed by the
"Let the beast inside you shout
loud! It shall slowly start moving,
articulating its sounds and at last it
shall give out is own music. That's
the potential for transformation, our
strength, to possess by anybody who
So start talking.
"We produce our own work.
We've also chosen to manage ourselves in order to be as free as possible from any bonds with record labels, indies or not, because we don't
like the idea that our expression could
be commercialized or changed into
merchandise, sold by business people solely interested in making money rather than promote culture or
"We feel that musical expression, as any other kind of expression, can stay alive only when it is
free from market laws, and we believe this is possible when the managing of the musical production is
totally run by those who have created it. CONTROPOTERE literally
means "Against Power," but it refers
to the power lhat everyone has to
change, transform, and fight against
all forms of imposed power. This
orthodox political value, like changing society and so on, rather it is
meant as a wider proposal—more
philosophical, individual.esoterical.
We mean that anyone conscious of
their weaknesses can work on them,
on relationships, so as to find posi-
tivity and well-being. Everyone must
be aware that it is possible to find
their own means of expression and
gratification. In line wilh the concept of ourname, the songs we write
are formulated in a kind of poetical
way, refusing a concrete political
reference that is so often too restrictive. In this way, we also criticize a
l tendency to partake in political songwriting based more on
fashion than sincerity. We have an
exception, though. There's a song
on our new LP called "Baghdad:
Morte in Diretta" which is a direct
attack on increasing American imperialism. It doesn't mean that we
support Iraq's position, but that we
have a hard critical position against
militarism, wars, and the destruction
of financially poorer (but culturally
much richer) populations (see Iraq,
ancient Mesopotamia, cradle of every civilization on the planet destroyed by Western incivilization.
Bombed and murdered as it were
shit. Thousands dead for bloody oil.
Destroy a country, then make money rebuilding it. Now that the new
TV serial is over, there are no reminders of the horrors anymore).
"Back to the music again, we
refuse the concept of 'rock band' or
'rockstar,' acting on stage—the anti-
everything just for one night—and
then living fully submissive to a society that enslaves and annihilates.
We all live and play together, as in a
commune. We self-produce and self-
reproduce ourselves, carrying out
social activities too. Here in Napoli,
with other people, we've squatted a
building, creating there a centre of
self-produced culture where anyone
who wants has the chance to play,
paint, act, and anything else they
feel like doing. Another activity in
Tien'A'Ment is spreading counter-
information—news and materials
usually ignored or censured by me-
dias, so that who's interested has the
opportunity to open the mind, finding out what's on the other side of
thecoin. In many Italian towns, these
social centres are a reality. As a
band, we prefer to play in squats that
have cheaper prices for entrance and
drinks, unlike theatres and discos
where the long arm of business grabs
lots of cash.
"We like to define our music
as Mediterranean-progressive core.
Mediterranean—because we acknowledge belonging to this culture; progressive—as the feelings
we try to give are different, growing,
pressing, almost narrative; core—as
visceral, instinctual, plenty of energy. Very often, the people that listen
to our recordings and then see us on
stage notice a great difference in
impact and strength to the disadvantage of the former. We prefer performing live especially if we succeed in creating a common feeling
going beyond the roles (players and
public) instigating a sole flux of energy between who gives and who
gets. We don't like to be chained to
musical standards, imitating the style
of 'famous' bands. What we look for
are personal, particular sounds, inspired by the pulses that the reality
around us suggests, developing an
"We would be interested to
play in Canada. It fascinates us to
meet people from absolutely unknown places. Let us know and we
can work on it together. Ifyou travel
to Europe, we'd be happy to have
you visit us. Moreover, if you know
Canadian bands touring down here,
the possibility exists to arrange an
Italian tour for them. It's one of the
activities at which we often work."
CONTROPOTERE, Via Stella 110,
80126 Napoli, Italy Miss Bim Bim talks with
Please identify yourselves.
R: I'm Rob, and I drink dark beer.
J:I'm James; Idrink whatRobdrinks.
B: I'm Brent and I drink anything.
H: I'm Heidi and I hate Brent.
Is it true that some of your are ex
of the Obituaries?
R: I was in it for a bit, but that band
really has nothing to do with this
How long has M99 been together?
R: About a year.
B: I started in November...
R: ...which makes it se
been together ten years.
Have you recorded anything?
R: Yeah, a single that we don't have,
and we can't get in touch with the
guy who does have it. But there's
another single coming out, an album
coming out in Europe and an EP
coming out too... How's that?
B: It's on the way... We'rei
Apart from Poison Idea, what other really cool bands are there in
Portland now?
J: Hitting Birth.
R: Dead Moon... The Gits are from
Seattle butthey're great. They should
be from Portland.
B: Sprinkler.
What else is good about Portland?
B: It's cheap.
H: It's very cheap.
B: It's fantastically cheap.
H: So it's lou of fun!
J: It's got lots of trees.
Like up here. Is this your first time
in Vancouver?
B: Yes, and our tremendous grace
going through customs demonstrated this is our first time here. We
were, like, "No, we don't have anything to declare!" Man, we were just
not ready for them to grill us.
Tonight you're playing with the
Gits and Gas Huffer. What other
bands have you played with?
R: Hitting Birth, Dead Moon, the
Gits. We try to keep it to those three
J: We played with the Fluid, we
played with Jesus Lizard and—
B: —Ocktatrackteratthe Satyricon.
Any other dubs in Portland besides the Satyricon?
There's an all-ages club called the
X-Ray Cafe—it's very small—and
there's a large club called the Melody Ballroom that NoMeansNo
played at.
R: It has high school proms, too.
B: And huge polka dances and salsa
J: Portland is always on the edge of
hurting badly for clubs.
An&e Finley recalls talking to
What other colour would it be?
R: It's in a green bottle when they
import it.
B: Oh, and you have a Busy Bee
Cleaners in Vancouver, and we have
a Busy Bee Cleaners in Portland.
Will you be up here anytime again
R: Yeah, we'd love to.
B: Absolutely.
R: It's a great towi
what little I've seen so far.
B: I gotta say that I don't think that
flattery's a great thing but I am really
flattered that Rob [Wright], bass player for NoMeansNo is here tonight,
even though he only came here from
coincidence and had no idea who was
playing. Never heard of us and will
probably neverhearof us again. I was
really glad that he was here and that I
got to talk to him for a minute.
Who does the songwriting?
H: I do the lyrics; they do the music.
The lyrics come from very different
things. It usually comes out of the
music and what I'm feeling when I
hear the music.
So the music comes first?
H: Yeah, basically, I hear the music
and I hear words in it and the lyrics
just come out of that.
B: There's lots of songs about drinking.
J: Y'know, it's just everyday life.
We get up, we have a hangover, we
get up, we're bored, we walk down
the street, we're mad...
H: That basic human emotion!
J: We don't get too political. We're
not worried about saving the world
'cause it's fucked anyways.
Adam "1971" Sloan talks to
Tell us a little bit about yourself.
I'm the singer and I'm from Atlanta,
Georgia. I came out to LA about five
years ago with an airplane ticket in my
bag and I've been kickin' it ever since.
I hooked up with the guys at Delicious
Vinyl through the underground clubs
oul here, and I did a lot of background
vocals and dancing and a lot of music
videos, tons of music videos, so some
of the people I've been on tour wilh or
done stuff in the studio wilh, which
includes everybody from Gene Loves
Jezebel to Al Jarreau, Fishbone, Ma
donna, Tone Loc, Young MC... Then
the president of Delicious Vinyl asked
me if I knew a singer who would like to
work with a band called The Brand
New Heavies. He had played me a tape
of them before they had signed the
band and I liked it, so I said, "Yeah, I'll
do it." Two days later, I flew to En-
How long has the band been togeth-
Ithink they 'vebeen togetherforfouror
five years or so. They've changed their
lineup a lot; first there was another
vocalist in England and I guess she
didn't work out.. Officially, there's
three musician members of The Brand
New Heavies and the others are hired.
Who are your and the band's musical influences?
It'sreallyinteresting that although they
grew up in England and I grew up in
America, we definitely have similar
tastes in bands as far as, like, the Ohio
Players, Average White Band, James
Brown, The J.B.'s., Parliament,
Funkadelic.justalotofthe '70s-style
bands. Some of my vocal influences
would have to include Michael Jackson, that's when Michael Jackson used
to really jam, you know, back in the
Jackson 5 days, Minnie Ripperton,
Chaka Kahn when she was with Rufus...
What is acid jazz?
Well, as people have always known,
the English have a way of taking what
Americans have done, whether that's
souL R&B, or whatever, and then mixing it all up in this cool washing machine of ideas and then shooting il back
at us. It's almost like a boomerang
effect. And acid jazz is basically a
combination of groovy rhythms, funk,
and soul, and jazz, jazz muso kind-
stuff, and then renaming it acid jazz.
The album sounds real good.
Thanks a lot. It was a fun project to
work on. I really like it 'cause it's
happy; it makes you feels good and
God knows we need to feel the vibes
these days.
It's a good break from all the drum
machines; it's real music again.
Yeah. I think that a lot of people are
losing out on the feeling; that's why we
have a lack of spiritualism in the world,
because you lose so much with the
computer. We just really kinda have to
get back to the heart of really jamming
and feeling and touching and having
emotionagain. So that's what we really
want to do.
the most recent Sub Pop acquisitions (signed immediately after
merely sending the label a promo
pack), my incredible luck intervened and the tape recordermyste-
riously failed to record. Here, then,
is a hazy recollection of a conversation held in the Cruel Elephant's
back alley, where the atmosphere
was set by one fine citizen of our
fair city pissing on a car directly
Rein Sanction hail from the
"two-venue town" of Jacksonville,
Florida. It seems the band is somewhat of a trailblazer down south:
their particular brand of melodic
grunge has been compared to everything from a plane wreck to
crashing ocean waves.
Though much of Rein Sanction's press has centred on their
(stunning) physical appearance, it
certainly isn't their only notable
aspect. The band consists of two
brothers—guitarist/vocalist Mark
and drummer Brannon—and their
best friend from down the street,
Ian, who plays bass. They've been
playing together since they were
kids; even now, none of them are
over 21. Curiously enough, these
guys had never been out of the
States before. They were pretty
hyped about getting exposure; by
the time they left Canada, they'd
played three shows.
Following on the heels of their
7-inch, "Creel," Rein Sanction's
first full-length LP, Broc's Cabin,
has just been released. This offering has more decipherable lyrics,
allhough the band feels very strongly about keeping the vocals from
dominating the music. In fact,
words come in a very distant second to the "sound of the driving
Rein," as one reviewer put it. Despite this, the album draws you to it
again and again, each lime giving a
broader perspective on the musical
achievement of these Jacksonville
guys. Man, they rock.
JUNE 1991   9 Is MCR Records a fu II time thing?
I don't make a living by running the
label, but I work for another company from 9AM to 6PM, from Monday to Saturday, so I cope with all
the things concerning MCR at night
on weekdays, on Sunday, and also
on national holidays. So I don't have
enough time.
What kind of problems are there
in running a hardcore label in
Japan? I think the financial problem is a very serious one, as is often
the case with any other label. Not
many HC bands exist here, so it's
also hard to find a place and hold a
Is is difficult/expensive to press
vinyl in Japan? It costs maybe
twice as much money tohave records
pressed here in Japan as to have it
done overseas... All the vinyl-pressing plants here will be closed within
this year. It'll be totally impossible
from next year to get anything other
than CDs pressed in Japan.
uO you scrounged up enough change to put out a record by that wild surf band down the Hock. Good for you, loser, now you're stuck with 1000
copies of some shit slab of vinyl that nobody wants, even if it is on dayglo green/orange/puke brown/multi-splattered-etched-with-Traci-Lords'-
tits vinyl. What's more, the guys at the pressing plant in Kentucky now refer to you affectionately as "the dork kid with money," and play frisbee
with the master disc. So you lick your wounds, hide crates of records under your bed, and quit hanging out with the band down the block who still
insist their failure is your fault. Next time, take note of Yumikes, whosinglehandedly runs Japan's MCR Records (which has put out some 50-plus
records/flexis/videos), sings in the seminal punk giants. Fuck Geez, AND has a full-lime job. That's more than I do, more than you do, even more
than' Discord Records does!
Why is most of your stuff on flex-
is? Well, as the pressing costs are
not very expensive, the products
[flexis] can be sold at relatively low
prices. Herein Japan, we have to pay
¥2000 -¥2800 ($20 - $28) for an LP,
and ¥800 - ¥1000 ($7 - $10) for an
EP. You can see how expensive they
are. However, a flexi is available for
just $2-$3.
How much stuff is sold overseas
compared to Japan? Do you have
good international contacts? I suppose MCR is in contact with many
people abroad, but I'm not good at
English and I don't exactly understand what they say. In comparison
with the domestic sales amount, I
don't think much of that in other
naybe approximately
one-quartertoone-fifth of the whole
copies go abroad.
Is it difficult for MCR to get distribution in other countries?   The
difference in language, system, and
culture is a big problem, I think, but
What's the most popular record
you've released? It's a difficult
question, butiately lean cite SDS:EP
or VIMKakumei LP as one of the
most popular stuff on MCR.
Does Japan have a big scene?
Personally, Idon't think we've got a
what's going on. Last year so-called
beat punk gained its popularity, that
is, those bands who just played the
pop version of '77 punk and wrote
totally unchallenging lyrics drew
How do Japanese punks get such
big hair and tall mohawks? Maybe they do it with something like
Do you run into problems with
traditional Japanese society, due
to your musical tastes?   There's
almost no trouble at all. I think some
people cannot get a good job because of their long and/or dyed hair.
Sometimes there's some conflicts
among young kids, say, between
punks and hoodlum-ish groups of
reckless riders. But we don't have
any serious trouble with the social
system itself, as compared with the
What don't you like about running a record label? Though I fix
the date of release, some bands don't
send me the master tapes in time (I
think they've got enough time to do
it!). Everything gets delayed,includ-
ing the arrival of the products from
the pressing plant and the money
from record stores. The initial plan is
totally fucked up and that's what I
really hate. Every problem is hanging over me and people complain to
me. That rubs me the wrong way.
What do you like about running a
record label? I can make a lot of
friends and acquire tons of knowledge/ information. That's a great
advantage when I think of the period
before I started running the label. All
those things are very important as
long as I live. So I feel fine about
Who are your favorite western
bands? Do many people go see
western acts in Japan?   My top
favorite is Spermbirds! There are
lots of other bands I like, too many to
mention... Foreign bands...can draw
twice or maybe more times as many
audience as Japanese bands can.
Do you think Madonna is cute?
She's beautiful, but I don't really
care 'cuz I cannot make friends with
her anyway (laughter).
Contact: MCR Records, 157 Ka-
miagu Maizuru, Kyoto 624 Japan.
Thanks to Takuo Nakamura for
Why are you here? You're based
in Japan and there's some sort of
legal thing you have to figure out
every once in a while to remain in
Japan, am I correct there?
You're absolutely correct...to get a
new visa to work in Japan.
And you're also here to promote
The Grandson of Ham.
Yeah. I figured kill two birds with
There's two members of Nimrod
from Canada: yourself and Tim.
Would you please tell us a bit
about the band?
We started actually in Montreal in
1988,1989. Different drummer and
then Tim left to Japan in 1990 and
I followed suit and got a new drummer there, Sam, who used to play
with the Dust Devils in New York,
Sheer Terror, and some other NY
hardcore-type bands, and it worked
out real well.
Aside from Nimrod, what are you
doing in Japan? You're involved
in some aspect of the music industry, aren't you?
Yup, working at KISS FM in Kobe,
where I read thenews everyday for
one minute and do a rock show
once a week.  <-jrrjf~X
You have a program which you'd
like to syndicate or make available to various college radio stations in North America called
Japanhandling. Is that what
you're doing at KISS FM or is
this a separate project?
That's the paying job. This is just
for ourpleasure and it's to promote
Japanese bands, basically... I'm
doing it with this guy, Dave Hopkins, who runs a label in Wisconsin
^ descendents of Ham are Chus, Mesraim, Phut and Chanaan. The descendents of Chus are Saba, Hevita, Sabatha, Regma and Sabathacha.
The descendents of Regma are Saba and Dedan. Chus was the father of Nimrod; he was the first to be a conqueror on the earth. He was a mighty
hunter before the Lord. Hence the saying, "Like Nimrod, a mighty hunter before the Lord."
That little snippet, folks, was taken from page nine of my 1500 page, twenty kilo, hardcover bible given unto me by Uncle Frank and Auntie
Renza formy first communion May 12, 1974. Seventeen years later, it is yanked out from under the stairs for another purpose: to scrounge up a
quote to introduce an interview with Zev Asher (vocals and gadgets) of Osaka-based Nimrod.
Asher (also known to Canadian university stations for his experimental compositions as Roughage), bassist Tim Olive, and Sam Lohman
on drums are Nimrod. They recently played a large outdoor music festival sponsored by the Kirin Seer Company (now brewed in Canada by
Molson's—how 'bout takin' out an ad?) that was to decide the best band in Osaka. Suffice to say, Nimrod beat out nine other bands. Yikes! And
while they've shared stages with Japanese noise bands Zeni Geva and Merzbow, they reach back to tlieir North American roots—early Swans,
Butthole Surfers, and some ofthe mid-'80s Homestead bands—as reference points. Seeing as I'm just dropping names here, I might as well include
the Fall and Sfembranes to this amalgamation.
Asher dropped by last month to tell us about his band and their debut full length release, The Grandson of Ham.
that puts out only 7"s of Japanese
bands. Idon't know if you've heard
of it, Public Bath Records?
Yes, actually; The Garlic Boys,
Playmate, Subvert Blaze...
Very good.
CiTR's up on things. We're not
just a honky station anymore;
we're rockin'. A couple bands
we've currently got on cart from
Japan includeGibbed, Pile Driver, Battle Attacker, CrazeCrow...
Whoa! Randy just ran in this
CD...some more Public Bath
stuff: Sekiri.
That's the new release.
Are you familiar with them?
They're all-girl, sort of traditional
punk band.
From the samples you use on
Grandson of Ham, film's a big
thing with you. You're obviously
interested in American noise
bands. What are you trying to
accomplish via this medium?
To assault and i
To assault, insult, and entertain.
If people are insulted, then that's
their problem. There are things that
will insult people, I suppose. But it
should be taken with a grain of salt.
You're on Bron Records, a fairly
new label.
Fairly new, yeah, but getting up
there with the indies in Japan. Bron
is actually the name of a cough
syrup that people drink and
abuse...due to its codeine content,
popular with bikers in Japan.
The fact that such a healthy independent music scene exists in Japan is a huge surprise to me,
CiTR receives many, many interesting releases from Japanese
independent labels. The horrors
that we hear about the cost of
living in Japan should nullify the
existence of these non-money
making labels. How is the indie
front in Japan?
Well, as far as the general music
scene, I've been told there's something like 30,000 amateur bands in
Tokyo. That's a hell of a lot of
bands. Out of these, I don't know
how many are independent, but a
fair number, I imagine. There's a
lot of little labels that are willing to
take more risks than labels in Can-
in by one guy      happens.
who is working fourteen hours a
day in a convenience store to pay
for our CD and he ended up having
to borrow money from yakuza
(loansharks) because he was running short when the pressing was
finally ready. So, it's a pretty funny story. This guy's putting his life
Does he have all his fingers?
He still has all his fingers. I'm not
sure about his toes.
We get lots of flexi discs as well,
which is rewarding in that it indicates bands are making their
music available even though vinyl and cassette format may be
too expensive.
They're reasonably cheap to manufacture, I think even cheaper than
they would be here-—something
like 60 or 70 cents a piece—and
basically the band wants to put
something out, but they can't afford an LP, so let's go with the
It's a collector's thing too.
Although, I like the fact they are
disposable. Eventually something
How's media support for the underground bands?
It's pretty good. There's quite a
few magazines, but the club circuit
is pretty bad and the audiences are
really bad in terms of being re-
Actually, Jarboe of the Swans
told me one memory she will nev
er forget about playing Japan,
and it may have been Osaka,
where the audience was almost
lostinsomehypnotic trance, coming forward and extending their
arms out to Michael. She recalls
it being a very emotional time
and what surprised her was, as
you say, the reputation Japanese
audiences have for being restrained and conservative, which
this particular incident obviously disproved.
The Swans have made a big impact
on the independent scene. There's
a lot of bands that have drawn from
the Swans.
The Japanese also have a reputation for being infatuated with
American culture. What I can't
figure out is how Wilson-Phillips
can be utterly adored in Japan.
Radio and video stations obviously have a big role in this.
Not music video stations so much.
There isn't really any. There's a
few shows. The media manipulates
the audience and the record-buying public. They almost want to be
manipulated. It's kind of frightening when you look at it in such a
large scale form. These people buy
what they're told and listen to what
they'retold. Dress how they're told.
Just as we are here.
Just as we are; it's just a bigger
With record charts, do the indies
have their own charts and majors theirs? Or is there some
There's a little bit of crossover...
Notthatmuch. Andit's hardforme
to follow that because a lot of the
charts are in Japanese. I see what I
can, but it's hard to keep track.
So, Nimrod are considering lea v-
ing Japan, or at least focusing
more on your potential North
American market?
First thing we're doing is trying to
get the record or the CD licensed to
an American or Canadian indie. If
that happens, then definitely we're
going to be pushing it a lot here.
Tim the bass player wants to move
to this town here. He's planning to
do that in September or so, and I'll
probably follow a little bit later. So
we'll be playing Vancouver definitely in the fall, I think.
Contact: Bron Records, c/o
Masahiko Nakabayashi, 2-10-7-
506, Shimshinjo, Higashivodoga-
wa, Osaka 533 Japan T
GreetillgS from Thailand.
I am writing from deep within the
forest near the Kampuchean border.
Everyone here has a shaved head
and wears a saffron robe. One is
expected to meditate a lot; however,
I choose to spend a little time reflecting on the current stale of pop culture in Thailand. The monastery
thugs confiscated my walkman and
magazines, so what I put down here
is from recent memory.
The first thing I noticed was
the constant music coming from ghet-
toblasters on the streets, storefronts,
homes and cars. The floating discotheque that plies the waters of the
River Kwai pumps out the volume
until the sun comes up. In the cafes
and, especially, the parks, there is
always a group of Thais huddled
around a guitarplayer,everyone singing or banging on something. People
tend to put their car stereo speakers
on the OUTSIDE, and sometimes
loudspeakers are brought to the street
from inside the homes, initiating
impromptu block parties.
My first few days in Thailand
were spent in the backpackers' section of Bangkok, where the music of
choice is reggae, blues and classic
rock (yeah, it rules over here too).
More than one perfect evening spent
watching the sun fall on the bank
of some idyllic river was ruined by a falang (that's what
the Thais call us light-
skinned people) re-living
scenes from Apocalypse
Now with "Suzy Q" blasting out of his hut.
The Thais themselves
don't particularly care for
much Western music. At a
disco geared directly to
Thais, you'll hear maybe half a
dozen western hits: Madonna, Pet
Shop Boys, Rick Astley. There are
exceptions,of course.TheThaishave
gone absolutely NUTS over a Joan
Jett greatest hits package. And any
Thai cover band that doesn't include
"I Hate Myself Fo Lovin' Joo" and
"Ha Zoo Evel Seen De Lain?" in its
set hasn't got a gig.
Thais singalongtoeverything.
In the discos, the DJ will cut off the
sound so the kids can hear the whole
club singing as loudly as they are.
When there's a live band, people
just to observe it. (Not such an easy
thing to do: discos get going at midnight and last until 3 AM. You wake
up with the sun's heat at 7 AM.) It's
not odd for people to dance at their
tables all night. The "Thai Dance" is
really cute, and—when the dancers
Any Thai cover band that doesn't include
"I Hate Myself Fo Lovin' Joo" and "Ha
Zoo Evel Seen De Lain?" in its set hasn't
got a gig.
clap at the beginning of the song
when they recognize it, never afterwards. Time between songs is for
wetting throats.
For the longest time, I thought
the Thais had their own unique dance
style; I sometimes went to the discos
get exuberant—something to see.
They ball their fists and do a rolling
dog-paddle motion at about shoulder-height, then they swivel back
and forth with one leg always lifted
slightly off the ground. I thought,
"Hey, here's a dance that's evolved
directly from The Twist. EVERYONE does it, and yet it's never
touched Western shores." But before I got inlo the anthropology, the
answer was given to me: they're all
emulating Aom.
Aom (pronounced like the
sound you make when you're
searching for the right word)
is quite a phenomenon in
her own right. A 16-year-
old orphan and self-proclaimed lesbian, she grew
up in hospitals and is now
lop of the pops. Not a day
goes by (except when that
day is spent in a monastery
far removed from civilization) that you don't hear
one of her hits at least three
times. People drop whal they're doing just to dance hke she does. Pinup posters, T-shirts, at least two
glossy fan magazines with lots of
pictures and all the guitar chords to
her songs: Aom is everywhere. There
is even an Aom rip-off band that is
quite popular, loo.
Look beyond Aom and you
find a very vibrant and lively pop
music scene. I don't know if I just
happened to arrive at a thriving period or if the Thai public bury their
performers. No one remembers who
was popular last year, and the top
stars—Aom, Nino, Tik Shiro, Nuvo,
Christina (a Miss Thailand f inalist)—
have yet to release follow-ups to
their debut albums. There is a nightly
rock video TV show and, on Sundays, there are televised open-air afternoon concerts. Everyone knows
the words lo all the songs.
In a place with a hungry bootleg market (western cassettes are
less than half the price of Thailand's
legitimate releases), and wheremov-
ies,TV commercials and Levis come
from America, sitcom television
comes from Japan, and much of the
cuisine is now just Chinese fare, the
fact that the music scene is entirely
dominated by Thai nationals is indeed extraordinary.
June    3-5 Chubby Carriere
June    6-8 Jim Brynes
June 11-15 Guitar Shorty
June 18-22 Ellen Mcllwaine
June 24-26 John Hammond
June 27-28 Lowell Fulson
June 29-30 The Demons Jam
Now serving coffee and salads too.
by Lloyd Uliana and Karen Toddington
With a thrashed acoustic guitar, his pick gaffer taped to his slightly paralyzed right hand, a music business sense that
would further compound the reality of layoffs at record corporations, and a new mini albumLittle, to promote
(whew!)—Vic Chesnutt found himself in town in early May on tour wilh Bob Mould, jivin' with the Maury's Got the
Night Off gang.
1175 Robson
1937 Cornwall
How are you doin' Vic? Fine.
How are things goin'? Dandy.
Is this quite an extensive tour for you?It's the biggest one
I've ever been on.
How many dates are we looking at here?A whole bunch...
We did a bunch. Now we're doing a whole bunch more.
You were at the New Musk Seminar in New York last
year. That was fun. It was the second time I've done it
Were you pretty revolted at the whole business end of
things? No. Bored mainly.
'Cause you're part of it.I'm not too proud to be part of it,
Idon'tthink. I'm just asinger... It wasn'tmy fault that I got
a record out and have to be a part of all this— Oh, almost
said a bad word.
You can swear here. This is Canada. Yeah, but what if my
mother heard it.
But she probably doesn't have her cable hooked up.
That's true. She's in Georgia. She can't hear that far.
You'd be surprised. We had someone write in saying they
picked up CITR on shortwave off the coast of Scotland. Man, you are rockin' the world.
Yes, rockin' in the free world. I hate to bring this up, but
I think I should let people out there know Mr. Chesnutt is from Athens, Georgia, home of all those wonderful bands. What wonderful bands? They all suck.
Well, one in particular is singlehandedly keeping the
American musk industry out of the red .No doubt
Tell us a bit about yourself. You used to be in a band called
the La De Das. How'd you know about that?
You think I don't read? You think I don't familiarize
myself with the people I speak to?We_, I forget there's
info floating around out there,' cause I'm just one little old
You're not so old. 26? 27?26. But all I did was record the
record. I didn't distribute it, so I don't know where it gets
to. I don't know where all the little lies get to. I'm Vic and
I'm singing and I'm opening for Bob on this tourand we're
having some fun. Bob smokes cigarettes and I wanna
smoke some Canadian cigarettes, maybe... I just flew out
to Seattle a couple days ago and drove up through customs
and that was so much fun.
Was it a hassle? No, it wasn't They were really nice and all
the people there made jokes and I like 'em. I like 'em.
You didn't smuggle anything in for your friends up here
at CiTR? Does smack count?
No, I was thinking, like., bootleg Metallica T-shirts^,
no, no, just a little bil of smack.
Little is on Texas Hotel Records who also handle Poi Dog
Pondering, The Rollins Band, and Hetch Hetchy, with
Linda Limner a/k/a Linda Stipe.Agh. Quit that. Don't
tell anybody.  I
What do you mean, "Don't tell anybody"? She's a good
friend of mine. Actually, she married my coosin.Oh
yeah? Cool... They're about to record some more... I think
they're gonna go in with Michael... oh shoo, to record a
new thing. But I don't know if it's gonna come oot on
Texas ornot- It'spditics aid everything. They might want
to shop it or something like that.
We're gonna mention this name only once: Michael of
REM. I won't mention it again. He produced Little,
right? And he forked ova* cash for your production
time. Yeah, he took me in there and toldme what to do and
Mighty nice of hun. By the way, have you heard the new
REM LP? I've heard one song off of it: "Losing my
reeceligceun!" Woo wee! I like it. I dig it-
Linda, Michael's sister or daughter or whatever, she did
some vocals and keyboards on Little, (laughs) I don'l
know what their relationship is. Well, she just sings once
and then I do everything else... You like [the album]? You
hate it, don't you. You hate it! Promise, tell me you don't
hate it.
I love it How come?
You seem to do what you want and you don't necessarily
cover ground that's cliche. It's al! very personal, yet I
can relate to lyrics like 'live by the scam, die by the
scam," from "Soft Picasso." I also want to ask you about
"Danny Carlisle," whkh features "Danny Carlisle, he
don't give a shit about the contras/Danny Carlisle is
barely grown and he's used up most of his options/But
he'd still rather dream than fuck."Something like that
Beautiful. Well, it's kind of dated now.
Care to talk about that at all? You know how critics are
always trying to dig into the words.Okay, well... I came
home after a weekend of acid tripping and sat on my porch,
still tripping. Then, all these three images popped up and
that summed up my whole philosophy right there, I guess.
Then I drank some liquor.
To quote Stipe—sorry, this is your release and we're
talking about Michael. I'm sure it's a problem with you.
He said: "I just felt what he was doing had to be
documented." A very rough, sort oflivefeel to it. You're
obviously thinking about doing some more recording.
Right, we're going in the studio in June.
To document means to capture something unique. There's
nothing close to it. How are you going to change things
this time around? Maybe get some rappers in, some
dancers? Rappers? Well, I've been talking to KRS-1 and
I think maybe we're gonna do a track together...
"Can't find nothin' on the rad»_."No,no,I'm sorry. We're
gonna do something. I don't know what we're gonna do.
Except I know it's gonna be good.
And remember, get the Texas Hotel people to put out a
dance track. Don't be surprised if there is actually a dance
track on there, because I'm thinking about it. I love the
boogie woogie, you know that. You know I do.
Did you ever see Husker Dii live?Yeah... God, they were
awful The one time I saw'em was awful. I don't think they
were into it too much. This is probably 1986 or something.
But he's great.
And you probably weren't on the guestlisLActually, I was
on the guestlisL
So it shouldn't have been a problem then J can't be biased
just 'cause I was on the guestlist. If it sucks, it sucks. The
Buck Pets, they're your favorite band, aren't they?
Actually they aren't my favorite band. Are they from
Georgia as well? No, I don't know where they're from.
You like the Stone Ponys, don't ya; that's your favorite
No, not familiar with them... What's gonna be hot in the
next little while? Is rap out?I don't know. I never tasted
You don't follow the college radio charts to see whereLitf fe
is appearing this week? Yeah, right There's, like, one
person in the entire world that played that on their college
radio show, 1 think.
That's not true. I mean, you've been drivin' across this
country in the Bob Mould tour bus—Tour jet.
—haven't you come across some college stations like
ourselves that are playing the release? Actually, all of
than. Everyone in the whole cowsiy loved it and they
invite me out to their station and we talk and...
Well, ya know, we bought a six pack of (carbonated
beverage of your choice) and we got some ke here for
I know you're not a drinkin' man.How you know lhat?
What makes you think I ain't a drinkin' man?
I thought it wasn't in vogue to drink and be a rockstar.
You're right, it isn't
Aerosmith, Stones; they've all come clean. What's the
story there, Vk?Paul Westerberg. He's clean. He's dating
Winona Ryder, though.
One final thing I wanted to ask you. College radio: where
do you see it heading? Bigger and better... And more
Is that good for Vk Cfi«sntitt?Well, I'll grease your palm if
"PH send your dance DJ a copy ofthe remix." Yeah,
exactly, and I'll send you a sweatshirt and some designer
spermicide or something.
And maybe a Stone Ponys poster to put in the control
first ever interview:
I found a piece of sweaty black
plastic in my hands, and J. Mascis of
Dinosaur Jr. sounding a long way
from home. The fuzz of the telephone
was like a warm blanket.
*-_'s,foAAScirN0 TO
•I-   ■     OF DINOSAUR jr   Fa_
SiX years ago\ three membirs o
a rock and roll band came together
generate a few songs. Their music
would be primal arid so would tl
image. Their namefcecame Din&saul
I don't knOW whatlhey are,
don't know what thei are, they di
even know what they\are: they ju:
For many, listening to Dinosaur is
like being wrapped up A a cocoon:
furry and perfectly happ« there.
The SOUnd is triple, likekn element
of colour of life... You cancel it as it
enters you and fills you up ai
leaks out. The new album, Green
Mind, sounds best on vinyl, even if it
is on a big label. There is a certain
homogeneity to the album: the songs
are pure and ripe over ripe. "Thumb"
makes use of a smooth woodwind
intro. "How'd You Pin That One On
Me" sounds like someone running a
tap in the room next door—it's about
emotions going down the drain.
"Muck" is my favourite track. Then
there is the quintessential "The
Wagon"—a song that summarizes
Dinosaur perfectly.
The frontman and resident
lackluster of all this is J. Mascis, a
self-proclaimed leper who undulates
between noise and noiselessness.
On stage, he is an exposed wire; his
music invites us to exfoliate and join
him. The words have enough
references to bacteria and small
smiley creatures that, if we added
water, we would get yogurt.
The interview began. There
were frequent spots of silence. My
nervousness was virginal. The
questions were long; the answers
often simple.
Have there been any changes in the writing process of
your music? More time and
money into the recording
side of things, probably.
What was it like when Dinosaur first started out? It was
horrible. It's not like being
in a band is all that fun or
Why was it horrible? No one
liked us, and we kept getting banned from clubs. Too
loud. If no one likes you,
people get mad at stuff like
What are your words? The
lyrics? I don't know, I just
kinda whip it out; the music
first, I mean. I don't really
sit around writing lyrics; it's
easier to do it when you
have to, I suppose.
When you were a kid and you
'm better suited to it.
It's not really any neater
than anything; I just can't
handle anything else.
Have you heard Sebadoh's
"Gimme Indie Rock"? Yeah,
I liked it the firsttime I heard
it, but I got sick of it. It was
funny, but now I just know
Lou [Barlow, ex of Dinosaur Jr.] too well. I mean, it
was cool to listen to it, but
now it's boring.
What is indie rock? You
know, the whole craze.
Started with Sonic Youth,
Husker Dii and everyone
else. The drums and guitar
are the main sound.
What does it take to be innovative nowadays? I don't
know; doing something different that people like, I
Can you think of anyone that
is innovative at the moment?
Sure. Not just off the top of
my head, though.
was it like to play with
lllin in the superscum of
'ork?  Harsh. Stress-
wasn't bad until he
stage and then he
fucked up, he starting the mic up his
shit all over the
how it was going to
iethat? Not really.
one should expect
1 never seen him
ft was with [Shim-
Records   and
Bongwater     superguy]
Kramer   and   [Matador
Records promo guy] Gerard Cosloy. He tried to piss
on them.
Do you collect anything? Not
really. Guitars, I guess. Old
I'm thinking about collecting
lunchboxes. What do you
The Dukes of Hazard so far...
Lunchboxes are part of growing up; it was like a contest at
school to see who had the
coolest lunch box. My
friend's got the Lost in
Space one.
Any childhood heroes? Sure.
The Fonz. It was cool when
he jumped over the barrels
on his bike. Where are you
calling from?
Vancouver. It's the last day
of the tour.
OK, J., thanks a lot. See you
then. Bye.
Your basic interview; marginal
even. The music of J. Mascis,
however, is like primal ooze; it
congeals all over one to the point of
ecstasy. It's simple "rock and roll,
drums and guitar." Sounds good to
me. Besides, everyone wants to be
beautifully simple at sometime in their
life; it's natural. We were all hatched
JUNE 1991   13 How is Mendelson Joe?
WeUJ'm pretty artistic, pretty obese,
pretty angry-.uh,pretty boring. The
same old idiosyncratic, complex per-
How did you get into music?
When I was a child, like most children I was exposed to it, and when I
was 11,1 went to the closet and took
out my sister's guitar, and I started
to play it, and that was 36 years ago.
I just taught myself to play it, and
I'm still learning now.
Did you learn other i
Not really. I mean, I taught myself,
to some extent, how to play bass,
drums and piano. But I wouldn't
call myself fluent on those instruments. Guitar is what I know how to
play. On the Addicted album I play
bass on one of the tracks, just because my ideas could only be played
by myself, and on a lot of my recordings I play drums. To play an instrument is very easy if you're naturally
talented and if you recognize your
limitations. I'm one of those musicians who knows their limitations.
Fortunately on guitar I'm not so
What were your early influences?
I think of myself as a thief of blues
idioms. The blues music always
spoke to me. It was sexual, it was
direct, it was physical, it was open to
improvisation, itwas strangely structured.- If I could think of some sort
of foundation to what I produce as a
songwriter and as a player, it's all
bluesy music In the beginning, I
listened to Jimmy Reed, early Elvis
Presley, Ray Charles, Little Richard, Chuck Berry. Most of those
guys were rockers but blues was an
essential ingredient in all tlieir musics. Later on, I matured a bit and I
discovered aguy named Muddy Waters, and a legend named Robert
Johnson, so there have been many,
many players I listened to in my
teenage years, but by the time I was
in my twenties, I was starting to find
my own way, utilizing the inspiration that blues gave me. At the age of
46.8, I've got my own thing pretty
I appreciate the sense of humour that
you inject into your music.
Humour's a rare thing in Canadian
music I think that for Canadians,
especially English Canadians, conformity isessentially the life blood of
Canadian music Conformity and
clonery. It's opportunism. I've never followed any trend whatsoever;
I've gone my own way all along.
That's why I'm able to produce
something that's like nothing else
You don't follow the formulas of today's music.
Well, formulamusic means basically conformity to make money, and
in my life, I believe my blessings are
to be free and to be healthy, and
when one is an artist and conforms,
then one doesn't make art.
When did you start painting?
Painting happened just as an accident When I was 30, I was going
through the garbage—I'm a garbage picking man—and I just found
some acrylic paints, and I took them
home and I just tried to see what it
was like,and I haven't stopped since.
It's great that you found something so
late in life and were able to latch right
on to it
WeU, I hope it's not late in life, to be
very frank. I've been very fortunate, resourceful. Ifyou lock me in a
room with bricks, I'll build something. I'm a creative person, and
anyone who's truly creative can be
creative in almost any medium. It's
just that simple and that difficult
Do you play live in Toronto?
Yep; not too often, but I do, and I
will be actually perform ing concerts
in Toronto on [June] 5th and 12th.
During that week, I'll be holding the
Gigantic Joe Festival, a big exhibition of my paintings at a local gallery
called The Lake Gallerii
they're actually quite large—
in Toronto, so for anybody
who's travelling out to
Smegmopoiis, come ti
the Lake Galleries
from the 1st to the
If there were healthy demands, and
healthy means to me not just interest—the way to express one's interest in a healthful way is by money,
that is the currency of respect in our
society, and it's too bad that that's
the only currency. No, I have no
plans of going out West at this point,
but there's been a few offers made
since this album was released.
There's been some interest, and I 'm
just going to wait until I'm satisfied.
Travelling to me is not fun unless
I'm in a canoe or on a very special
ronmen tai movementforalong time.
In 1980, I fasted for 100 days to
protest what I call the "Conspiracy
of Apathy" that surrounds nuclear
power in Canada. We have a very
unique situation in that the nuclear
industry is owned, like in Russia, by
Canada regulates the nuclear industry and, incidentally, there is a
law that protects the nuclear industry from any real liability. There's a
limit to the liability that the government or the nuclear industry may
suffer, which is 75 million dollars.
That would buy maybe 20
"peaceful atom," or not-so-peaceful
atom, represents. Radioactivity
causes cancer in a big way. Anyone
who was interested in [the effects of]
nuclear power would probably run
into names such as Chernobyl and
Three Mile Island, and a whole
bunch of other less well-known
names. Anyone who lives in Europe
has a huge fear of what nuclear
power stands for because this stuff is
UNHARNESSED, as it inevitably
becomes; because we humans are
flawed and we don't make things
perfectly (even though we like to
think we do), and the danger of
nuclear power, ofthe dissemination
and proliferation of radioactivity,
these things cause all kinds of cancers and birth defects. Thelong term
effects of radiation last thousands
of years so, a
messingupthe genetic m ake-
up of the whole planet, of
ALL organisms, and I
don't think that hu-
the most
"im portant" organ -
.The earth is
literally our
mother, that is,
written a couple of books,
but they're not
published. One's
called Mendelson
Joe, a Man and His
Penis, and I'm not
sure what to call the
other one.  They're
called "A Clef' which is
basically reality with substitutions for names to protect
me from being killed. So these
books, like anything, you have to
sample it to know whether or not I
am a good writer or not a good     him
writer. The musk will tell youwheth-
er I can write. ronmental
Do you have any plans for touring?        I've been pretty active in the envi-
borhood]Forest Hill.- Of all the evils
of our society that are born of teth-
we're messing
with the planet
So nuclear power
to me is a big, sick
mistake. Those who
propagate it literally
push it, like a drug, and
those people are very sadly misguided at best
There's documentation
from as early as the mid '50s that
a nuclear dump in the Ural Mountains in Russia exploded, and there
e hundreds of small communities that disappeared. Undocumented, it's just that people, especially in
Canada, seem to have their heads in
the sand full time. I don't under-
Mendelson Joe, Toronto's multi-faceted musician-
artist-writer, recently phoned Discorder to talk
about his new album. Addicted\s quirky, humourous, jazzy and fun; a great complement to his
previous album, Born to Cuddle, which featured
the Shuffle Demons as Joe's backup band.
stand it This is why environmental _
activism is so important To be an g
activistdoesn'tmeanthatyoucarry |
a sign on Saturday night at the leg- n
is lat u re in Victoria; what it means is
that you take an active responsibility for what you do, the waste you
create, and the governments you
elect If you don't like what they
stand for, work to elect someone else
that represents your vtew.
In Vancouver, our recycling system
collects newspapers, glass, cans and
hard plastic from homes, yet none of
these things are recycled anywhere in
B.C. or even Canada. All the materials
that are collected are just sold very
cheaply to other countries.
That is exportation of a resource,
and that's what Canada's known
for. We sell off our resources, including these resources whkh we
thing we can do. What we have to do
is karn to take the resources we
have, which includes everything
from timber to garbage, and learn
to create our own industrial base,
based upon exploiting whatever resources we have I'm not suggesting
resources we have have very much
to be discovered. We have to learn
how to produce products that are
good, so that the world comes to us
because of the quality of what we
produce, rather than exporting noth-
ing but raw resources that come
back to us at great cost
Do you think your career choices have
made it harder for you to make a living?
Totally. If you go your own way in
anything in life, you will suffer the
consequences, but you'll also reap
the benefits: self respect, fulfil Imen t,
and inspiration. Beyond words. I
mean, that's why I'm still writing
songs in 1991, because I'm excited
as hell. My ambitions in life have
nothing to do with fame and fortune, my ambitions are to communicate thoughts that inspire and
awaken people to stop living lives of
Many do.
Most, in Canada. I mean, we're personified by our Prime Minister. By a
majority, we chose this man and he
personifies us. This is an impotent,
lying person. I don't really think
about what he says anymore because I'm at a stage where I believe
he's a congenital liar. I'm reluctant
to even think about what he says, I
mean, hegave us blood on our hands
in a war that we catered, literally,
were catering. He has destroyed the
communication system in Canada
by raping the CBC and dismantling
the rail system. Meech Lake has
divided Canada. GST has put us in
a depression whkh I don't see any
way out of. I don't think we're heading for a sh if t upwards, at best we're
going to plateau downwards. The
GST has exacerbated this, as well as
this so called 'free trade" with the
Americans. Canadians have elected
a guy who has mislead us, and misguided us. Right now we're a nation
of service workers and we sell our
raw resources. Bad.
It's been very good talking with you,
Mendelson Joe.
How come you guys have been
together so long and have never
been to Vancouver before?
We played as far as Seattle. We had
some kind of problems with passports and stuff; none of us had them.
When we'd come up and do little
jaunts, there was nothing really happening in Vancouver. There's been
times when, you know, club-wise
it's been pretty dead. I didn't know
it was a 19 and over tonight, though.
I maybe would have had something
else to say if we possibly could have
played somewhere else... I remember what it was like being 15. I
remember standing out in front of
the Ramones being pissed off.
Standing up against the wall and
hearing them inside of this barplay-
ing away [sympathetic laughter for
all the under-agers].
What's happening in Portland
these days?
It's kind of a trickle-down effect
from Seattle. People wanna think
they're kinda like Seattle: they're
growing their hair long and playing
old retro '70s dirge, metal... You
know, synchronized hairtossing. All
that Slow, Mudhoney disease. But
we have everything there. We got
some rap going on. A lot of punk
bands still; those GBH guys. And
you got your speed metal. Cryptic
Slaughter moved from Los Angeles
to there, so we've got a huge speed
metal scene... It's pretty cool; pretty
small, safe, clean.
But you guys are still the kings
down there, eh?
No, not really, because we've been
there forever so people are just like,
"Oh, those boring old twats again.
Oh give us a break."
They still come out to your shows,
though, don't they?
Oh yeah (resignedly). We play, you
know, but not that much 'cause we
just hang out mostly, like home base,
and get rested up to go other places.
But when we play.. .we get our friends
and our families there. We all sit
around and cry at the end and everybody sings. It's like a big Irish wake
or something.
Are you gonna be around for a
Oh, yeah. You know, we've put ten
years into this band. It'd be kind of
pointless to break up and start over
and do something else right now.
I'm looking forward to the next ten.
Do you have lots of energy?
No... Just enough to play rock and
roll. It takes everything out of you.
Completely. But if I worked at a job
doing something, I'd probably be
doing my all there too; being all I
could be.
I was expecting you to be harsh,
but you guys are mellow. Did you
have a long trip?
We just smoked all of our pot before
we crossed the border. We had, like,
tons of pot in Seattle. Our friends
gave us some big buds, but we had to
get rid of it. I ate a big bud before we
crossed over, so I was stoned.
Get some alcohol into you before
the show.
Yeah, I love Canadian beer...
They've got the greatest commercials, too. I remember we used to
pick up some Canadian stuff on our
TV and they have, hke, people laying on the beach, like topless and
stuff, and saying, "Go for it—Canadian Red" or something like that.
Talk about using sex to sell. It's like,
if you wanna be beautiful and tan on
a beach, buy our beer and you will
What keeps you motivated?
Since I was a little kid, what we
wanted to do was play in a band. And
really, it's a blast. It's like fun. You
know, when I was in high school, I
was just, like, "Fuck high school. I
don't wanna do this. I wanna play in
a band." That's why it's called playing, because it IS playing. It's just
having a blast... It's the best job I
could possibly have. New stuff
comes out and motivates us. We
hear something that's really great: a
new rap record. We're like, "Wow,
that's great. Let's go out and jam."
So you're into rap?
I've always been into it, but not so
much now. Now I'm into... Well, I'll
lone pin artfully donning it].
The Smiths? Are you serious?
Yeah. Since we went to Europe.
You're getting soft, man.
No, I mean, there are still bands like
Gism from Japan. Or when we were
in Europe, Extreme Noise Terror
and Chaos UK and all those people.
I still lovepunk. Punkmusicisreally
great, but, well... I like everything
too... There's, like, Urban Dance
Squad. They're, like, great. Those
guys really rock hard. And, you
know, the Pogues are great. They
rock non-stop... You know, you don't
have to just listen to the Exploited 24
hours a day.
Poison Idea seems to have so much
anger; what are you directing your
anger against? What issues really
piss you off?
Well, we write songs. The music's
pretty angry and stuff too, but to
match up words to go with the music, you have to write something
pretty intense, so it's not really topical. It's not like we're gonna write
something about the Kurdish refugees , or something like that, because
in five years from now, people are
gonna be, like, you know, "What
was a Kurd?" When we started out,
[we'dhavebeen] writing songs about
Jimmy Carter or somelhing. A lot of
kids today don't even know who
Jimmy Carter is or was. So it's things
that last forever, like personal hate,
frustration, depression. Things people can relate a hundred years from
now 'cause it's still going on, like
injustice. Things that aren't really
gonna change. A friend of mine gets
his head cracked by a cop and I'm
gonna write a song aboul police bru-
That's why it's called
playing, because it IS
playing. It's just having a blast.... It's the
best job I could possibly have.
tality. If one of my friends dies by
drugs, I'm gonna write a song about
how fucked drugs are. Or, if I go on
a drinking binge and get thrown in
detox, I write a song about being
trashed out of my head while being
thrown in detox. It's just a little more
personal lhan, you know, "No War"
and shit like that, 'cause I'm down
on that too. I don't believe in all the
shit that's goin' on as far as animal
rights and all that kind of stuff, but
someone else can take care of that
Are you getting rich off American
Leather [Poison Idea's record
No, not really. We're paying our
rent; that's about it.
Are you producing other bands?
We really don't have enough time. A
couple of people have approached
us. You know, they hear of American LeatherRecords, so we get these
promo packs with these really strange
bands, like, from New Jersey. Guys
with big afros and electric guitars
influenced by The Guess Who, Jimi
Hendrix, stuff like that.. Well, we
tell them that we can'l even take care
of ourselves, let alone babysit someone else. You know, it's hard enough
getting everything out. And then if
something fucks up, we have no one
to blame but ourselves.
What kind of following do you
Ah, punks. It used to be just nothin'
but punks, but then the metal-thing
crossover came and they liked it
'cause it was fast And now it's probably still the same... Well, we do that
thing wilh Sub Pop, and it was kind
of a little almost college-y in a way.
Sopeople are, you know, giving us a
fair chance. They don't seem to mind
it. Like the last show, a bunch of
really square people were there.
I heard you stage-dived and put
someone in the hospital because of
I don't really know. I've jumped off
on a lot of people. I always got
busted up stage diving, in my youthful days. I'm wearing these huge
motorcycle boots and flipping around
and um, I can't really remember.
One friend of mine...was in NA and
somebody said, "Oh, you know Poison Idea," and the kid goes, "Yeah,
the fucker, he jumped off the stage
once and landed on me, and dislocated my back and to this day, I have to
go to the chiropractor." I never even
knew I did that. Or one girl once, in
San Francisco, she goes, "I know
you," and I just go, "Oh really," like,
ha ha ha. And she goes "You're
Poison Idea, right?" And I go,
"Yeah," and I was sort of like,
"Why?" She said, "You jumped off
the stage once and crushed my foot.
You broke my foot." I was, like,
going, "Oh no. No. It wasn't me."
And she goes, "Yes it is" and she
pulls off her shoe and there's a big
purple gash in her foot. She was
going, "You did this to my foot, you
bastard," and all these people start
looking at me. "Hey, what's going
on? What are you doing to this girl?"
They start coming over. She's like,
"Ahhh," screaming al me. "I'm sorry,I'm sorry..." I did kick a girl once.
I did a flip at a DOA concert. Yeah,
in Portland, and this was a long lime
ago. It was when the Fartz were still
around, so it shows how long ago
lhat was, 'cause the Fartz played
with them. Poison Idea, the Fartz
and DOA. And I did this flip during
"New Wave Sucks" and kicked this
girl in the face, and didn't know
about it until people told me a couple
days later: "Yeah, you kicked this
girl in the face and split her face
open. She had to go to the hospital
and get stitches." I go "Really? Do
you knowhernumber?"AndIdidn't
even know who this girl was and I
called her up and said, "Hi, you
don't know me, but um, 1 guess I
kicked you in the face." She goes,
"Thanks, you're so nice for calling."
Yeah, she says, "I told my dad I got
hit wilh a cardoor. I said I opened the
car door and it hit me." I was going,
"I'm really sorry." She said, "It's
OK." Then I sent her flowers and
stuff because she's got a big purple
scar on her face and she's a prelty
girl and she'll have it for life. Consider us engaged.
JUNE 1991   15  CAT'S
Juice Fluid of Cat's Game says the bands and the talent are here in
Vancouver, but the support and enlhu siasm are not. People tend to watch and
criticize bands as opposed to getting into them and participating. Their
favorite Vancouver act is NoMeansNo. Togetherabouta year, the band have
a ten-song demo out (to be praised next month) and two brand-new recorded
tunes that will turn into a single, hopefully with Dave Spicer doing the
producing. The Game haven' t been to the States, but did get the famous Skin
Yard invitation at their last show. Bassist B. Nobody thought of the name in
remembrance of the childhood tic tae toe years.
Kick my butt
Introduce yourselves.
Kim: Guitar.
Alex: Guitar.
Brian: Vocals.
Rob: Drums.
Darren: Bass.
How long have you been together?
B: Nine months.
K: Our first show was in December and si
e then we've started taking it
Where did the n
K: A fairy came l
ie Spark Marker come from?
ne in the middle of the night.
B: Everything and anything. Not jus
c, but also these four guys in the
10 Feet Tall are nice, coherent guy s who live in a suburb that I would get lost
trying to find. Hell, their phone numbers are long distance from where I live.
Still, they probably get tons of chicks.
Introduce yourselves.
Kyle: Vocals.'""'
Rob: Bass.
James: Guitar.
Colin: Drums.
No, really; what are you,
K: Sorry to tell the truth; I
R:Um, 18.1 shouldn't be
in this bar.
What are your influences?
K: Upbeat stuff: the Doughboys, SNFU.
R: Il's hardcore music but not basic powerchords;
How long have you been together?
K: We've been jamming since we wei
: kids but only seriously si
R: Slayer, Sepultura, Helmet and all death metal.
K: Musically, we listen to tons of different stuff and, although we hope that
we do kinda have a DC [Discord Records] sound, we're not trying to sound
like Fugazi!
What are some ideas behind the band?
K: We are into everything the [Gest Quest Music] Co-op stands for, but we
don't try to make any sweeping statements. We just try to be aware of what's
happening around us.
D: We don't play bars.
K: If somebody was getting beat up at a show, we're not going to keep
playing; if there is something to talk about and something to notice, we' re not
going to ignore it. We're not there just to play music and get drunk.
So you'll never play bars?
If a bar could legitimately guarantee that anybody could go lo the show, then
sure, but music is for people of all ages, not just nightclub critics.
What about your own personal viewpoints?
K: We all have our own ideas and the band isn't reflective of any of our
personal ideas 'cause it would get confusing because we are five completely
different people.
B: Sometimes, though, since I writemost ofthe vocals, my ideas come across
stronger than the rest of the band's.
What are your future plans?
K: A 7"on Final Notice Records [Kim's label] by the end of the summer.
B: We have lots of dreams.
K: We would like to tour, but when we played Kamloops wilh Coffin Break,
we borrowed my sister's van and it broke down so we are already in debt for
What was your best show?
K: Has to be Whistler with Sludge and 10 Feet Tall at the snowboard
competition. Over 500 people in one house.
B: It got kinda ugly.
D: I was standing between the TV set and my amp with my head wedged in
What are your goals with Spark Marker?
K: We are jusl Spark Marker, nobody special; a band.
B: I'm not out to create any militant actions, but if we can influence anyone
as much as I have been influenced, great.
R: We're not out to start a new all-ages scene, but just pick up the old scene.
What's the hot bread item for summer?
K: Vegan hot dog buns.
What do you believe in?
R: Positive attitudes.
If the band had to fight Blasphemy, who would win?
K: We could probably run faster.
R: We're more cunning.
K: No, seriously; if it came down to a fight, I'd give them all my money.
Yes, it's local time again and Discorder has
attempted to round up as many hardcore
bands as possible. The names may look
somewhat familiar due to their coverage in
recent issues, but believe you me, this is not
some cheap rehash filler tactic (I hope).
Think of this article as an instalment in Vancouver's ongoing, original-sounding, hope-
to-fuck growing hardcore situation. So, for
those bands that were missed here, don't
panic (or get choked). We will get you the
print you need and deserve in future issues.
By Gavin Brown and Kevin McCandless.
Ian and Brent of Facepuller say they've had 1000 copies of their single
printed, which have made their way to San Francisco, Ohio, Belgium,
France, and Vancouver's own Final Notice Records. They plan to do a BC/
Klondike Trail tour as soon as possible. Ken Marshall has turned out to be
their somewhat patron-type producer, giving Facepuller special priority
when not working with Skinny Puppy; the Puller appreciates this attention
and plans to take full advantage of it with some late night weekend
mushroom studio time. Facepuller's favorite bands are Tankhog and Reig-
nition (lan's and Brent's respectively). The Puller like Vancouver and wish
Sludge live with their parents, get drunk and tattoo pentagrams on each other
1>iey are cooi I am not. When I interviewed them, they got drunk and tried
to tattoo pentagrams on me; these guys would do well in prison.
Introduce yourselves.
Cory: Guitar.
Brad: Bass.
D'arcy: Drums.
Chris: Vocals.
Connolly: Vocals.
Are you excited about the onset of a new scene?
R: There is obviously a new era of bands that hopefully won't get t
'cause you'll notice a lot of shows have the same bands.
Do you think the scene will die again in a year?
K: I don't know. It seems lhal a lot of the bands that are coming up are a lot
more positive, and in it for the right reasons. In the past, drugs and alcohol
killed the scene, but this time, everyone is a little more serious.
Are you guys straightedge?
K: I am, but it has nothing to do with the band.
Do you have any tats? ^_B___^^^
R: We do our own using a shaver motor and guitar strings (unveils some cool
work). Pretty standard jail issue equipment
What are your future recording ambitions?
R: We just did our first demo so we're still wet behind the ears.
K: We are holding out for RCA or Capitol.
How old are you?
Chris: 21.
Cory: The age of the band?
Come on, how old are you?
Cory: Like, how long we've been together?
Connolly: I'm 19.
Brad: The average age is 20.
Where are you from?
Chris: Coquitlam, New Wesi, Burnaby.
How did a punk rock combo get together in Coquitlam?
Chris: We all watched Suburbia.
Brad: It's a fluke we all got together.
[At this point, everybody suited yelling out the various parties they met at;
it confused me.]
You've put out two demos and both got positive reviews in MRR. What
has other response been like?
Cory: The first lape got a good international response but I sent oul 50 copies
of the second tape and nobody wrole back.
Brad: Nasty Mix was the only record company lhat bothered to write back.
What are your influences?
Chris: The devil.
Cory: The Melvins, Neurosis, Poison Idea.
Brad: Sabbath.
Is opening up for the Melvins pretty exciting?
Cory: We owe them our existence. We saw them in Seattle aboul len months
ago, said fuck it, and recorded our second demo. They inspired us even
though we're shitty m
Do you have any groupies?
Chris: Mass, but we don't know them yet.
Brad: We have to rake them off.
People like you. Why?
Brad: Word of mouth.
Chris: They only come 'cause I
o beat us up after our shows.
What are your songs about?
Chris: The songs are written and titled before the lyrics so the lyrics have
nothing lo do wilh the titles; they're surreal and about revenge.
Why do you have two singers?
Cory: We kicked out one singer and felt bad so we got Chris and we couldn't
kick him out when we wanted the other one so we kept bolh. We've never
been fussy about singers.
Chris: In other words, it was pity.
Cory: It wasn't pity; we were assholes about it.
Chris: But we're all brothers and we truly love each other.
Was it time for DOA to break up?
Chris: Just about!
JUNE 1991   17 ZONE
Zone is a creative unit, based in the UK, who recognize the apparently differing individual,
religious and social needs inherent in all cultures as permutations upon the central NEED
for Love, Life and Light. The constant revelation of this NEED allows one to be open to
an ever-expanding awareness ofthe communicative interconnections potentially inherent
in everything. Zone's field of work lies in the expression and communication, through
varying artistic media, of this vast expanse of potential energy and the constant revelation
when one is receptive to this NEED.
-Zone press release Recently, Zone's Chris Brandrick and Andrew Cadmore spoke to Discorder.
In your original correspondence with us,
you said: "It is very pleasing to have received sufficient interest to be in the position to reissue the [the first] album [ Sword
ofthe Sun ]."
Andrew: We had really good reaction to it.
Sword Of The Sun was pretty much a test; a
test in the water, releasing the first hundred.
If they sold well, if we had good reaction
from it, then we continue basically. If it
bombed, we'd decide not to continue. But
luckily and very gladly it took off.
Chris: It's still quite a humble amount (including the second pressing of 550 copies).
It' s not that many at all, but we 've been very
surprised with the interest. It's all being
promotion of an international nature. Up
until now, we've had response from 25 different countries which, from our point of
view, is quite amazing.
A: We've met a lot of contacts from people
in different <
music. It's been corrupted, systematically
corrupted, over the years, mostly in making
money. It's also, if you go down the road, a
paranoia. Il's also regarded a
anaesthetic for the masses. I don't prescril
to that theory.
K>lieMinogue,Stock-Aitk en-Waterman:
their existence is purely based on economics...
A: If anything, it's more honest than
popular music. It's simplistic Jt's mass-
produced. That's what:'*
not that insincere in my opinir
C: She sings about universal things anyway—love, happiness. There's nothing
wrong with that.
does relate to a certain side of everybody's
nature. We're not really that interested in
delving into the depths of hell in sound as
. (laughs) it doesn't really ii
I think. Very muchjjt relates to this theme
of awakening. It was qu§>first. What influenced Born OfFirmwKMie mail we were
getting after SworrXTt was coming from all
different countries and different back-
Where does your name originate from?
C: The original Zone name came from a
is important. We've known each other since     ma Magentica?
1982. It's only since 1988 that things have A: We've been in contact wilh Luciano Dari
really pulled together. We're quite fortunate who runs MMM for quite a while. Luciano
we only (laughs) live across the road has published a few cassettes of Mevlevi
each other, which is quite helpful. We dervish music. We consider anyone who
e very extensive discussions over all of actually releases such stuff to be honest. Last
year, Luciano asked us if we'd release an
:ry pleased
»r work; over the progression, the direction
it goes, even down to when we're record- album on his label. We suggested
ing—the technical things. The smallest of asajointventure,which'
details trouble us, so we have to be sure that to do.
we're doing is the right and appropriate C: Luciano offered us l
to the studio
album for his label and we were
both done      well on the way to completing Born of Fire
and so, decided as an acknowledgement for
his very kind offer to join forces on it.
for your ii
Who (in terms of lifestyle, musical taste,
etc.) picked up the first LP? Who are your
A: It seems lhat the vast majority of people
who write to us are involved in the music
industry in some manner, and we get quite a
lot of people who are involved with music
themselves; who record music themselves.
C: We receive many examples of work sent
to us as well: cassettes and any artistic work
they do. It's really good to
see. It becomes atwo-way
thing as  well—people
showing us what they're   _- .
doing You have
right to f um
Wastherenotalsoalarge        ""j.
difference in detail be-   tally    exp<
tween the original press-    thing     frOI
ing and the re-issue? , *** .
A: On the recording side,    DOdy     elSl
there's no real difference,    fhail    their
It's purely the cover. F
sically, the firsl ones wi
all    hand   made.    V
couldn't really afford
do it wilh professional covers. We couldn't even afford to have labels printed
up.  So we just had white labels, made the
jackets up ourselves which was detrimental
to our health, using all that glue.
C: It was hard work, I've got to say that. It
was many evening's work involved in that
one. That was just 100. We had to go for a
more professional approach on the reissue
purely from a—
A: —health consideration!
"Every society has held music and art as
sacred and central to self and communal
expression". In your opinion, what role
does popular music play?
A: Popularmusic concentrates very much in
the area of entertainment; of diverting. I
don'l want to sound cynical, but diverting
people's attention from their everyday problems and things that concern them.
C: I tend to question popular music's motives sometimes. Obviously, the money is
there to made in that field. Are they doing it
just for the money? Is it real expression? If
it's real expression, it can come out in any
form and I have no objection to anybody
who puts all their heart and soul into what
they're doing while making it big in popular
A: Obviously, there is plenty of popular
music which we quite like personally.
C: There's nothing wrong with popular
music. lithe expressions used in the song are
genuine, mosl of ihem are pretty universal,
but as long as thev're taken as fairly sincere,
then there's nothmg wrong wilh popular
of Zone, but it's the things
together that forms the work of Zone as such.
The things we do outside of Zone have a life Is the bomb blast at the end of "Heart of
the Atom" a comment on the state of the
world's cultures obliterated and facing
obliteration by Western Society?
A: To us, what's important about lhat is lhat
the nuclear bomb being dropped on Hiroshima was the beginning and the end of a certain
era. The nuclear bomb has been very much
held up, and rightfully so, as an indication
for the need of a greater, more human altitude rather than a national attitude, more
than international attitude for resolving problems and viewing life on an international
level ralher than a nationalistic level.
C: I don't think il's changed people's opinions toward each other in that it's brought
people close together thinking, "Oh god, we
of live together," because disputes
have been going on since the introduction of
the atomic bomb. But I think its fear is its
potency. Its fear has
bound people together.
Obviously it's abad thing.
:lear bomb Il'ssomcthi"glhatnecds
en       Very   don't need to use nuclear
Id up as an weapons',!l was a T~
■ ww|#w«wii    ment reauy> on where
• Il    for    the   technology has led us
We cither start listening to the other per-
i, respecting theiropin -
s, or this thing gels
used.    This    weapon
a greater,
man atti-
er than a
drama about the wayThings were;
That's a different level altogether.
"Zone's work, drawn from many diverse
religious and ethnic backgrounds, seeks
to explore music's ancient magical function and relationship with the environment." Zone incorporates a much more
humanistic element on the Born Of Fire
project with chants, taiko drumming, and
the voices on "Butterfly Effect."
A: Myself, I feel Sword Of The Sun is a very
personal, almost existential, view of things
and from thatpointof view, yes,Ihereis afar
greater appearance of being umversal on the
second album. There's a lot of very familiar
sounds and images, but the first album, it
.. We had some graphics that we
wanted to do something with. We had a few
ideas we were kicking around concerning
whal Zone was about. Basically, we put the
graphics together, did a bit of writing wilh
them and they naturally fit into these four
chapters of awakening, the struggle with
yourself on awakening, then the humility
and resolution of everything that follows.
Everything seemed lo fit into this and so,
that's what we persevered with.
A: I think it's quite important lo mention
lhat we view Zone's work as a single, complete unit in itself. We don'l really even
view it as Andrew and Chris. It's us working together. It's the working together lhat
expect anything from anybody else other
than their respect for your individuality.
That's what holds things together for us and
lhat's very much a guideline for the work of
Zone anyway—the idea of an understanding
and a respect for the individuality of another
person—but slill allowing it lo all work
together to make a working relationship is
one of the fundamental themes of Zone's
work really, this idea of understanding which
I think a lot of people forget. Everybody is
different and thank god that they are. It's a
much belter world for ii and the more people
thai realize that, the better.
How did you hook up with Musica Maxi-
attitude**** doesn'lrecognizenalion-
alilies because the state is
now if any war escalates
to nuclear, then we're
looking at global extinc-
A: It will effect everybody eventually. The
effects of the disaster in Chernobyl is very
widespread and will lasl for many decades.
C: 1 slill see a few Welsh lambs glowing on
the hillside (snickers).
A: In fact, I think a lot of Welsh I amb is still
banned because of lhat. I think the olher side
of the idea of "atomic," of being like a very
central core aspect... Hence, "Heart of the
Atom": to the very centre and that has a very
different meaning, this idea of a central aspect and a central view to things. There are a
lot of extremely interesting things lhat have
come out through atomic science and nuclear physics which, I think it's fairly well
established now, have a tremendous relationship with very ancient mystical studies
which are all related, which all show ihe
interrelatedness of everything. Everything is
interconnected, lhat's what's of great importance lo us. There's a certain point that
holds everything together and lhat side of
things also is a great influence on us.
Contact overseas: Musica Maxima Magnet-
lca, c/o Luciano Dari, CP 54, 80100 Napoli,
Contact in North America: Death of Vinyl
Entcrtainment.c/oGerald Boulanger, 2 Bloor
Sired Wesi, Suite 100-159, Toronto, ON
M4W 3E2 •
by Nardwuar the Human Serviette
I So Mr. Sparkey's got rhythm and a shot of the blues. But WHOA DAD!, your own
I dignity and self worth^totally low. What makes George Sparkey tick, you ask? Well,
I he buys fanzjn<^^i*f|iiff6fr little typewritten mags, available at better outlets
jjfust a few of the many essential fanzines gy^tQteed
ly akick and perkforthis month arej
today's classic rock
#8* Photos tail to Right: Davy Jones on
slage; Peter Tork, Micky Dolenz, Davy
Jones on stage; PeterTork; Davy Jonas
and tans poolsida : Mark Kleiner
mm I    V
Bflr -_I   ___■
Jk fif \\Wmm\v-
a*   «i_-_-________&^_-_-_i   __■?*_■
By Mark Kleiner
Pop culture's nostalgia clock generally works in 20-year cycles, a phenomenon that explains the attention
currently given to the likes of David
Cassidy and Donny Osmond. 25th
anniversaries are less ballyhooed in
this regard,possibly because theage-
ing celebrities' personal and professional lives are that much more out of
whack with their legends. So why
buck this trend with an article on the
Monkees (who celebrate the 25th
anniversary of their television series
and first recordings this fall) when
we could easier declare our debt to
the Partridge Family or the Defran-
cos? Indeed, in a year that has witnessed the enormous success of artists like the Millis and NKOTB, much
of what is usually deemed unique
about the Monkees and their "plastic" beginnings is virtually redundant in comparison. Instead, because
this year is also my 10th anniversary
as a Monkees devotee, my aim is
only to acknowledge the place the
group has had in my life and possibly
remind us all of the debl we owe to
our favorite media deities, past and
Do you have a first Monkees
re-run memory? I was ten years old
and spending my summer at trombone camp in Saskatoon, catching
North Dakotan cable TV in my spare
time. One afternoon, I caught ihe tail
end of a Monkees episode and my
life was changed irreversibly. Within a year I'd lost interest in virtually
everything else: 1 was a hardcore fan.
Without anyone in Saskatoon to share
the fascination, my fandom became
all the more vigilant. Besides writing
regularly for what is still the greatest
Monkees' fanzine in the world,Mon-
kee Business (2770 South Broad
Street,Trenton, NJ 08610), by eighth
grade, I was compiling a petition to
return the Monkees' series lo my
local television sialion. My efforts
garnered five hundred names, however, the obvious fallacy of many of
them (a different "Peter Tork" signed
three times) undermined its effec
tiveness. For this and other a
1 earned the moniker "Monkeeman"
from my peers, a distinction I was
never able to satisfactorily live down.
In lieu of any immediate camaraderie, I established a network of
pen pals on all continents with whom
to "share the flame." The fact that
one of them was a poor farm girl
from Wisconsin who used to send me
drawings of what the Monkees would
look like if they were horses (yes,
Mike was a mustang with a green
toque), and another a 23-year-old
unemployed library technician from
Surrey, attests as much to the wide
appeal of an aa like the Monkees as
it does to the significance of our
shared interest. When the latter came
to visit me one summer wilh the
news that she was now a Tears for
Fears fanatic, the reality of the all-
encompassing Monkees bond became clear. In desperation, I took her
to a Howie Mandel movie and showed
her where the library was. What else
is I
The tii
ery fan's life when he or she has a
chance to bridge the gap between
fantasy and reality, and gets to meet,
or at least see, the idol first hand.
During a family trip to England in the
summer of 1985, ii looked as though
my lime had come: Davy lones was
scheduled to play celebrity tennis, as
well as the role of Jesus Christ in a
production of the musical Godspell.
For very mundane reasons, the opportunities fell through and I was
heartbroken. That fall, however, I
had my spirits lifted when Davy sent
me a picture of himself wearing a
fishnet sweater, signed: "Mark, All
the Best, David Jones." On the eve of
the Monkees' 20th anniversary, all
was misleadingly quiet on the fan
front. Unbeknownst to me, as I awaited my chance to see a Davy Jones
dinner show or the Peter Tork Project
at a coffee house, the most dramatic
year of Monkeemania since the 60s
was about to unfold on North Amer-
In February of 1986, MTV began nationally airing the Monkees'
series; at the same lime, concert pro-
moter/svengali David Fishof was
negotiating with the guys (sans Ne-
smith) to headline a revival tour of
the States. By that summer, I wasn't
alone anymore. The Monkees were
back in the Top 20 with a synth pop
song ("That Was Then, This Is
Now"), and playing huge fairs and
football stadiums on what would
eventually be the most successful
concert tour of a very slow season.
When I found out they'd be playing
the cavernous Mann Music Centre in
my birthplace of Philadelphia to coincide with a massive convention, I
decided I had to go. However, because my parents thought 15 too
young an age to be alone in the City
of Brotherly Love, it was decided I
should pay my dad's way as well, in
order that I might be chaperoned.
Somehow, I afforded the trek—although father insisted on the comforts of Air Canada while I endured
the horrific Greyhound route—and
in August I was staying at the Sheraton Society Hill awaiting the festi v-
ities. Not surprisingly (considering
my superhero expectations), the
Monkees were a little bit of a disappointment in person, looking more
like middle-aged men than true rock
V roll warriors. Only Davy, eyes
brimming with tears as he thanked
the fans for "being thereall this time,"
pulled off the role with suitable pizazz. The weekend culminated in a
45 minute concert for 13,000 ticket
holders, where I watched from the
second row as Mickey played his
electronic drums and an eight-piece
back-up band tried to lurk unobtrusively in the background. Heaven or
Las Vegas? 16Iivegreateslhits later,
I was heading back to another plane
of cold reality: Grade 11 in the City
of Bridges.
Things were never quite the
same after Philadelphia. As the reunion rapidly lost steam, so did my
enthusiasm for a group that was show
ing its humanness at every turn. Eventually, a contradiction arose within
me between the glorified Monkees
of my imagination, and the group
that was now touring with "Weird
Al" Yankovic and releasing a weak
album called Pool It! that pictured
them wearing inner tubes in an air-
brushed swimming pool. Coupled
with a classic late-teenage identity
crisis, the dying my thos incited me to
sel 1 my (by then enormous) Monkees
collection with the pledge never to
return to the land of plastic icons.
Nevertheless, I travelled to Chicago
that summer for my second convention at the bidding of my old friends
from Mcnkee World. Although the
experience of meeting the Monkees
up close and hearing lurid stories
from jaded hangers-on was enough
to thoroughly obliterate any lingering "super human" notions, I also
found myself shelling out 150 dollars for a shirt Peter Tork had worn in
Head. Although I didn't know it at
the time, I was beginning to build a
different, more realistic appreciation
for the Monkees that also left ample
room for other music and interest.
And, of course, as the shirt, experience showed nie, my collecting instinct was deeply ingrained. I might
never be able to root il.
By 1989, middle America was
hyping the 20th anniversary of Woodstock, thereby overshadowing any
sort of attention the Monkees hoped
to stir for their final North American
jaunt that summer. I travelled to Winnipeg to see the first shows of the
tour, which made ils dubious debut
before a crowd of restless fair-goers
at the Red River Exhibition. Performing in sweltering heat, the Monkees conjured up some new material
like "Baby, You'll Soon Be Sixteen"
of the crowd. Feeling about as uninspired as the Monkees looked on
stage, I retreated to the nearest Chi-
Chi's with some girls 1 met at the
Chicago convention to get drunk on
margaritas before the evening show.
Later that night, I joined the girls al
the Banana Lounge, where the backup band for the Monkees was partying. While I kept myself amused
buying drinks for the underage fans,
1 was rapidly abandoned as each one
got lucky with a trumpet or keyboard
player. Resisting the come-ons ofthe
Monkees'wardrobe assistant, I stumbled into a waiting cab and went back
lo my hotel to lament the dark underbelly of showbiz.
Thankfully, Winnipeg was not
my last contact with the fizzling
Monkees reunion. In August, I attended their three shows at the Ontario Place Forum. The third and
final show was the kind of performance everyone expects (but rarely
realizes) from musical heroes. The
Monkees pulled out all the stops for
an enthusiastic audience, with Davy
even dedicating "I Wanna Be Free"
to the students in Beijing in an uncharacteristically relevant gesture.
When I now look back on the four
years of the Monkees reunion, this
final Toronto show is what I think
about. As far as pure American entertainment goes, it's hard to imagine anything finer.
1 was almost grateful when 1
found out Micky had quit the Monkees to finally bring a close to their
never-ending reunion in the fall of
1989. Except for free concerts at state
fairs, the Monkees couldn't even fill
a Burger King anymore. Last Christmas, I headed down to Seattle to see
Davy in a revival of Oliver! in a
stuffy theatre with a bunch of that
city's rich elite. Allhough 1 didn'l
have a particularly great time watching this pretty stupid musical, I had
fun meeting Davy after the show and
giving him a demo of a song my band
had recorded for him to sing. Now,
just as when I first was a fan, the
Monkees are leading very separate
lives and careers. Besides theatre,
Davy is playing old Monkees hits to
the die-hard faithful anywhere he
can gel booked—last October he entertained a crowd of two hundred al a
juga. In
heavy metal bar
August, 1 will tra
Washington for his show at the Clarke County Fair, where he will be
competing for attendees with the tractor pull. After vowing for the last two
years that he wants to be somelhing
for the '90s, Micky Dolenzreturns to
the oldies circuit this summer as the
headliner on a "30 Years Of Rock N
Roll" tour lhat also features Tiny
Tim and an ex-member of Sugar Loaf.
David Foster, of all hacks, is helping
Micky record a new album in Hollywood, althoughhe remains unsigned.
Peter Tork's refusal to play any Monkees songs in his stage show resulted
in an aborted tour and the break-up of
his band; nevertheless, his integrity
remains intact and he is currently
negotiating with an arm of Chameleon Records to release his first solo
album. The only Monkee who n
fused to tour (though not to cameo, I
the 1986 and 1989 Hollywood cot
certs showed), Mike Nesmith is relatively unproductive these days after
years of video and movie work (including Repo Man), largely funded
by his mother's Liquid Paper for-
As the Monkees push 50, and
their records rapidly go out of print
and into the delete bins (next to those
annoyingly invincible Extras and
Graham Shaw releases), the horizon
for Monkeemania shows a definite
downswing. But if any band is capable of resurgence, it's these guys.
Twice now, in 1976 and 1986, the
powers of syndication have touched
off short-lived spurts of interest in a
band that is still waiting for its true
identity to be pinned down (TV byproducts? Predecessors of Haircut
100?). Regardless, Davy and Company will be with us for a long time
yet, plugging out "Daydream Believer" and "Last Train to Clarks-
villc" on the fair circuit as solo acts,
if not together. And I'll be front and
centre, waving my lour books and
having a pleasant valley Sunday with
my favorite show business warriors.
JUNE 1991   21 1991. you were treated to the ultimate in musical dining experiences: the Amazing Hypno-diet! Yup,
t'was another one of them Nardwuar the Human Serviette multi-
band ultra-wingding presentations.
This one featured Vancouver's
Mecca Normal and Thee Evapo-
headliners Calvin, Heather and
Brett a/k/a Beat Happening, but
no Nanaimo Bars.
Is rt true that you only do c
C: Yes, affirmative. Just because i
annoys people... They get all de
tensive and it makes them r
So. rf s kinda fun. We had this place
in Olympia called the North Shore
Surf Club until the Smugglers came
down to play with the Shadowy
Men and closed the place down...
teenage riot. So. we' re all back to
the laundry room. It' s those jackets
that they wear,
B: Actually, it's because they didn't
wear them that caused the rt '
C:  Yeah,   people  were,  I
'Where'sthe jackets?! Where'st
B: 'We don't want tt*
want the jackets!' So for the second set, they just stuck the jackets
up there on hangers.
What was the Reco Muse?
C: That was a pretty nice Ittte space
that started originally as a photo
gallery and they started to have
shows there and then it ended up
as just being a place where:'
happened. It was thei
a year and a half, but it closed
down last fall.
What was it like to play at "The
C: I sent a photo to Nardwuar of us
playing in an attic in Milwaukee.
H: Oh. that wasn't a club, it was a
C: If was cold... it was very cold.
H: I had a really bad time. It was
traumatic. It was a really bod fire
trap. We were up in the attic of this
big huge dilapidated house. The
only lighting was a candle, and
there was paper all overthe place.
People were smoking cigarettes.
C: And there were big oily rags.
H: It was the kind of place where
you' re trying to get your guitar up
this winding staircase, c
all these drunk people
get out of your way. And they leaf you weird like "What the fuck
are you doing here?"
C: That's the kind of place where
the people who f
B: Black Wedge. They were pretty
radical in their early days. They were
doing all this political stuff, and fhey
doing this Black Wedge thing.
They were trying ' '
tion. I think. They came through
and played at this club fhat I started wtth some friends caled" Guess-
co" down in Olympia. I saw all
these bands.
didn't really stand
forme.butCatvin immediately \
tuned in. I started seeing "
and I've been a big fan ever since.
C: Actually I first heard of Mecca
through Eric from Subvert.
After my radio show. I used to stop
by his house where I
of otherscummy punk i
' two in the moming.
and his girlfriend
"We were just in
there was this really great band.
They're going to be playing at
Andthey pulledoutthe
first Mecca Normd album andthey
played it for me. I thought *\
this is realty cool." So. I was really
' see them. I just thought
' don't really remember what my reaction to the music
C: ...Norway. Sweden. Denmark,
way north... brrrrr... I hear everyone's realty tall up there Ir "
The Melvins told
Reasons to go to Olympia?
H: Yardbirds is one of the best things.
B: They used to have 99 cent mov-
C: Rope swing.
' . there's a rope swing that
goes out over the lake. Jump, let
go and drop about 25 to 30 feet.
C: The worst thing anyone has ever
said about us is that we're boring.
tion that i
would h
a Nanaimo Bar?
Do you recycle?
B: Problem is that my apartment's
arate them out and put
I never take them
C: Polenta with roasted eggplant
and peppers mixed with olive oil
and garlic.
H: And I had some really good
is yesterday.
B: So are Canadians feeling really
bad about their part in the war or
are they feeling proud?
C: I was at my friend's I
i asparagus with these
shoestring a
thin with asparagus and ter
garlic. The other day I was in Batti-
d a really good
falafel sa
>r. They w
ill the t<
to us. and we were playing in their
house... That's probably the most
unpleasant show we had on the
On Draamy, who wrote the songs?
B: Carvin writes the ones he sings:
Heather writes the ones she sings...
Who is the most punk band in Ory rr
C: Well, I haven't seen them either.
I've never heard them either. I like
this band called Glad... They're
realty punk. Subvert and Glad are
probably the two bands that are
They would be
for you" and they
farting festival (nb. this particular
gig was subtitled "A All Ages 4-
Band Farting Fury").
C: Yeah, thanks ' '
what I hate is when you go to a
going to pay
anyway, right? '
just going to go. but someone from
the band says "Oh. I'll put you on
the guest list!" and you go 'uh.
okay whatever. 'Then when you
go up to the door, and you say
Johnson." they say, "I don't see
you on the guest list." and you
' yourself.
it thing
said about you?
C: When we played in San Fron-
« people realty hated us and threw stuff at us. That
was pretty fun. After we got
and right before Fugazi'
ing to start, somebody fired this fire
extinguisher off. Filled f
of stuff. Then all "
happened while we were playing,
and it didn't, tt happened many
re finished playing. I
ss are the best
B: 1 tooka bath at my mom's house.
htub 'cause if
'cause 1 stayed the night there.
3 disaster, but 1
and 1 was just thinking that I've
he bathtub.
been taking bathes in that bath
tub for 26 years.
C: Well. I've been taking baths in
the magazine
that bathtub for about eight.
H: 1 think 1 took one bath there.
B: It's a nice bathtub. It's a claw-
her tolerance.
foot, but it's really long.
e a little wet.
C: Heather's is kinda long.
H: Mine's really long.
dropped your
C: Longer than mine.
>ath? It's really
have my feet at the end and my
to decide that
neck is just starting to go up the
back part.
get them out
H: You're taller. 1 have to bend my
knees to rinse my hair.
going to drop
B: Yeah, me too.
H: But that's kinda good 'cause if
rgn a floating
you're reading, you'd just be slip
ping down all the time.
things that...
B: You'd have to put blocks down
for your foot...
H: ...or wear rubbers.
C: No no no. you'd just put those
gripper tape flowers on the bot-
bathtub with-
H: So. your butt doesn't skid?
ile'cause 1 get
C: No. just down where your feet
are so they won't slip.
B: But then you have to bend your
is a bath band
C: You have to bend them any
ways when you read, don't you?
thtub. but I'm
C: But y'know what 1 used to do
was get down like this, and put my
feet up on the wall...
H: Yeah, that's what 1 do alot.
C: ...so. you have your head in the
H: That way yourtoes don't get too
wrinkly. Well. 1 throw my feet over
the side so my toes don't get too
soggy, and then 1 just dip them in in
now and then to warm 'em up.
C: No. you see 1 have a couple jugs
of chilled water at the other end.
So, 1 take my feet out and put my
feet on the cold water jugs and it
feels realty good.
B: Would you ever go perpendicu
lar so that you're just sitting like this?
H: In a split?
C: That would hurt.
H:Thatwould be cold 'causeyou'd
have to move too much to get
warm again.
When you were in elementary
school and they asked you "What
do you want to be when you grow
up?" what did you say?
B: Hey, we were just talking about
that! Heather wanted to sell news
C: 1 wanted to be a naturalist. One
ot have hap-
>n we were playing.,, it
ie cards but the
What's the nicest thing anybody's
ever said about you?
B: After we played in Olympia last
week. Patrick, who's in Courtney
Love and produced some of our
earlier stuff. he carne up to me and
said "I really liked your guitar playing on this record. I think it's realty
distinctive." Ithought that wos pretty nice 'cause all you read i '
that. Another review said "Mecca
Normal-type guitar' and I thought
"Wow, that's great." I was
H: Why?
C: Because there was no way they
'. That implies
trol and
H: No. if would just imply that some
> extinguisher off.
that white we were playing be-
they were so busy paying
i much they hat-
i you travelled?
B: I've been to Bristol Bay. Alaska...
'' i Horseshoe Bay.
(/imming instructor
aid "I don't think
there is such a thing as a naturalist,
do you?" and I got realty confused
because an authority figure was
telling me that something I wanted
to be didn't exist. So. I didn't know
what to say bock.
B: Fuck you.
■>. nota park ranger... y'know.
you study the animals and the
plants and stuff and you walk
around the woods...
H:. ..andyou put leaves in between
waxed paper and iron them?
 was going to be some sort
of basketball playeratsomepoint.
but I didn't really have a clear
H: I switched alot. I wanted to be
dad told me that I'd have to go to
college for eight years, and I hat-
much that I gave up
Did you all take swimming lessons
you were a kid?
jfed swimming lessons. Why couldn'tsomeone I know
teach me how to swim? It was
H: Swimming lessons were always
really competitive, and I didn't like
that af all.
C: I didn't understand it. I didn't do
it til second grade, and everyone
already knew how to swim.
Any other lessons you took?
B: I learned (a Mediterranean string
instrument that I can't spell).
C: Fencing.
Fencing? _■_
fishing and hunting. MATT:
they'll play it. then suddenly they'll
Onetime meand my friend
forget to play 'em. TOM: At least 1
Brad drove up here just to
have enough decency to reject
__■ ■"
hang out fo r the day which
my own songs without putting ev
was sort of a problem when
erybody else in the position of go
we went to the borderand
ing "Hmmm,this song kinda sucks...
told them that we just want-
howdo we break it to Tom?* MATT:
Alot of times Tom or Don will come
■ |
The guy said "We'll what
up with titles, and 1 will write the
lyrics to match them just because 1
and we said "Oh, we're
consider it an interesting exercise...
■ |
and it's fun too, TOM: We do all
and maybe do some shop
contribute to the way the songs
ping," He asked us how
come out. Unlike some bands, we
much money we had and
don't jusf go "Hey man, this is kinda
a cool riff! Let's jam on it and see
what happens!" That way kinda
ing to be doing much shop
ping then are you?!" On
a tighter focus when writing mate
the way up. we were listen
rial. DON: It also makes us sound like
ing to this Canadian radio
we'reone person who hasa varied
soap opera and if was cra
musical ability when we're just a
zy! There was this Scottish
bunc h of idiots who just so rt of have
character, a Scottish liber
a little musical ability. MATT: 1 think
al guy yelling at the big
one difference between Gas Huffer
.albert they're
iualfy super fucking short songs
ate our lunch and we drove away
are songs. There's alot of melody
because we were sure that every
and alot of... DON: ...definite chord
one was looking at us thinking
changes... MATT: ...pop smarts!
'those stupid fucking Americans!"
TOM: Rather than relying on a
And when we were walking down
"sound." MATT: Alot of the lyrics
the street, this drunk bum started
that 1 write end up being kinda
yelling at us for being American
cartoonishorfunny.buf they're usu-
got really paranoid and had to
serious thought that's been bounc
leave afferacouple of hours DON:
ing around in my head. The only
1 was pretty impressed by the cus
thing 1 really know how to do is to
toms officials totally roasting every
one who was af immigration be-
hilarious, cartoon-like story because
1 spend alot of my time making fun
trying to get into Canada. "I'msor-
of all my stupid fuck-ups There's
ry you have no right to enter Can
that kind of song, and then there's
ada' and those 15 year-okj girts
the bjfginning-to-end-intentional-
were throwing their purses on the
ground. TOM: They deft
****^~*'"' Strip f|h"** like to write too.
us on the hot boxjflt*iWWlninuTes
J ust with a buncftofcwo rds that are
though. Jt^prtfTfy silly. Canada and
fun to sny inn row  X
don't know
if "Robert" counts. MATT: Ithhk ■Robert" counts way more than "Insidious" does. TOM: VI
newer song called "Insidious' that's
kind of a creep-o... not realty a baF
the song that
MJ^T: "Going^tsS^egci'iskind
a balad.^OE: Itjufl power-pop
•■-JT:.-frs apowej-pop.
love song TOtfi: Very
ur slo^feoltbd-y songs
ywelflive. What usually
happens is people start mocking
us by lighting lighters and doing
MTV power ballad sways, but we
like playing them DON: Tom likes
playing them. MATT: I like singing
would be good. DON: V
open up for Motorhead c
Letterman. MATT: I want
with the Raunchhands or the
ks once. JOE: Bad Brains, I'd like
, that.butnobodyelsewould. TOM:
§ Noway. They' re a bunch of homo-
< phobic assholes JOE: Oh. that's
1 probably true. DON: Nelson. Orac-
5 tualty the Cndjrts would be great!
5 TOM: ...or the Smugglers... or the
8 Evaporators. I would like to go on a
I nine month world tour with the
re so many people. I would
have to say that in Seattle I like all
ages shows alot because the kids
i asking ya about the v
DON: I'm against the war, buf
for the troops. TOM: \
great is nowadays tl
businesses, all these war profiteers
who bought up like nine million
yards of yellow ribbon. Nowthey're
near the border some big Canadian station came and wiped out
the game. The Canadian staton
was having a talk show devoted to
ITJOE: On the first or second
chord! TOM: If they're bad fhey get
rejected. MATT: No. they always     JOE: Don's got sc
get rejected   They'll pretend to     DON: I j    '
learn em. For a couple of weeks     great a the cruel elephant
Okay, so a gentle tecap o' stuff; were open tuesday - Sunday, bands ate
playing most nights, the always cheaper than a movie covet charge (if any) still
gives you two dollars off any menu item over four dollars or the always
vegetarian mystety meal so use that ticket as youi passport to a culinary
delight of untold proportions and if you get heie on weekdays from out 5:30
opening till about 8:30 or so so you'll find things fo be a little easier on the wallet
at 1176 Granville (V6Z 1H8) and fot the instant update access line...(604)688-
8748 and this is no late night rock bar that keeps you there to see youi favorite
band till 2am hell no it doesn't have to be late at all and to prove it we won't
even let you in past midnight when the last band is about 1 /2 to 3/4's done or
so. this means you can be safely home by the time everyone else is piling
drunken and sleepy into their vehicles to speed into the checkpoint that went
up at 1:30 or escaping that you at least can relish in the fact that you will most
probably feel just fine in the morning after a good rest and memories of great
music, fine food and 100% natural beer, speaking of rock n'roll Sat 1 the Kings
of loungecore, dig those smoking jackets, all rhe way from Chicago URGE
OVERKILL on touch 'n' go records w/ ten girls with guitars KREVISS its like superconductor had a sex change and then lues 4 will be JEF, dancers, painters,
Indian chiefs maybe on hand to bless all. Wed 5 will be a night of mystery, Thurs
6 TIPPY AGOGO will be on hand to entertain all eager patrons .Fri 7 a great night
of rock SON OF MAN w/ UNEARTH and from Moscow CHAOS, Sat 8 spend 20 mins
of sheer hell with the worst band on Subpop THE DWARVES w/ no longhairs here
Wed 12 is some very fine punk rock well maybe its punk rock PISS QUEEN w/ M.S.R.
and FREE FOR ALL, Thurs 13 Wimpy's band! THE WILDBOARS w/ a band everyone
seems to like THE CANETOADS, Fri 14 You've read all fhe great reviews in the
Rocket and said 'wow, wish I could check these dudes out' well here's your
chance to see THE DHARMA BUMS w/ THE SMUGGLERS, a fine bunch of losers. Sat
15 if Fri wasn't enough fun or you missed it THE SQUIRRELS are playing w/ THE
if that's not enough to make you hobble on down THEE CRUSADERS are playing
the christian way and just to make you come early.. SPEEDQUEENS, lues 18 JEt
impressive band Vancouver has to offer SUPERCONDUCTOR w/ in their 2nd show
ever how could you not like these girls KREVISS w/ Chilliwacks most renowned
! band MYSTERY MACHINE over 25 guitars! Sun 23 from Scratch Acid and Rqpeman
comes JESUS LIZARD and like that's not enough w/ NEUROSIS Look out Records
and BLISTER both from San Fran, Tues 25 JEF, Wed 26 almost a
shovibusinessgianthed its Tom Holliston and friends in THE SHOW BUSINESS
;GIANTS heldover till the 27th w/ MICKEYCHRIST, Fri 28 is industrial noise beat
multimedia circus extravaganza no room for an opening band this has never
before been attempted af the cruel elephant but here goes SKY CRIES MARY
huge in europe now's our turn pick it up on New Rose Records out of France, Sat
29 Subpop recording artists from San Fran HOLE w/ SILKWORM a way cool band.
Sun 30 have a whole lot of fun with ear candy men THE SWEATERS w/ ACTIVE JOY
and RUSTY NAILS all this and more in the Hotel California Davie and Granville
5:30 on shows usually start around 9:00 and remember the Cruel Elephant loves
_ _■ mri.m^i ..1 .UJ11 -Jet, J *_***■
Two months ago I interviewed Rahway
Prison inmate Maxwell Melvins of the
Lifer's Group over the phone for Discorder (see April 1991 issue). Here's the
lowdown on their debut EP1 (Hollywood
BASIC). On the opening track "The Real
; New J(
Aleem, Amazing G, B-Wise, Original,
Rocky D, and Chuck X describe exactly
what it's like in prison. 'The Belly of the
Beast" is similar, but includes raps from
Melvins, Merciful and Knowledge Bom
as well as some of the others. This is hard
shit. Whererappers likeNWA, Ice-T, Eazy-
E, Ice Cube and Public Enemy rap about
prison being no big deal and glorify the
slammer by being photographed in it (like
PE's It Takes a Nation of Millions... album), these guys tell you about the reality
of life behind bars. These guys are lough,
and they admit their fears of bang knifed,
being sexually harassed by other inmates,
getting AIDS, not knowing what situation
they may be in tomorrow, and having to
spend Ihe next twenty-plus years in a six-
by-eight-foot celL
addition to the rappers, there are prison
band members adding bass lines and some
trumpet to the mix, and some background
vocals by the Gentlemen Of Distinction.
Double-lifer Crazy Chris DeLouise does
an a cappella rap called "Nightmare Man."
The only non-prisoners in the group are the
producers who made the dope beats. Dr.
Jam and Phaze 5.
Boogie Down Productions
have just released their 23-track album
Live Hardcore Worldwide (BMC-Jive)
which covers material from their previous
four studio albums. Pejsonally, I'd ralher
listen to the studio works because of their
superior sound quality, but this is very
good documentation of just how live a rap
showcan be. Basically it's just Blastmaster
KRS-One and Kris' brother DJ Kenny
Parker and a few records, but this "prerecorded" kind of show puts some live
bands to shame. KRS-One has the audience taking in every single word and he
keeps the show rolling with quick shots of
knowledge between songs like only he can
He is the only rapper I know who
truly bases his raps on knowledge and
succeeds in getting the audience to enjoy
learning, which is why he deserves Ihe title
The Teacher. The bass m ight not be as deep
as il is on the sludio albums, and you've
already heard the material before, but this
is fresh! The first twelve tracks were recorded live at Cuando in NYC, the next
four at the club SOB (Sounds of Brazil) in
NYC, then wegotoLondonfor three, and
the album ends with four from Paris. Some
of my favorite tracks are "The Eye Open-
er","Poe*ry",'YaKnowTheRuks", "Kenny Parker Intro", "Why Is That?," and "Bo
Bo Bo."
You're probably already familiar
with Redhead Kingpin's style from his
first album A Shade of Red with the hits
"Do The Right Thing" and "Pump It Hot-
tie," and his raps don't stray from lhat on
his second album The Album with No
Name (A&M«Virgin). If you're looking
for highly danceable rap, pick this up.
There has been some progression though,
especially in the production area. The album as a whole goes beyond slick and
introduces some very interesting technological manipulation of sound
The first song begins with something which I seem to remember from PBS
on TV. Most of the songs ran into each
other making a good flow and unifying the
album almost to the point of sounding like
the first "concept" rap album. This is definitely the status quo in production that all
other commercial rap groups will have to
live up to. On the rap tip, Redhead changes
his tempo a few times, but he's still just
telling stories about his seemingly shallow
life again. The only political cut is ihe
minute-and-a-half track "No Reason," a
word collage over beats about the police
harassing and killing black teenagers. And
then you're back on the dance floor. He
does dis the gangster rappers though, but
he doesn't use his position to get their
message across in a better way, except in
the song "Get it Together" a bit
The Next School's debut album
Setting an Example (MCA-Chrysalis) is
an interesting one. Rappers Ali "black
guy" Dee and Zone "white guy" TDK go
through a pile of difTerent styles, from the
"Go! Go! Go Next School! Go!" dance
tracks to responsible tracks like the title
track to irresponsible tracks like "Girls
Girls Girls," and even a rap "ballad" The
DJ is the famous New York club DJ Clark
Kent, who really knows how to cut it up.
Overall, this is slickly produced, but Ali-
Dee and Zone-TDK's bright, young voices leave you with a better taste after listening, than do the usual rappers' callous
been-through-it-all NWA style raps. It
doesn't go as far in telling you "the real
deaT' though. WhenI firstheard their name
I was ready for something a bit more
important than what they delivered; they
for a first release from some new rappers.
"Kick the Base" and "Settin' an Example"
Canadian rapper Kish (Andrew
Kishino) has just released his debut album
OrderfromChaos(A&M). His MuchMusic hit "I Rhyme the World in 80 Days"
should give you a good idea of what the
album sounds like except for Kish's surprisingly duty mouth and typicalderogaio-
ry treatment of women The production is
very dance- floor orientated withmost trades
saying nuttin' but how great Kish is except
forafewtracks.the most exceptional being
"Strict Economics" about a woman who
deals drags to support her baby and gets
shot Another exception is the "Intro," a
complex instrumental which stands way
times in a row! Maestro Fresh-Wes and a
few other guest rappers appear on "Track-
apella." It's always good to see new Canadian rappers coming out
You might of heard of L.A. Star
from her single "Fade to Black" about half a
year ago, and now she's got nine more tunes
to add to that on her debut album Poetress
(Profile). L. A Star (Lisa Ali Star, who, by
the way, is not from Los Angeles) is yet
another offhenewgroupof female rappers
to hit the charts hard. It used to be that
females would only be on a rap album if they
were singing background vocals or were
being used in the typical guy versus girl
argument While the latter is still popular, in
the last year they have really come into their
own, for the most part LA. Star is better
than some, as it seems that it is popular for
female rappers to have their lyrics wrinenfor
them, as J.J. Fad had, but L. A. writes all her
own, and most of the tracks are hard and kick
reality. She is at her best on "N.P.T. Posse,"
"Fade to Black" and "My Tale." Although
there are some stumbling blocks in terms of
topic diversity, on the whole, this is a good
step forward for female rappers.
Goddamn, Bytches With Problems are hard! When I first heard about
BWP, I thought that they would just be a
take-off of NWA, throwin' down lots of
cuss in' but not sayin' nothin'. They doswear
about twice as much as NWA, but they also
rap with meaning. They sort of sound like a
mix between thehardest West Coast rappers
andsometimes near Ice Cube-intensity beats.
Their straight ahead hardcore debut
album The Bytches (Rush Associated) turns
the tables around on the usual Eazy-E style
rap and puts the males in the inferior position
time afler time The Bytches are in control of
every situation they rap about and I don't
think anybody would try anything on them
after hearing this. "Hit Man" is about killing
theimigga'swhen Ihey cheatonthem 'Teach
Em" puts The 2 Live Crew's dirtiest to
shame, and it steals their Miami-bass sty le of
beats. 'Wanted" is a freaky "Fuck the Po-
lice"-style Iune rap which, like most of the
other lunes, tells ya what they do in tough
situations. Watch out for these Bytches!
If you have heard X-Clan's 1990
release To the East Backwards
(MCA«Island«4lh & B'way), you wiU have
a good base of knowledge that the debut
album Rebel Soul (Island«4th & B'way) by
Isis is building upon. Helpedoutby X-Clan,
this album is full of an exotic African sound
in a very hip way. The thymes might sound
cryptic and nonsensical ifyou are not familiar with the Egyptian-centered allusions and
don't have a basic knowledge of important
African-American people like Nat Turner
and Malcolm X, but don't hold back from
listening to it Listen and leam. Heed the
words of Isis.
As an addition to X-Clan album and
Professor X's release. Rebel Soul takes their
message into the realm of house musk and
onto the dancefloor on some tracks. Following in X-Clan main man Brother J's styleof
crisp clean vocals, Isis tells you exactly
where she's at I could do a lot more of
explaining about what they mean when they
talk about Crossroads, Vanglorius being protected by the Red, Black, and Green with a
Key,theGreatPimpstress,etc.,butni leave
it up to you to git to that What it all really
boils down to is for black people to learn
about their past and where their heritage
came from, and how to use this forgotten
knowledge to unite and get the respect they
deserve, which is definitely not where it's at
for blacks in America today. "The Power of
Myself is Moving" has one of the funkiest
bass lines I've heard in a long time. "Rebel
Souf' and "The Wizard of Optics" are also
has a genuine talent forgetting her messages
across to other sisters while keeping up with
Sir J ir . 's crazy production, and still making
it all sound funky. Once you get the messages then you can check out her ability to rap,
which I think is the best I've heard from a
female yet and bio ws away a pile of the male
rappers too. This impressive forty-fiveminute
release shows that you don't have to compromise your lyrical integrity to make a
funky record. Ice Cube once said in an
interview that his only responsibility was to
make funky records, in response to a question about his stature as a role model, since
kids look up to him because he is a great
rapper. Well, Yo-Yo betters Ice Cube by
having a record which production-wise rivals his two albums with basically the same
production team, and is kickin' responsible
Ed O.G. and da Bulldogs immediately invoke comparisons to all those slower-style intelligent rappers such as A Tribe
Cal led Quest TheJungle Brothers and espe-
cially.theBrandNubians.and on their debut
album Life of a Kid in the Ghetto (PWL
America), as with the Brand Nubians, they
fall victim to the sexist style of rapping that
must be tempting when you're walking
around in the ghetto with a record deal. But,
again like the Brand Nubians, they are not
sexist on all tracks, and do pump out good
intelligent lyrics on "Speak Upon It" with
help from Ace and Quart, and Def Jef, "Dedicated to the Right Wingers," "Be a Father to
Your Child" and the title track, which standout from the rest as the best cut on the album.
They mainly rely onsampling a few scratchy
records for their sparse beats and they definitely work them well, rapping, or talking
around them with ease But because of most
On the K-9 Posse's second release
On a Different Tip (BMG-Arista), VAS and
Dubip have taken their raps off the street
And yet anodier slammin' debut album by a female rapper! Yo-Yo's very
hyferMake Way Forthe Motherlode album
(WarnepAtlanucEast West) was produced
Mob. Yo-Yo also got help from Del, Sir Jinx
and Ice Cube in the lyric writing department
Yo-Yo is the founder of the Intelligent Black Women's Coalition (IBWC) and
her strong messages show why she started it
up (see March 91 issue ol Discorder). She
and into the clubs with less hard vocals and
lyrics and production which leaves their first
release sounding primitive. They haven't
sold out to meaningless dance rap, just the
sound They kick a good variety of tunes
from party tunes like "Get Wild Go Crazy"
to ones like "Apartheid", and "Believe in
Yourself," which are self-explanatory, and
"Black Eyes and Chalk White Lips" about
dope fiends. I wouldn't mind their lame
songs if they could rap some of the better
ones to a different style ol
because each song basically sounds thesame
Same tempo, same rap style, same sounding
beats. Oh, well.
The UBC's 2 All Serious Thinkers
(Capitol-EMI) is their most recent release,
of 1987. It does sound old school rap-style-
wise and the music is dominated by a drum
machine and only a few samples, but it isn't
as street as most stuff fhat was happening
four years ago. The album was recorded at
the rap's famous Calliope Studio where the
Jungle Brothers, De La Soul, The Stereo
MC's.andaTribe Called Questhaverecord-
ed If this was released in 1987, or if they
could have gotten a record deal back then,
they would have been real big because they
would have been two years ahead of their
time. But today they can't compete with the
likes of Ice Cube. Anyways, these five guys
are on the right track dissing drags and not
being obsessed with sex. They rap good
stories, serious and funny, like "A Hard
Day" which is about the group and the
tribulations Ihey run into on the way lo the
studio only to find out that it's supposed to be
their day off. "Intermission" is a more serious one about drug dealers trying to get one
ofthe guys to deal drugs and get rich instead
of rapping. 2 All Serious Thinkers is worth a
listen for the lyrics and the old school beats,
so step to it
I'm gonna choose Yo-Yo as the best
rapper this month because of her fast delivery of intelligent lyrics in a funky manner
over slammrn' hardcore beats on Make Way
for the Motherlode. And don't forget about
CiTR's DJ Soundwar rap com petition at the
end of the summer. Out! SECRETS  ENTRUSTED
The GiOITlO Poetry Sys-
tem recordings are not for the cand-
yassed. Poets and musicians share
the slage here: picture Bill Burroughs
reading alongside Psychic TV and
Nick Cave, with the Butthole Surfers just moments away!
Founded by John Giomo in
1968 as a non-profit umbrella group
to sponsor poetry events, the GPS
never looked back (expect a new
compilation album by summer). Albums (10) and videos (5) are available (unfortunately, an almost equal
number are out of print).
Aside from providing an introduction to abstract vocalists (Diamanda Galas, for instance), the G PS
satisfies an urge to hear "heavy"
groups like Einsturzende Neubauten without committing to a whole
album. A K-Tel-like assortment for
culturally aware hipsters, as it were.
John Giorno: Poetry Guy
—In 1963, John was the snoozer in
Sleep, Andy Warhol's film debut. It actually took about a month
to film, because Andy had to reload his camera every three min-
—John originated Dial-A-Poem in
1968. This first use of the telephone in mass media communications had people dialing a num -
ber to hear one of many poets.
—Bom December^ 1936,inNYC,
he's a beefy, black-haired, good-
lookin', gay 55-year-old.
—In 1969, Giomo staged "Stop The
Cars" for Street Works BJ. This
involved purchasing 5,000 roof
ing nails and throwing the majority onto the streets ofSoHo. About
500 cars ended up stranded with
flat tires. John and his cohorts had
been doing drugs that day.
—A pioneer in "sound" poetry, he
was one of the first to use electronic devices (moog, echo). In
print, John divided columns so
words could be read on either
side of the page or as a whole,
involving repetition.
—Giomo worked with Abbie Hoffman in 1971 on radio shows sent
to Radio Hanoi, Vietnam.
—Books include Johnny Guitar,
Cancer In My Left Ball (this was
art imitating life), and American
Book of the Dead.
—Since 1984, the majority of artists
involved with GPS have contributed their royalties to the AIDS
Treatment Project, which
Giomo initiated. Over a
quarter of a million dollars
has gone towards helping
people cope with AIDS.
This says a lot about who
John Giomo is... Write for
the complete catalogue (including a short story by
Burroughs!): Giomo Poetry Systems, 222 Bowery,
New York, NY 10012,
A Sampling of Giomo Poetry
Like A Girl I Want You To
Keep Coming Album includes Karen Finley's "Par
ty Animal," Rollins Band's
"Hard," Burroughs' "Just Say No
To Drug Hysteria," and New Order doing the Velvet's "Sister
Smack My Crack Boffo readings by
Nick Cave and Tom Waits. Side
One is angst-filled heaven wifh
the Surfers, Diamanda Galas,
Swans and more.
A DiamondHiddenln The Mouth Of
A Corpse Whatta title! Sonic
Youth, Coil and Husker Du flesh
out a bill including the John Giorno Band (it's his show, folks),
WSB and Michael Gira.
Better An Old Demon Than A New
God Well, that depends, but this
collection, including Psychic TV
("Unclean"), Arto Lindsey, Lydia Lunch ("What Is It"), and
Anne Waldman, is hot.
Burroughs, The Movie Okay it's
$50 (all other GPS videos are
$40) but...it's William. Featuring
friends and the man himself. I
wonder if they would show this
on Channel 9?
Giorno Video Pak #3-5 Video collections of what we should all
aspire lo. Haven't seen 'em, but
with folks such as Jim Carroll,
Marianne Faithful!, Rollins, Gregory Corso, Love and Rockets,
Jim Jarmusch, Lydia Lunch, Megadeth (!), Richard Hell, Cabaret
Voltaire... Aw, hell, you get the
Poetry in Motion by Ron Mann A
damn fine poetry film and a pain-
free introduction to the curious
world of spoken word/performance. Loads of folks doing their
thing (Bukowski, Jim Carroll,
Anne Waldman and John Cage,
to name a few). If you haven't
t... for shame!
WhOO! subtext is pleased to
announce a FREE SHOWING ofthe
SUNDAY, JUNE 16, 8:00 PM at
R2B2 Books, 2742 West 4th (at MacDonald). Free candy! Small, but neat,
door prizes! FINE PRINT: no admission, but a collection will be taken for the Persons With AIDS coalition; really, it's what John Giomo
would do.
Other poets on record include:
Jack Kerouac: Boxed Set — A three
album set with extensive liner
notes, this came out on the Rhino
Label last year. Includes TV and
live performance pieces.
Linton Kwesi Johnson — Dub poet
with political content, he speaks
his poems over tight reggae. Conscience with a good beaL
William S. Burroughs —DeadCity
Radio is a recent release of new
and old material read by Bill. He
even sings "Falling In Love
Again" from The Blue Angel.
Sweet. Seven Souls is by Bill Laswell's group. Material. This album features hypnotic instrumen-
tals of a World Beat sound and
WSB on several tracks reading
from his work.
Allen Ginsberg: The Lion For Real
Another recent release, this has
Allen reading a new/old mix of
poems with various musical support. Produced by Hal Willner
(who also organized Stay Awake,
the collection of Disney classics
redone by rockers).
TheROIRlabel - Pronounced "roar,"
Reach Out International is an excellent cassette-only label out of
NYC puts out lots of rare punk/
avant garde archival recordings. I
know they have some dub-reggae
and possibly more stuff on the
poetic side. Ask around.
Ever wonder what people are reading ? I do. Lisa Marr, who has served her post as Editr'ix with panache, wrote and told subtext.
What with the mounds of fascinating hatemail Discorder receives every
month, of course I don't have time to really read anything else. Instead, I
read a little bil of this or that, with several books on the go at once. All the
following have tasty chunks of text and/or great pictures—perfect for
—The Naked Hours, by Wenzell Brown. High tension novel in the finest
50s pulp tradition.
—San Francisco Stories, edited by John Miller. Cool writers writing
about a cool city.
—Belly & Veronica Double Digests. Still my ultimate role models.
—The Eye ofthe Heart, edited by Barbara Howes. A great collection of
short fiction by Latin American writers.
—Miniature Golf, by John Margolies. A history of this superb sport,
complete with astroturf cover!
—True Confessions, edited by Florence Moriarty. Subtitled "60 Years of
Sin, Suffering & Sorrow," you know this one is hot stuff.
—And since I'll soon have a lot more time on my hands, I plan to hunker
down wifh a couple of big books perfect for the Mean Nineties: The
Marquis de Sade's Justine, Philosophy in the Bedroom and Olher Writings, and Time Among the Maya, by Ronald Wright. Have a nice summer.
Sports Card & Comic Book Convention June
23rd 11:00 am- 5:00pm at the Hotel Vancouver
Largest Selection
of Almost New and Used
Paperbacks and
Magazine Back Issues
Large Range of
Hard Cover Books
Thousands of New and
Collector's Comics
We Buy, Sell or Trade
1247 Granville near Davie
3347 Kingsway
Open 7 Days a Week
JUNE 1991  25 Tha Melvint: Mikey
The Cruel Elephant
Friday 3 May
In the past few months, the Cruel
Elephant has played host to such an
ultra-decent crop of bitchin bands
that even my reclusive self could no
longer stay away. Tearing me from
my demos is no small feat, and this
n-club deserves men-
1 merely for this pher
alone. On this particular night, I was
especially drawn by a Seattle band
who for years have been the unsung
heroes ofthe Northwestgrunge-rock
scene: Skin Yard.
After squeezing my way past
the doormen (promising them a glowing review and mucho mentions of
their fine establishment, the Cruel
Elephant) and into the sold out show,
I was assaulted with the hardcore
blitz of Cat's
Game. A young
band with promise, this quartet's
dissonant punk
slashings were
offset by colourful harlequinesque
("It doesn't look
like much, but a
lot of fuckin'work
went into this
thing, all right?"
quoth the singer).
Actually,      the
was the best part
of the band, assaulting audience
members down on
g the floor with his
$ body while sport-
2 ing a vacant but
i psychotic stare-in-
o spiredly-into-
o» space look in his
o eyes.  I thought
^  good and I believe
3 most of the audita enceconcurred.as
shouts of "You guys suck I" attested.
After a short break, the head-
liners (hosted by that wonderful joint,
the Cruel Elephant) took the stage.
Actually, the whole damn restaurant
was taken, as EVERYBODY crowded up to the diminutive viewing area
to be gripped by the kinetic hard-
-ish boogie. I tell ya, bands don't
get much tighter than this: at some
points, it was hard to believe their
music was the result of four separate
musicians playing instead of one.
And there was humour as well—the
dry and sparse kind—as when the
stocky, wild-maned singer picked
up a guitar for the first time in the set,
after the third song: "Betcha didn't
think I could play guitar, huh?" Long
pause with extremely tacit audience.
"Well, I can't." And before a millisecond, another blast of funky slash
noise, Skin Yard style, had the young
crowd in a furious slamming frenzy.
And speaking of wild manes, the
drummer's was incredible; it kinda
reminded me of
the Cro-Magnon
man who first discovered mousse.
It's elements
such as these that
make Skin Yard
close to the perfect rock 'n' roll
combo for the 90s
(and the Cruel Elephant the perfect
speakeasy for—
well, for the here
and now, anyways). So go out
to your local independent record
stores and pick up all the Skin Yard
LPs and experience the cohesion.
And check out the next Cat's Game
gig, too. And visit the Cruel Elephant regularly. I know I will. Even
If I have to pay to get in. Skin Yard.
Cat's Game. Skin Yard. Cruel Elephant. Dale Sawyer
The sound system was rockin'... I
mean literally "rocking." Amps
swayed to and fro as a couple of
Cat's Game's diehard fans made up
for pit volume as best they could
with brute force. And the equipment
attacks didn't stop there. Halfway
through Skinyard's set, Endino addressed the audience with "Here's a
song you guys can fight to," and
promptly got his mic stand in the
face. Don't think it was an act of
malice, though; just one of those that
things that happens at venues with
small stages. Skinyard were pretty
pumped; they played mostly new
stuff. Someone in the audience shouted "Rock and Rollers don't bathe"
and the band promptly ripped into
"Hungry and Hanging," as though
preprogrammed to satisfy any audience request. Cat's Game, too, were
really good. They've been described
as "The Devos of Hardcore." I agree.
Too bad more grunge and hardcore bands don't play together, I
really get off on seeing the two
crowds mix. Boy, the last ten minutes of the Goo Goo Dolls at the
Town Pump really sucked after seeing ihis show. Redd McJan
Maritime Hall
Friday 3 May
Part of the Mayworks festivities, this
cabaret of women performers proved to be an extremely fun event. All participants
were far above the kind of
niggling political correct-
plagues "left" events. While
the politics were there in all
the performances, they were
handled with deft and original minds.
Ranch Romance started the cabaret with a concert
and ended it with a dance.
The six-piece band played
straight country music in the
vein of the hillbilly primitives of the early 50s. The
up in some of the smartest
western clothes this side of
Reno; moreover. Ranch
Romance sounded as together as they looked, with each
ace musician taking her turn
aslead instrument. Especially worthy of mention was
Vancouverile Nova Dav-
anee on accordion, a virtuoso who actually uses the
buttons on that bizarre in-
Native perf<
artist Margo Kane began her
performance with some typical modem dance, then cut
it short to do a hilarious yet
searing monologue about the role of
the native artist. She apologized for
the lack of feathers in the performance and then read from a series of
(negative) reviews of her show,
Moonlodge. Throughout the piece,
Kane's drummer, "Sam," played a
funny straight man while saying nary
If Kane was searing, then Sheila Gostick was blistering. The Toronto comedian foamed over a broad
range of subject matter, as willing to
cut the audience dead as any of her
planned targets. Indeed, when the
hall gasped at one reference to Newfoundland priests, she glowered,
"What's wrong, is there a baby seal
in the audience?" In a better world,
this high-energy performer would
be in the position "controversial"
comedians like Clay and Kinison
now inhabit. However, unlike those
lazy performers, Gostick couples her
controversial subject matter with
some very wicked punchlines.
A great evening overall; attendance is strongly recommended the
The Town Pump
Saturday 4 May
The Shadowy Men put on a fine—
albeit short—performance. Due to
long sets by the opening arts, the
three-piece surf band from Toronto
didn't get on stage until 12:45. The
group then played to an enthusiastic
audience, who were especially ecstatic when faced with an extended
version ofthe Kids in the Hall Theme.
But before the sweat really started to
pour, the house lights were back on
and we had spent more than two
thirds of the night watching bands
we could have seen for two bucks at
Club Soda mid-week.
The practice of booking Vancouver bands on weekends has to
stop [Actually, Girl Trouble are from
Tacoma; this show was their Canadian debut - ed.]. While I have no
Clint ol Pop Will Eat Itself: Kai Korinth
problem with local music, I paid my
money to see Shadowy Men on a
Shadowy Planet, not a string of nev-
er-gonna-be bands. Now that I've
exchanged my performer's hat for
that of observer, I realize how annoying opening acts are! Monday or
Tuesday night, great! But on a Saturday night, do we have to provide a
charitable audience to the latest
Wardells rehash? Rob Elliott
86 Street Music Hall
Friday 10 May
I can describe this show in three
words: intense sensory overload.
These guys are, and probably always will be, the best live band
EVER! If you weren't there, you
missed out on a true Epiphany. I'm
not entirely sure of its content, and
would perhaps be turned lo stone if I
was, but something inside me was
permanently altered. It was obvious
by the turn-out, however, that the
masses remain ignorant.
Unfortunately,Redd Krossdid
McKay ol The Speed Queent: Robynn Iwata gore
expect from past
B.H.S.  concert
videos; there was
no evidence ofthe
promised penis re-
not open as hoped. Of course, it is
easy to see why the Buttholes would
intimidate any band, except for the
Vasertamoids, whose recent reformation may someday allow us to
witness such amomentous occasion.
My only negative criticism of
the show involves technology: twice
a whole wall of speakers cut out,
reducing the sound to a monotone
meow that just didn't say Butthole.
The light show, on the other hand,
was totally overwhelming and the
stage presence was—ahem—like
you've never seen before.
Some were disappointed by the
anything of the
sort. Other people, however—
myself included—didn'tmissit.
The clips were still
flashes, many of
fused with that
kind of special
something that
only the 70s could
relay. The Texan
travelling circus
trips on! Caroline Longford
Robynn Iwata
The Town Pump
Sunday 12 May
Poor Facepuller raged, rocked,
sweated—did everything right—but
in the end, they didn't leave much of
an impression. In fact, although they
gave the most energetic performance
of the night, I honestly can't remember how they sounded. Maybe I was
just too busy anticipating the
The Melvins came on, wiping
out my short term memory with their
relentless, brain-deadening heaviness. They gave me a real sense of
Afterthis hypnotic set,
Poison Idea didn't suck, but
they were obviously just
going through the motions.
Apparently, they had to consume industrial quantities of
pot before crossing the border—enough to slow them
down considerably during
their set. Sure, Jerry A. blew
flames at the audience, but
he lacked sincerity. Expecting anger and self-mutilation in keeping with past performances, I was deprived
until I went outside after the
show and saw a guy spurting
blood from his hand as a
result of slamming down his
beer bottle too hard. Too little, too late. Mindy
Pacific Coliseum
Tuesday 14 May
Reggae Sunsplash hit the
shores of Vancouver on the first of
50+ North American appearances
before the final Sunsplash in Mon-
tego Bay, Jamaica in mid-July. To
the disappointment of late-comers,
the 7:30 show got under way at 7:30
on the dot, as Tommy Cowan took
the stage to introduce the first entertainer. Little Lenny's 20-minute set
included his usual, precise DJ style
while also shocking the crowd with
a talented cover of Richie Valens'
"Oh Donna." Carlene Davis's performance was good, despite her
somewhat dated lover's rock style,
while Shinehead's theatrical performance did not
quite have the proper
backing sound to help his
rap/reggae crossover style
come across with power
to match his efforts at involving the crowd. In between time, the ghost of
Peter Tosh came across
the powerful speakers in
the ail-too echoing Coliseum, as Andrew Tosh
wheeled onto the stage
aboard his father's trademark unicycle. His haunting covers demonstrated
a talent that hopefully can
be molded into more of
his own material with his
father's voice.
After a brief intermission, Maxi Priest hit the
stage, and the bobby sock-
ers swooned indeed. Quality backing by the A -Team
band enhanced Maxi's
strong performance
(which was scrutinized by
a small stampede of
squealing female admir-
_ ers) and the sound was
& notably clear. Then, from
I out of the shadows, the
D familiar lyrics "love and
■B. hate..." tore the place up
o as Dennis Brown demon-
» strated why he is the
£ Crown Prince of Reggae.
•5 Bass. Bass. Bass. The air
vibrated off one's face on
songs like "Missing You,"
and the night finished with
,< the equally popular Maxi
Priest joining Dennis on
■J § stage for the last song.
|<    Overall, the show as good
and the performances strong, but the
organizers have to startmodemizing
their line-up of entertainers to accurately reflect the changing face of
reggae. Despite the sound horrors of
the venue, the travelling Reggae Sunsplash produced a decent miniature
of the real thing. Russ Hergert
The show began right on time with
Little Lennie doing a very short set
in the DJ style. The instant switch to
Carlene Davis set the pace for the
evening. She gave a strong performance, and the "token woman effect" was further enhanced by the
Burning Brass, the all-female hom
section of the A-Team, the backing
band for the show.
Andrew Tosh, son of the late
Peter Tosh, strutted around the stage
in his brilliant red, green and gold
outfit, working the crowd and providing a mixture of original material
and his father's songs. On his own
merit, Andrew Tosh definitely shows
promise of becoming another reggae great. Shinehead hit the stage,
putting a lot of energy into his DJ-
rapping style. Practicing what he
preaches in "The Real Rock," his
song venerating modesty and reverence of God, he jumped into the
audience and casually walked
through ihe crowd while singing.
The shrill screams which met
Maxi Priest clearly showed this man
was the main attraction for the audience. Maxi Priest stole the show and
made a number of dreams come true
when he allowed a group of girls to
dance with him on stage during his
hit "Close To You."
Reggae veteran Dennis Brown
was the "headline" of the show, but
it was a simmering down after the
reception for Maxi Priest. Overall,
the show was excellent, concluding
with a duet between Priest and
Brown. The band was tight, the sound
system was perfect, and MC Tommy Cowan kept the show moving at
a rapid pace. The only thing lacking
was the audience, which barely filled
a quarter of the Coliseum. Whether
it was the ticket price orthe venue, it
was a shame more people weren't
there, considering the show was so
well done. Catherine Dickson
n Pandora's Boyfriend, Kim Pandora A I
My Dad's Ass
Wednesday 15 May
Who would've thought another underground club would spring up in
Vancouver? Like the good old days
at Vancouver's former warehouse
clubs, the Black Label was chilling
in garbage cans and the place was
jam-packed with over 300 people of
all ages. The icing on this nostalgic
brownie was the music: hot, hot
grindcore from Europe.
Austria's Westerkampf played
most of their 1989 Circus of Himmler
EP, and also some new stuff that
Agar, the singer, said would be on an
upcoming LP on Japanese label,
Rulter. Openers Factory Outlet, from
Bellingham, were OK, but kinda
looked like an inbred ZZ Top. Despite an inadequate sound system,
the music was lop-nolch grindcore,
played with intensity and speed. Let' s
hope My Dad's Ass lasts a little
while longer and continues to showcase such diverse talent. Edward
lie Pandora ol The Mulls : Kai Kc
Commodore Ballroom
Sunday 19 May
What is it with these bands nowadays? They play for a lousy hour and
ten minutes and sound almost exactly
like the record.
Mr. Jones and Co. hit the stage
without introductions and careened
right into their firsl tune. The sell-out
crowd went wild, becoming an ocean
of bobbing bodies. "International
Bright Young Thing" and "Right
Here, Right Now" brought the pre-
dictable roars of approval, buta slower song about their experiences touring in Romania lost the audience's
attention, causing singer Mike Edwards to quip "Enough of that!" and
start the next crowd pleaser.
Jesus Jones did have a lot of
energy—they even had their own
version of Happy Mondays' Bez in
their keyboardist—but the show itself was oh-so-slick. Just what is it
with these bands nowadays? June
JUNE 1991  27 prise of all surprises, they think these    224, 70 14 Trin, Switzerland) Lloyd
things are bad. But just so you don't    Uliana
think these heavily tatooed Elvis looka-
likes are too straight, they also have a    THE FARM
song about drinking—"She Fel 1 Off the
Wagon." Actually, I have to admit that
there is something appealing about their
album. Maybe they kiss a little too
much ass, both musically and lyrically,
but they sound okay and even havetheir
moments   of   integrity.   Mindy
Babyland T
Probably the best way to describe the
great little four-song 7" is techno-thrash.
This is an intriguing and successful
marriage of thrashy lyrics and aggression and technology. Unfortunately the
insert only has an apocalyptic drawing
and lyrics but not much info on ihe duo
Baby land. The tracks are uniformly well
done and the production is surprisingly
good for a low budget production—this
bites the head off Nine Inch Nails. 1
picked this up in Seattle, hopefully it's
available here. If not, write to Flipside
Records, PO Box 363, Whittier, CA
90606. June Scudeler
The Sky Is Falling And I Want My
Alternative Tentacles
Biafra and NoMeansNo: talk about a
hardcore wetdream. This combo is hot:
ripping guitars, continuous drum barrages and the hysterical vocal onslaught
of Jello. Intoxicatingly way better than
your average hardcore, this is a collaboration that is magic through and
through. Unlike the disapointing DOA/
Biafra effort, Lost Scream ofthe Missing Neighbours, The Sky is Falling...
has all the energy, sparkle and finesse
that one should expertfrom folks of this
calibre. Biafra's presence isn't all-engulfing as it often can be, in fact Biafra
and NoMeansNo work together flawlessly, creating an exciting sound that
raises the songs beyond mere hardcore.
"Jesus Was a Terrorist" is classic DKs
circa Frankenchrist. Is there a soft spot
in Jello's heart for Jesus? You beL The
Bill Frisell-like influences in "Bruce's
Diary" are great and show off NMN's
superb musical abilities; this tune even
throws in some horns for your greater
li sterling pleasure. Surfing to the tune of
"Ride the Hume" is sweet heaven; the
surf punk sound i s ace—where's my big
convertible? "Chew Devour" is also
great, the slow guitar, the oozing of
urban blight, hats off lo Morricone—
The Prey revisited. "Chew" gears up to
a frenzy, not a song you would want to
meet in adark alley. "The Myth Is Real"
is a musical version of Biafra's collage
art, highlighting the strange inconsis-
tanciesof Am erica., .ah hell. ..the whole
human race, you and me included. So
what am I saying? This is music that
revives your faith in slamdancing as a
form of higher expression. Play it loud,
play it often and play it for your
caL..watch out for collateral damage.
Peter Sickert
The Brand New Heavies
Delicious Vinyl
Picture this: danceable new music without drum machines or computers of any
sort! That'sright,inthisdrum-machine-
sampled-vocals-for-a-chorus world of
dance music lhat you'll hear if you step
in any club blasting "house," "funk" or
"rap", there are some people buslin' out
with very hip, very funky music by live
bands again —just as it was done about
twenty years ago — and it sounds sooo
good! As most groups are becoming
more and more dependent on their computers, these guys and guest singer on a
few tracks.N'Dea Davenport, aregoing
in the opposite way and are coming out
with the funkiest shit around. The opening track, the instrumental "BNH" gets
that cold blood in your veins to run
warm again as the percussion leads to a
real funky bass line and then a guitar line
and then the magic of what happens
when a band jams together. On first
listen you might be cynical and think
that they 'rejust stealing stuff from James
Brown, Rufus, Parliament, etc..., but
listen on! "People Get Ready" is the
most immediately likeable track and
therefore is the best place to start to get
into the Brand New Heavies, but soon
you'llfind that each track hasacharm of
its own, whether it be the subtle use of
the hom section or the keyboards si iding
up and down in the mix or the bridges or
just the tight playing or....
I just can't praise this enough, especially in the days that we live in now.
Adam "1991 is 1971 "Sloan
The Cadillac Tramps
Doctor Dream
According to the press kit compiled by
their label, the Cadillac Tramps are one
of the newer scions of that thriving punk
science in Orange Country, California.
To tell you the truth, I wasn't aware that
there was a punk scene in Orange County and furthermore I didn't notice that
the Cadillac Tramps were punk. It appears that someone hasn't got their facts
According to me, the Cadillac Tramps
play a hybrid of rockabilly, blues and,
yup, the inevitable funk. They sing about
all kinds of hackneyed issues: South
Africa, capit_lism,clearcu_ing,etc. Sur-
Hands of Faith
Typical metal though well done. No
generic screaming. The vocals are well
groomed and are nicely backed by solid
performances from bass and percussion. There aren't really any cuts that
stand out; however there are no valleys
in the enjoyment of this album. Comfortable listening from start to finish.
Top marks for the art sleeve. Ar-
What the Hell Is Going On?
The Corndogs perform that style of
folk-rock that seems to be popular back
east "Fly Away"isreminiscentof Cowboy Junkies, whom the Corndog s thank
in the liner notes. The harmonic vocals
on this song also rem ind meof Steeleye
Spaa "John Nothing" is where the
music starts picking up into an album
worth repeated listening. If you like
Northern Pikes, or maybe Celtic Blue,
you might enjoy this album. Ar-
The Ghost that Haunts Me
With The Ghost that Haunts Me, Crash
Test Dummies have given us a diverse
collection of their brand of down home
cookin'. Probably the band's best quality is their amazingly unique way of
weaving each of their songs into a real
story. I think its lead singer/songwriter
Brad Roberts' hauntingly beautiful vocals that brings these songs to life.
Whether the song i s uptempo and country loving like "Country Life" or sombre and moving like "Superman's
Song," it's something in Roberts' vocals that conjures up real life and death
images. After listening to the tape I
couldn't decide if Roberts wanted to
live or die, or perhaps he just wants to
attend his own funeral.
All in all, this is a great album and I
wouldn't be the least surprised to see
this band nominated for a Juno next
year, if that means anything anymore,
so move over Tragically Hip. Cindy
Crusade of Destruction
(demo tape)
They're angrier. They're tighter. And
now they're terrorizing in English. The
five-song Crusade a/Destruction is the
latest demo tape from Swiss punk-metal band Dioxin who appeared in Discorder in February. Marcel Reich and
company continue to express their dissatisfaction, concern, and frustration
over the basic tenets of capitalism and
industrial society — exploitation, war,
the annihilation ofthe environment and
individuality, all in a horror ridden,
apocalyptic, albeit informed and intel-
ligentmanner. Apparently Dioxin have
an album due out in late summer. (Contact: Dioxin, c/o Marcel Reich, Visura
Judging from the album cover of Spar-
tacus,one would deduce thatthisrelease
is an advert for a detergent soap, which
is fine because the music itself seems to
be some bright, cheery, colourful,
scrubbed clean dance music. The Farm
are very accomplished musicians and
the production is quite excellent These
Liverpudlians are Pop with a capital "P'
with a bent that is always the same
throughout every song.
Nothing here musically sticks out in
my mind and Spartacus does not have
any really memorable tracks. I don't
dislike the album; itjust doesn'thavethe
feel that I like. The way it is done here,
the material is product. While this is, I
guess in some respects, not a detraction,
it just doesn't cut it with feeling, which is
important to me. But then again maybe
that's what Ihe Farm want Greg Garlick
Earth Inferno
PolyGram-Beggar's Banquet
When I first heard that the Nephilim had
released a live album I was totally ecstatic. The Nephilim, probably the most
underrated of all (I hale to say it) "alternative" bands, have been putting out
what critics call "dated rubbish"for years.
Well dated rubbish or not, I still say they
are a fantastic band: a cross between
Killing Joke, And Also the Trees and
Christian Death. Their "cowboys from
hel l" image also sets them apart from the
Gothic scene that they ha ve been grouped
into. Have you ever seen a picture ofthe
lead singer Carl McCoy? He is the image
1 saw in the Wokin Dude while reading
Steven King's The Stand
This double LP/single CD package
probably has the best quality live sound
that I have ever heard. The clearness of
every nuance that goes along wilh this
band's sound is captured in its fullness.
However, the selection of tracks is
probably the best reason for buying this
album. Including key tracks from all
three full albums, and a rare track ("Psy-
chonaut"), it spans the Field's dark career. Carl McCoy' s voice has never been
in such top form as on cuts like their first
single (in North America) "Preacher
Man" from Dawnrazor and "Moon-
child" from 1988's The Nephilim. Unfortunately, the songs all average eight
and a half minutes long and, therefore,
only nine songs could fit (but at a total
length of 77:29 this is an excellent deal).
Another good thing isthatCarl doesn't
waste time wilh all that typical live band
talking crap. The only thing he says to
the crowd is a quick "Thank you, good
something I can appreciate; a no-nonsense, get down and play and place,
don't piss around approach. This is
probably why the Fields are so popular
in Europe andnothere. We're too caught
This album is definitely for the hardliners only: no spineless poser, "I'm so
alternative, I wear black and Doc Marten's, go to Luv-A-Fair, dance on the
stage and listen lo Depeche Mode and
the Cure in my Cabriolet" type people. If
you're looking for something lo pull the
cloak of darkness around you at night,
pick up Earth Inferno, because "we convoke the Nephilim, and they come to us,
strangers with the eyes of men..." Sean
The Beast Inside
For a few fleeting instances they reminded me of Tears for Fears in their various
stages. (Listening to "The Hurting"
couldn't produce a satisfactory reason
for this comparisoa) Next I felt they
sounded like an upbeat Dead Artist Syndrome. I'll need a judgement call on that
one. Their sound is polished and flows
smoothly from one song to the next The
album, on most cuts, has a good rhythm
to dance to. The slower final song brings
the album to a close. To select any of
these tunes for special mention is to
deprive the rest of credit. There is good
listening throughout i
Laughter and Lust
Jackson junkies rejoice! "Brilliant"
screams the headlines. "A Musical Genius" claims the world's most noted critics. "Joe Jackson's Laughter and Lust is
opinion is biased, maybe not everyone
thinks Joe Jackson is the greatest thing
since Maury Povich got a new toupee.
But for those of us who adore him,
Laughter and Lust is the album we've
been yearning for.
Joe is pictured on the cover with a ball
and chain which pretty much sets the
mood for the whole album. It's cynical
and sarcastic, filled with sorrow and
regret; basically Joe's views of love and
life Ihrough ever-observant eyes.
Thealbum is comfortably mixed with
slow and lively tracks. "Hit Single" is
reminiscent of Elvis Costello; "The other Me" reminds me of Enya (yuk!); and
Joe even does a cover of "Oh Well."
Although some songs may sound familiar, each one is unmistakably Joe Jack-
Best tracks on the album include
"My House," "Hit Single" and "Drowning." They're all fabulous and we can
only hope that we'll be able to hear
them this summer, performed by the
master himself.
"There's laughter as I drown, hke so
many lost before me. Damned by lust
and gone to hell." Right on, Joe.
Karen Toddington
Dirk Ivens and Marc Verhaegen comprise Holland's Klinik and, unfortunately, they're not too well known around
these parts. Not many people are aware
that Verhaegen has worked with our own
front Line Assembly under the banner
of Noise Unit
The word that springs to mind here is
intelligence—this is an album for the
discerning. BPM has no meaning here;
this is:
live simplicity. Ivens' vocals are kept to
a minimum, when they are present; they
are usually well down in themix.moreof
a form lhan a function. The hackneyed
terms 'industrial' and 'techno' do not
apply here—this is electronic music for
ihe senses. June Scudeler
Mama Said
Well, Lenny Kravitz has really outdone
himself now. He's back, in two ways.
Mama Said is his follow-up to the debut
Let Love Rule album wilh Ihe memorable "Mr. Cab Driver" and an obvious
admi/ation of what was happening in
music in the '60s, and now he's as close
to being literally back in the '60s as
possible, as opposed to just looking (or
listening in this case) at it. There are
beautiful songs here and there are rockers. He has successfully taken the genuine musicality that was happening in the
psychedelic era and Motown at its best,
in addition to other good bits, and most
importantly, preserved the simplicity of
thedays whileaddingafewnew songs to
your old collection of favorites. It will be
interesting to see how this release does
commercially in 1991 against the likes
of C+C Music Factory or the latest other
sterile rock band to clog up the charts
with their similar payola-driven competition. It will also be interesting to see of
it is remembered in twenty years.
Somebody taking a quick glance at
this album—of course, in our fast paced
world—might just see this as Lenny's
get rich quick scheme of getting on all
the classic rock stations, but I don't think
they'd even play it And, more importantly , this guy isa very talented, genuine
and obviously dedicated musician!
These are not songs that could be
made up without a lot of thought I
usually don't go for the acoustic guitar
thang, but there's something different
aboutthisalbum. Subliminal messages?
I don't think so. More like a jewel surrounded by shit (I'm not talking about
CiTR of course). Yes, it would be very
easy to call him "the black Beatle" as the
Rocket (May 1991) does, but he's both
more and less. He has borrowed a lot
from the Beatles, especially their recording techniques (ie, the drum set is usually
collapsed to a single mono track and
flanged or has an echo on it and then
panned all the way to the right — this is
what you had to do in 1968 with your
state of the art 4-track, but this was
probably recorded on a24-track). "What
Goes Around Comes Around" is a fantastic copy of Curtis Mayfield's falsetto
and sound in general. "It Ain't Over 'Til
It's Over" is another perfect snippet of
the best of some part of the '60s. He uses
only instruments that wereavailablethen,
like the usual simple drums, bass, guitar,
and the Mellotron and other peculiar
devices popular in the'60s. Healso play s
most of them himself, a la Prince. On the
"less" side, even though to me it doesn't
take anything away from the music, he is
copying ihe styles which were popular
back then but his lyrics and music are
totally unique. And there's nary a false
step anywhere. I find it amazing that he
pulled this off in the '90s. It sounds so
'60s! It's like you can hear the inner
peace and freedom, (try "Butterfly")
which seems to have been totally annihilated quite some time ago from everybody. And "Always on the Run" on the
other hand is such a fun headbanger.
Adam "1971" Sloan
Rubaiyat Elektra's 40th Anniversary
Plunderphonics is University of Toronto
musicprofessor John Oswald, who basically records CDs onto reel-to-reel and
ihen goes crazy editing, probably for
weeks, to create new recordings wilh
some theme in them, such as using only
oneortwo artists' recordings per"song."
This is a collection of five such songs,
done probably under contract from Ele-
ktrabecauseof the style of his work. All
the artists are from said label. Oswald
has also been included on a Musicworks
compilation, and he has released a four-
song EP and PlunderphoniconCD, which
only got to a few campus radio stations
before the bulk of them were seized for copyright infringement (which of course
made him famous and got him this job).
Anyway, the first track is the Doors
"O'Hell," which is a cut up of material
from "Hello I Love You" by the Doors
and the Cure, and thirteen other Doors
iracks. This is the most accessible tune
of the bunch, but the others make for
goodlistening too. There's "2Net"from
Metallica's And Justice For All album
and their version of "Stone Cold Crazy,"
"Anon" from Tim Buckley's "Anonymous Proposition," Vane" using the
song"You'reSo Vain" by Carly Simon
and Faster Pussycat (separately!), and
"Mother" from various tracks from
MC5's Kick Oul the Jams. Whoa! A Pi
Beers, Steers & Queers (Remixes) 12"
Cargo-Wax Trax
Well, if this Cocks' 12" ain't the gal-
darnedest thing. This just plumb blows
most other records clear outof the water.
Both remixes, tho' very different, features horrendously funny samples from
"Deliverance," where oneof thehapless
victims is ordered to drop his britches
and is told he's going to be humiliated
into squeal inglikeapig—aclassic where
you're left shaking your head in horror
and laughing hysterically at the same
time. The "Drop Your Britches Mix" is
a clever re-working of the original,
whereas the "Take'em Right Off Mix"
is a different major ass kicking version.
The flipside features "Stainless Steel
Providers" live as well as Chris Connelly doing a drop dead imitation of Johnny
Ly don on the "Public Image" song, with
Connelly making sarcastic jibes at Robert 'Uncle Bob' Plant while the band
does Zep riffs. If you have no taste at all,
you'll lovethis—I do! June Scudeler
The First Generation
You remember Sigue Sigue Sputnik,
don't you? Well in case you forgot, they
were a real big deal, especially in Brit-
ain.in 1986 with their"LoveMissileFl-
11" hit single. These guys really knew
how to use the press. They had an autobiography out before their first album,
Flaunt It, was even made. To them the
image of the band was more important
than the songs, andall iheir songs sounded pretty much the same. But there was
somelhing about their embracing of technology to make tons of dough that
worked.and Flaunt It is alright by me. It
even had commercials between songs.
If you've ever listened to the 1977 album by New York's Suicide, you'll
know where S.S.S. got most of then-
ideas. After huge initial success, they
got Britain's biggest commercial production leam, Stock, Aitken and Waterman, to produce their follow-up LP, and
it was horrible.
The guy who brought Ihis band together was James T., formerly of Generation X (as was Bil ly Idol). Yes, they do
have a bitof punk in Ihem and they took
the use of digital delay far beyond anybody else ever did and they were trying
to make words like ultraviolence, sputnik, mutant, rocket, missile, blitzkrieg,
and rockajet into standard household
terms, but it gets boring fast Well, I
don't want to do any more thinking
about this band, so here's what the latest
release consists of: eleven demo tracks
from 1984-85 done on a four-track,
most of them with exactly the same
drum machine-and-keyboard rhythm.
The other three tracks are sixteen-track
demos from 1990 and are much worse
than the four-track ones.
This is Sigue Sigue Sputnik's last
ditch attempt at making money (probably to pay some people off for the
excesses they most likely indulged in
during their heyday- emphasis on day)
and then there's that fifteen minutes of
fame that Warhol was talking about
They won't get anymore from this release. Maybe their very bad "live" version of Bo wie's "Rebel Rebel" makes it
worth buying. Probably not A Pi S
Real Ufe
Ya know, if I had to wake up every
moming, pick my nose, shuffle around
my genitalia, and have Chrissie Hynde
nuzzle up to me, wedging her nose in
my armpits, I think I' d try to have a few
Ican'tcome home rightnow" evenings
in the studio too. Who cares what the
product is.just get meaway from Chrissie. Not being a fan of the Simple
Minds, I did pick up their ridiculously
underrated Street Fighting Years. I
thought it was really good. The drums
on "Real Life," the ominous "Let the
Children Speak," the fact that the "See
the Lights" video has breathed new life
into the Rob Lorenz-coined/Dennis
Miller-inspired adage "I haven't seen
choreography that stiff since the Lee
Harvey Oswald prison transfer," and
Jim Kerr's hairy chest on the sleeve are
the only things to get excited about on
this album. Uoyd Uliana
In the Eyes of Death
Century Media
The Rack
Century Media
It's summer. Perspiration is accumulating on my big sweaty forehead and
dulling the intricacies of my Gavin
Brown-blessed Assfort tattoo. I need
some new names. Something new to
believeiaSoreThroat..Carcass... Hell-
bastard... truly touching band names
that I'd consider permanently inking
overtop my Assfort tattoo. Unfortunately, this isn't a review for the Grind
Crusher release, rather, for the In the
Eyes of Death compilation put out by
the same folks that did the Morgoth and
Demolition Hammer release a few
months ago. Some potential tattoos exist on this six-band twelve-track sam-
pleras well—Loudblast, Grave, Tiamat,
and Asphyx. Just some brutal, disturbing metal stuff that you're not going to
hear anywhere else but on CiTR Zev
from Nimrod says some of his friends
in Montreal only listen to death metal.
Gav figures the opening celebration
last month at My Dad's Ass Cheese
Emporium and Cabaret with Morbid
Obesity (from Greece) should entice
more promoters to bring these bands to
Vancouver. In the meantime, if the fact
that Motorhead and Slay er are on Video
Hits has got you down, try the Eyes of
Death. Both the "Wasteland of Terror"
and the "Pages of Blood" selections
included on Eyes also appears on As-
still with me, you've probably figured
out what they're all about, right? So
let's skip the details about the recording, scan over their liner notes and see if
we can get some more ideas for my
forehead tattoo. Among others, Asphyx
thank, get a load of this: Entombed,
Sadistik Intent, Mortal Fear, Carnage,
Gorguts, Deathreign, Macrodex, Excruciation, Uncle Slam, Necrovore,
Sepultura (yawn!), Gorefest, Dysentry,
Rotting Christ, Nunslaughter, Corpse
Molestation, Ulcerate Fester. Look, even
if you hate CiTR, nail this one for the
liner notes. Uoyd Uliana
New Jack City
Upon first listening to New Jack City,
my automatic reaction was simply to
listen to Ice-T's "New Jack Hustler"
repeatedly and ignore the rest of the
compilation. Well, finally, I forced myself to get past the first song and boy
what a downfall. The next four songs
didn't impress me in the least They
were awful slow jams that even the
trained slow-jam ears couldn'tpossibly
enjoy! Unlike"NewJackHustler,"with
its gripping and fast-paced production
and Ice-T speaking in that harsh kick-
in-the-ass reality pitch, the following
tunes on Side One were a disgrace. Side
Two? Hmmm... Starts off with a slow,
harmonizing song obviously meant for
Side One. Nuff said. Queen Latifah
appears on the next track and does an
produced by Grandmaster Flash, delivers her material with some fast lyrical
twists. The only problem here is that she
really has nothing to say, and the "Fly
Singers," as Flash calls them, are really
straight-up wack! Anotherraptunepro-
duced by Al B. Sure somewhat
kicks...the bucket But low and behold,
the last song blew me away (surprise!)
It's 2 Live Crew's song "In the Dust"
that discusses the issues of "coke &
dope" sales and other facts of the society. I think it's the first intelligent track
I've heard from them. No diss, just the
Truth. Overall, the compilation has a
mix of hardcore rap, mellow jams, and
commercial hiphop tracks. But theonly
two songs worth listening to are, leers "New Jack Hustler" and 2 Live
Crew' s "In the Dust" And if you should
buy the tape, after listening to the first
hit, all you have to do is flip the tape to
Side Two and the last hype track is
already set up! Peace. Terror T
Why do Birds Sing?
Gordon Gano is themost beautiful man
in rock and roll, yet I've never listened
to a whole Violent Femmes album in
one sitting. Between considering the
Femmes a little overrated and being
bored silly at the Chameleons UK—"I
am I am I am superman"-REM "Si
signor the hairy grill" Yello-charged
Thursday night Pit Pub DJs playing the
same Femme track week in and week
out, I never paid too much attention to
them. Oh,and speaking of Chameleons
UK, this message comes to me via
Toronto: "Joelle, tell him to try the
Helsinki formula and then both of you
I really doubt a printed review will get
you to go out to grab the album. The
Femmes are to be lisiend to, introduced
to you perhaps by friends who've had
the Femmes introduced to them, etc.
Four qualitative words ensue: energetic
mutant country-folk. Can ya handle
that? "Use to Be" (I used to be happy/I
used to be such a loving/I used to be that/
That was before the end of my world/
That was before the end of my world),
"Life is a Scream", and a remake of
Culture Club's "Do You Really Want
to Hurt Me?" stand out for me on this
one. Uoyd Uliana
In the search for truly happenin' gigs
across this fair city, you may have
come across something called The
Open Door, Chris Anderson's pel
project, which has been putting on gigs
by original, local artists for a short
while now. It operates on a fairly flexible basis, using already existing bars
as venues for the music. So far, most of
the gigs have occurred at the Twilight
Zone, where I saw my first Open Door
gig. I arrived too late to see the first
band (I heard they were country), but I
did catch the Sundogs' set They played
that typical brand of barroom blues
rock we've probably all heard at some
point or another. MC Jackie Brown
(who did an annoying, patronizing intro for each band) joined the Sundogs
for a few songs and proved to have an
excellent, full-lhroatedvoice. Not really my thing, but obviously well-played
soyoumay wanttocheck 'emout Free
For All were up next The music was
pretty thrashy, but, despite some good
moments, the songs weren'treally that
great Unimpressiveoverall.exceptfor
their fucking amazing drummer who
really knew how to play. I'd like to see
him in a better band. MSR delivered
their usual solid punch of old-sly le UK
hardcore, but their stage presence is
still somewhat, well, nonexistent The
lead vocalist looked embarrassed to be
upthere. No such problems for the lead
vocalist of Piss Queen, who took great
del ight in providing an endless barrage
of easygoing, entertaining on-stage
banter. The music was cool: short,
sharp bursts of metal-tinged hardcore
that, thankfully, was far less speedmet-
al- influenced than I expected. Interested bands can contact Chris Anderson
and Open Door at 684-BANDor write
to #200-109 Carrall Street, Vancouver, BC, V6B 2H9.
Another live show worth talking
aboul happened at the Commodore,
May 2. The lineup was Dirt, Gorilla
Gorilla and Dogzilla. Dirt turned out
to be a bad-looking band with boring,
CHRX-sounding songs. I suppose they
had to cover Iggy's song to keep the
audience from misinterpreting their
name, bul I just didn't want to hear it
If you frat boys need a band for your
next party, call Dirt Gorilla Gorilla
was up to their usual overrated shit
Yawn. I swear to god I liked them the
first time I saw them, but now I jusl
might have to shell out for their bus
tickets. They just don't rock. Unfortunately, the bulk of the crowd left after
the Gorilla sel without seeing the best
band of the night Dogzilla's head to
head combination of heavy metal and
funkness worked well. The sound bassist Scott Martin was getting out of his
top quality amps and five-string bass
proves that sometimes there's no substitute for good equipment After the
show, the 'Zilla was nice enough to
give me a copy of their new self-titled
cassette. They probably spent some
money on this one because the sound
quality/production is really good. The
first couple of times I listened to the
tape, I thought the band emphasized the
the funk side of their music as opposed
tothemetal (which Iprefened), but the
more I listened to it, the more I found a
balance of the two. The bass isn't as
prominant as it was at the show, so the
guitars, in turn, come through a lot
more, not to mention Stephen Pettit's
speed solos. The songs have a futuristic, computerized feel and, judging by
the cover and credits, I believe this was
their intention, e.g.: the credit of "Chief
ExecutiveOfficer"goestoJoe Keithley.
One thing I didn't like was R.K. Stier-
le's vocals. They come across as factory-made, lacking character. Live, however, the guy's mohawk-type deal offsets this somewhat
Due to the success of his recent
is somewhat more prominant, bul the
fact is, he's been releasing solo tapes
for quite some lime now. Ihe latest
one. Sonic Bloom, is a mostly- instrumental journey, featuring a bunch of
keyboard work from Mark. Ihe tape is
really all over the place: it has a waltz,
a dingy barroom blues pieoe with sax,
and some fairly light and bouncy tunes.
Actually .the tapeasawholehasafairly
catchy feel to it, even the strangely
experimental song, "The Horror." If
you are at all interested in seeing what
the the keyboard side of ITCH is all
about, this lape is the way to do it.
I heard about the Re-Strict'ed g ig at
IheC.E too laleto actually go see them,
but judging from their 2-song cassette,
1 didn't miss much. It's not that the
music's all that bad, it's just so bloody
pedestrian. Both songs areraw, grungy
rock n' roll (wilh a definite Electric-era
Cult influence), which start out with
really cool riffs lhat just go nowhere.
You kinda forget you 're even listening
lo music until it suddenly stops. Maybe
they Tlimprove with repeat performances. Anyway, you can contact the band
al Box 3360 Main Post Office, Van
couver, BC  V6B 3Y3 or call David
Logan at 682-7404.
Skin Barn are from Calgary but
Ihey play Vancouver so much and their
tape is so cool, I thought I'd mention
'em here. Ihese guys play catchy, melodic punk in the style of the Descendents, Snuff and Samiam; the closest
thing we have to them here is Onion-
house, but Skin Barn are way better. Of
course, I'm basing all this just on the
lape, but you can bet I'll be checking
themoutnexttimethey play live. "Glu-
sa,""BuddyO,""Black,"and the amazing "Another Day," are all cool songs
but unfortunately the other two songs
really plod Still, it's worth having; it
even sports one of the best covers I 've
seen in a long time. Wr ite to Wes Hegg,
4836-41 Avenue SW, Calgary, AB
T3E1H1; (403) 246-4723.
Scratch Records has unearthed a
piece of Vancouver history in the
recent discovery of original copies of
an old Culture Shock 7". Recorded in
the early '80s, Culture Shock featured some soon-to-be members of
Go Four 3 and their sound definitely
reflects that light 'n' catchy pop/punk
that Vancouver was so famous for at
that time. If you're at all interested,
act quickly—quantities are limited.
In the local record label department. Spiral Records will now be
getting distribution in the States and
maybe in Europe. They'll soon be
releasing an EP by Daed 21 (who
supposedly have a 4ADish feel to
them), as well as a second Sound
Generator compilation on CD, which
includes the original as well as new
tracks. Also, watch for a Spiral
Records gig wilh Sect, Swan Yard
and Emily Faryna.
Further techno news includes the
formation of a number of side projects.
I don'l know what the hell it is, but
most of these guys don't seem interested in sticking to just one band.
Watch for the Orange Pony EP release by Hilt, which included Cevin
Key and Dwayne Goettel (Skinny
Puppy), Dave Ogilvie (Ogre's brother), Don Harrison (SonsofFreedom),
and Alan Nelson. Also look out for
the Nothing Slays release by Cybcr-
aktif, featuring Front Line Assembly's Bill Leeb and, again. Key and
Goettel. I wonder if they ever have
trouble coming up with new names
for all these various side projects.
Before we leave you panting in
desperation for the next edition of
Vancouver Special, I'd like lo include a few quick notes. The Wongs
are busted and I'm nothappy about it.
However, Kevin Rose assured mc
there will be no stoppage in the music: Kerr will be drumming a few
shows with TT Racer and, apparently,more new projects are in the works.
Watch for an Octatrackter 7" release on Kil Tel records. It SHOULD
be out now, but isn't that what they
all say? The Ludwigs are in the studio recording a single with Cecil
English, and the Valentinos (those
ex-Sissy Boys) are recording an LP.
Sludge is planning on doing some
recording in the near future, with an
eye to releasing a 7" at some point.
Lastly, Skinny Puppy has released
the Ain't It Dead Yet soundtrack for
the video of the same name, shot in
'87 in Toronto. Remember, if we
haven't heard of you, we can'l write
about you, so send those info sheets,
demo tapes and gig dates in to us. We
promise to be better about checking
the file all the time. No, really.
JUNE 1991   29 launerLtd. international
JUNE   21   TO   JULY   1,   1991 ■
More than 500 artists
from 14 countries.
Over 200 performances
"...a first rate reputation for
innovative programming."
-The Province
The Commodore
•High powered jazz/funk/salsa orchestra.
plus Kathy Kidd Afro Latin Jazz Septet
Friday June 21 • 10pm
Maceo Parker
and Roots Revisited
'Rhythmically charged and gospel-tinged.
plus Jazzmanian Devils
Saturday June 22 • 10pm
'Canada's jazz/fusion masters.
plus Justine
Sunday June 23 • 9pm
Ottmar Lie!—-'
John McLaughlin Trio
•Guitar mastery that takes your breath away,
plus Don Thompson Quartet
Wednedsay June 26 • 9pm
Eddie Palmieri &
His Afro Cuban Jazz
Aster Aweke
•The Aretha Franklin of Ethiopia,
plus Mahmoud Ahmed
Friday June 28 • 9pm
Otis Clay and
the Chicago Fire
•Gospel-drenched Chicago soul.
plus Amanda Hughes
Saturday Jume 29 • 10pm
Salif Keita
Tickets & Discount Passes
?stival program available with compl
?tails at all ticket outlets, plus Starbu
Vancouver East
Cultural Centre
John Korsrud s
Hard Rubber Orchestra
•Multi-media explosion of sight and sound.
Friday June 21 • 8pm
Susannah McCorkle
•Gorgeous sultry singing... up them with Sarah Vaughan
Saturday June 22 • 8pm
Frank Morgan
and George Cables
•Nonpariel performances
Sunday June 23 • 8pm
Jon Jang & the
Pan Asian Arkestra
•Blending jazz, classical, spirituals with Asian traditions
p/us the Kulintang Arts Ensemble
Monday June 24 • 8pm
Clarence Fountain & the Five
Blind Boys off Alabama
•Barn-burning, roof-raising, heaven-rocking gospel musk
Tuesday June 25 • 8pm
Courtney Pine Quartet
•Britain's hottest jazz export
Wednesday June 26 • 8pm
Don Cherry
and Muttikulti
World Saxophone Quartet
Bobby Previte
and Empty Suits
•Mixing jazz, rock, funk, Ennio Morricone
& ethnic strains together
plus Slavoe Tango Ensemble
Saturday June 29 • 8pm
Horace Tapscott Trio
•A world class pianist... music is frequently astonishing
plus Urs Blochlinger Trio
Sunday June 30 • 8pm
Ellis Marsalis
The Orpheum
MUSIC '91 presents
Dizzy Gillespie
United Nation Orchestra
Vancouver Playhouse
Strunz and Farah
•From Iran a Costa Rica...Among the world's most gifted guitarists
•plus Celso and Carlinhos Machado
Saturday June 29 • 8pm
Western Front
Friday June 21 • 5:30pm
Saturday June 22 • 5:30pm
Oleksandr Nesterov
and Petro Tovstukha
Sunday June 23 • 5:30pm
Christian Muthspiel and
Monday June 24 • 5:30pm
Don Ritter
and Amy Denio
Tuesday June 25 • 5:30pm
Urs Leimgruber Trio
Wednesday June 26 • 5:30pm
Shelly Hirsch
and David Weinstein
Thursday June 27 • 5:30pm
Friday June 28 • 5:30pm
Tickets available at all
Ticketmaster locations, Eaton's,
Black Swan, Highlife, Uhuru.
Glass Slipper, Cafe Django, Alma Street Cafe, Isadora's, Saturno, The Yale.
Gastown Jazz, Music & Festivities on Water Street June 22, 23 — 1 pm-8 pm
Jazz at the Plaza: spectacular international showcase at the Plaza of Nations June 29-July 1,1 pm-9 pm. Music, refreshments, food, festivities.
Fr*m Bandstands: Granville Island Public Market, Pacific Centre, Oakridge Centre.
1 SATURDAY Urge Overki II and Kreviss at the Cruel Elephant... Something Savage at the
Railway Club... Mae Moore at 86 Street... Country Da nee with The Liet Dance Contra band and "caller"
Mariin Ron at the WISE Hall... Clash of the Titans with Magwltth, Anthrax, Sliyitand Alice In Chains
at the Pacific Coliseum... Andanzas at La Quena... Hard Rock Miners at the Town Pump... Blubinos at
the Backstage (Seattle)...
2 SUNDAY Tony Bird and Marang Talking Drums at the WISE Hall... The Lorita Leung
Dancers at the Vancouver Playhouse (11AM)... Electric Bonsai Band at the Backstage (Seattle)...
3 MONDAY Wingnuts at the Railway Club... Chubby Carriere at the Yale... Wild T and the
Spirit at the Town Pump...
4 TUESDAY Jaf at the Cruel Elephant... Jimmy Roy's 5 Hillbilly Boys at the Railway Club...
5 WEDNESDAY Jaksinvitational at the Cruel Elephant... Jimmy Roy's Hillbilly Boys at
the Railway Club... Chubby Carriere at the Yale... Wayne Toups and Zydecajun at the Town Pump...
CiTR Hot Wednesdays at the Pit Pub...
6 THURSDAY Tippy Agogo and the Voyagers at the Cruel Elephant... Daybreak Parade at
the RailwayClub... Jim Byrnes at the Yale... CiTR Rock Thursdays at the Pit Pub... David Brewer Band
at the BBBC (Bellingham)... Tempest and Bedlam Poets at the Backstage (Seattle)...
7 FRIDAY Son ol Man with Unearth and Chaos at the Cruel Elephant... Greenhouse at the
Railway Club... Wayne Toups and Zydecajun at the Town Pump... Leslie Spit Tree-o at the Town
Pump... Last Wild Sons, Clyde Roulette, and Incognito at the Commodore... Doug and the Slugs at
86 Street... Jim Byrnes at the Yale... Tiny Hat Orchestra at the BBBC (Bellingham)... Wayne Toupee
and Zydecajun at the Backstage (Seattle)...
8 SATURDAY   The Dwarves, Octatrackter and Supersuckers at the Cruel Elephant...
Jumbalassy at the Commodore Ballroom...Greenhouse at the Railway Club... Stanley Cree nthal at the
WISE Hall... Jim Byrnes at the Yale... Leslie Spit Tree-o at the Town Pump... Hard Margaret and
Crawdaddies at the BBBC (Bellingham)... L'Orchestte Alrisound at the Backstage (Seattle)...
9 SUNDAY All wtth Gorilla Gorilla at the Cruel Elephant (all-ages matinee too)... Vancouver
t Lesbian and Gay Choir at the Vancouver East Cultural Centre.. Colormen at the Vancouver Playhouse
_   (11AM)... Community Catalyst/Earth on the Air Benefit at the Backstage (Seattle)...
§   10 MONDAY First Deep Kin and Sweat Release at the Railway Club... Ray Manzarek A
°a  Michael McClure at the Backstage (Seattle)...
>   11 TUESDAY Nation ol Ulysus. Bikini Kill and Witchy Poo at the Cruel Elephant... Morgan
_  Davis at the Railway Club... Guitar Shorty at the Yale...
12 WEDNESDAY Piss Queen with Modern Sniper Rifles and Free For All at the Cruel
Elephant... Sarcastic Mannequins at the Railway Club... Qui Xia at the Glass Slipper... Guitar Shorty
at the Yale... CiTR Hot Wednesdays at the Pit Pub... Big Chief and the Mono Men at the BBBC
(Bellingham)... Steve Morse Band at the Backstage (Seattle)...
13 THURSDAY The Wild Boars wtth the Cane Toads at the Cruel Elephant... Stave Morn
Band at 86 Street... Sarcastic Mannequins atthe RailwayClub... GuitarShorty atthe Yale... CiTR Rock
Thursdays at the Pit Pub... DPriest at the Backstage (Seattle)...
14 FRIDAY Dharma Bums with the Smugglers at the Cruel Elephant... Roots Roundup and
God's Little Mo nkeysat the Comnnodore... Tarn my* tha Rawhide Comets at the Railway Club... Guitar
Shorty at the Yale... The Stingin' Hornets at the Town Pump... The Atlantics at the BBBC (Bellingham)...
Danny O'Keefe at the Backstage (Seattle)...
15 SATURDAY The Squirrels with the Smokin' Rhythm Prawns at the Cruel Elephant...
Bob's Your Uncle and Hard Rock Miners at the Commodore... Valdy and Linda Waterfall at the WISE
Hall... Tammy A the Rawhide Comets at the Railway Club... GuitarShorty at the Yale.. Robben Ford
at the Town Pump... The Atlantics at the BBBC (Bellingham),. Jonathan Richman at the Backstage
16 SUNDAY CiTR Presents an evening with Jonathan Richman at the Arts Club Granville
Island... The Leaving Trainswtth Thee Crusaders and the Speed Queens at the Cruel Elephant...
VictoriaArts Collaborative withValeryKokorev atthe Vancouver Playho use at(11AM)... Robben Ford
at the Backstage (Seattle)...
17 MONDAY God's Little Monkeys at the Railway Club...
18 TUESDAY Jel at the Cruel Elephant... God's Little Monkeys at the Railway Club... Ellen
Mcllwaine at the Yale... Seattle Symphony Orchestra at the Orpheum...
19 WEDNESDAY Crack in the Sidewalk with Shank n Pickle and House ol Orbit at the
Cruel Elephant... God's Little Monkeys at the Railway Club... Ellen Bat the Yale... Seattle Symphony
Orchestra at the Orpheum... Lighthouse Songwriters Contest at the Backstage (Seattle),.
20 THURSDAY Fire Clown wtth Unearth at the Cruel Elephant... Video Bar-b-qua. Group
Therapy and Lunar Adventures at the Commodore... Minnie & the Rippertones at the Railway Club...
Ellen Mcllwaine at the Yale... Wire Benefit at the Backstage (Seattle).,
21 FRIDAY Superconductoratthe Cruel Elephant... Minnie* the Rippertones atthe Railway
Club... Vancouver International Jazz Festival: Dizzy Gillespie and United Nation Orchestra at the
Orpheum; Manteca and the Kathy Kidd Afro Latin Jazz Septet atthe Commodore; John Korsrud's Hard
Rubber Orchestra at the Vancouver East Cultural Centre; Yas-Kaz at the Western Front; Nat Adderlsy
Quintet atthe Saturno Club;George Robert Quartet at the Alma Street Cafe;lnside Outside at Isadora's;
John Gross, John Stockwell, and Chris Nelson at Cafe Django; Ellen Mcllwaine at the Yale; George
Grawe, Ernst Reijseger, and Garry Hemingway at the Glass Slipper; Jane Burnett Trio at the Granville
Island Market Stage... King Missile at the Town Pump... CiTR Hot Wednesdays at the Pit Pub...
Promised Land at the BBBC (Bellingham)... Vagrant Records "Eye of the Needle" CD Release at the
Backstage (Seattle)...
22 SATURDAY CiTR Presents Dinosaur Jr. at 36 Street... Minnie * the Rippertonesat
the Railway Club,. Darcie Deaville, Jane Giilman and Rod MacDonald at the WISE Hall... Vancouver
International Jazz Festival: Macao Parker * Roots Revisited with the Jazzmanian Devils at the
Commodore; Susannah McCorkle at the Vancouver East Cultural Centre; George Grawe, Ernst
Reijseger, and Gerry Hemingway at the Western Front; Nat Adderley Quintet at the Saturno Club;
George Robert Quartet at the Alma Street Cafe: Babayaga String Quartet at the Cafe Django; Ellen
Mcllwaine at the Yale; Oleksandr Nesterov * Petro Tovstukhe at the Glass Slipper.. CiTR Rock
Thursdays at the Pit Pub... Jr. Walker t the Timeless Allstars at the Backstage (Seattle)...
23 SUNDAY Jesus Lizard at the Cruel Elephant... Frank Frink Five atthe Railway Club... Ann
Mortifn and African Heritage at the WISE Hall... Royal City Youth Ballet Company at the Vancouver
Playhouse (11AM)... Vancouver International Jazz Festival: Uzeb with Justine at the Commodore;
Frank Morgan t George Cables at the Vancouver East Cultural Centre; Oleksandr Nesterov 4 Petro
Tovstuk ha at the Western Front; Mike Nock Quartet at the Alma Street Cafe; Loon Gypsies at Isadora's:
MurphyandCaird Qua rtetat the Cafe Django; The Demons Jam sessionat the Yale; Vinny Golia * Jane
Bunnett Quartet at the Glass Slipper; Jennifer Scott Quintet at the Granville Island Market Stage...
Crucible wtth Music by Design at the Backstage (Seattle)...
24 MONDAY Fast Folk Underground at the Railway Club... Vancouver International Jazz
Festival: Jon Jang * the Pan Asian Arkestra wtth the Kulintang Arts Ennmble at the Vancouver East
Cultural Centre; Christian Muthspiel * Roland Dahinden at the Western Front; John Gran, John
Stowell and Chris Nelson at the Alma Street Cafe; Loon Gypsies at Cafe Django; John Hammond at
the Yale; Stefan Bauer * True Stories at the Glass Slipper Joe Bjornson Sextet at the Granville Island
Market Stage...
25 TUESDAY Eugene Ripper and Dead Head Cool at the Railway Club,. Vassar Clements
* Rob Quist at the Backstage (Seattle)., Vancouver International Jazz Festival: Clarence Fountain 1
the Five Blind Boys of Alabama at the Vancouver East Cultural Centre; Don Ritter * Amy Denio at the
Western Front; Ross TaggartTrio at the Alma Street Cafe: Babayaga with Bill Rungs andChris Nelson
at the Cafe Django; John Hammond at the Yale; Urs Leimgruber Trio at the Glass Slipper; Loon
Gypsies at the Gran
le Island Market Stage...
27 THURSDAY Show Business Giants at the Cruel Elephant.
26 WEDNESDAY Show Business Giants at the Cruel Elephant...
the Railway Club,. Vancouver International Jazz Festival: John Mclaughlin Trio with Don Thompson
Quartet at the Commodore; Courtney Pine Quartet at the Vancouver East Cultural Centre; Urs
Leimgruber Trio at the Western Front; Harper Brothers at the Saturno Club; Oliver Gannon Quartet
at the Alma Street Cafe; Martin Franklin Trio at Isadora's; John Nugent Trio at Cafe Django; John
Hammond at the Yale; Fifth Avenue atthe Glass Slipper; Don Thompson Quartetat the Granville Island
Market Stage... Two Nice Girls wtth guests at the BBBC (Bellingham)... The Chenille Sisters at the
Backstage (Seattle),.
Jazzmanian Devils at the
is Afro Cuban Jazz at the
Commodore: Don Cherry * Multikulti at the Vancouver East Cultural Centre; Shelley Hirsch * David
Weinstein at the Western Front; Harper Brothers at the Saturno Club; June Katz Quintet at the Alma
Street Cafe; Celso * Carlinhos Machado at Isadora's; George Roberts S Friends at Cafe Django:
Lowell Fulson at the Yale; Vinny Golia * Bill Smith Quartet at the Glass Slipper; Video Bar-b-que at
the Granville Island Market Stage... Aster Aweke at the Backstage (Seattle)...
28 FRIDAY The Replacements at 86 Street... Sky Cries Mary at the Cruel Elephant...
Jazzmanian Devils at the Railway Club., Vancouver International Jazz Festival: Aster Aweke and
Mahmoud Ahmed atthe Commodore; World Saxophone Quartetat the Vancouver East Cultural Centre;
Paul Plimley. Lisle Ellis and Gregg Bendian at the Western Front; Nails Lan Doky with John
Abercrombie at the Saturno Club; Johnston and Stafford Quartet at the Alma Street Cafe; Art Ellelson
and Modus at Isadora's; Jon Cleary at Cafe Django; Lowell Fulson at the Yale; Stave Lacy Sextet at
the Glass Slipper; Roy Styffe Quartet at the Granville Island Market Stage... Roseanne Barr at the
Orpheum... CiTR Hot Wednesdays at the Pit Pub... Lily Wilde and the Hysterics at the BBBC
(Bellingham)... Hermeto Pascoal at the Backstage (Seattle)...
29 SATURDAY Hole at the Cruel Elephart. The Replacements at 86 Street.. Jazzmanian
Devils at the Railway Club... Vancouver International Jazz Festival: Otis Clay * tha Chicago Fire and
Amanda Hughes at the Commodore; Bobby Previte A Empty Suites at the Vancouver East Cultural
Centre; Strunz * Farah at the Vancouver Playhouse; Neils Lan Doky with John Abercrombie at the
Saturno Club; Don Lenphere Quartet at the Alma Street Cafe; Fantazea at Isadora's; Jean Vanessa and
Pierre St. Jak at Cafe Django; The Demons Jam Session at the Yale; Stave Lacy Sextet at the Glass
Slipper; Themba Tana at the Granville Island Market Stage... CiTR Rock Thursdays at the Pit Pub...
BBBC (Bellingham)...
Mark Dufn
30 SUNDAY The Feeliesand Firehose at 86
Vancouver International Jazz Festival: Salif Keita at t
eel...Frank Frink Five atthe RailwayClub..
Commodore; Horace Tapscott Trio at the
ntre: Glenna Powrie Trio at the Saturno Club; Flying Bulgar Klezmer Band
Isadora's; Celso * Carlinhos Machado at Cafe Django: The Demons jam session at the Yale; Pacific
Art Quartetat the Glass Slipper; Vektor at the Granville Island Market Stage...
A WALK IS... • 976 Denman • 682-0060
THE BACKSTAGE • Ballard, WA • 206-781-2805
B.B.B.C. • 1226 N State, Bellingham, WA • 206-734-1881
COMMODORE BALLROOM • 870 Granville • 681-7838
CRUEL ELEPHANT • 1176 Granville • 688-8748
DOLPHIN CINEMA • 4555 E Hastings , Burnaby • 2934321
86 STREET MUSIC HALL • BC Enterprise Centre • 6834687
FIREHALL ARTS CENTRE • 260 E Cordova • 689-0926
GRACELAND • 1250 Richards • 688-2648
HOGAN'S ALLEY • 730 Main • 689-8645
HOLLYWOOD THEATRE • 3123 West Broadway • 7384211
LUX CINEMA • 57* Hastings • 687-7589
PACIFIC CINEMATHEQUE • 1131 Howe • 6884456
PARADISErWdRE • 9_VC*j_5vfr*> • 681-173S
RAILWAY CLUB • 579 Dunsmuir • 681-1625
RIDGE THEATRE • 3131 Arbutus • 7384311
STARLIGHT CINEMA • 935 Denman • 689-0091'
VAN. EAST CULTURAL CENTRE • 1895 Venables • 2544578
VIDEO IN • 1102 Homer • 6884336
W.I.S.E. HALL • 1882 Adanac • 254-5858
YALE • 1300 Granville • 6814253
24 HR. SHOW INFO: 681-1732
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JUNE 1991   31 SUNDAYS
12:00PM The newest new music
and information on concerts,
recordings, composers witfi host
lan Crutchley.
News, sports, weather and more
with the CiTR News. Sports and
Weather Departments.
Host: George Barrett and Mike
Cherry. Reggae inna all styles
and fashion. Dancehall, Dub,
Roots, Lovers-rock, Rocksteady,
Ska and beyond!
5:30PM All the day's news,
weather and sports. Plus an in-
depth interview, movie reviews
and more. Hosted by Luc
HEARSAY 5:30-6:00PM CiTR's literary arts program needs YOU to
submit your works for on-air performance or reading.
8:00PM From the global cultures of resistance hosted by
Horacio de la Cueva, alternating Sundays.
Who's behind the shower curtain on Pia Nipples' Party Machine? Cindy Crawford? Nah.
Jason Priestley? Nope. Rose-
anne Barr? Try again. James
Spader? You wish. Maury says
him and Connie are using sex as
an excuse to have kids. But we
know better. Kooky antics, current irrelevant issues, Joe Jackson, Pankow, Ice-T, Hellbastard,
and your cool requests. Hosted
by Karen Toddington and Lloyd
12:00AM Join host Dave Emory
and colleague Nip Tuck for
some extraodinary political research guaranteed to makeyou
think twice. Bring your tape deck
and two C-90s. Originally broadcast on KFJC (Los Altos, California).
Wake up with the CiTR Morning
Show. All the news, sports and
weather you need to start your
day. Plus whafs happening at
UBC each day with UBC Digest,
a feature interview and more.
Topped off with the BBC World
Service News at 8:00AM, live
from London, England. Hosted
by lan Gunn and Antje
11:00AM Your favourite brown-
sters James and Peter offer a
savoury blend of thefamiliar and
exotic in an excitingly luscious
blend of aural delights! Tune in
and enjoy each weekly brown
plate special.
1:15PM News, sports and
3:00PM CiTR's only all industrial/
technical / electronic show with
different feature albums every
week. With your dj pal, June. Bill
Leeb loves you all.
5:30PM All the latest on campus: news, sports, an in-depth
interview, theatre or film review,
editorial commentary and
more. Weekdays with host lan
SPORTS DIGEST 5:30-6:00PM Campus, amateur and professional
sports with Keith Watson.
Just a couple of guys who like to
walk around in their boxer shorts
with their big fat guts hanging
out. Jerome Broadway and
Garnet Timothy Harry alternate
Vancouver's longest running
prime time jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11.
3rd Concert by the Sea opens a
month of Jazz "Classics' (albums that are essential listening). This document of a concert in California by one of.
the great piano stylists Erroll
Garner and his Trio is the best
selling piano trio album ever.
10th TwoofCharlie "Bird" Parker's
last great studio sessions.
Parker on alto saxophone in
full flight with two great
rhythm sections both with
Max Roach on drums. These
are two of Parker's finest sessions and we'll hear everything... false starts, unissued
takes and alternates.
17th Focus by one of the leading voices of the tenor saxophone Stan Getz is a unique
recording in many ways.
Getz' improvisations are wo
ven over pieces written for a
string section by EddieSauter.
Getz himself considers this
record to be one of his triumphs and one that he is
most proud.
24th     Julian   *CannonbaH'
Adderley was one of the most
popular and influential post-
Parker altoists. The measure
of respect that he was held is
revealed in this all-star session: Somethin' Else! Miles
Davis (as a sideman). Hank
Jones (piano). Sam Jones
(bass) and Art Blakey (drums)
make this a true classic.
Now hear this!  Roughneck
dance hall Reggae, dub plates
and live DJ selections that are
ruling Jamaica and abroad,
with whitey at the controls.
Hosted by Antje Rauwerda and
lan Gunn.
3:00PM Country music toscrape
the cowshit off your boots to.
Wth yer host-poke Jeff Gray.
THE REAL DEAL 3:00-5:00PM 'If it
ain't rap then you know ifs
crap.'-Eazy-E. Hardcorerap with
your host Terror T.
Demo Director Dale Sawyer provides some insight into the best
and the worst of the newest
Canadian music.
AVANT PIG 7:00-9:00PM Avant-
garde thuggery with Pete
Lutwyche. First Tuesday each
month:   World Music Explora-
12:00AM The latest in dance
music and interesting drama
every second week. With Lupus
THE MOON DROPS Fun for the
whole family to enjoy! Weird
chunks of news, odd pieces of
tuneage, Pierre and the 2AM
WWOD. Come smell the spe-
ciaMthyear anniversary on the
4tyh with the special commemorative 'No Show" show.
Turn on, tune in, and turn if!!
Hosted by lan Gunn and Antje
UVE FROM VENUS 10:00-11:00AM
Get this I Women Music Women
Stories Women Articles Women
Poetry Women Music Women
Got it?
3:00PM Spinning the best (and
sometimes the worst) playlist
material, bringing a variety of
music styles from places you'll
not hear on any other radio station... seriously. I appreciate all
requests. I work best under pressure and the gods have seen to
it that I am supplied well with
sonic bliss... hence the title.
'. ..got a beautiful wife, two wonderful kids, and one on the way.
My only real want in life is for
really long hair !' Norman
Anonymous "The Bernice
Gerard of Rock 'N Roll."
NO INTERMISSION 5:30-6:00PM Addressing the drama, theatre, film
and arts communities. With
Antje Rauwerda.
7:00PM Meatloaf!!! "Two Outta
Three Ain't Bad'! I like that... re
minds meof elementary school.
Don't ask.
JIGGLE 7:00-9:00PM Just because
you're fat. doesn't mean you're
alternative. Mikey "girly hair' and
Gav "Bristle-head," joined by
their adoring groupie, serve up
breakfast all day from their por-
ta-kitchen. Jiggle Jiggle Jiggle!
Lose all sphincter control.
Hosted by Antje Rauwerda and
1:00PM Jazz with Tommy Paley;
special feature at noon.
--HARD- ——-JINX—
OUT FOR KICKS 6:00-8:00PM Explore the pleasures of plastic
with your faithful native bearers
Pat, Lisa, and sometimes Chris.
TOP OF THE BOPS 8:00-9:00PM Musical chef Marc Coulevin boils
up a tasty pot of gumbo stew.
HELL 9:00-11:00PM Local music
from 9. Live bands from 10.
11:00PM-1:00AM 100% Canadian industrialism. Noise with
three-dimensional psycho-
acoustic interactivity. Practitioner: Peter Courtemanche.'
Hosted by lan Gunn and Antje
Join host Ken Maclntyre as he
takes you on a tour through the
silver screen's back lot of live
with film news, reviews, interviews and soundtracks.
NETWORK 11:00AM-1:00PM Hi,
my name is Greg. I cant decide
whether I love or hate my valued listeners.Tune in weekly and
decide whether you hate or
love my show. Then write me a
note c/o CiTR telling me your
inner feelings. Thank you, love
and kisses, Greg. Bye.
THE NOIZ SHOW 2:30-3:30, 4:00-
5:00PM Ad am Noizi Sloan brings
the noiz.
PRESENTS... 3:30-4:00PM Join
Nardwuar and his war cat Cleo
von Fluffelstein for half an hour
of stimulating Manhattan clam
chowder entertainment.
5:30PM With The Voice of Reason,* our weekly look back at
the week in the news, tongues
firmly in cheek.
9:00PM Underground sound system-style mastermix radio.
cerpts from Dave Emory's Radio
Free America Series.
HOMEBASS 9:00PM-12: 30AM
Dope jams and fresh beats for a
groovy evening with DJ Noah
on the wheels of steel.
12:00PM Vancouver's biggest
and best acoustic/roots/rogue
radio show. Now in its 6th year
on CiTR! Roots music from
around the world.
June 1: 6th birthday special I
Vancouver's only true metal
show; local demo tapes, imports
and other rarities. Gerald
RatNehead and Metal Ron do
the damage.
IN EFFECT 3:OO-5:00PM The Hip
Hop Beat and nuttin' butt. With
hosts R$J and BZ Jam.
5:30PM UBC's weekend news.
All the latest news, sports,
weather, a movie review, feature report and moro. News with
Luc Dinsdale; Doug Richards has
Ifs a music thing from all "Africa." Ifs an awareness thing of
self and others. Ifs an African
house party. Stories, music,
dance fun.Welcome! Yourhost:
Minimal rap
Minimal dance
Maximum Rock & Roll
We take you on a trip through
an audio nightmare!
Hosted by Terry Holland.
It'll keep you regular.
BUSINESS LINE 604/822-3017
DJ LINE 604/822-2487 (822-CiTR)
NEWSLINE 604/222-2487(222-CiTR)
FAX LINE 604/822-6093
CANADA V6T 1Z1. Note the new
postal codeMMII
CiTR provides free airtime for
Community Access by groups
share some thoughts with our
listeners. If you or your group
would like to say something to
CiTR does not use 'rotations' in its
programming; all musical selections are chosen by individual programmers. The Long Grooooove*.
Short Grooves and Single Magnetic Partyclolhe* charts to the
right are based and are organised
solely on airplay. These charts
rather arbitrarily break up CiTR's
musical playlist into three groups:
long-playing albums, CDs and
cassettes; 12" and 7" singles and
EPs and CD-5's; and single cassette and demo tape songs and
other rare material that is only
playable dubbed into tape format such as fragile flexidiscs etc.
For more information on CiTR's
musical programming, please call
the Music Director at 822-3017.
_ : v.\-
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Jane Hawley	
The Stand	
The Worst	
Mourning Sickness...
The Worst	
That Melancholy Dream...
Nothing Painted Blue	
Perfume Tree	
James Curran	
Grassy Knoll Gunmen	
Dose Pump	
Groove Ranch	
Darkling Thrushes	
Command Co	
The I4th Wray	
Stick Farm	
Stick Farm 	
Amy Denio	
Citrus Park ...
 "St range Thing*"
... "I Haven'tGotAnylhlngYet"
 "As We Walk on Thin Ice"
 "Losing My Frustration"
 "Beat otthe Sun"
. "Dysfunctional Relationship"
 "She'* Wrong"
 "Ten or 100 Year*"
 "Orga* matron"
 "Creepy Thing"
 "Love Under Will"
 "AThousandHaB Marys"
 "Model Image"
 "Do Anything You Want"
... "OnceUponaTime...'
Screaming Daisies 	
Big Kitchen	
Daniel Johnson	
Franklin Bruno 	
Fred Nachbaur 	
Joyful Noise 	
Sanity Assassins	
Big Bang Theory	
29 Crash 	
7th Fire	
Big Scary Daddies	
The Everywheres 	
Crazy in the City 	
Doug Norquay 	
Elbore James	
Gas Food Lodging	
Fat Americans	
Shawn Gardiner	
Tombstone Etiquette...
Low Noise	
Picture Paintings	
 "Fun Boy*"
 "4 Point* of Smack"
 "Entering Bikini Area"
 "Three Men"
 "Alley Cal"
 "Sonic Booty"
 "Kiss Me (Wtth My Clothes On)"
 "Around* Around"
 "Cold War"
 "The Man Who Live* Next Door"
  "I'm Confused"
 "I Wear..."
  "Caught Within Your Game"
. "Flesh and Blood and Big Chunks o' Metal"
 "A Man Obsessed"
  "Clean Needle"
 "Once Upon a Time..."
 "Go Van Gogh"
 "Haitian Frustration"
  "Bad Ass Burglar"
 "My Heart Is a Slray Bullet"
 "Queen* Student Hunting"
  "Bad Credit"
  "Don't You Know"
 "Shakln'My Faith"
 "Things Will Change"
 "Cool Blues Beat"
 "Monkey Monkey"
 "It's Not My Fault"
 "Sex Thing"
 "Getting Away Wtth It"
 "In a Cab. Louisville"
 "Coin Toss"
 "Wisdom Without Knowledge"
 "Daddy's Place"
Compilation G#*idCru*/>er(Combat.Earache)
ViolentFemmes WhyDoB/rtfr SJng?(Warner.Slash)
Soundtrack NewJac/cOfyOAfarner.Giant)
Melvins Bu//heod(Boner)
Compilation Pay It Al Back Volume 3 (On-U Sound)
Consolidated f/tendfyfa$cfcm(Nettwerk)
Beat Happening DreamyCSubPop'K)
Hammerbox Hammerbox (C/Z)
Dread Zeppelin 5,000,000'(Capitol.lRS)
Stompin' Tom Connors...
Crash Test Dummies	
The Tape-Beatles	
Meryn Cadell	
Brand New Heavies	
Butthole Surfers	
Legendary Pink Dots	
More oftheStompln' Tom Phenom... (Capitol)
 The Ghosts That Haunt Me (.BMG)
 Music With Sound (DOV Entertainment)
 ThePowerof Pussy (Shimmy-Disc Europe)
 Angel Foodfor rhougW(Capitol.lntrepid)
 Brand New Heavies (Delicious Vinyl)
 Unreal WoridGory Epic)
 HouftgdftVarner. Rough Trade)
 The Maria Dimension (Caroline)
 TheReal RamonaWarneeStre)
Yo-Yo Mo/Ire Way for/h« MoW»/tode(Warner.At1antic.East West)
Primus Sailing the Seas ot Cheese (Atlantic)
Waterboys The Best otthe Waterboys:'81-VO (Chrysalis)
Kish OrdertromChaot(ASM)
Nimrod GrandsonotHam (Bron)
Pigface Gub(Cargo«Touch&Go«lnvisible)
X-Tal DleMonsterDleCAIias)
JohnOswald/Plunderphonics Rubalyat (Warn er.Elektra)
AsAbleAsKane P&/W(Cargo.KK)
Boogie Down Productions UveHareteo»MfofcflWcte(BMG.Jive)
Lenny Kravitz MamaSafcf (A&M«Virgin)
Motorhead No Remorse (MCA* Roadracer Revisited)
Tad 8-Way Sa/*fa(Sub Pop)
SirAli'sGirls Just a Gigolo (Big Blue)
BernieWorrell Funk ofAges($MG»Mesa)
Sekiri Jb*e Ate TbSeMrf (Public Bath)
Diamanda Galas «aj;ueA*j*»(Mute)
EdO.G. and da Bulldogs.... Ufe o(aKldlntheGhotto(PotyGram»PWL)
Eskimo Point et Rankin Inlet Muslqus et Chants Inults (SRI.UMMUS)
The Farm Spart_cu»(Warner»Sire« Reprise)
Monsula Structure (Lookout!)
RainTreeCrow Rain Tree Crow (A&M. Virgin)
Spacemen 3 J?ecu/rfng(BMG«Fire)
Compilation Electro Clips (SRI • Diffusion I Media. UMMUS)
World Saxoph. 4tet & African Drums A*etomo«p/>os_(Warner»Elektra)
Isis <tebe«ou/(4th& B'way)
Union Carbide Prod'ns fi©m/n/^neefo/0noro7Jce(MNW.Radium)
Ice-T O.G. Original GangsterWamecSire)
Compilation. 20m Annlv.ottheSummerofLove(Shimrny-DiscEurope)
HoodooGurus KkikyfBMG)
Ruths Refrigerator Suddenly Dlstlgured...(Cargo*KK*Maaagascar)
Compilatation Deeper htothe Vau/KCaroHne.Megaforce)
Rheostatics AteMffe (Intrepid)
Compilation Music ofthe Brazilian Northeast Volume 3 (Warner. Sire)
Redhead Kingpin* the FBI 7he*/toomW/mWoName(A&M. Virgin)
Da Willys	
Harm Farm	
Charlatans UK
Joe Jackson	
LeMysterede Voix Bulgares.
Mendelson Joe.
Tame Vou/»eff(Rhino. RNA)
The Reality ofMySurroundlngs (Sony .Columbia)
 Saturday AMte Pa/sy (FusionllLBrakeOut)
 Greatest H/fs:/Pa;-;P97(Ladd-Frith)
 PeaceHfca(Amphetamine Reptile)
 Full Nelson *e«/y (Touch & Go)
 Nice Job, f/nste/n (Alias)
 Over Rlslng(Beggars Banquet)
... I Came, ISaw, I Had a Hotdog (Community 3)
 rhe Human Factor&onyEpic)
 laughter* Lusf (A&M. Virgin)
Volume 7Wo(Warner.Elektra»Nonesuch)
Courteney Rne...
Bourne & McLeod	
Psychic Warriors of Gaia.
Dark Angel	
Fields of the Nephilim	
Monochrome Set	
Henry Kaiser	
Abecedarians rheOfher5fcteo/fhefence(lndependentProject)
Inspiral Carpets TheBeast/n*fcte(Warner»Elektra»Mute)
World of Skin.. WSongsfor Another World (Rough Trade. YoungGod)
Thomas Mapfumo Chomunorwa(Mango. Antilles)
Skaw Without You (Vinyl Japan)
Trash Can Sinatras Ca*e(PolyGram»Go! Discs)
Urge Overkill Supersonic Storybook (Touch & Go)
Hank Williams. Jr Pur»Man*(Wamer.Curb)
Buddy Blue Guff ennlpesn'Zealots (Rhino. RNA)
Droogies Weaven(Shredder)
Blockhouse Material World(Ladd-Frith)
Dinosaur Jr Green Mfnd(Blanco Y Negro)
Wihin the Realms of Our Dreams (Island .Antilles)
 Posllvety Phranc (A&M.lsland)
 FrfgidSfa/* (Sub Pop)
 Persecution of Genius (NTS Productions)
 Pearl (Dedicated)
 Dance and Celebrate (Attic)
.. Ellrium (PolyGram. Beggars Banquet)
. Nothing Is Sacred (Noise International)
 Dante's Casino (Vinyl Japan)
Hope YouUke OwAtewD/iecftoiKReckless)
short r_Rr_n\/f?«_ i on
Revolting Cocks....
"Beets, Steers 4... (Remixes)" 12" (Cargo.WaxTrax)
 "Sunless Saturday" CD-5" (Sony. Columbia)
Gas Huffer	
 Ethyl 7" EP (Black Label)
KMFDM b/w My Life
with the Thrill Kill Kult split 12" (Cargo. Wax Trax)
Shadowy Men on a Shadowy Planet Music for Pets 7" EP(K)
Dinosaur Jr	
 "Dlcknall" 7" (SubPop)
Brand Nubian	
 Precious Blood 7" EP (Big Flaming Ego)
Nikki D	
 "Daddy's UttleGIri" 12* (Sony Def Jam)
 Fastbacks double 7* (Sub Pop)
Leonard Cohen...
 Juno Hall of Fame CD-5" (Sony. Columbia)
Ufers Group	
 "Real Deal" 12" (Hollywood Basic)
 Sex Offender 7" EP (Vital Music)
Kool Moe Dee	
 "Rise n' Shine" 12" (Jive)
Sloppy Seconds	
 "Where Eagles Dare" 7" (Roadkill)
 "Spoon Breakfast" 7" (Touch* Go.lnvisible)
Reverb Motherfuckers LSD-25 7* EP (Vital Music)
Suicidal Tendencie
 "Send Me YourMoney" CD-5" (Sony.Epic)
Born Against	
 "Born Again" 7* (Vermiform)
 Sun Goe* Black 7* EP (First Warning)
 "88 Bone*" 7" (Scratch)
Funeral Party	
 Funeral Party 12* EP (Soundbox)
 "Nothing Slay*" 12* (Cargo.WaxTrax)
Samantha Fox	
(Hurt Me! Hurt Me!) ButtheCtothe*..." 12" (BMG. Jive)
The Brood	
 "But You're Gone" 7" (Get Hip)
 Prisonshake 7" EP (Estrus)
The Program	
 "Desire" 12" (Cardiac)
Shabba Ranks	
 "Traitor Load a Girls" 12" (Sony.Epic)
Random Killing Kicked In the Nuts: A True Story 7" EP (Random Killing)
 "World Control" 12* (Nettwerk)
 "WhaTsll All About?" 12* (PoryGram.Profile)
.... Favourite Spanish Dishes CD-5* (Warner. Atlantic)
Cycle Sluts from Hel
 "Al torOne and One..."CD-5" (Sony.Epic)
People AreSttll Having Sex" 12"(PolyGram.Polydor)
Maestro Fresh Wes.
 Conductln'Thangs CD-5* (Attic. LMR)
 "Brutal Equation" 12* (Nettwerk)
 Cheers to You7*EP(Force Majeure)
The Orb	
 "Little Fluffy Clouds" 12" (Wau Mr Modo)
 Waysto Enjoy Ufe 7* EP (Empty)
 "Lovesick" CD-5" (Chrysalis)
 Pumphouse 7* EP (Excursion)
 "ICan'tTakelhe Power" 12* (Sony.Epic)
 "I'm Not Your Puppet" 12* (Hollywood)
Jesse Jaymes	
 Jesse Jaymes 12" (Delicious Vinyl)
.aa° "MadLove"12*(PolyGram.4AD)
 "Shaman'sColl" 12* (Sony Gmbh.Dance Pool)
 "Strange Days" 12* (World for Ransom)
 "BestofMy Love" 12" (Island)
Black Box	
 "Strike It Up" 12" (BMG* De Construction)
 "Seas ol Cheese" CD-5" (EastWest. Interscope)
Brand New Heavie
 "Dream Come True" 12" (Delicious Vinyl)
 "Nightgown" 12" (Sony.Epic)
Brick Bat b/w Red Bliss "Axl*: Bold as Noise" 7* EP (Axis)
 Six Tender Moments 12" EP (Capitol)
Bright Like Ice	
 Bright Uke Ice 7' EP (Smarten Up!)
 "Psychosis" 12* (Cheree)
Vomit Launch	
Bottcutters & Beer 7" EP (Rough Trade. Mad Rover)
 "Debut" 12* EP (Well Primed)
 "Living In My Shell" 12* (BigCity)
Stick Farm	
 "Doors of Perception" 7* (Weed Productions)
 Crunghouse 7* EP (Crungehouse)
 "Mother Universe" CD-5" (PolyGram*Big Ufe)
Beyond Sad Weeds
 "Shattered Dreams" 7* (Weed Productions)
 "Sequin" 12* (Roc Rulin)
Legendary Stardust Cowboy "Relaxation" 7'(Norton)
 Craig Olive 7* EP (Dutch East. Homestead)
The Great Gaylord w/the A-Bones "Squat With Me Baby" 7* (Norton)
 ldora7* EP (MCR Company)
 "Peach Fuzz" 12* (Elekfra)
No Man	
 "Diamond Back (Remix)" 12* (SST)
 "United Snakes" 12* (Sony .Columbia)
Letch Patrol	
.... Love Is Blind 7* EP (Seidboard World Enterprises)
 "Sick Of It All" 7* (DGC)
 "Subversive" CD-5* (BMG)
 "Anthem" 12* (BMG. De Construction)
 Don't Push Me I'maRegularGuy 7" EP (Tantrum)
Definition of Sound
 "Now Is Tomorrow" CD-5" (Cardiac)
Soul Asylum	
Something Out of Nothing l2*(EP(A&M.Twin\Tone)
 "Television Religion" 7* (Posh Boy)
 "Only Revolution* 7" (Nabate)
Sick of It All	
 We Stand Alone 7* EP (Combat. In-Effect)
 "Time" 12* (TWP)
Ricky Van Shelton..
 "lAmaSlmple Man" CD-5" (Sony.Columbia)
Compile tion	
 Cowboy Tea Show 10" EP(Susstones)
JUNE 1991   33 5 c a\\/^,
f     f DINOSAUR jr
fa Mm
Tickets at all Ticketmaster outlets, Zulu, Track
& Scratch Records or charge by phone
280-4444 CiTR
Produced by Perryscope
LOL.9 fM Special* ev&uf
cUuf 1&6& fat ou*
.99 ce*tt kI$6u
Often, :
*7cie4, - S<xt.
X:00fe*K - 2:00<x*k,
ScatcUuft, to> 0}Jtid*U$&t
' &UUOJ &H&U    V.f.    SltfU 4fUH* Wot H«H€*
315 East Broadway at Kingsway
876 - 7003
"g<H<U 66 &U&UC 1&C& T>WH4Utfn&


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