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 I
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?^m 1275
SEYMOUR
RALPH
records
recording
artists
RHVTHM««NOISE
THURS.
NOV.   13TH DjfcORDER
That Magazine from CITR fml02 cablelOO
November 1986 • Vol. 4/No. 10
EDITOR
Michael Shea
WRITERS
Jerome Broadway, Pat Carroll, Janis McKenzie,
Mark Mushet, Mark Quail, Robert Shea,
Kevin Smith, Julia Steele
ART DIRECTOR
Eric Damianos
CARTOONS
Rod Filbrandt, William Thompson
COVER
Davide Pan
PRODUCTION MANAGER
Karen Shea
DESIGN
Harreson Atley
LAYOUT
Pat Carroll, Randy Iwata, Jennifer Mountain,
Shedo Ollek, Robin Razzell, Johanna Block,
Lynn Snedden, Toby Thiersch
TYPESETTING
Dena Corby, Sheila Haldane, Lisa Cameron
BUSINESS MANAGER
Randy Iwata
ADVERTISING MANAGER
Robin Razzell
DISTRIBUTION MANAGER
Bill Mullan
SUBSCRIPTIONS MANAGER
Randy Iwata
PUBLISHER
Harry Hertscheg
DISCORDER, c/o CITR Radio 6138 SUB Blvd.,
Vancouver, B.C, V6T 2A5. Phone (604) 228-3017.
DISCORDER Magazine is published monthly by
the Student Radio Society of the University of British
Columbia (CITR-UBC Radio).
CITR fm101.9 cablelOO.l broadcasts a 49-watt signal in stereo throughout Vancouver from Gage Towers
on the UBC campus. CITR is also available via FM
cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam,
Port Moody, Maple Ridge and Mission.
DISCORDER circulates 17,500 free copies. For
advertising and circulation inquiries call 228-3017 and
ask for station manager Harry Hertscheg.
Twelve-month subscriptions available: $10 in Canada, $10 U.S. in the U.S.A., $15 overseas. Send cheque
or money order payable to CITR Publications.
Unsolicited manuscripts, photographs, cartoons
and graphics are welcome but they can be returned
only if accompanied by a self-addressed, stamped
envelope. DISCORDER does not assume responsibility for unsolicited material.
IN THIS ISSUE
LIFE IS A JAMBOREE
Kevin Smith talks to Guadalcanal Diary, very slowly.
THE IMPORTANCE OF BEING NORWEGIAN
Dollie Deluxe are young, beautiful, and very funny.
THE ORTHOTONUS — POST SCRIPT
The Orthotonus were in Vancouver recently and they were
very good. Mark Mushet wants to tell you why.
THE ARMCHAIR EYE
Jerome Broadway reviews the very best of the new TV season.
6
10
13
30
IN EVERY ISSUE
AIRHEAD
For only thirty-four cents, you can have a piece of the Airhead.
Satisfaction guaranteed. 4
SHINDIG
Stubborn Blood moves into the finals.
Julia checks out the odds. 14
BEHIND THE DIAL
Old faces, back issues, and sick musicians.
What does it all mean? 18
ON THE DIAL
A guide to radio for normal people. 19
SPIN LIST
Only the best 19
VINYL VERDICT
New round things from Talking Heads, Keith LeBlanc,
The Raunch Hands, Minimal Man, Steven Brown and the
soundtrack from Sid and Nancy. 22
DEMO DERBY
New pieces of tape from popular local bands. 28
NOVEMBER  1986       3 RH0A>
Rockers For Violence
Dear Airhead,
We feel that the public should
be made aware of the recent
obscene violent actions of the
Vancouver area "rockers."
We realize that not all "rockers" are "ultra-violent," but it is
a known fact that they've been
(seen) beating on innocent
people.
Recently, their attacks have
been unnecessary, unprovoked
and brutally vicious. We personally know a small, harmless female who has been beaten and
terrorized to the point where she
is afraid to leave her room. She
has lost her freedom.
We'd like to pose a question to
the "rockers'—why? Why do you
feel it is your duty to punish
those who do not share the
same views as you?
U>13& 5V& 3LVP>.
We call upon those who feel
also that these actions are ignorant and senseless, and commit
some time to non-violence
among the local youth. We feel
this problem needs to be confronted and dealt with.
Gord Garbage
Jay Skull
Keith Krudd
Lucifer Beachhead
Why? Indeed! A question posed
through history by those groups
and individuals oppressed because of the way they look, what
they believe in, for whatever reason, by others who somehow feel
it is their inexplicable right to enforce in their own warped minds
what they think is the norm. If it
is any consolation, history has
proven these scum of the earth
to be exactly that.
CITR MOBILE SOUND
What You Want, Where You Want It!
cha-cha, CITR can deliver
it right to your next party
with its Mobile Sound System.
And the rates are great!
CITR MOBILE SOUND  228-3017
Art vs. Cheese
This cartoon is dedicated to Mr. R. Bucky (pseudo-
intellectual, Jim Cummins' butt-boy) Fuller. I don't give a shit
who this troll is but I thought he might like to see what I think
of his pathetic opinion. I happen to like cheese!
Rod Filbrandt
Filbrandt, creator of "Wombat" and past Discorder covers,
is responding to comments printed in October's Airhead column from R. Bucky Fuller (not to be confused with the late
American architect), who claims that Discorder covers are
"Cheesy, crayon-scrawled cartoons!" While Airhead does
endeavour to promote a stimulating discourse on the finer
points of fashion, art and music, we would rather see those
self-appointed critics put their money where their mouths are.
Discorder actively solicits contributions from our readers, whether they be cover designs, cartoons, art works, or feature
articles. All inquiries should be directed to the Art Director
or the Editor by post or telephone. Case closed.
••*•*••*•**•••*•*••••*•*
DJ Asylum Dept.
I'm looking for serious contact in
Free World because my political
situation here is tragic.
Write if you have possible information. Help me in emigration
please. I can write details.
Jan Pawul
41 - 709 Ruda Slaska 9
Skr - 2 POLAND
"Jan Pawul began as a disc
jockey in 1969 in a small radio
station in southwest Poland. With
the start of disco in 1970 he signed a contract with a disco road
show as their main disc jockey.
Jan Pawul has had, and still as
of today, maintains numerous international contacts with disc
jockeys. He has been an
honorary member of the National
Association of Disco Disc
Jockeys. He notes that he plays
only American music, which
gives the feel of 'a little bit of
America in Poland,' he adds."
(From a Jan Pawul press release.)
What? No Salsoul Orchestra,
Silver Convention, Barry White, or
Disco Tex in Poland! Does this
disc jockey need help? You bet he
does!
4     DISCORDER A CITR/DISCORDER FUNDRAISER
IT'S THAT
COUPON BOOK
FROM CITR!
~m BLAOKBooK?
( HA?P&i TO Vtd
rr...&rf"mrt
ACAIN,tH\OW{-
Save over $1,000 at Vancouver's avant garde restaurants, clubs and
shops. Over 100 free passes, 2 for l's, and percent-off coupons
to places like the Ridge Theatre, Van East Cinema, Montgomery
Cafe, Binky's, Topanga Cafe, Odyssey Imports, Railway Club, Savoy,
Town Pump and The Venue.
Help support CITR and DISCORDER while you save big bucks
at Vancouver's finest ... only $22 each.
1987 EDITION AVAILABLE MID-NOVEMBER
At Zulu, Odyssey, CBO Downtown, AAAS Tickets (UBC),
Black Market, Cabbages & Kinx and many other fine locations.
INFO CALL
228-3017 Life Is A Jamboree
SITTIN' AROUND THE CAMPFIRE ON
a wistful summer's eve living one of life's
early little adventures. No, not that one.
The other one that involves some camaraderie, some hiking and some singa-
longs. Kumbayah. Kumbayah my lord, Kumbayah. With that one simple phrase, Guadalcanal Diary managed to make somewhat of
a name for themselves. Learnt, along with
Jingle Bells, March of the Three Kings and Joy
to the World, only for a Christmas show they
were playing, how could Murray, Rhett, John
and Jeff know it would be their ticket to stardom. Okay, maybe not stardom, but a lot of
interest was created by the traditional ditty
Kumbayah. At that Christmas show, it was the
singalong hit of the festivities. Something for
everyone, singalong with Guadalcanal Diary
or bow your head in embarrassment. Whatever, the ol' campfire never shook like this.
Funny thing about Guadalcanal Diary is this
accusation of schizophrenia. Yes sir, that's
what has been splattered 'round by some
'loose with the diagnosis' press types (probably took a couple college psych courses,
but didn't actually go to any of the classes).
Well now, I have made the acquaintance of
the four young people who comprise the
ensemble; and had the qood fortune to see
6      DISCORDER
Kevin Smith Chews the Cud
and hear them live. Let me just say that no
indications of mental illness were evident. Matter of fact, they were genuinely well-adjusted,
likeable folks (for rock stars, that is). So what
is this unfounded accusation of psychotic
disorder all about? Well, it seems that Guadalcanal's songs don't all sound the same, have
the same beat or deal with the same topic.
Yeah, that's right, this band actually has variety, imagination and humour; stuff that we
used to hold dear back in the good old days,
but it's different in the modern world. No.
Guadalcanal Diary are not bland, glossy or
one-dimensional. Unfortunately, failure to
possess these mind-numbing qualities of
sameness gets equated with illness.
REM. The band from way down south that
has captured the rock 'n' roll hopes of
everyone and his brother, have had fellow
Georgians Guadalcanal Diary opening up for
them on their recent tour. A fitting situation
for a band that has had to live with, and live
down, the sometimes fatal REM comparison.
The differences between the two outfits become very evident in concert. REM creates
an atmosphere that on the best nights can
totally envelop you, drawing you futher and
further inward. Guadalcanal are REM's gregarious cousins, reaching out to grab the
audience rather than slowly pulling it in. When
singer Murray Attaway threatens that the band
will play an Anne Murray tune, you know
you're listening to a guy with a sense of
humour. Accompanying Murray on stage,
bassist Rhett Crowe bops along, her head going to and fro continuously, Jeff Walls churns
and churns that guitar of his, and drummer
John Poe flails. Oh ya, Kumbayah live might
just include some snippets from The Who's
/ Can See For Miles, or maybe even a tad of
Jefferson Airplane's White Rabbit. Boy, you'd
think nothing was sacred.
LIKE ALL RIGHT-thinkin' bands, Guadalcanal had the good sense to put out a
piece of vinyl back in 1983. That EP carried the moniker Watusi Rodeo, because producer Bruce Baxter said one side sounded
cowboy and the other side, African. Just like
the EP, their first full-length pieces of wax,
Walking in the Shadow of the Big Man, appeared on the Athens, Georgia independent
label, DB Records. And that disc actually included a tune entitled Watusi Rodeo, an instantly likeable and memorable song about
the clash that occurs when one country tries
to install its own culture in a foreign land.
cont. p. 8 O&6sound IS
YOUR MUSIC SOURCE!
s
99
LP or Cass
Rainmakers-
RAINMAKERS
Raising Hell-RUN DMC
No Guru, No Method-VAN MORRISON
World Machine-LEVEL 42
The Seer-BIG COUNTRY
Filigree & Shadow-THIS MORTAL COIL
True Colours-LEVEL 42
A Physical Presence-   "T 44
LEVEL 42 (2 LP) # ■
LP or Cass
Express-
LOVE & ROCKETS
Levi Stubbs Tears-BILLY BRAGG (LP only)
Level 42-LEVEL 42
Pursuit of Accidents-LEVEL 42
Mania-THE LUCY SHOW
LP or Cass
Bend Sinister
THE FALL
Friends-THE BOLSHOI
Talking with the Taxman About Poetry-BILLY BRAGG
Brotherhood-NEW ORDER
Daring Adventures-RICHARD THOMPSON
Discover-GENE LOVES JEZEBEL
Word Up-CAMEO
Communards-COMMUNARDS
Artificial Intelligence-JOHN CALE
Standing up Straight-WOLFGANG PRESS
Another View-VELVET UNDERGROUND
Out of the Grey-DREAM SYNDICATE
PolyGram
YOUR TOTAL ENTERTAINMENT CENTRE
Ml       YOUR TOTAL ENTERTAINMENT CENTR
O&usound
556 Seymour St.
687-5837
752 5W ManneDr.
321 5112
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254 1601 ^VE WITH RESIGN
SC TOO »jj|jS»4332<
Adults $4.50
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Seniors & Handicapped
F7th AVE. & COMMERCIAL DRIVE 253-54551
HOME OF THE BRAUE
fl FILM BV LAURIE HHDERSON
from p. 6
Besides the nifty surf-guitar solo, Watusi
Rodeo contains some of the most intelligent
and funny lyrics around:
Monkeys in the trees just thumbin' their
nose
At the bullriders riddin' on rhinos.
Warriors standin' with spears in their hands
Wonderin' what's next from a crazy white
man.
Natives are restless sunnin' this jetsam
What are these cowboys doin' in the
Congo?
Look like cows but they're waterbuffaloes,
Ropin' and ridin' in a Watusi Rodeo,
They look like cows but the're
waterbuffaloes,
Everybody's headin' for the Watusi Rodeo.
Things were goin' pretty darn fine for this
group form the South. They became hot stuff
on the college radio circuit. Heavy airplay for
Walking... and the big boys were paying attention. Turn around and Guadalcanal Diary
are livin' the good life of milk and honey, lazing around the pool all day contemplating
stock options. All thanks to the friendly folks
at Elektra Records. So it might not have meant
milk and honey, but according to John it did
garner some improvement, "All the major label
has done for us is, we seem to have spent lots
more time and lots more money for a product
that maybe it's a little more professional, but
to me it's not anymore entertaining than the
first one was. They have a real knack of spending lots of time and money doing lots of
things. But the one thing you can't beat with
a big label is distribution. I can walk into
almost any record store and our record will
be there. That's the advantage, in my opinion,
of being on a big label as opposed to DB
where it was a real struggle for them to get
the records where we were playing, much less
where we weren't."
The thing with the biggies is they don't just
volunteer to distribute the album for you like
8     DISCORDER your kin-folk might if they were spending their
vacation driving cross-country in a rented RV.
No, unfortunately the major labels are desirous of sharing ideas, plans and such with the
band. Record companies also like to make
suggestions. And why not, it's a relatively free
country isn't it? If we can believe John, thankfully, disagreements have not led to any physical injuries yet. "They say things like 'we
would like you to have a new album ready for
spring of next year.' But there's no pressure.
We say, 'We have more in mind of having a
new record out in fall of next year.' They'll
argue a bit but nothing has gotten ugly."
Producer Rodney Mills was Elektra's idea.
He'd worked with 38 Special and The Atlanta
Rhythm Section; and the plan was to procure
a smash hit single from Guadalcanal Diary (I
mean, it happened for The Bangles, right?).
However, Mills resisted giving the songs a big,
glossy sheen. I'm glad he did and so is drummer John, but John didn't take to well to the
contributions of the other producer Steve Nye.
"I think we completely gave into Steve Nye,
and I think we got the ultimate in gloss. The
really pretty vocals and guitars, and the real
subdued bass and drums, and I didn't care
for it at all."
A FORTUNATE SIGN is Guadalcanal's
continuing to experiment on the new LP
Jamboree. The, record travels quite a
distance from tune to tune with the swinging
T.R.O.U.B.L.E., introspective, spiritual cuts like
Spirit Train and Pray For Rain, and the heavy-
metalish Cattle Prod. Spirituality is a term that
cropped up a lot at the time of Walking in the
Shadow of the Big Man, and the new album
reinforces this aspect. For the group, it has
nothing to do with organized religion or
preaching to the masses but rather an earnest
reverence for life in general. An appreciation
of the awes, and the mysteries and the wonders of life. But, about Cattle Prod. A sort of
humourous heavy metal tune that came about
from taking two days to drive through Texas.
Being cooped up in a van staring at oil wells
and loads of cattle can be mightly inspiring.
Says John, "It's just fun with barnyard animals, not necessarily sexual connotations. We
put those references in there to be read if one
cared to read those connotations in, but actually it's about someone who enjoys his work.
At first I got after Murray, 'You can't be singin'
these sexual innuendos;' and then I sat back
and looked at it. It isn't really there. It's all in
your imagination. Nothing he says has to be
taken in a bestial way. It could be just someone who enjoys milking his cows, and thus,
keep'n them in line." Well, you can ponder that
one. Whatever you get from each song, the
music is open to interpretation, as it should
be. Guadalcanal Diary manage to create
music that can reach out or look inward, while
trying new ideas and maintaining a delicious
wit. Not something to worship, but certainly
worth a little reverence.
—Kevin Smith
THEATRESPORTS
Improvisational Theatre
THURSDAYS 8:00 PM
AT
THE GRADUATE STUDENT
CENTRE, UBC
$4.00 General Admission
PRESENTED BY THE VANCOUVER THEATRESPORTS LEAGUE
41 im r*
M       * • THEATRE * •        Bb
16th & Arbutus 738-6311
NOV. 7-13
7:30 & 9:30
PREMIERE CANADIAN ENGAGEMENT
IN A TIME OF DANGER
AND SUSPICION, LOVE CAN BE THE
ULTIMATE SANCTUARY.. . OR THE ULTIMATE TRAP
"...an Intriguing piece ot film nolr.., stylish direction,
and an entrancing performance by Matilda May
as the psychic sister." - variety
u>*^
FROM THE DIRECTOR OF "EXPERIENCE
PREFERRED, BUT NOT ESSENTIAL"
NOV. 14-NOV. 16
7:30    9:30
"Leon Marr has directed a
first film of Immense
Integrity, and Martha
Henry has given the
performance of a career...
They have pirouetted
proudly Into the spotlight."
- Jay Scott, Globe & Mail
NOV. 21 — NOV. 27
7:30 & 9:30
CANADIAN PREMIERE ENGAGEMEN
"RATE IT X...alternately funny and outrageous...produced
with humour, Insight and Irony, especially as men trap
INTER AM A themselves In their own cliches. - Variety
..comic and outrageous In equal proportions." - Dallas Observer
\..a hilarious and sometimes chilling cinema verite glimpse
Into male chauvinism." - Hollywood Reporter
NOVEMBER  1986 ISTORICALLY, NORWAY IS NOT
renowned for its sense of humour. Fjords, reforestation programs, and Horney Gorney, yes,
a wistful melancholia, perhaps. But an acerbic wit, a satirical innuendo, or the nuance of
absurdity are not words that come to my mind
when thinking of Norway and its people. In
fact, the only Norwegian jokes I've ever heard
were told by Swedes, and we all know how
funny the Swedes are. Yet, flying into the ugly face of cultural stereotyping comes something from Norway that is truly funny. Dollie
Deluxe!
Dollie Deluxe are two coolly beautiful Norwegian ingenues who recently made their
North American debut during the last week
of Expo 86. Ingrid, a classically trained pianist,
and Benedicte, an opera singer in her own
right, have been performing together for six
years and have released as many albums. The
latest Rock vs. Opera, has apparently taken
Europe by storm and if the response they
received at Expo 86 is any indication, Dollie
Deluxe are set to do the same in North America.
Rock versus opera? you may rightfully ask.
It is the Dotlie Deluxe concept that they take
very seriously yet manage to execute in such
a fashion that it comes across as being, at
times, absurdly funny. Imagine Caro Nome
from Verdi's Rigoletto sung to Sex & Drugs &
Rock & roll by Ian Dury. Or Habanera from
Bizet's Carmen to Gimme Some Lovin' by the
Spencer Davis Group. Or what about their biggest hit, the Queen of the Night aria from
Mozart's The Magic Flute and / Can't Get No
Satisfaction? Now picture Dollie Deluxe resplendent in pink robes and opera couture
backed by a generic rock group with an 'I
Loathe Opera' frown across their handsome
faces, trying to usurp the limelight with their
generic versions of rock and roll classics. The
winner: opera, by a clear crescendo.
This is the best of Dollie Deluxe's unlikely
mix of opera and rock standards. It is seemingly incongruous that one is tempted to laugh
at the audacity of such a combination. Yet, it
works. But, when it is bad, it is really bad.
Dollie Deluxe's delivery can be awkward and
contrived, and their original material is not
much better than the losing entries of last
year's Eurovision Pop Song Contest. Nevertheless, I can forgive them their shortcomings.
Why? I am not quite so sure. Perhaps it is
because I find them ineffably charming. Maybe I am a sucker for a good aria. Or could it
be that I simply like Norwegians?
THESE ARE THE POINTS TO KEEP in
mind when considering the Dollie
Deluxe phenomenon. However implausible it may seem, they are depending on
their guileless charm to take them to the top
of the North American Hit Parade. Opera on
the AM airwaves? A year ago, most of those
who should know would have laughed at the
notion of Run DMC or even Janet Jackson's
less than nasty funk crossing over in a big
way. Yet, rap and funk are threads in North
American music fabric, whereas opera is most
definitely not. It is considered by most purveyors of contemporary taste in North America
to be an anachronism, an archaic cultural
form representative of a European aristocratic
society that has long since disappeared. Any
pop artists today that display more than just
a passing interest with the 'operatic' style
(Malcolm McLaren, Klaus Nomi, and Nina
Hagen, to name a few) are ultimately demoted
to the class of 'novelty act' by the music Industry because of the establishment's limited
scope. Will the same happen to Dollie Deluxe?
Or will they embrace them precisely because
they are beautiful and Norwegian?
Dollie Deluxe's first visit to North America
attracted almost 50,000 people to their eight
public performances at Expo 86 and their success can be attributed to the same sources
that ensured the success of the world's fair.
Both achieved unexpected popularity because
they became media events. Their appeal was
easily transmitted by the image media which
especially is very adept at creating a superficial allure ready for quick consumption.
Dollie Deluxe's live presentation did not meet
the expectations the hype preceeding it created, yet at this point in the game, that's irrelevant. We are all looking for the Next Big Thing,
and just as the Sex Pistols remain testament
to the fact that style over content sells records,
opera might be next year's style. Don't laugh,
it could be very funny.
—Mr. Ed €MlX
&f**r<**<*
USIC HALL-SERIES
EVERY
fl!   II IT   fi   Nov.
16
8Pm
BUTT    1        \T   with guests
* T H E
GIRL
with guests
Bo Deans
November 17 • 8 pm
NOVEMBER  1986 TCE-X-C-E • L'L-EIRO^f
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NOVEMBER 16th
12      D1SCORDFR
• Everything But the Girl
•Love Not Money
•Baby, the Stars Shine Bright
YOUR TOTAL ENTERTAINMENT CENTRE
Mf      YOUR TOTAL ENTERTAINMENT CENTRE
O&Osound
556 Seymour St.        732 S.w Marine Or 2696 E. Hastings St
687-5837 321 5112 2541601 HAVE YOU EVER BEEN SITTING IN
a bar amidst a seething throng of
about five or six people while a
band from waaaay out of town is
playing, to their utmost limit, some of the
tightest, original, and inspired dance music
to be heard? It rather drives one to teeth-
grinding frustration whilst having visions of the
promoter being burned in effigy. And while the
five or six people are being impressed to the
eyeballs, the place SHOULD and COULD be
PACKED.
Case in point: Were you aware that Richmond, Virginia's Orthotonics played two
outstanding gigs at the Railway Club on
September 24th and 25th? No? Apparently no
one else did either, even those of us previously
aware of their two LPs on Rec Rec Switzerland (Rift in the U.S.), a division of the famed
Recommended Records Label. They also
share a kinship with such groups as France's
Etron Fou Leloublan and Les i, Switzerland's
Debile Menthol, and American groups V-Effect
and Skeleton Crew. Highly inventive, and infinitely danceable, the Orthotonics are one of
the most enjoyable trios a club like the Rail
could ever hope to entertain.
Having evolved from an expectedly small
network of people involved with a music im-
prov/artist workshop in the tobacco capital of
North America, the Orthotonics originally performed as a five piece and released their first
LP as such in 1985 on the Rec Rec label. The
LP, Wake Up You Must Remember, received
a great deal of favour from the indie music
press through the fact that Fred Frith, a friend
of trre band, mixed the recording. To this day,
Frith's name is unnecessarily tagged on for
promotion and reference. Though Frith has
also produced the Ortho's latest LP Luminous
Bipeds, his peripheral involvement with the
group has little bearing on their unique and
accomplished sound. If anything, it should
simply be taken as a hallmark of quality.
Time to meet the band: Danny Finney,
saxes and vocals; Rebby Sharp, keys, guitar,
and vocals; and Pippin Barnnet, percussion
and vocals. It's not difficult meeting a group
when there are only a half dozen patrons in
the place and their exit from the stage takes
From L to R: Danny Finney, Pippin Barnnet,   Rebby Sharp.
them right to your table. Remember, the Police
once played to as many people and look what
happened to them. Well, maybe I shouldn't
have brought that up. In any case, I am very
pleased to meet them and decide to arrange
a live interview on CITR to promote the following evening's performance. And, while Richard Thompson and The Animal Slaves were
playing only blocks away, the turnout for the
Orthotonics' second show was considerably
improved and the enthusiasm ran high both
onstage and amongst the newly seething
throngs. (Gosh, Mark! It really workSr-Ed)
Excellent. Contacts are made and NEXT
TIME it will be BIG. Perhaps a date with
Skeleton Crew is in order. Seeing as Pippin
is also the drummer for Curlew (along with
Frith, Tom Cora, George Cartwright etc.) we
may yet see that group perform here as well.
It is agreed that the Orthotonics will be back.
Next time, don't miss them. You would be
missing out on quite a show.
P.P.S. Both Orthotonics records are currently
available at Zulu for a more than reasonable
price. They are both well worth the effort.
—Mark Mushet
NOVEMBER  1986     13 •
SO HEY, ON MONDAY, OCTOBER 6TH
the first Semi-Finals of Shindig happened at the Savoy. There was a huge
lineup, plenty of drunk people and three good
local bands. Gee, it's too bad they all couldn't
have won, but I guess that's the nature of
healthy competition. The losers were Omni-
Squid, despite their great percussion, gogo
dancers and artistically stupid stage antics.
Stubborn Blood were the winners because
they played a cohesive and blistering set of
music a little bit more original than the Void,
who came in second. All three bands looked
I like they had a good time, which is more im-
iportant than winning anyway.
The No Contest Night on October 13th was
cancelled due to Expo plague, but Shindig,
undaunted as ever, was back with force on
October 20th. This band, Equinox, who came
equipped with their own sound man, the biggest speakers and drum kit ever to grace the
Savoy, played a super lengthy drum solo, just
I Julia Was There. Were You?
like Iron Butterfly. They came in last, which
is too bad, considering the trouble they went
to. FYF came in second, and they did really
well considering it was their first gig. The winners were Bruised and Stupid from Victoria.
They have a demo currently in circulation at
CITR (as does Stubborn Blood and Omni-
Squid), and will go on to further their participation in the Vancouver music scene on
November 10th at the next Shindig Sernj^
Finals.
—Julia
#
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CObU&fQfcf WW
COLLECTORS RPM
456 Seymour Street
bitty Gibbons
)/OU $HQOCJ> COM? OV&Z 1*00//
COLLECTOR'S R.P.M.
Records - Posters - Memorabilia
685-8841
<*rrH4*20 fVKQUje  SCO tfO A  &£*  Mtftfjft
14     DISCORDER Nov. 3!
Zen Pilots
Times Four
More Uncle Stories
Nov. 10! Semi-final
Bruised & Stupid
Winner of Oct. 27
Winner of Nov. 3
Nov. 17!
Third Man Out
Hiptype
Nov. 24!
Bedspins
Vertical Laughter
Subterreans
1st Prize
24 hrs. Recording Time
24-track at Mushroom Studios
B & W Music Video from
Zeitgeist Video Productions
2nd Prize
24 hrs. Recording Time
16-track at Bullfrog Studios
3rd Prize
24 hrs. Recording Time
8-track at Scape Studios
— and —
a D330 BT Microphone
from Commercial Electronics
.TIC AL
LAUGHTER
oct.30 *C1C •
TOO LATE
CAVE ™
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BEHIND
THE
DIAL
Hello Stranger? Pt. 2
After realizing that working as the Queen's
Press Secretary was not the challenge he had
anticipated, Michael Shea has returned to
these hallowed pages as editor of That Magazine From CITR FM102. He was lured from
Buck Palace by the promise of an unlimited
cashflow and comps to all the local gigs. Rest
assured, avid readers, that the rampant nepotism Discorder is often accused of has finally
been overcome by the selfless consideration
of printing all the Wit That is Fit to Print.
Michael is not related to anyone here at Discorder. Before working as Elizabeth's right-
hand man, he was an internationally-known
Polish disc-jockey. Accolades to Bill Mullen,
who survived as editor for two issues. Bill has
gone on to the infinitely more frustrating
business of independent filmmaking.
Musical Health
The business of making music has not been
known for its occupational health hazards;
deaf ears, sore throats, and drug-addled
brains have been common symptoms of this
particularly glamourous lifestyle, but more
recently there has been an increase in disabilities due to the actual playing of music.
Whether you are a rapid-fire drummer, a hot
guitar licker, or a histronic singer, you want to
protect the ability to do what you do best.
Robin Fross is a medical doctor at UBC who
is very interested in defining some of the occupational health hazards that afflict many
professional and amateur musicians. Fross
has written a comprehensive survey that will
assist her in the research of the medical problems of performing artists, and she requires
musicians from all areas to answer the survey.
Whether you are professional or amateur,
healthy or sick, Dr. Fross would like to talk to
you. Call her at 228-7769.
Back Issues Are Now
Available. Cheap.
We know that there are now many avid Discorder readers who at one time or another
thought that this magazine was just another
"flash in the pan" and never expected to see
it past the next issue. We know that because
many of those same people once did or now
do work at "That magazine from CITR." Like
us you probably used Discorder for lining the
litter box, cleaning the windows and when the
tissue supply went dry. Alas! never to see the
same Discorders again! Have no fear, dear
readers, Discorder back issues are now available! For only $1 per copy ($1 U.S. and $2
overseas), you too, have the opportunity to
complete your Discorder Catalogue (subject
to availability, of course). What a great Christmas idea, kids! Please make your cheque or
money order payable to:
CITR Publications
6138 SUB Blvd.
Vancouver, B.C.
V6T 2A5
Make sure to list alternatives as not all
issues may be in stock. Merry reading!
Don't Open That Fridge!
"Got the information munchies?... Whet your
appetite with CITR's Dinner Report... Your Information Alternative. Starting November 3, the
5 o'clock Dinner Report expands its format to
cover UBC and University related news, reviews, public affairs and sports. Find out what's
happening with the dinner report, 5 p.m., Monday to Friday. Salad bar and desert included.
W>36 Powell st.
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18      DISCORDER CITR fm 102 cable 100
TOP AIRPLAY ALBUMS
ARTIST
•Various Artists
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•Screaming Blue Messiahs
•Herald Nix
•The Gruesomes
•David Sylvain
•Spirit of the West
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•The Jazz Butcher
•Flux
•Perennial Divide
•The Untouchables
•Talking Heads
•Giant Sand
•54.40
•REM
•B-52s
•Nick Cave
•Laibach
•Various Artists
•Various Artists
ARTIST
•This Mortal Coil
•Ciccone Youth
•The Fall
•The The
•Richard H. Kirk
•Billy Bragg
•Celebrity Drunks
•Soup Dragons
•The Spores
•Flammable Animal
TITLE
Love Kills
It Came From Canada II
Gun-Shy
The Fugitive Kind
tyrants of Teen Trash
Gone To Earth
Tripping Up The Stairs
Discover
Bloody Nonsense
Uncarved Block
Purge
Dance Party EP
True Stories
Ballad of a Thin Line Man
54.40
Life's Rich Pageant
Bouncing Off Satellites
Kicking Against The Pricks
Occupied Europe Tour 1985
Valium Orgasms
London Underground (CHRW)
TOP AIRPLAY SINGLES
TITLE
Drugs
Burnin' Up
Living Too Late
Sweet Bird of Truth
Hipnotic
Levi Stubbs' Tears EP
Beef March
Whole Wide World
Narcs In My Pants
Brand New Day
LABEL
MCA
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WEA
East Side
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RCA
Polygram
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Creation
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LABEL
4AD
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Some Bizarre
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Polygram
Demo Tape
Subway
Criminal
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EDAM Presents:
HONOURABLE MENTION
A FULL-LENGTH
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NOVEMBER  1986     19 ON
THE
DIAL
CITR fm 102 cable 100
WEEKDAY REGULARS
7:30 am    Sign-On
8:00 am    BREAKFAST REPORT
News, sports and weather followed
by GENERIC REIVEW and
INSIGHT
10:00 am MORNING NEWS BRIEF
News, sports and weather.
1:00 pm    LUNCH REPORT
News, sports and weather.
3:00 pm   AFTERNOON NEWS BRIEF
News, sports and weather.
5:00 pm    DINNER MAGAZINE
News, sports and weather followed
by GENERIC REVIEWS, INSIGHT and
a DAILY FEATURE.
4:00 am    Sign-Off
WEEKDAY HIGHLIGHTS
MONDAYS
THE JAZZ SHOW
9:00 pm-12:30 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
02 Nov.  Classic VEJI (Vancouver Ensemble
of Jazz Improvisation) is a big
band led by trombonist, pianist, arranger and composer Hugh Fraser.
It is the best of all the VEJI records
and should prove—once again—that
Vancouver is a city of world-class
jazz.
70 Nov.  J Mood. Wynton Marsalis' latest
Jazz recording is a revelation. Marsalis no longer has to "prove" his
artistry or his musical maturity. It's
here on this quartet record of
balanced, often profound
performances.
17 Nov. Art Tatum, considered by many to
be THE Jazz pianist died in 1956.
Even 30 years after his death young
20     DISCORDER
pianists study him. As Oscar Peterson says, "Tatum wrote the book."
We'll here the great Tatum in solo
performances recorded shortly
before his death, and hear why he
is held in such high regard by
pianists from all fields of music.
24 Nov. Nascence is the name of a new
album by two of the brightest lights
in contemporary jazz...Terence
Blanchard and Donald Harrison.
They have just left jazz-master Art
Blakey after four years and formed
their own band. The results are this
record...their best yet. These two
young (under 25) men are at the
forefront of today's jazz.
TUESDAYS
THE EDGE ON FOLK
8:00-9:30 pm
Vancouver's only Prime Time radio show
featuring traditional music from around the
world. The emphasis tends to be on the
"Rogue" edge of the folk scene, but there is
usually time to squeeze in stuff for the
purists out there too. It is nearly always
impossible to pre-arrange these shows as
people might drop in, or a new LP comes
out which demands my immediate attention,
but here are some of things I hope to fit in
this month:
04 Nov. An interview with various members
of Richard Thompson's band. They
played the Town Pump in September and I spoke to them in the heart
of Gastown. Highlights of their
musical offerings will be sprinkled
liberally throughout the show.
11 Nov.   Lest I should be accused of a sexist
approach to folk music I shall
endeavour to present an evening of
women's music, featuring the likes
of Sweet Honey In The Rock, Judy
Small, Ferron, etc.
18 Nov.  The many talents of John
Kirkpatrick. He works with a variety
of folkies including Roy Bailey,
Thompson, Brass Monkey. He is a
true virtuoso of the accordion and a
smart bloke!
25 Nov.  Either last month's postponed
feature on Red Island & Figgy Duff
from Newfoundland, or maybe Roy
(Bim) Forbes presenting the influence of Country Music on the folk
scene, or perhaps just a rundown of
the latest releases. Who knows?
I often get requests, but as I usually have to
rely on my own collection for material, these
are sometimes difficult to accommodate. I
would welcome any suggestions for future
shows, though. Drop me a line at CITR or
better still, phone me during the show to at
least let me know you're out there!
BUNKUM OBSCURA
9:30-11:00 pm
An electic mishmash of audio disturbances,
playlist and requests presented by a former
circus entertainer who was fired from the
cannon one too many times.
LOVE PEACE AND VIOLENCE
11:00 pm-1:00 am
Imagine phone books that drip blood when
you try to tear them in two, empty plastic garbage pails that smell of blind rabbit flesh,
empty skulls all piled up and arranged in
rows like hedges near the Parliament
buildings. Imagine radio that is past not caring. Imagine words so complex it takes three
grown men to pronounce them. It's later than
you think.
PLAYLOUD
Late night 1:004:00 am
There is no art without apparent madness,
without apparent contradiction. One freed
from any consoling preoccupations, art opens
up wide the territory of psychosis. Aural
surgery performed by Larry Thiessen.
WEDNESDAYS
WE BE BOTANISTS
10:30 am-1.00 pm
Join Florists Grant, Dave and Byron as they
unearth toxic tunes that will surely decimate
all plant life in the Lower Mainland.
RODNEY RATFACE AND...
1:00-3:00 pm
Flashback 'zak (all the way to 79/80 or so).
No requests please; only "good" music is
played here.
THE WAILING MUMBLEFUCKS
3:05-5:00 pm
"Interviews" and new(est) releases by/with
local bands and/or otherwise. So there.
JUST LIKE WOMEN
5:30-6:00 pm
Tune in for 30 minutes of invigorating and
stimulating interviews, news and music. For
anyone interested in women's issues or learning more about them.
ROCK: THE UNDERWORLD
6:00-8:00 pm
Digest your din-din in rockin' style. Mike
Dennis and the godfather (Jimmy Pattison Jr.)
spin the latest and hippest in the rock 'n roll
underground. A typical desert may feature
Husker Du pudding or Sonic Youth cheesecake, and don't forget from 7:30-8:00, we
feature the "helfire club" when we play all
the cool classics, from acid rock to rockabilly
to punk.
THE AFRICAN SHOW
8:00-9:30 pm
Catch the latest in African news and Music
with Umerah Patrick Onukwulu and Todd
Langmuir. News at 8:30. Special feature
weekly at 9:00. Onward-Harambe.
ARE YOU TALKING TO ME?
9:30-midnight
Music and paranoid delusions. Twenty-minute
workouts for marginal psychotics. Travis B.
delivers music for people with an attitude
problem.
THE KNIGHT AFTER
Midnight to 4:00 am
Music to clobber Yuppies by (and anyone
wearing floral baggy shorts). Featuring radio
shows traded with alternative stations in
Europe and the U.S., and every 5 weeks a
new episode of MUSIC FROM THE TAR
PITS, an ode to early seventies recreational-
substance rock. Regular guests include
MOAMMAR K., the Prince of Wales and
Lyndon Lerouche. THURSDAYS
PARTY WITH ME, PUNKER!
3:00-5:00 pm
Join Rock Action and Crusty Love for cool
tunes and special guests and features.
TOP OF THE BOPS
8:00-9:00 pm
Screaming guitars, throbbing basses, pounding drums, pumping pianos and howling
saxes: Top of the Bops has them all, and you
can have them too!
TEENAGE TORPOR
9:00-11:00 pm
Is it angst or just too much cider? Tune in
and find out.
MEL BREWER PRESENTS
11:00 pm-Midnight
Jerry has left us to work for K-RCK in Los
Angeles. However, his evil twin, Travis, can
be found on Wed. nights, 9:30 to 12:00. Mel,
meanwhile, will continue to bring you the
best in local music interviews, mike squeals,
and general sillyness.
WEEKEND HIGHLIGHTS
FRIDAYS
FRIDAY MORNING MAGAZINE
10:30-11:30 am
Join host Kirby Hill for interviews, features,
and a taste of the exotic. The White Wolf
lives!
THE COCKTAIL PARTY
5:30-8:00 pm
Mike Mines & Robin Razzell invite you to a
world of bibulous pleasure via the newest
psychedelic sounds from both sides of the
pond. Just add ice and shake. "
POWER CHORD
8:00-9:30 pm
Vancouver's only true metal show, featuring
the underground alternative to mainstream
metal: local demo tapes, imports and other
rarities, plus album give-aways.
THE BiG SHOW
9:30 pm-midnight
Elevate your BPMs with Robert Shea and AI
Big. And shine your shoes, for God's sake.
THE VISITING PENGUIN SHOW
Midnight-4.00 am
"Paula, have you heard of The Bonzo Dog
Band?"
"Uh, I think that's Banzai Frog Band, Sheri.
Why?"
"It's a request."
"We take requests?!?"
"Yes."
"Oh, so that's what we do."
Tune in and call us.
WEEKEND REGULARS
8:00 am    Sign-On
Noon        BRUNCH REPORT
News, sports and weather.
6:00 pm   SAT./SUN. MAGAZINE
News, sports and weather, plus
GENERIC REVIEW, analysis of current affairs and special features.
4:00 am    Sign-Off
SATURDAYS
EARLY MUSIC SHOW
7:3010:00 am
Have breakfast to music from the Medieval,
Renaissance and Baroque periods, played on
strange and exotic instruments. With host
Paul Smith.
NEOFILE
Noon-4:00 pm
A rundown of the newest, most exciting and
insipid releases raked in during the week at
CITR. Join music directors and charismalep-
tic hosts Don Chow and Kevin Smith for an
GENERIC  COMIX
by william thompson
eclectic musical pig-out, with occasional interviews, live mixes, and peripheral relevance.
PROPAGANDA!
6:30-9:00 pm
An eclectic mix of interviews, reviews, music,
humour, High Profiles, and other features
with Mike Johal.
TUNES 'R' US
Late night 1:00-4:00 am
It's a brand new season!!!!!
•All new music
•New runners and shirts
•New haircuts
•New hosts!!!!!!!!
SUNDAYS
MUSIC OF OUR TIME
8:00 am-Noon
With your hosts Tyler Cutforth and Paul
Smith.
ROCKERS SHOW
Noon-3:00 pm
The best in Roots, Rock, Reggae, DJ and
Dub music with your hosts George (Family
Man) Barrett and Collin Hepboum.
MICHAEL WILLMORE'S ROCK TALK
3:00-6:00 pm
Authentic Rock 'N' Roll from the 1950s and
1960s featuring many collectors' items and
rock rarities you'd never hear anywhere else.
FAST FORWARD
9:00 pm-1:00 am
Mark Mushet searches the world over for
experimental, minimalist, avant-garde, electronic, and other non-mainstream sounds.
LIFE AFTER BED
/ am-4 am
The return of the nightmare from the people
you're parents warned you about. Ugly radio
has returned. Warn your avocados.
Floyd's Corner—Country and Western with
Jeff G. Starts at 2:00 a.m.
SPORTS BROADCASTS
THUNDERBIRD FOOTBALL
Sat, Nov. 1, 7:20 pm
Saskatchewan vs. UBC, Thunderbird
Stadium.
Fri, Nov. 7, 7:20 pm
Western Final: Calgary vs. UBC, Thunderbird
Stadium.
Sat, Nov. 15
National Semi-Final (from Ottawa) if
#1-ranked UBC wins the Western Final.
Listen to CITR Sports for more details.
THUNDERBIRD SOCCER
Fri., Nov. 14 (tentative)
National Semi-Final (from Ontario): UBC vs.
Ontario champions.
Sun., Nov. 16 (tentative)
National Final (from Ontario) if #1-ranked
UBC wins the semi-final. Listen to CITR
Sports for more details.
THUNDERBIRD HOCKEY
Sun., Nov. 16, 1:50 pm
Lethbridge vs. UBC, Thunderbird Arena
Fri., Nov. 21, 7:20 pm
Brandon vs. UBC, Thunderbird Arena
NOVEMBER  1986     21 ws*u
VERDICT
Talking Heads
True Stories
Sire
If you were wondering where Talking Heads
were going when they made that left turn with
Little Creatures then have a listen to True
Stories. David Byrne has piloted the band
through the Soho/Greenwich Village scene of
their early years, through complete immersions in African rhythms and has headed
straight back into Middle America, a world that
can be as fascinating and complex as any other if we could only see it the way Byrne does.
As always, Byrne gives his subject a feel of
immediacy by placing himself in the midst of
things. The album opens with, "I was born in
a house with the television always on/I grew
up too fast/And I forgot my name." Byrne's America whirls around him, sometimes in confusion as in Puzzlin' Evidence but sometimes
with a clear eye as in Wild Wild Life. Throughout True Stories he has avoided the surface
clutter that permeates the average view of
America in the age of Reagan. His view has
a joyous colour to it and there is little of the
complaining and cynicism that you usually
find with someone who has a relevant social
view.
The songs themselves cover a whole range
of styles. Love For Sale rocks harder than
anything the Heads have done in a long while.
Though it borders on the conventional format
and by that I mean boring, it still has the nuances that make it a half decent Heads song.
Wild Wild Life is a straight-forward pop tune
that has the fortune to be graced by Byrne's
patented vocal weirdness. It's the obvious
choice for the band's first single from this
album. The choice cut though is Papa Legba
which opens with a sparse, Turkish sounding
beat. The song then moves to something reminiscent ot Swamp from Speaking in Tongues
and if that isn't enough the haunting chorus
seems to take you right into the everglades
of Cajun Country.
True Stories is part of a large project for
Byrne. The songs here are to be the music
for a film of the same name except in the film
the songs will be sung by the characters. A
book with photographs of the stories is already
on the shelves. True Stories is not a groundbreaking work but it is revealing. David Byrne
has done well to reassure us that in some
places things are relatively sane.
—Mark Quail
Keith LeBlanc
Major Malfunction
World
Trepidationary, funky, adrenalinian, macabre,
now, deviant, relevant, contrived, hip, heavy,
out-bottomed, blacker than black, ominous.
Rock and roll is dead. There is no point in
labouring this statement. It's antithesis thrives
in the work of Tackhead, Gary Gail, Fats Comet, African Head Charge, Malcolm X. Sounds
that are not standard, that do not aim for appeal. These are the works of people such as
Keith Leblanc, Adrian Sherwood and their
co-horts.
Alternative beats with alternative rhythms,
this is modernism in music. This sound is
post-everything, reminiscent (?) of a music
created after the complete elimination of any
previous memory of what music "should be
like." A vaguely familiar context, frightening-
ly so, yet far removed from cultural assumptions or predictions.
Here is an album of uneasy newness and
rational irritation. Technology works, technology delivers. What we receive is an unmanned technological necessity, void of human
contact or influence, the obvious outcome of
a computer created cross-generalization of
this history of music. Or so it deceptively
seems.
22      DISCORDER
The humans who participated in the creation of this music represent a new outlook in
modern sound (yes, another!). But, as is the
case with most transient cultural forms, such
as modern popular music, any new outlook
is simply an assimilation of input, or influence,
smothered with rhetoric and good intentions.
The production techniques of Adrian Sherwood, creamily formulaic though they are, call
to mind previous works of Pyrolator, Jah Wobble, 400 Blows, and frequently Bill Laswell
(Praxis, for example). A real insult to Keith
LeBlanc's integrity would be to make a comparison with Herbie Hancock and his "sudden" embrace and indulgence with techno-
funk rock re: Rockit, Hardrock, etc. This
album's pretension invites comparison, even
if it is due to the fact that it's newness makes
it hard to describe.
Lyrical content is supplied through various
spoken statements by unrelated persons (we
assume), captured on tape, thrashed, altered
and delayed; fragments of sentences and
treated voices fly at will, catch phrases
abound. We are tempted by subordinate concepts barely expressed, yet well intended. The
imagination is challenged to conclude the intentions, to fill in the conceptual gaps, to make
sense of it all.
Of course this is ultimately a funky music,
a heavy drum programmed euphoric melee.
It is also not for people with a nervous condition, or a low tolerance for pointed subtlety.
Your bass reflexes will be overwhelmed, your
limits peaked and your harmonics distorted.
Technology is a modern quasi-religion. A
seemingly obvious statement, soon to be a
cliche, but when put into the context of this
album it becomes almost a revelation.
This album is full of changes, alterations
and reflexes; its very sound comes over as
unique at first, which makes it very good for
repeated listens, to really hear those sounds,
to extract whatever is available. Don't expect
everyone to agree, though, you must have an
acceptance of the dark side of the aural spectrum to tolerate indulgence in this manner. If
you do, well here is one more ultra-heavy disc
for loud headphone listening.
—Robert Shea [&W
mVta3bU*atVtds*i3fr#e
RESERVATIONS
254-9578
mM
Vaudeville
Noaveaa
On the cutting
edge of California's
New Comedy movement
November 5-9, 8 pm
Family matinee on
Sunday, 2:30
Theatre
Ballet
of Canada
Lawrence Gradus
is the most imagin
ative choreographer [
in the country."
Globe & Mai)
November 13-15, 8 pm
The tradition of classical
ballet with modern choreography
o»s
0*
*o?
.«*
*****
SIDE DOOR
2291 West Broadway
Come Sundays, Mondays, Tuesdays...
You'll be Glad you Did!
NOVEMBER  1^86     23 CAETANO VELOSO
Caetano Veloso
JOHN ZORN PLAYS
ENNIO MORRICONE
The Big Gundown
WORLD SAXOPHONE QUARTET
Plays Duke Ellington
SCOTT JOHNSON
John Somebody
TERESA STRATAS
Stratas Sings Weill
LIL' ED & THE BLUES IMPERIALS
Roughhousin'
BLACK SWAN 2936 W. 4th 734-2828
Richard Thompson
Daring Adventures
Polygram
Elvis Costello
Blood and Chocolate
Columbia
The twin prophets of Doom and Gloom are
back!
Following the marvellous King Of America
album, Declan Patrick Aloysius McManus/EI-
vis Costello/Napoleon Dynamite(?!?) has
burned out another fine album from his prolific production-line. The main difference on
the new LP is the return of The Attractions.
Having been "ditched" for one LP they storm
through this one in a manner which suggests
"OK Columbia, let's see you drop us again!"
Interestingly, Richard Thompson, on Daring Adventures, is backed not by the usual
band of Gregson/Collister/Conway/McFarlane,
but the same musicians who backed Costello
on King Of America. Mitchell Froom, who also
produces, plays Hammond Organ, Jerry
Scheff and Jim Keltner or Mickey Curry are
the rhythm section. John Kirkpatrick, the accordion virtuoso who stole the show at the
Town Pump in September, makes one or two
cameo appearances, and Gregson & Collister
do backing vocals, but otherwise it's a new
line-up for Thommo. Having said that, there
is no doubt at all that it works, and it still sound
distinctly Thompsonian. The only flaw in the
production is the relegation of the accordion
to a minor supporting role, when this appears
to be the "in" instrument these days.
Thommo's album has plenty of variety with
dark imagery, manic sounds and interjections
of humour. The opening tracks Bone Through
Her Nose and Valerie provide an amusing start
to the LP:
She's got everything a girl might need
She's a tribal animal yes indeed
But she hasn't got a bone through her nose
Don't be misled by this. Missie hints at the
depression to follow:
And if you never liked pulling teeth
Then why did you tie me in the dentist's
chair!
Dead Man's Handle strongly resembles Wall
Of Death from his Shoot Out The Lights LP,
and is therefore a stand-out. Long Dead Love
features an Animals-like intro and is a stirring dirge which was one of the high-lights of
the concerts here.
On the last LP the evocative, chilling number was Ghosts In The Wind. This time it's
Lover's Lane where deception is the rule.
Nearly In Love should be the next single, although this might create the dangerous possibility of massive popularity. Jennie is the bitter tale of a spurned lover tying to come to
terms with his rejection. A stunning song, it
fits in well with the main theme of Elvis' LP too.
The final 2 songs represent some of
Thompson's finest writing to date. He performed them back-to-back on stage both nights
and they do go well together. Simple Again
tells of a soldier meeting a carefree, innocent
Oct 31 Bat Cave Night with
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24      DISCORDER girl in a war-torn landscape and yearning for
her ability to ignore the terror around her.
Finally, All Bowlly's In Heaven continues the
theme as a crippled veteran returns home to
find that all the glamour of the uniform has
faded. AI Bowlly, his hero (a British jazz singer
killed in an Air Raid in 1940) has passed away,
his mobility has gone, and so has all hope of
finding a home, a job, a girl. This could just
as easily be a song for the returning veterans
of a futile war in the South Atlantic, South East
Asia, Central America, you name it. It is probably the finest song on the LP and is presented in a simple, flowing, jazzy style, giving
full rein to Thommo's deep, mournful voice.
In recent interviews Elvis Costello has referred to his past LPs, often somewhat disdainfully. Here he gives us a quick resume of his
early career with songs like Uncomplicated
returning to the hard vocal style of Miracle
Man, and Tokyo Storm Warning sounding like
a cross between his Armed Forces LP and
Dylan's Blonde On Blonde, Blue Chair and
Home Is Anywhere You Hang Your Head are
vintage Costello, repiete with grammatical
tricks and vivid imagery:
You tore him out and screwed him up
Like a bad page in a naughty picture book.
The outstanding cut is / Want You, the most
disturbing song I've heard in ages. It begins
as a trite little love song and develops into an
incredibly impassioned, bitter, even sinister
stream of reminiscence and accusation. Listen to this one alone on a dark night, with just
a bottle of Scotch for company if you dare!
Another stirring track is Battered Old Bird
with the depressing mood accentuated by
dual Harmoniums. He's joined by The Pogues'
lovable bass player, Cait O'Riordan, his fiancee, on Crimes Of Paris where she sings
great harmony, and on Poor Napoleon, which
is all she says on that track.
It seems redundant to say that this is an excellent album from the man. They have all
been superb and this stands up as one of the
darkest and most depressing of the lot.
If Costello and Thompson keep this up their
next LPs could hasten the end of civilizations as
we know it!
—Steve Edge
Various Artists
Love Kills
MCA
Alex Cox is a film-maker best known for Repo
Man, which he wrote, produced and directed.
Released along with the film was a soundtrack (heavy on punk rock classics), which
proved to be immensely popular on college
radio in North America. With Cox's follow-up
to Repo Man, Sid and Nancy (a docu-bio-dra-
ma depicting the short lives and loves of Sex
Pistols bassist Sid Vicious and his girlfriend
Nancy Spungen), another soundtrack comes
our way: Love Kills.
The album opens with one of two contributions from Joe Strummer. It's the title track and
it's a shock. Strummer has dumped the an-
themic rabble rousing of his recent Clash work
and has come up with a sturdy electro-beat
dance track which has a lot in common with
former band-mate Mick Jones' new band, Big
cont. p. 26
Uavllw^J
iRc/n;
DANCE MUSIC BY CITR
THURSDAY NIGHTS • 8:30-1:00 • THE PIT PUB • UBC
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687-5837 3215112 2541601
NOVEMBER  1986     25 Audio Dynamite. Strummer's second track,
Dum Dum Club, is also dance-oriented but not
as strong.
Love Kills is followed by another surprise:
a song from Irish folk punks The Pogues,
which features neither Shane MacGowan's vocals nor The Pogues usual 'folk' sound.
Haunted comes off sounding a great deal like
one of the 'new American guitar bands'. The
second track by The Pogues is an instrumental called Junk Theme, more atypical of their
sound.
Steve Jones' Pleasure and Pain (one of two
songs on the album by a former Sex Pistol)
is unfortunately just a piece of would be Top
40 looking for a place to crawl away and hide
under in its embarrassment. Not much of a
way to remember a friend. Next on the record
is the first of four instrumentals by Pray For
Rain. They can be ignored as little more than
space-filling audio wallpaper.
Which brings us finally to a genuine 'punk'
song, the Circle Jerks Love Kills. This Love Kills
is a raunchy piece of Southern California hard
core with singer Craig Hetson yowling about
Sid and Nancy's rather unpleasant lives. At
the other end of the musical spectrum is John
Cale's She Never Took No For An Answer. With
its heavy, all electronic production, and Cale's
spoken word delivery, it could serve as a primer for his upcoming releases.
The only track that seems likely to have captured Sid's fancy is sung by Gary Oldman
(who plays Sid in the film), covering Sid covering the Stooges' / Wanna Be Your Dog. With
ex-Pistol Glen Matlock, the man Sid originally replaced, playing on this song, the boundaries between film and reality begin to blur.
Not having seen the film, one has to wonder
if the impact of some of these songs is reduced without the visions to complement them.
However, a record has to stand on its own if
it's to have any lasting value, and this one only just manages. Unlike the Repo Man soundtrack, which is a great record even if you haven't seen the movie, much of this album is
either filler or songs which will serve only as
curiosities in the careers of the artists produc
ing them.
—Pat Carroll
The Raunch Hands
Learn to Whap-A-Dang
With the Raunch Hands
Relativity
Sloppy, rough, raw, frenetic, yeah, even raunchy. The Raunch Hands have the sparks and
blaze of a three-alarm fire in a tenament
house. They're rude, offensive and irreverent.
They've got the sensibilities of rednecks gone
awry and this album cooks like the Stones
used to way back when Brian was still alive
and Keith had some colour in his face.
This is the first LP from this New York quintet who manage to sound nothing like what
you'd expect "New York" bands to sound like.
Since the term "American Roots Music" has
been used so often I'm not going to use it
here. Instead, let's say, if you take any five
BLOW-UP
YOUR    FAVORITE    PHOTO
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POSTER-SIZE BLACK & WHITE
PHOTOGRAPHS
ort/tf 23.00
AFTERIMAGE
Photo Service
72 West Cordova Street
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We'll be closed for
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Open Sundays
26     DISCORDER guys from a place like Prince George, teach
them to play a brand of Country & Western
and Hillbilly music, leave their beer-drinking
behaviour intact, then you'd have the Raunch
Hands. I mean, look at the cover: there's some
guy who looks like Richard Nixon threatening
a female of his species with an axe. To call
it sexist is to miss the point. It's just one more
example of the outrageous, no-holds-barred
approach these guys take to their chosen
field. This is the musical equivalent of kicking ass and the perfect soundtrack for a barroom brawl.
Guitars are prominent in the mix here and
both guitarists, Mike Mariconda and Mike
Tchang, keep this whole rambling show together with an incredible assortment of wild
and bouncy rock and roll riffs. Though it's
nothing you haven't heard before, it's the
honesty and energy that counts. So what if
there isn't one track that really stands out,
there's enough fuel here to keep any part running well into the night.
This album won't sell a million, but so what.
Keep an eye out for these guys in the future.
—Mark Quail
Minimal Man
Slave Lullabyes
Play It Again Sam, Bias 24
Patrick Miller is Minimal Man. Patrick Miller is
not a happy man. Patrick Miller likes to be lit
from below during photo sessions. Patrick
Miller is quite unremarkable in appearance.
He is obsessed with sex yet never really cuts
deeply enough into perversion to make it
worthwhile. His use of the tape medium is
repetitive and redundant. There is nearly
always an jrritatingly simple, synthetic beat.
He rips off other people's songs without giving due credit (Nice by Ambrosia is renamed
The Jungle Song on The Shroud of Minimal
Man and The Bogus Man by Roxy Music is
renamed Fun on this release). He did a trendy thing by moving to Belgium to perform and
record, no doubt in hope of finding the acceptance he never had in San Francisco. He uses
standard synthesizer and studio effects in a
cheesy and unimaginative fashion. He uses
the age-old tape-loop-of-Charles-Manson
saying-scary-things trick. It doesn't work. He
has his album cover done by Patrick Roques,
the man who does most of the graphics for
Tuxedomoon. This is not surprising seeing as
certain Tuxedomooners are friends of his and
appear on his recordings. The two best cuts
on the album are instrumentals that feature
the talents of other players. These other
players play clarinet, cello, and soprano sax.
These instruments are all the rage among the
ever-so-hip-and-melancholy Belgian alternative music crowd. With this, his fourth album,
it appears that Patrick Miller will linger on in
obscurity forever. I like it. I have bought every
record he has put out. I was very disappointed
when his concert with Tunnel Canary was
cancelled some years back. There is something to this music. I don't know what. I don't
care. Don't be so cynical.
—Mark Mushet
W&
WHAT'S UP IN NEW DANCE
COMING... December 4-6, 8 p.m. Terrill
Maguire from Toronto and Paras Terezakis
from Vancouver PLUS Late Nights (11
p.m.) with Lorraine Thomson.
FIREHALL THEATRE
280 East Cordova St.
BOX OFFICE: 689-0926
LIFE
SKILLS
A life-size new comedy by David King
starring Nicola Cavendish
Nov. 6-29
Tues. - Sun.: 8:30 p.m.
2 shows Sat.: 6:30 & 9:30
Tickets
$8-$10
Tpog&ggi
hoco to obtain instant
Fame and glory.
Bring in or mail this form with $30 to
CITR Radio
6138 SUB Boulevard
UBC Campus
Vancouver, B.C. name __
V6T 2A5
address.
In addition to the respect you will
command from ordinary mortals, you
will receive:
T-shirt
2 CITR buttons
Training manual
Phone Harry at 228-3017
for more info.
phone #_
student #_
...become a CITR member J«
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Fire From Within
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1146 Commercial*263-0913
WELL, TIME PASSES SLOWLY HERE
at CITR's music department—especially in the misty otherworld of
demo tapes. So, although your calendar may
say it's November, we're still catching up on
the demos that piled up here over the summer—hence the seemingly meaningless
delays in getting new stuff on the air. But if
you're in a band, or just a local music fan, take
heart! The process is slow, but we're doing our
best to see that all the demos that come in
get a chance at the underground music Big
Time.
Three bands from Calgary—Abstract Random, The Ted Clark Five and Eden's End-
have each got a new song on our charts.
Abstract Random and Eden's End, although
not really similar, are both just reminiscent
enough of 60's guitar pop for me to be unable
to resist them, but their songs (Ancients and
This Church is Cool) seem to lack that little
flavour or inspiration or sponaneity that would
make them really noticeable. On the other
hand, No. 10 Nirvana, from The Ted Clark
Five, overcomes a sort of basic grunginess
and poor recording quality to be just slightly
demented, unexpected, and youthful sounding, honest garage rock. Of course, knowing
that it's about the angst-filled bus ride downtown from the singer's suberb (on the No. 10,
naturally) gives the song an especially fun
quality. This one went to Number One at
Calgary's campus station (and stayed there
for awhile) which implies they've got quite a
local following. Who knows? Maybe we'll have
a chance to see them here sometime.
Also from out-of-town is a band called Rip-
cordz, and you can almost guess they're from
Deja Voodoo's home town, Montreal. This is
sludge-a/psycho-billy at its blurriest, slowing
down to be almost sexy, speeding up in places
to sound like off-station thrash. They also remind me a bit of the Cramps, which doesn't
mean (I don't think, anyway) that these guys
are just imitating a sound. This is rockabilly
chord progressions reduced to a scary, fun,
wash of noise. I like it.
From West Van comes My Earth Revolves
by Indigo Voice. A little too syntho-slick for
my taste, but this song has a nice melody and
good harmonies, and is saved from sounding
like so many other demos by the superior
vocal talents of Scott Fletcher.
Playdoh Republic has been having trou
ble for some time now finding and keeping a
rhythm section, but Jesus Stopped Loving
Me Today transcends the mundane worries
of holding a band together to be quite a lot
of fun. Mina and Harley's voices complement
each other well while keeping the song simple, funny, easily accessible pop. Watch for
a video.
New from The Hip Type is a two-song
demo: Glass Pussy and Let Me In. The band
has changed somewhat since their earlier
smash demo hits Illumination and Blue Bottle
Flies. Opening for Slow and Green River at
the Town Pump's end-of-Expo party, the band
made their first appearance since the addition of Erica Leiren (formerly of the Debutants
and Dilettantes) on bass, and they were faster
and more hard-edged than I remember them.
Now, vocalist Tracy's voice varies from the cool
blanket kind of sound we're used to, to something sounding uncannily like Debbie Harry
circa Parallel Lines, and this, combined with
Erica's backing vocals (and stage presence),
makes The Hip Type poppier and more
danceable than before. Unfortunately,
however, the new tape only hints at this added
dimension. Let Me In has a fun, catchy melody
and the witty lyrics are clear enough, but to
really heat what the song sounds like I recommend you catch them live. And this is especially true of Glass Pussy— while it is only so-
so on tape (compared to, say, Illumination), this
is striking pop rock when the band is right in
front of you.
Oh, and a word for the commercially-available Roots Roundup self-titled cassette (better late than never, after all)—I don't know how
to describe this except to say it's clean, simple,
folksy blues, with nifty rhythms and catchy
guitar, harmonica, and trombone licks. This
is sun streaming in the window music—almost
guaranteed to give you "that summer feeling"
even during monsoon season.
P.S.: If your band is planning to send us a
demo tape, please be sure to enclose contact
phone numbers (or, if you're out of town, a
mailing address) as well as song titles, and,
if at all possible, some biographical information. Sorry, but we can't return demo tapes,
so please don't give us your unEQ'd master
tapes or anything else you'd hate to get lost!
And, please be patient. We're doing our best.
—Janis McKenzie
28     DISCORDER from p. 30
by Jeffery Lee Pierce and Lydia Lunch, raises
a number of important social issues each
week. Sidekicks co-stars Shelly Hack as a
good-hearted but psychotic Satan-worshipping 7-11 clerk who provides food and shelter
for the pair. The series features cameos from
William F Burroughs, Charles Bukowski and
Jim Carroll, and a soundtrack made up of
songs by the Velvet Underground, Joy Division, Bauhaus, Connie Francis, and Boxcar
Willie. On ABC.
The Wizard
David Rappaport, a dwarf, portrays a former
NBA star turned astronaut who is miniaturized
in a nuclear space accident and returns to
Earth as a born-again Communist-fighting
magician who performs at children's birthday
parties. The first episode saw the wizard performing at the party of the children of a mysterious Colombian expatriate believed to have
ties to the Queen of England and the International drug-smuggling Banking Zionist
Communist Conspiracy. The wizard, with the
help of his TV evangelist partner (Lee Majors)
is able to induce the children to turn their
father in to the authorities who banish him to
the eternal damnation of the fires of hell. Written and created by Lynden Larouche, this
series has an ultra-conservative tone. However, it is worth seeing for the car chases
choreographed by former drag racing champion Shirley "Cha Cha" Muldowney. On CBS.
Head of the Class
Everyone's favorite TV DJ Johnny Fever (Howard Hessman of WKRP fame) plays a drug addiction counsellor at the Betty Ford Clinic.
Laughter abounds in this imaginative sitcom
as desperate and degenerate rich people try
to scam their way out of the clinic. Morgan
Fairchild co-stars as a crack-addicted soap
star who will do anything to get out of the
class, hence the title. On ABC.
Crime Story
Miami Vice producer Michael Mann is the
creator of this stylish series about a group of
activists, the Abalone Alliance, who fights
crimes against nature and the environment.
The first episode found the Abalone Alliance
tackling paraquat sprayers in Northern California. The series features music by 60's folk
singers and stars David Cassidy, Jerry
Mathers and Mike Lookinland. Crime Story
can be seen on NBC.
Love Me, Love Me Not
This locally produced game show puts Jeopardy to shame. Hosted by somebody who knows
Bruce Allen, it pits convicted felons against
their victims in a match of wits. The felons play
for a reduction in their sentences while the victims play for cash and a safe journey home.
On CKVU.
Now after watching all these wonderful programs you can't teil me that it's just another
Fall season of inane sitcoms, boring dramas
about rich people, and unimaginative cop
shows. You just can't!
—Jerome Broadway
- bS°th"'&mi",E
Thurs. 6th Fn. 7th
and Sat. 8th -
Sunday 9th -
Monday 10th -
ThUtS?dS.15th-
Thutsday 20th
Friday 21st -
Saturday 22nd
Sunday 23td
Wed. 26th &
Thurs. 27th
BARNEY BENTAU
=SSSBWff
MICKTAYWR
TOWN PUMP
\66 Water Street Gastown   683-6695
N.0.-;ov.;.o;-,o-<w
7&&-
flmEmaEDEBEsa    Te a
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in
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m
2050 West 4th Ave.    AMO    fAOWL \\ 738-0484
NOVEMBER  1986     29 Armchair Eye
'*'   *k vi'<:; •' *,
Boffo B.O. on The Boob Tube
says Broadway!
THE PROGRAMMING ON NETWORK
television is like the weather, everybody
complains but nobody does anything
about it. However, if this fall's TV season is any
indication, the networks have been listening
to all the critics. After having spent more than
a month suckling from the great glass teat,
I have come to the conclusion that this current Fall season is the best ever. Television is
finally back on the right track with realistic and
entertaining programming. Here is my list, in
order of preference, of the best of the new Fall
programs.
ALF
ALF stands for Alien Latino Family. This fascinating drama about the pursuit of the American
dream, features an ensemble cast who play
a Mexican family that leaves their home in
Chihuahua and cross the border into America
illegally. Although at times Alf is unrealistic (by
the third episode six of the family members
owned liquor stores), the series still has a lot
of gritty realism, as four of the six liquor store
owners are later killed in holdups. This is the
most interesting of the new Fall series, particularly because the family is portrayed by
Jim Henson's Muppets. ALF can be seen on
NBC.
My Sister Sam
Pam Dawber of Mork & Mindy fame plays an
ambitious realtor whose yuppie lifestyle is
threatened by the arrival of her sister (Kristy
McNichol) from a PLO training camp. Laughter
abounds as Dawber tries to sell homes the
no-down-payment way while her sister tags
along in combat fatigues extolling the works
of Lenin and the Ayatollah Khoumeini. Clu
Gallagher co-stars as their serial-killer next-
door neighbour. This is the funniest series on
TV. Not to be missed, it's on CBS.
Matlock
Mayberry RFD's Andy Griffith returns to the
tube in his most challenging role. In Matlock,
he plays the father of a former Sex Pistols'
bassist, who is so moved by the London Punk
scene that he quits his job as Principal Secretary to Prince Phillip and becomes an advocate for the British Mine Workers. The series
features a soundtrack by Test Department and
co-stars Benny Hill as Mine Union leader
Arther Scargill, Scott Baio as Labor MP Tony
Benn, and Rula Lenska as Maggie Thatcher.
Matlock is on NBC.
He Shoots, He Scores
Finally there is an entertaining series from
CBC. This hard-hitting drama is about Canada's national passtime, political patronage.
It stars former Quebec pop idol Rene Simard
as Claude Marchand, a young Francophone
Conservative who defeats his riding's stodgy
old Liberal MP and moves to Ottawa. From
there, Marchand showers his tiny farming
r /»
community riding with political patronage, including a 25-storey postage sorting centre, an
Air Canada maintenance hangar, a Korean
snowmobile factory, and a school for census
takers. The show's title comes from an old
Quebecois adage about running for Parliament.
Easy Street
Buxom Loni Anderson (of WKRP) stars in this
sitcom about a vampiress who stalks the
fashionable clubs of Beverly Hills at night
preying on preppy young men. Laughter
abounds when Anderson, desperate for
blood, accidentally attacks two derelicts (Jack
Elam and Lee Weaver). Realizing what she's
done, Anderson pulls out, but not in time to
prevent the derelicts from becoming vampires
as well. The three then proceed to stalk the
L.A. area together, and each episode features
a celebrity victim. Gavin Macleod makes
cameo appearances as a righteous vampire-
hunting priest. On NBC.
Sidekicks
Buck Roger's Gil Gerard returns to the tube
as a homeless derelict who befriends a 10-
year-old heroin-addict runaway (Ernie Reyes
Jr.). Together they roam the streets of New
York aimlessly scrounging and trying to survive. This series, loosly based on short stories
com. p. 29
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