Discorder CITR-FM (Radio station : Vancouver, B.C.) 1991-08-01

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  "...she appeared in a skimpy
black skirt brandishing a
whip. She toned down her dress
later to try to escape the lunatic
2£" The Province, 1991.
to be continued.
TOP 40
By Seymour Enndye
^ BZZR BASH $1.25
$1$ 1 ■ 2 5
GASTOWN 682-8550
Greetings Airhead,
Within the past while, I
have become increasingly aware
of a resurgence of the "Alternative/New Wave/Black lipstick/
Big Hair" look. Having been
there and 'in' at the time, I can
understand the appeal. At the
time it felt like the ultimate state
of being, there was no one cooler
than I (or so I thought).
Now that those days are
gone (and they are gone. NEWSFLASH: Bauhaus broke up—
Oh my God so did Love and
Rockets and I didn't even know
it.). Why do the ones that were
there then insist onstaying there.
A healthy appreciation is expected and understood, but to exist
purely for 1982-87 (or therein
abouts) is very weird indeed.
The new ones I can understand, they're just babies. But
what do the old ones stand for?
Please, someone tell me. In my
eyes, neo-nazis, environmentalists—they seem to at least have
a purpose, but what do people
who call themselves Alternative, as a whole, deem as their
sense of purpose. In my mind,
just being Alternative isn't
enough. When I was there, I
don* t remember standing for or
representing any specific val-
uesorideals. Wedidn'tncedto,
as it was the time to be Alternative that way (hair, makeup,
etc.). Butnowtherearesomany
free thinking, Alternative people around who don't see the
need to talk about the "Scene"
or about how they are Alternative and are in. Why do the ones
that still exclusively wear black
have to? I can honestly say,
back then they weren't. I guess
I see it as if you go around
telling people how cool you are,
- you aren't
Back then I saw it as an
opportunity to do whatever superficial doctoring we wanted
and to try and, of course unconsciously, irritate as many people as possible with our fashion
sense. (Although I still believe
you can tell how cool someone
is by their shoes )
After all that, I did have a
similar conversation with a
friend of mine. Upon arriving
home, I put on my Bauhaus
records just to see what memories it might evoke (if any). After realizing that I had it on the
wrong speed, I came to the conclusion that I'm glad that I was
there, but no money in ihe world
could ever take me back to that
To live in thepastis to fear
the future...
There is more out there!!!
Morissey's Meet Substitute
Dear Discorder/ "Bruno":
There are a lot of nasty things
one can say about "Bruno" but
let's focus specifically on liis
inept 'review' of the Kreviss
show in July's Discorder.
It's disheartening, though
perhaps not surprising, that Dis
corder would print what was
nothing more than sheer misog-
ynistmalevolence passed off as
criticism, which effectively fail-
to make a single valid point.
The suggestion that the musical
perfon nance by a group of women is a result of who they're
sleeping with (and the mentioned associations apply to only
three out of ten members, so
wereitrelevant, theeffectwould
be minimal) is less offensive
than it is utterly iame, another
typically dimwiusd reliance on
dark ages ideas which were tread
out to .x-
you force me to equivalent
depths of meaningless spite. I
know who you really are and I
can't help but indulge the vision
in which one day soon, in that
nasty little world you help to
perpetuate, you'll find yourself
screaming for mercy in your pubescent nasal dim-witted-whine
as said vibrator is rammed up
your pseudonymous ass!
one-tenth of Kreviss
Dear CiTR/Bruno
Re: Kreviss/Urge Overkill
Sure, Bruno,
we've had a flying
leap at these girls,
as has everyone
else, but they're not
Let's get two
things straight, Bruno:
1) Stupidcon-
ductor are gaylords
2) Kreviss
don't dig butt-pom
Bruno, Octatrackter
associating with
these two bands is
highly unlikely.
So Bruno, get
your shit together
and stick to what
you do best —
blowing college
Thank you
r^E <2eA5ero -rAttj
SA«*-W Dv;n.Aa/
wo^'T [._• NO0E-
5<reNts, 1$H'T To
£*5»0y iMAfrs, Qvt
BBcArOfF- SM£ tf4s
A T/Aiy (4v/M4AI CBC
C-tt*^iH(, out of
the June issue. Apart from the
usual bit of fun between the
covers were a couple of worthy
&usefulchunks.Beeman's subtext review of the Giorno recordings & other "secret" releases is informative. How/
where can one purchase such
titles (the Giomo entry has an
address, but many are left to the
investigative brilliance of the
poor reader). ALSO: Do you
have a mailing address for Joe
Mendelson? Good article.
P. Sedgewick
Once again the address for the
Giorno Poetry System is 222
Bowery, New York, NY. 10012
©SlufiD DUrtMT/-fr£PS ®
Street, Toronto, Ontario, MSA
Hello Airhead;
I'm happy to say that 25
very pleasant people came to
subtext's presentation of the
Ron Maim film. Poetry in Motion (free—June 16th at R2B2
books). Donations for the Persons With Aids coalition totaled 38 bucks and the free
snacks (miniature candy bars/
licorice) were a hit. Another
time, another event you bet!
And hey! All you Viola
Funk friends, just wanted to lei
you know I recently took Ms.
Funk out to lunch as I had v owed
to do in these very pages many
Actually, we here at
D'iszorder feel that
\)*WN&. of THE SlGMipC^Jce ^"HJSAcpbAis
teo steps our &>z A snttz ajd m&tes
cess long
any condemnation by Bruno is,
in fact, high praise... he's got as
good of taste in music as with
ever slith
sex paraphernalia.
ered from
t     h     e
womb .
s h i t ' s
Dear Discorder
heard bt-
I was reading your address
in an underground fanzine in
Jack, and
Greece called Merlin's Music
it's tired.
Box. Please, if you like, send me
one free magazine and any post
ers. I am interesting to know
has never
about your work in underground
music, especially with HARD
me      as
long    as
Many Thanks
it's        n
Sun Alliance
of  truth
and intel
But, alas,
Dear "Last One" Marr et al:
USA. Mail away for the catalogue which lists the record!
video's mentioned (Subtext,
June) and, oh so much more!
Mr. Giorno is also listed in the
NY phone book...dial 1-212-
555-1212 and ask for the number... ifyoucall, don't be silly. I
never "hunt" for poetic recordings; I prefer stumbling across
'em in 2nd hand recordshops (a
recent find: Lydia Lunch! Clint
Ruin's "Stinkfist"" ep). High-
life, BlackSwan, Scratch ri Zulu
seem likely places to start
searching. As for Joe M., the
best bet would be to write him
care of his record company,
Anthem Records, 189 Carleton
months ago. We met at the infamous E + B (open 24 hours at
Kingsway and Victoria) and had
a delightful meal (I, had the
turkey sandwich andcoffee; she,
ham'n'cheese omelette, brown
toast, tea).
Virtual strangers, we were
ultra-polite and found lots to
talk about due to similar interests. Viola hasn't been writing
much and that's a shame, I still
appreciate her flair. A charming person and the most pleasant luncheon date I've had in
ages. In the words of another
fan... Go, Viola, Go.
The Voice on the Wire,
Judith Beeman
-Tom Milne blows up University after not receiving the recognition and
fortune due him for writing the Born Against interview...
-Kirstin Shaw kills one editor, maims another, when they incorrectly
Recently hacked through      attribute a fIREHOSE article to Dale Sawyer and not her.
AUGUST 1991 5 CiTR's local band competition
is back again...
...and we want
U, local band,
2 enter!
It all begins September
16 at the Railway
Club, which isn't long
Git yo tapes in now to:
Shindig c/o CiTR, Room
233 6138 SUB Blvd, Van
Fo Mo Info call 822*3017
10am-4pm weekdays
A zillion folks destined for death
or cold sores say, "I tried condoms once and they suck." Artifacts from a washroom in a lower eastHas tings pub don'tcount
and neither do any of the brands
listed below. After much {-robing (I couldn' t resist) and meticulous attention to every variable, I have composed a list of
chump contraceptives and, at
the risk of never getting laid
again, here they are.
you have probably tried 'em coz
they're always on sale. They're
fine if say, you're a surgeon or
have a penchant for sex and
ludes, otherwise they'll probably break before you get them
all the way out of the package.
Orthro are one of the largest
manufacturers of birth control
RIBBED: the support hose of
condoms. Need I say more?
SHIELDS: famous in the free
clinics. Actually, the condom
clinic atDavie and Richards usually has Ramses too and they're
pretty fine. Shields (they're just
called "Shields" and the have a
—graphic— around the name)
have a give like polyester and
smell  like  LePages   glue.
ELITE: not "Sheik Elite,"
they 're justcalledEhte and come
in individual shiny blue tin foil
packets. They're about 2 1/2
would figure maybe these would
be convenient for romps in the
dark but it says on the package
"Hold up to light for two minutes immediately before." I guess
these condoms are for the gen-
tlemen who want something to
do while the lady inserts the
foam. I didn't actually try these
out because I heard John Ritter
made them famous.
Trojan classic that can be found
in the Love Shop. They're advertised as "Extra-large" condoms and underneath them was
a red plexiglass shelf modeling
dildos that could easily double
as Kono-cult battle clubs. For
me to critique these fairly I would
have to do a glossary on non oil-
based lubes as well.
more love shop product I 'm sure
this is the line that's also found
in most variety stores that have
gold busts of Elvis in the window. One can skillfully attain an
erection by looking at the package, if pom's their thing. And if
that's the case, why bother going out? Practice REAL safe sex
by staying at home with an unopened pack of Contempo and a
fuckin' latex glove. Contempo
cum in fashionable "Power-
and "Wet'n'Wild" models.
LICKS FLAVOURED CONDOMS : "Warning do not use oil
based lubricants or sahvaoncondoms." This rule of application
kinda wipes "Licks" off the
board doesn't it? The law stating that all novelty condoms
must adhere to regular condom
testing must not apply to Licks.
I don't know if that means
they're extra thick or made out
of some super saliva repellent.
They cost a dollar fifty for one.
To have flavoured condoms
makes about as much sense as
keeping them in the fridge for
MeatBeatManifesto have finally hit it big in North America
with their album 99% and its
dance floor smash singles, "Helter Skelter" and "Psyche Out."
Meat Beat have been around
since '87, starting out as a performance art hallucination, and
have managed to keep their signature frenetic brand of hip hop/
industrial/noize/dancemusic assaulting the ears of the listeners
in their native England, and finally to our shores. Discorder
talked to vocalist/songwriter
Jack Dangers.
Discorder: Do you agree with
Consolidated's political stance?
Jack Dangers: Do I agree with
it? There's so many different
facets. We're vegetarians as well,
so that fits in quite easily. Yeah,
we agree with what they're saying, although I think we say it in
a different way. I think they're
fighting extremes with extremes,
where our music is more productive.
D: Do you think people see you
as more than just dance music?
JD: I think people can see that in
our music. I don't think they see
it as throw away party music but,
at the same time, we're not as
much 'in your face' as Consolidated, so maybe that might turn
people off. I suppose we play the
middle ground more.
D: Would you consider your
stage show performance art and
have you changed it to accommodate newer fans who just
know 99%?
JD: Originally, I wanted to do
things live people really hadn't
tried before. About four years
ago we did three tours using a
big dance setup— the very first
tours we did involved fifteen to
twenty people on stage. What
we're doing now is the total opposite with just taking everything down to the bare bones, we
haven't got anything on stage
except for musicians— I've got
a dancer but his job is more hyping the crowd really.
D: What direction is Meat Beat
heading? 99% is smother sounding than your earlier work.
JD: Yeah, withStorm the Studio
it's easy to slot in any image you
want really 'cause it is more aggressive. The music now has
become, I don't know about
"smoother," we've used things
like fade in and fade outs, quite
obvious things that the first album hasn't quite got. With 99%
we didn't want songs that had
definite beginnings and endings.
D: Have you produced any other
JD: Yeah, I've worked with Hip
Hopcrisy, they're a San Francisco band formed from the ashes ofthe Beatnigs. I did the Sha-
men's last single, that was funny
because I totally changed it. I
was surprised that they liked it
the way they did because it's
radically diff erent. I also worked
on Coil's new single, which I
remixed, and on David Byrne's
new solo album, for which I did
two mixes.
a  ©
■" ■■ ■"
* * *
f I'll if
• | al.5 I
ft! ill»
ali-s  |
lis! s
ftffl    |
'     °2    2 Timbre Presents
101.9 fM
DOORS 8 pm SHOW 10 pm
m $ $
Tickets Available At: Zulu, Black Swan, Track,
Highlife, Scratch, Razzberry Records and Reminiscing Records, ™^>*^_.  outlets or charge by phone
280-4444. Tickets for Legendary Pink Dots are also
available at Graceland
AUGUST 1991 7 The Cruel
lory slap yer-self-on-the-back-shit not
us, no way, none 'o' thai teary eyed i
niscing of days gone by crap, no, the only
Ihingtodo is treat it Hke ifs no big deal and
just carry on business as usual, so here
e listings stuff so far booked for tr
to bands from the pop-punk capital i
> world -Victoria- more sming fad
first of the month. Friday Aug.2-
iniversaryof the only alternative dinning
lounge in Vanoouver! We rockl This
ige happening do starting @2pml
indsl Tons of free stuff I Including
I Lots 'o' toodl drink specialsl wear a
as fuck-shirt tor a huge discount
nd shirt you got here over the pa
for a discount al the doorl Old I say
s?l?l THE RHVERS (from Georgia)
San   Fran)   FACEPULLER,
Then Sat 3 the s
that people are still talking about is back.
i on a hot August night- w/. on the
comes Vancouver's own'MECCA
or  what?  THE  CHEMICAL
Victoria. Fri. 9 we hope 1
FUN. Sat 10 Touch 'rf G<
and 7 (seven) full length releases I
w/ CUTHROAT featuring memt
Octatracktor. Wed. 14 SONIC BRAW JAM
names says it al Fri. 16. oik
critically acclaimed recording artists
Seattle on OZ in a record re
is ICKY BOY FRI EN DSand many special
guests. Sua 18 heavens to murgatroyd
Sub Pop recording artists from England - THEE HEADCOATS - ever
GORILLA w/ a most amazing ba nd yo MII
rd grung was coined to describe, wel-
BLOODY MARYS. Tues. 27 and wed. 28
Sootland comes THE
PASTELS', at home those kids gotbaeked
up by bands like The Happy Mondays anc
ie Stone Rosesl Fri 30 and sal
e most rockingest little piggies in
TANKHOG - thafs all. a. so I was saying
he best pathetic little shit rag in towr
1176 Granville
Disccr-DER/ rowena
"Hie title of this story i$:
A couple of montlis ago the Muffs from LA. featuring ex-Seattlelte Chris Crass played the 100th
Issue of Discorder Party at the Cruel Elephant. Are you two (Kurt mid Cliris) the only aouve
surviving members of Seattle's once vibrant late 70s punk scene? t
to <*•- JtiT^k, fetfCK&K.
The group Aieeeee claims they got their break opening for the Fastbacks at some hall man}' years
ago. How come tbey broke up and you dldn'i? . ._.
Are people in Seattle tired that Pop Defect is constandy referred to art an ex-Seattle band? Do they
deserve-such kind treatment from their hometown form which they ran away? r /  «     /
toO\~ ca\\ \.qoo-K,l-ZHTi       £>cfced  |-?»0-"&?-2«i* fc*   0? J*** fjj
Was Dale Weisrte of Track Records the first Vancouverite to care about the Fastbacks?
id that the Fasihacks ar
Mo    8«-t   J**.*   91-/   '-i   -France    c?5fr^d!   i-fl   tk-erti
W*.**   a  ^a(    T.water   bn^a^-f   ^   csooUnf- Pn/
{oo\&-*tA   j? y ^ ^.^y st< U
t>'i Kim really audition for America's Funnieat Home Videos?
Does the world like the Fatlbaelu as a 4-piece or as a 3-piece?
\eM, fW oufR r
J-piece     l-<Joo^3t3-'2im* AQ- „\
Who has more money: Kid SciMlion or'Queenwyehe? W-l'a:
3& nouCced n^UgH Lined t-^.«rt* ■ WS«« -hin. What other, do
Are ihey any moie recordings coming out on No Threes?
"■ ... _. .,r|„ ^r,n(rs1 mgljj y_t
,OI*5 (the re-release of Payback* early songs) make you
Dots listening to Never Fails Nc.vc
happy or sad^ Who decided .0 release tt;   A^ewH     aC.^qny     -.«,,. „   .,
|   r\0   precox   ., -frtr/.   L;^ tr.|  0se^ tKa  *\t+»rt-  f , ~__
Aie the T-aitbacks putting out anodier double 7" out of Texas? ^«*»-A tVau. ^c***,a***6   *f'"^W5|
Why is iln ie blood on so many Sub Pop singles?
How nian> unies have yo\i broken your arm while on stage playing guitar? Any other injuriw?
   ...J. __..e jun ve neen nit with on stage (ie, thrown from the crowd)?
j \VOzfcM    vvn({cy  ^£KM   ^yS   £>.{    [Q*g<QS
The Holidays' record is called Every Day is a Holiday and the Fastbackl' record it called Everyday
is Saturday. Who's telling the Ouch?
0«-pOAel$     0V^     ,p   ^OV    l'«W    tk^ ClT'C/'tf/_r
Of i'h-t fi-ida-ft)^    k*f"
What were > ou up to when the Fastbacks weren 't playing and before you joined the fellows?
r\    /lo-I/VMS'^ey ^u/l/| .
Ju -t how ex3ttly did the Fellows approach you to join them? ,
•*•*■-*"   ■ ersa, who would have the harder rime leemtaf
.   p--olj<.yw   A.*u-et t^-<-
And which songs would the Fastbacks choose and which would the Fellows choose?   vJ&t-y)
W Fastbacks were lo do a Fellows set;
v V.,;^'';        \ *"*•*' -^______________H
J PIcaie list off a complete di-cography for the Fastbacks, and for you playing on the YPP
■ recordings, and any else too. ^hA-1*   t<-'AO.A  fO^o^   pj_i^"V*-0dwa/   TM& {S~
Have you ever been chased down the street by adoring fans?
U it true that Spokane i» every touring rock 'n' mil musician's dream t<wn?
i^Jl ™m«5 i^^ t/Uu "^r ^ef 6[   *~"
Please draw a portrait of
AUGUST 1991 9 Expert flair  _«, e
m isn't exactly in Canada, but us Vancouverites will
I always have a soft spot in our hearts for the town that gave
the world LoreUaLynn, Ken Griffey Jr., distinctivesmells,
EstnisRecpids,Bi mse tune "Rockin
Matilda," don't forget, hit #1 in Hawaii during rhe early
part of the 60's) and, ahluh, Crayon! Indeed, Brad, Jeff, and
Sean make up Crayon, a local Bellingham outfit, who
bring forth .precious creation aptly titled, Thrill, that in
reality acts as far more than a "band" newsletter. Splattered inside issue #3 are a generous number of record,
cassette and fanzine.reviews, a George Pfrotnm Comic,
some local bandnewz;arid a super-duperpiece documenting Sean Crayon's trip down the old 101 to the Trees of
Mystery Califorhia. fety ultra wide horizontal lay-out
too. Take cover Goqfball, Thrill is it! Free at Cellophane
Square in Bellingham or send SASA to P.O. Box 2487
Bellingham, Wa, 98227 USA. Parcheezy.
... like Vernon B.C.'s Paisley
zine, putoulby aone Mr. Lee Sh
— lotsa neato stories, p
.      - .   ._Oi..,^     It!
£ Music
views (watch out for Tlie Toque;'),
r -      .. f    ?  'i    .    i
,  :.. .<■„.;
;. spai in llioir face. Join
Australia and Armstrong, by hopping
aboard the Paisley bus and picking up a
copy at ScratchRecords or, alternatively, why not send a buck to Sit 3, Comp
Among the growing number of Vancouver based:
Zetetk rises to the top. What? Kim Kinakin, angst-
meister supreme, Gest-Quest All Ages Guy and i
time Thursday afternoon Flex you Header, has ditched
his old labour of love C.O.H., for Zetetic, a new
se it as a 2 page,
and, most imp:-; tually.tbewfttte
mag is mighty impressive for it also chronicles a vast
array of other powerful combos, namely Seaweed,
Nation of Ulysses, Coffin Break, and S_perehunfe
Furthermore, Zetetic offers helpful vegetarian cooking
hints, political insights, plus a couple of pages of "deep
Box 1457, Station A, Vancouver B.C., V3N 3S9.
WE WANT TO MAJ-___-_-_-_____-_________________________HTHf A77?E
700 000 EACH HOUR,
Arising from that hippy-paradise of San Francisco, Consolidated is not merely a collective
pumping out an increasingly
popular blend of hip hop, industrial, dance music but, rather, it
is a collective that forces its listeners to confrontl the existence
of the institutional oppressions
of American society. While Consolidated embrace the well-
known causes brought to light in
the '60s, such as feminism,
American jingoism, and racism,
its members have also placed on
their political agenda a number
of issues which have only recently begun being discussed,
like homophobia, cruelty to animals, and the fascist elements
in the entertainment world.
While some listeners may be put
off by their outspokeness, Adam
Sherbourne, Mark Pistel, and
Philip Steir not only welcome
this reaction, they thrive upon it.
For the members of Consolidated believe that they have
amission, to transform the traditional spectacle of concert-going into a democratic, interactive atmosphere for a^i^ghtful
exchange of ideas. J| the end of
their shows, as thJp^who saw
Consolidated perfot
two previous appeara
Luv-A-Fair already know^
provide an open microphone for
the audience to respond to, interrogate, refute, or otherwise just
comment on the band, their beliefs, or the world. However this
segment is not just a cynical,
meaningless gimmick, the open
microphone portion has worked
its way onto thenew release from
the band, friendly faScism. A
number of songs, including "Dominion," use the actual recorded words of audience members
as lyrics, if not the creative core.
Furthermore, during their last
tour, Consolidated stopped their
concert to show a pro-choice
Discorder:What was the audience reaction like to the pro-
choice video you showed during
the last tour?
Adam Sherburne:! think our
audience's perception of us has
taken a long time to be crystallized or refined at all and that's
just another obvious illustration
of our support of choice whereas
even if you have a song about
women like "Love, Honor, Respect," if you make a song like
"Your Body belongs to the
State," people will still diversely interpret and misinterpret that.
Any sort of obvious illustration
where you show certain information and then have the band
very clearly state its position are
just very helpful tools. In
rock'n'roll things always j
misinterpreted, so it wasi
good was to a) clarify <
tion and b) force tl
stop being affecte
traction and isfkctacIBfcf music
Hentiorran one thnjg in the mid-
lije of Mpck show. It's a very
rj**l**|ll|_ry to disrupt mindless
D: Do you come from a' Liberal'
upbringing or are you also fighting against your background?
A .-It's hard to say. My family is
military, although my father
wasn't active when I was born
— he was retired. I'd say there
wasn't religion. Nor was there
any upholding of any overtly
repressive traditions in my family. Yet, it was more conservative than liberal. I was more repressed by other surrounding institutional stimuli although I was
given free reign being the youngest and the male.
D:Do you feel people can understand the ugliness of racism
butdon'tunderstand that sexism
is just as, or even more, pervasive. People can see it'snot good
to hate someone just because of
their colour but males don't see
that sexism is subtly pervasive?
A;Yeah, definitely, and yet so
are all the other institutions of
repression. It's very subtle in
some ways how class discrimination occurs or how handicapped discrimination occurs.
It's overt in many ways how sex
discrimination or exploitation
occurs and it's very overt how
homophobia is a huge ploy I
generally white heterosexual
males to, once again, keep o^j
people dowa,Otn*line is that all
of these institutio^^zed forms
of oppression or o_lfcnination
take on,jis you said, sAder and
; elements atiimes
and open forms
least*^|mlyr that they're all
•logically dangerous in our
:iety and that they're all very
present. There are probably some
people who are sensitive to women's plight and they're every bit
as racist I know plenty of women who are racists and homophobes that are very articulate
on the sufferings of women. You
look at people who comment on
their experiences as African-
American males who are so articulate and understanding of
their own oppression but are
completely prone to anti-semit-
ism and homophobia.
D:What Political groups do you
work with in San Francisco?
A.*They're pretty branched out
We've done work in a hands-on
way: volunteering with everything from an inner city youth
organization called OmegaBoys
Club, an at risk youth shelter
called Larkin Street Youth Center, Philip (Steir) worked for the
California Abortion Rights Action League before we left on
tour, I volunteered for an escort
service which is a reproductive
rights group called Baycore —
where we block harassers from
Operation Rescue at abortion
clinics — it can go on and on. A
band like us makes no money
and has very little time, so it gets
spread pretty thin. ,
D:You seem to have reservations about workinj
called 'irafeistrial'
it a better
than pl^*rrSfolk
A .Yes, and I wouldn't even claim
that the ffl_i$__ience is convert-
but I think you have a very
point The only problem
lave with the association with
industrial music is that it immediately attracts a crowd of violent male frats that are interested
in using more nihilistic and violent images in elements of that
music just so that they can incite
riots with each other and physically assault everybody at a
show. So that's why it became
important for us to diversify even
more into ever less aggressive
musical stylisms.
D: Are there any bands or musicians whose work you respect?
A.-Yeah, plenty. We respect everything from Faith Nolan and
Phranc to Chuck D and KRS I to
Michael Franti of Hip Hopcrisy
to K.D. Lang, whoever. There's
a lot of people doing good work.
We' re not going to be the kind of
people setting out to discredit
the Stings, the Peter Gabriels,
and the Bob Geldofs ofthe world,
though sometimes I think their
impact as political reformers/
activists through music is somewhat shallow. There's a lot of
people doing good work and I
think we try to be every bit as
inspired by people outside the
music realm, such as movie making, videos, authors, and stuff
like that.
D: Any problem with Right wing
elements at the open Miction of your show?
A.-Yeah all the time. Iffeu'vel
: every
. for us to
are still
■ show and sitting
shit and giving us
shit on the Mic afterwards. It's
also good to see the audience
realize who that element is in
their community because at all
other shows you never stop the
music long enough to put people
on the spot to define their positions. So these people are still at
our shows, the tendencies for
them to be there is still big in
every single city.
D:How much will people
change? It seems most people
are content to work, watch TV
and get drunk on weekends. Are
you fairly optimistic ...?
A:No, we're fairly realistic
(laughs). So our point is we try
not to be resigned We feel there's
a lot of work to do and a lot of
people doing great work who
are motivating themselves for
personal transformations, motivating others to form collective
struggles against the evil, more
pathological, institutions of the
status quo. The vast majority, as
you say, are still the ones willing
to uphold the establishment and
get faced on the weekend and
keep endorsing the real violent
and unequal facets of American
D:Any idea on what musical
direction Consolidated will be
A.-Yeah, perhaps we'll have to
discuss it after this tour but, I
still think we'll have to
deconstruct, or destroy, the
music a bit more than we have.
We did change from the one
record to the next, but I think
on further work we'll have to
deconstruct further because
;'ve made two pop albums,
some ways what is
considered alternative. I think
we'll need to deconstruct the
musical text every bit as mush
as we're trying to deconstruct
the political ideological, or
spiritual text.
D:How did you end up working
with Jack Dangers (Meat Beat
A:We've opened for Meat Beat
three times in different places in
the States and hit it off really
well. He's a good friend, a brilliant producer, has great ears,
knows how to work in the studio, and he's taught Mark (Pistel) how to use a studio way
better, so it worked out really
great. They were anxious for us
to support them because Mark
could mix them and our drummer Phil could play drums for
them and it would just balance
out their presentation more. So
one thing lead to another and
now we're spending two months
D: Anything you want to add?
A ;Just that the Unity of Oppression is the positive goal and to
throw in that Friendly fascism is
the overriding Consolidated
world view.
You can see Consolidated perform on Wednesday July 31 at
the Commodore Ballroom.
Discorder Mix'N'Match Puzzle #1
Connect each of these following people with their portrait below
1) Adam Sherburne        2) U.S. President George Bush      3) Premier Rita Johnston       4) Arnold Schwarzenegger
sjaino ai-j jo Xin» *pt Pinoo sn jo auou 'Xn*n*3** !g-i :s»msub
er Miiipy Awwnowirz
Fans report that the Feelies' live shows
are incredibly powerful and intense. One
ultra-credible reviewer ofthe late seventies gave them the convincing endorsement that: "One recovers from their
shows with a head full of empty, like
coming off too much speed, staring at
the television long after the station has
signed off." Despite this effect, their
performances appear to have generated
a strong core of loyal Feelies lovers.
The Feelies are a band that have
existed intermittently in various incarnations for the past fourteen years. In the
beginning, in 1978,77u! Village Voice
declared them "The Best Underground
Band in New York" Since then they
have played on the soundtrack to
Jonathan Demme's movie Married lo
the Mob andappeared inSomething Wild
they were featured on "the David Let-
tennan Show;" they are said to have
inspired and influenced R.EM. — and
yet, they can't sell albums or pack a
show. Are they underrated or undertal-
ented? I wouldn't know — I've never
listened to them.     ,_
r: How's the tour going so far?
Brenda Suiter: Oh, pretty well. It's a
big tour. The last tour that we did was a
bit more involved than this one. A&M
wanted us to work more on the West
Coast, so we're only here for a week and
a half at the most.
D: How long have you been on the road?
B: We were out for four or five weeks
between April and May, and then took
off a few weeks. Stan's wife had a baby
— Stan's the drummer. So we kind of
had to break things up. We don't usually
go out for more than five weeks anyway.
We did a few shows down south and then
flew out here. Altogether it's maybe just
two weeks this time, including going to
the Southern United States.
D: Were you with fIREHOSE then too?
B: No, this double bill with fIREHOSE
started on the West Coast
D: Was die double bill an intentional
thing? •
B: Yeah, we figured it would just go ova-
well, help to sell more tickets. These
days we're finding, and also other bands
are finding, that attendance is kind of
slipping. There seems to be a trend to try
to have several bands play. You can cut
the production costs and get more people
to show up.
D: I don't know ifyou were around then
with the Feelies, in the early eighties,
when they used to play with Anton Her.
They say that he used to dram so fast that
he would vomit Is this true? *
B: Oh, no. Actually, Stan drams faster
and he doesn't vomit There was just
one incident I don't know if he had
eaten a big meal or what, but anyway, he
did kind of get sick during the show. It
wasn't from playing too fast though.
D: It's not a gimmick you use? ^
D: There have been lots comparisons
made between you and the Velvet Underground. How do you like that?
B: It's a very common thing to try to
compare bands. I guess it's done to try to
get the sound of the music across and to
explain what the band is like. There are
certainly similarities. When I listen to
earlier music, I hear similarities with
other bands. It depends on your perspective. Youcancompareguitarsounds
or production sounds, or you can compare the feel of a song. But I mean,
guess generally, anyone who would like
the Velvet Underground would probably like the Feelies. I think that the
Velvet Underground's songs have
much slower groove to them in general.
D: As bass player, if you had to compare
yourself to someone, who would it be'
B: Uh, the groove? Sorry, it's hard to
hear. I'm outside and the traffic is picking up [What?! Are the Feelies so hard
up that they can't afford to stay somewhere that has indoor phones, or is she
on a cellular?]. That's hard. There are
influences, I guess, from other bands,
but it's really hard to compare the sound.
I couldn't say one band in particular,
really. Like, for instance, recently I was
listening to Creedence and I thought
that there were some similar things between the Feelies and Creedence. That's
a band I never really thought of as being
similar 'til I was listening to the greatest
hits CD. 4
D: The connection isn't obvious.
B: The vocals sound very different. But
if you strip the vocals away there are
some similarities, like in the rythm section.
D: Comparisons aside, have you ever
actually met Lou Reed?
B: Oh yes. Yeah, when he was doing his
"New York" tour we opened for him.
Actually, for the whole tour, we were
his opening band. We ran into him quite
often and he would talk to us. There's a
picture of us together. The last night of
the tour, which was at the Amphitheatre
in Hollywood, he actually came on and
joined us for some tunes. To do it in
front of such a big audience was sort of
a cool thing for him to do. And we also
played with him at a party for a station
called DRE on Long Island, New York.
It was almost like a dare, but he called up
Bill and talked about doing this show
together. There were a bunch of bands
who played. Each band that played did
maybe four songs and he came on and
played with us. That was the first time
_tat we had met him. I almost passed out.
D: Has there been a band or a concert
that changed your life, musically speak-
up then. We just sort of had dissipated
— the Feelies went on to the back
burner. Bill and Glenn did the soundtrack to Smithereens, a Susan Seidel-
man movie. There were projects going
on with these various bands and also
the movie score. *
D: I also heard of another movie that
you did. *
ing (perhaps Lou Reed and his "New
York" tour).
B: For me, personnally, no. When I
became interested in playing bass I just
went out to see bands in general, just to
see how they played and to listen to
sounds. Maybe other members of the
Feelies would have particular shows that
changed their lives. I didn't really go to
that many good shows. I can't diink of
one good show that I went to.
D: Between your first and second albums there are six years that are unaccounted for. What were you guys up to
during that time?
B: There were other bands that we played
with. There was a group called the
Trypes, the Willies and Yung Wu. The
Feelies didn't actually officially break
»Y *Ai fc.o„«r4Trt
B: Married to the Mob. Just the song,
'Too Far Gone," is used as background
music. Actually, in the film you can
barely detect it, it's so quiet But then
at the end, during the credits, they play
the song nice and loud. We were on
that soundtrack, but we never made it
onto the Something Wild soundtrack.
D: Didn't you actually appear in that
B: We appeared in Something Wild,
but not in Married to the Mob. Although Jonathan Demme did have a
spot for a band in that film as well.
There was sort of a Latin band. I don't
know what exactly, but it was something like hispanic. ^
D: Do the Trypes still exist?
B: Not real!y...The members of the
Trypes who were not in the Feelies
went on to form a band called Speed die
Plow. They put out a record two years
ago. They had a different bass player
and drummer. Then, about a year ago,
they let a few members go. Stan and I
joined. So, in a way, it was like rejoining the Trypes, but it is a slightly different group.
D: You guys have been together since
_V Certain members go all the way
back I've been in it since '83. Stan
joined in '81 or '82.
D: Sounds like you have a pretty good
track record. *
B: Yeah, longevity is certainly there.
D: Have you quit your day jobs yet?
B: Ahnosteveryonedid, although things
have been pretty rough. I think the band
has been part-time all along. It's still
not quite full-time. You really have to
have something else to bring in a little
D: What was it like doing "the Dave
Letterman Show"?
B: WelLIdidn'tgetto doit Ididn'tget
paid for it either. Paul Shaffer has a
policy that his band has to play. They
only allow two members of a band on.
They say that they made an exception
for us by letting Dave on as well It was
supposed to further our career. *-
D: Did it? *
B: Not that I know of. I haven't seen
any drastic changes. I just thought it
was a pretty tasteless policy. How can
you ask a band to come on and then tell
them to leave half their members at
home and still call it a band? That's not
what a band is about A band should be
about individuals playing together,
playing as a unit
D: I was planning on asking you what
youthoughtof "The World's MostDan-
gerous Band." I take it you're not impressed.
B: Ah, no. I think they overact They 're
just into keeping their jobs very secure.
I hear that the drummer is actually a
pretty nice guy, but I don't know about
the rest of them. I used to not be very
impressed and now I'm even less impressed.
D: Having been around as long as the
Feelies have been, you must have seen
a lot of American bands come and go,
whereas you've been a constant, in a
low-key sort of way.
B: The last tour that we did, our opening band was the Chickasaw Mud Puppies. I like their music. I'm drawing a
blank right now.
D: How about the New York scene?
That's where you got your start
B: The recent scene isn't such a big
scene anymore. I guess it was in the late
seventies, early eighties — there were
famous clubs that have mostly closed by
now. The only one still around is CB-
GB's. So many clubs have closed that
the scene has kind of crumbled. There
really aren't that many places to play,
unless you play in really tiny underground places. One good place to play is
the Ritz, but one club is hardly a scene.
Things are just alittle bit tight right now.
D: Do you have a hard time finding
places to play?
B: Certainly there are problems filling
up a big theatre. The show that we just
did in Sacramento was moved from a
thealre to a small club. The club was
packed, but still, we just couldn't fill a
theatre. There are instances where you
try to play at one place, but you find that
you're not able to, so they book you into
a smaller place.
D: That's pretty ironic, because a few
bands have wanted to be like die Feelies.
R.EM. is a good case in point. They've
gotten a lot recognition of late — you
guys haven't
B: Often the person or the group who
starts something new is not who gets
recognized for it, or takes it all the way,
it's someone who maybe picks up on a
new trend and is able to bring it more to
the public's attention.
D: So you don't feel any resentment?
B: No, no. They (R.EM.) are a band that
has worked very hard They were consistently putting out records, always playing. I mean, they toured for months at a
time. They've really put in their time. In
the long run it has paid off for them. So
I don't blame them a bit. They've taken
something very far.
D: Someone suggested to me that you
might be like the Velvet Underground,
'cause while they were around they didn't
get a lot of recognition. Now people just
love them.
B: Yeah, right, or like painters who can't
sell their paintings while their still alive.
Then they die and become famous.
D: I hear that your Uve shows are really
B: Yeah, they're usually rave-ups. We
play much faster than on the record - it
just happens. People have defmately taken note of this.
D: Do you normally get a good audience
B: Yes. People are into dancing and
moving around. We kind of draw energy
from the crowd. If they're not reacting it
affects the band, so we try harder. Moving to Vancouver about four years ago, I tuned into CiTR on a Sunday evening to be confronted by strange ambient low frequency tones and warped ethnic
noises. After about twenty minutes, the sounds stopped and Larry "Playloud" Thiessen whispered "...Zoviet France". I checked out the CiTR library - no information
on the record sleeves, no pictures either. I asked around and found out that Zoviet France were based in Newcastle, England, and never toured, made their names
public, or in any way indulged in the trappings ofthe "music biz." So when someone told me a couple of months back that they were touring North America, and
playing in Vancouver, I found it a bit hard to believe. But bugger me, they did play here, and a fine event it was too. The three of them sat cross-legged amid a tangle
of electronics and toy instruments, pumping out those very same strange sounds that had first caught my attention. I missed my chance to talk to them then but, thanks
to the efforts of our music director, I was able to contact Ben Ponton, of the group, by phone later— at his home in Newcastle.
rzovfet ^frarice:
Discorder: I guess you just got back from your debut tour in North
America: how did it all go?
Ben Ponton: It went really well. We ended up doing 34 shows,
which was afewmore than wehadplanned. Wetravelledrightround
Canada and the States and generally got a good response.
D: So why the sudden change to visibility and touring?
B: There's several reasons behind it, we have been playing Uve, in
relative terms for us, more frequently over the last two years, but only
in Europe. Particularly over the last 12 months we've adapted a
format for playing live which we feel a lot happier with and which
is a lot more mobile. One of the problems we've had in the past, is
the problem presented by shipping the amount of gear we like to have
with us. We've reduced things in scale quite a bit which has made us
a lot more mobile.
D: So it has always been an ambition to play Uve?
B: Yeah, it has never been a situation where we've described
ourselves purely as a studio band For a long time what we did say
was that we weren't.interested in playing conventional venues. We
We found from experience that it's best if we mix the sound Uve on
stage ourselves, rather than rely on somebody to do it for us. That's
because we're improvising all the time andpartof that improvisation
is the use of the various electronic sound effects which you can't
reaUy rehearse anybody to use. Apart from the four-tracks, which
have the advantage of being tape-players as well so we can use
cassettes as an additional sound source, we also have a huge array of
acoustic instruments - for this tour, they tended to be quite smaU - toy
instruments, small ethnic instruments, things that we've built ourselves. We had a sampler triggered from a keyboard and a few small
electronic bits and bobs.
D: Did the sound evolve during the tour?
had a lot of training in various dance disciplines including "Buto",
the Japanese form, Indian Sacred Dance and several others, which
she blends together and adds some of her own ideas in her improvisation. She contacted us before the tour and suggested we get
together and try things out on the first part of the tour ana see how
it went It went weU, so she stayed with us right through. It gave quite
a new dimension to us, as much as anyone else at the show.
D: Is your studio work improvised like the Uve shows?
B: Generally we make our studio recordings in the same way as our
performances. We get together with a big pile of equipment and
improvise together and record everything that we do. We take those
recordings and mess about with them afterwards, editing and mixing, occasionally overdubbing. Basically, we create raw sound
_?.* That's one of the interesting things about doing that kind of tour.
You can see how improvisation develops over a very short period of material in the improvisation and work with it afterwards. That's not
time. We found that there were considerable differences from night the exclusive technique that we use, we have a number of approach-
to night I think the music we played in Denver, for instance, was " es, but that's the principal one.
miles away from the music of the first show in Toronto. D: So what proportion of your improvised recordings make it out to
D: I enjoyed the Mime. the pubUc?
wanted to play unusual locations, but the offers for those kind of    B: That's Christina Ares. She works under the name "Red Bikini" B: We estimate about five percent of aU our recorded material that's
places were few and far between, so we ended up having to     fortheUveperformances.She'sfromMontrealandshewasworking in a releasable state has actually been released. But we don't worry
D: What do you think is the ideal Uve venue for
Zoviet France?
B: For us it would be an outdoor location, but not
necessarily out in the open. For instance, we
played on an island off the coast of Amsterdam,
where we, the musicians, were actually underground in some old naval workings. The music
was transmitted about the island and people could
wander over the top and through the fortifications
in the island.
D: So a completely interactive environmental
B: Yeah, weU it is. That's one of the reasons why
we would prefer to play those kinds of locations:
there's a lot more scope for using the location as
an element of the performance. What we tended
to find on tour was there were very few occasions
when we could interact with the venue that we
were playing. A lot of times we felt that we were
playing music that wasn't suited to that type of
environment. I think people appreciated that and
made aUowances for that
D: Were your audiences in tune with what the
band was trying to do?
B: In most places they were very attentive. There
were a couple of places where people weren't
paying too much attention and that was quite
distracting for other people. But, by and large, we
had few problems with it.
D: So did you record every performance?
B: Yeah we made digital recordings of every
D: You must have tons to go through now.
B: We're slowly dubbing them off on to ordinary
cassette and listening back to them. I've got a pile
in front of me now. Personally I've got through
about 6 of the shows.
D: What's the set-up Uve? You had 3 four-track
recorders, right?
B: We use the four-tracks principally as mixers.
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about it too much We make the music for ourselves as much as
anything else.
D: Did you initially have any trouble recording
and putting out what you do?
B: Probably not, actually. Because we have been
so unconcerned about releasing things on record
and seeing that as the objective of what we're
doing. I remember when we first started making
records and when they started seUing it came as a
total shock to us. We stiU feel that we aren't aband
who create recordings to be released and then to
be sold and make money. It's very nice that we can
do that, but if we couldn't, we'd still go on doing
what we're doing.
D: Do you see Zoviet France playing more of a
part in the commercial music scene?
B: We're optimistic. We perceive a stight shift in
the centre of gravity. We think that people are
showing more interest in our kind of music. I think
we're probably less marginal than we were a few
years ago. As I said before we're not seeking
commercial success anyway, so we'd never do
anything for those reasons. We're getting interested in working in other kinds of musical fields
- acid house and ambient house. We've been
working on a side project for some time now.
We're interested in it because, the dance aspect
aside, the approach to making that music is very
similar to ours, in that it's using found or ambient
sound sources.
D: What about the ritual aspect of it? Dancing to
a state of trance.
B: That's one of the attractions it has for us. We
find that kind of situation developing in our own
music anyway. It's a state of mind that we set out
to achieve while making the music and we hope it
translates to the Usteners. We're not seeking to
hypnotize people and thereby manipulate them,
it's more like removing the distractions of everyday Uving and getting back to what we perceive as
"**' AUGUST199113 squandered my life by chawing out of a toothbucket * with doped grasshoppers bounding out your ears,eyes, he^
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^K-__y\^,_-_B-_-: ciT5«_ Uke black ctaaws circling the dead by jules killam
So your lover just left
you. It looks final. All the
Cramps tapes are gone.
Same with your fave
Smiths poster. Hell.
Time to start looking
for someone new. You have
to try. maybe the next one
will stay longer than three
and a half weeks.
Now I don't need to
suggest where to find one.
Assuming you've had one
before, you can probably
find another. Just go
back to the
same place
as before.
A meat-
will always be a
ket. Come
back to this when you've
found someone new.
That was quick. So
you've got a new man/
woman/whatever. Let's
carefully examine this
What are their political affiliations? (This
applies less often to
women because men
seem to have more interest in politics than
the distaff alternative).
Most political parties,
though inherently evil,
are acceptable. TT.e Social Credit party deserves special mention,
though. For some reason this party attracts
warmabe fascists who
aren't misogynistic or
racist enough to join the
Reform party, but still believe in clamping down on
the rights and freedoms of
ordinary citizens. These
people are dangerous.
Avoid them if possible.
Liberals and New
Democrats just haven't
been the same since
Trudeau and Broadbent.
These people aren't worth
A member of any
fringe party is bound to be
amusing. A person who
goes insane about hugging
trees is great fun to bring to
your parents house for dinner. Definitely someone to
try for.
Musical tastes are
very easy to judge by.
What it comes down to is
wether you want to fight
over music or not If you
both like Bruce Springsteen, your life together
will be quite smooth, albeit quite possibly maladjusted.
But, if you like the
Shuffle Demons and your
partner's a big fan of
Tchaikovsky, you're not
likely to see much live
music together.
You're best bet is to
That's good We all need
diversity. But there are
certain types to avoid.
The British, Irish,
Scottish, and Welsh are
all fine people but dreadfully difficult. They generally fall into three classes. Stoic tight-asses,
drunken buggers, and
long-winded bores. Difficult people the lot of
them. If you don't believe me, come meet my
The Latinos
(French, Italian, Portu-
other culture, it mostly
comes down to Canadian
or American. Boy, tough
choice. People with no
strong culture or fanatic
patriotism, allowing for
splinter groups such as
Quebecois, Texans, and
Califomians. The choice
is up to you.
Ethnic background
is a bad thing to solely
base your opinion on
though, so do think about
other things. Like size.
Tall and short people are very dif ferenL Big
find someone who likes
slightly unusual (but pab-
lum-type) music like
Prince. That way you can
drag them out with you to
nifty stuff with few complaints.
Favourite colours
used to be a useful way of
determining something.
These days though, the
only colour not on clothes
at Le Chateau is black. So
it's a bit more acceptable
but hardly unusual.
In this multi-cultural, ethnically diverse
country of Canada, the
odds are good you'll find
someone of a different
background than you.
guese, Spanish). Most of
them are rude, crass, and
terribly unromantic. But
they are the horniest of
all living things. Which
is good because pillow-
talking every ten minutes
gets to be annoying. Otherwise, the myths are all
bunk and no spunk.
I admit to knowing
little about the peoples of
Eastern Asia and the Indian subcontinent Due to
Caucasian domination,
the only EastlndiansI've
met came from somewhere in Wales and have
Oxbridge accents.
For native born
North Americans withno
people are always in a
hurry. To them, everything has te be done immediately. Take, for example, walking. They
don't just take big steps,
they take Three for every
one you take. It gets frustrating when you're outrunning the buses along
Granville street
Shorter people on
average are very casual,
relaxed and a great deal
kinder, I should add. They
tend to be very nurturing
and parental. Really now,
isn't that what you moved
away from at home?
What kind of car
does this person drive?
Only eco-nuts can ride
bicycles. Anyone else is
just cheap. Same with
fantasy vans with murals
of naked warrior women. They're waiting for
the retro-60's thing to go
away so their polyester
and acrylic once will
again be chic.
People with old
beater cars can be okay
but make sure there isn't
arepressed mechanic behind the exterior.
Ignore astrological
signs. When they began
discovering new
planets in
the solar
system, the
charts were
pretty drastically, so
how reliable can
they be?
Avoid youngsters if
it contravenes any laws.
Especially if your landlord is a fuckhead who's
out to get you.
I've only one
weight-related comment And that is that
heavier people, for
some hitherto undocumented reason, are
MUCH louder during
sex than their emaciated counterparts Jc
I suppose now we
should talk about sex
with your new partner.
Without compromise
the have to be disease-
free, unless you're not
Without question
they'll have to be responsive and attentive to
your needs and desires.
The exception being that
you may be a masoehist
or some wretch who is an
emotional dependant
There are other
things that you might
want to judge, but I'll
leave that to you. But
based on these criteria,
let's evaluate your prospective partner.
Hmm... looks like
your best bet is your basic, average, every-day
ly what the last one was.
Love can be a real ■tijaeivi turn a\i burn our. wnwT>tAu.si\iGro/uLDArtfX)GAL_ star machne age
plus ESflffS
Wu(x Of fbuR
young black teenagers
$20.50 ADVANCE/ $23.00 DAY OF SHOW
Tickets at all Ticketmaster Outlets or Charge-By-Phone:280.4444
Subject to Agency Convenience Charges
Don't miss the hard core high
tech smarter than God twice as
lovely unforgiven over driven
non stop coast to coast vision
thing tour August 13th in the
Seattle Centre Arena.
D.v^. IvClOrtS      election update
Bovine beast tramples Dragon-lady
What do B.C. politics
have to do with the
AMS Gamesroom?
B.C.'s Rita Johnston enters the arena.
The world watches in awe as
British Columbia's political roller
coaster takes yet another bizarre
See related stories
on pages 2 -124
UBC Student Union Building
Lower Concourse
All Ages Welcome
Aug. 1-3      AMOS GARRETT
Aug. 4-5 KENNY NEAL (holiday weekend special)
Aug. 12 MAJOR HANDY(one night only)
Aug. 26-28 MIKE JACOBS
OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am si Weldon's Psychotronic Encyclopedia of Film filled a
gap amongst aficionados of bizarre moviemaking, and has almost single-handedly redefined
the perimeters of the genre previously known as the 'cult film.'
Now, the time feels right for the
archivists of strange vinyl to have
a similar volume of camp and
cult and crap to sink their teeth
into, thereby giving the title 'vinyl junkie' a whole new scope of
meaning. Each of us has probably come across a few records
we feel deserve recognition on a
'psychotronic' level (for want of
a new term), whether for their
music, concept, packaging, or
whatever. Wouldn't it be great
to have all these releases documented in one anthology, chart
info, and rambling histories of
the "story behind the story" on
each one? Of course !!! We'll
probably be waiting a long time
for the definitive audio companion of the film guide to come
along, so here a few of my own
preliminary entries to what remains only an imaginary guidebook.
Kasenetz-Katz Singing Orchestral Circus
Kasenetz-Katz Singing Orchestral Circus
If such a project requires a
Holy Grail on which to direct
itself, this 1968 Buddah Records
LP may well fill that role as one
of the truly quintessential psy-
chontronic records. The brainchild of producers Jeff Katz and
Jerry Kasenetz, the combo was
an amalgam of their three most
popular acts (1910 Fruitgum
Company, Ohio Express, and the
Music Explosion) with five of
their hopelessly obscure ones.
The result? According to the
press releases, the first true
rock'n'roll orchestra, 46 musicians strong. Alright! Perhaps a
Utile heady from their early successes (the aforementioned
groups had taken tracks like
"Yummy Yummy Yummy" and
"1,2,3, Red Light" near the top
of the pops), the producers conspired to unleash their ensemble
uponNew York's Carnegie Hall,
'Tommy" style or something (a
good year before the Pete
Townsend monstrosity!). The
premiere date was eventually set
for Friday night, June 7, 1968.
Its announcement was greeted
with a mixture of ambivalence
and skepticism from the New
York public. In an effort to give
their event a respectable house,
Jeff and Jerry worked with local
radio stations to give away virtually every ticket in the hall
(Steve Winwood style) not already going to industry types.
So the show went on, attracting
a critic froiii the trade paper Variety, who, inevitably insulted
by the rock circus, wrote in its
June 12th edition: "(the
Kasenetz-Katz Singing Orchestral Circus) is offensive to anyone but juves and investors."
The review continues with glorious detail ofthe extravaganza:
"string musicians with longhaired wigs... flashing lights,
James Brown impersonation by
a blond-haired blue-eyed monster, a midget, day-glo paint, 180
degree sound, other-worldish
fantasy 'trips,' black muscle
shirts (sex appeal), ad infinitum
were all there." Buoyed by the
enthusiasm of their freebee ticket holders (if not Variety), the
producers set out to assemble
the audio document of this group
and event The subsequent release (Buddah 5020) is one of
the most confusing pieces of vinyl ever encountered by this listener, a mish-mash of studio recording and supposedly 'Uve'
performances from the Carnegie show. Like many 'Uve' recordings from this period, however, the term only refers to studio tracks laden with shrill
screaming obviously sampled
from the audience of amorepopular group's concert
While the instrumentation
sometimes falls to the negative
side of 'workmanlike' and the
string arrangements are overbearing at the best of times, the
vocals are the integral abomination of the package. In what can
best be described as Helen Keller
interpreting Brian Wilson after
his prime, the songs abound with
obtuse vocal passages of at least
twenty people singing in different keys and an, at best, emotionless lead vocal skirting o v er-
top. Of course, noneof the sound-
on this disc would be quite as
convoluted if the reverb wasn't
on full, lending a transistor radio
effect throughout The musical
highlight is the last song, an interpretation of "Yesterday"
you'd swear was a parody of the
Macca and his Reno nightclub
sensibilities if you didn't also
get the impression that the people responsible were firmly in
the throes of Beatle-discipleship
at the time.
Already over the top, the
spoken filler on this album takes
the listener into uncharted (literally) realms of bizarre record
making. Check out the track
"Count Dracula," where the
count himself declares that "tonight the world will be consumed" as theOrchestralaunch-
es into a maudlin version of
"Places in the Sun." At times
like these, the record wavers to
the side of a seriously misguided
children's record; at others, it
attempts to vaUdate its starring
acts to a more 'sophisticated*
(i.e. adult) audience than their
bubblegum format had allowed
them to reach. Consequently, the
Music Explosion lead their cohorts through "You've Lost that
Lovin' Feeling," and then there's
the Electric Prune-on-valium
rendition of that underground
staple "Hey Joe" stretched to 4
1/2 minutes with a perfectly indifferent fuzz guitar passage meandering in and out.
Kasenetz and Katz betray
their sense of self-importance
when they write in the liner notes:
"We felt we were ready for something different Maybe the world
was ready too." Buddah President Neal Bogart (later the
founder of Casablanca Records)
adds his thought to the package
as well, summarizing the importance of the Carnegie date: "History was made... history and togetherness. Like coffee and cake,
black and white, like the
Kasenetz-Katz Singing Orchestral Circus andyou."Convinced?
Do yourself a favour and add
this nugget to your record box, a
privilege you can have by perus-
nently in the Top 40 Album
charts, Renaissance bowed out
on Cashbox and #134 on Billboard. Unable to find an audience for their North American
concerts outside of Las Vegas
and the Merv Griffin Show, the
project packed up for a South
American jaunt, and went
straight from there to Oblivion
(California, just south of Los
Gatos) until making a recent series of semi-success fill comeback
tours. Needless to say, the Renaissance material does not figure prominently in their current
Beasties' Greatest Hits
The Beastles
A great set of songs recorded on an early eighties high-tech
synthesizers, with programmed
animal sounds singing along! The
high point is arenditionof "Light
My Fire" with a dog barking the
melody and a chorus of frogs
chiming in on the second verse.
ing the racks of Main Street or
Neptoon Records where mint
copies go from anywhere from
$4 to $12. As Britain's Melody
Maker admitted in 1969: "It is
intriguing concept—getting all
the worst bands in America together to make monster records."
Treat yourself!!
Also worthy of mention:
The Village People
The swan song from the
"Coasters of the Seventies" (as
Rhino Records dubs them), this
1981 effort failed to find a new
audience for these disco greats
by having them sing New Wave
and pseudo-punk rock tunes on
their only non-Casablanca release (RCA had the good fortune of handling this one). Showing off their revised' Devo meets
Flock of Seagulls' look on the
cover and pledging "no more
YMC As" to the press, the group
sounds pretty emotionally vacant here as they sing about Big
Macs, diets and food fights. Less
than a year after their Casablanca releases had figured promi-
certainly amore telling tribute to
die Lizard King than any OUver
Stone biopic could ever hope to
achieve. For trivia buffs, portions of the Christmas section of
this album were used on the
soundtrack of the Roger &. Me
The RoUers
That's the Bay City Rollers, and this is their attempt to be
more than the latest teen flavour-
of-the-week. It's a drug album!!!
The cover pictures a huge pill
lop-sided in an elevator (don't
missthemetaphor), withthe track
"Stoned House #1" kicking off
side one (elsewhere on the album is "Stoned Houses #2").
There's a great road anthem on
the second side with a chorus
that chimes "Cocaine! Back on
the road again," and verses describing "limousines and the bars
onme__anines."The RoUers next
album. Ricochet (released only
in Canada in 1983), featured a
new lead singer and better music
than Elevator GyncaUy it's less
interesting). At this point in in
their career the group was virtu-
ally ignored by the media, a pattern only briefly broken when
they were detained in South Africa for not generating enough
concert doUars to cover their hotel
and laundry bills. Despite its
meager sales, copies of Elevator
are relatively easy to find, sometimes at below-bargain prices.
Living the Book of My Life
PhiUp Michael Thomas
Youknow, Tubbs, the black
guy from Miami Vice. This
record did a lot to debunk the hip
credibility of that program when
it was released, onno less amega-
company than Atlantic in 1985.
Why'd he do it? In PMT's own
words (to TV GUIDE in 1985):
"Youknow, when you have been
blessed with the multi-dimensional talents that I think I have,
you hav e a responsibility of sharing them with the world." So we
get a self-permed, self-financed
collectionof songs from this budding chanteur, the nadir of which
is "Fish & Chips" with the opening lyrics:
"Don't talk about appetiz -
Cause I'm a hungry man.
I want the full course baby
I could eat the frying pan"
Things don't get much classier
on the chorus when Phil (father
to at least nine illegitimate children) compares the act of sex to
filet mignon. WEA gave PMT a
second chance at singing success
in 1988, but the resulting Somebody did even worse than his
debut (which missed the charts
completely as it is). Today, Thomas is screwing Dionne Warwick in die hopes of establishing
an "inside connection" who wiU
help him secure the singing stardom that has eluded him thus far
(that's what friends are for).
Chances are the forces of obscurity and bankruptcy wiU find him
first... in which case itmay not be
too long before PMT is on the car
show circuit singing "The Heat
is On" and mugging in front of
the sports cars heno longer drives.
Scott Baio
Scott Baio
As far as I know, Henry
"the Fonz" Winkler had the good
sense to preserve his cool stature
by refusing to try a stab at recording success ( a tribute to his greatness. The Fonz Album features
only the voices of very second-
rate impersonators). Not Chachi
however, RCA released the one
and only Scott Baio album in
1982 and actuaUy managed to
move a few copies (enough to
land it in the lower recesses of
the album charts). Unfortunately, Scott didn't write any of the
material here, but he does lend
his pipes to a bouncy "Midnight
Confessions" and Rick Spring
field's "How do you Talk to
Girls." The music is your typical
paint-by-numbers backdrop of
Los Angeles slickdom, punctuated by horns and flutes where
needed. A real bore, excepting
the packaging that pictures a shot
of Chachi dialing the phone and
a back cover showing the 'great
one' with hands on his hips and
a menacing scowl on his face.
Biggest downer: why not a duet
with Erin Moran???
Heartbeat, It's a Loveboat
The DeFranco Family featuring
Tony DeFranco
In the true spirit of Weldon's book, the audio equivalent should not come across as
just "vinyl's greatest turkeys."
Take this 1973 gem, a quaUty
entry in the continuous cycle of
teen-fave raves. 20th Century
Fox Records put out the record
by this attractive family of Italian teenagers in an attempt to
capitalize on the market of the
Partridge Family were losing
grip of. Tony, who sings lead
and couldn't have been more
than thirteen at the time, is Uke
honey on the ears. His pre-pu-
bescent vocals lend a purity to
the music here, some of which is
well-written and beautifully produced. "Heartbeat" (the big hit)
is the best thing here, with a
harpsichord sound diat recalls "I
Think I Love You" and comes
close to matching the original's
clever finesse. The 'Filler' cuts,
however, are often miles ahead
of anything offSound Magazine
or Shopping Bag. The couplet
"Like a couple of bookends/
we're gonna be close friends"
from "I 'm with You" is pure joy,
not to mention the entire chorus
of "Love is Bigger than Baseball"
"Love is bigger than base
ball, baby,
Stronger than Superman,
Sweeter than cotton candy,
More fun than Disney
It almost prepares you to hear
Tony sing "I wanna be tamed by
you and give you the love of the
gorilla" on the next song... does
this kid ever grow up fast! The
first and only time I've ever seen
diis album was at Scratch where
I immediately plopped do wn the
$.89 they were asking (even
though the name 'Liz Huggins'
was scrawled on the cover in
black marker). Don't pass up
your chance... at the very least
the "Heartbeat" 45 deserves a
spot in your collection.
There's so much psychotronic vinyl out there, so much
I've never seen. How about
Danny Bonaduce's 1974 MGM
solo album? Or Peter Criss' Japan-only follow up to the (pretty
psychontronic itself) OutofCon-
AUGUST 199117 and drunk as tea      raw ginger root       garlic root
Later, Hole and the Discorder media circus are set up in their hotel
room and I try the question again.
D: What's a dicknail?
Courtney: WeU, the lyrics are clear.
Caroline: Courtney writes aU the lyrics.
As you can see the zeal kind of went out ofthe band in the transition
between the venue and their room. Hole are coming out with an
album in afew months on Caroline Records. This was their first
national tour, and their first time up to Canada. Courtney Love takes
on most ofthe group' s identity for the interview, I guess she must be
an outstanding gal if she has a band named after her.
D: AU of you seem pretty dead.
Caroline: Hey now, c'mon, we're just 'down' hare, sUghtly de-
Discorder: Can I have a hit of that?
Courtney Love (lead singer of Hole) produces a large bottle of
Calmitol, or something, and passes it to me. It has a heady, rich
cherry flavour that makes the sides of your tongue tingle and
is apparently laden with codeine.
Courtney: I love codeine, are there any brands up here that
have lots of codeine?
D: Benelyn DMDE
She's been inseparable from her cough syrup all night. Tom
Milne and I were supposed to talk to Hole around 7pm. We met
them but they'd already gotten a taste of Nardwuar, realized
we were affiliated and demanded that the interview be con-
ductedwithhim. Severalswigs ofCalmitolandatoo short, but
way intense, set later, Hole are musing about the Human
CoUrtney: He's a scapegoat, I like scapegoats normahy, but he
seems like someone who was really weird in High School and
never got over it
At this point in time, Hole are eager to engage in a battle of wits
withNardwuar, because of his apparent sexist attitude on their
previous phone interview where they told him to fuck off. They
wonder if they' 11 look like a table ofLydias while drummer and
singer re-apply make-up for the photo session.
Nardwuar and Tom come in and everyone is quiet and uncomfy
for afew minutes, then Courtney leads back to the hotel room
and I stay with the drummer for a couple of minutes.
D: What's a dicknail?
Jill: That's a term Jennifer (L7) uses, the song tells a story
about a violation...
Courtney: We're just depressed humans.
D: Are you really up and down?
Courtney: Me, personally, yeah. I'm an up and down kinda gal.
D: But your show was pretty high energy.
Caroline: WeU that's where we get to express our depression.
D:   Do  you  have   the   same   support  bands   all  tour?
Courtney: No, tonight's bands (Gnome, Silkworm) were pretty
good compared to most of the metal bands we toured with in the
States, lots of people wanting to play pool and that trip. But I guess
things wiU be different when we have our album out, we're touring
now on two singles.
D: Do a lot qf bands gravitate to L.A.?
Eric: Metal bands do yeah, bands that want to be the next Alice
in Chains.
D: But AUce in Chains wanna be the next Soundgarden.
Courtney: And Soundgarden wanna be the next Cult.
D: So that's the root of the problem?
Eric: Guns'n'Roses... no, the problem goes further than that
Courtney: NO, the problem is white males posturing in metal.
D: Has anyone ever been mad that the Hole isn't an aU girl band
[that's the questionNard asked Hole on his radio show earlier
in the day that got them really mad]1
Courtney: Sloth guys, guys that just Uke aU girl bands. Only it
isn't that they're mad, they're totally oblivious to Eric. We
don't know any female separatists from "the society for cutting
up men." So the answer to your question would be no, absolutely not
D: Do you ever get any L7 or Dickless comparisons?
Courtney: Never.
D: Do you have any bands you listen to now?
Courtney: I Usten to Leonard Cohen a lot, he's Canadian.
[Nardwuar begins quizzing Hole on their knowledge of famous
Canadians and we find out that Courtney had a crush on
anchorman Peter Jennings.]
Courtney: [to Nardwuar] Are you friends with Calvin Johnston?
Nardwuar: I met him before and I organized a gig with him.
Courtney: You guys got a long pretty good, huh?
Nardwuar: Yes, I haven't talked to him reaUy, but back to Star
Trek, now who was the famous Canadian on Star Trek....
Courtney: Are you guys embarrassed to be Canadian? We are
the last people to be derisive of Canadians. You guys totaUy
have a stigma about that but really, the only Americans that
slag Canadians are mainstream comedians. I've always found
you guys to be more serene... with better tea.
-I've been called "the drunk man's Madoj
a female Darbey Crash" better. The Englii
.p-j -Yeah sure Maximum Rock'n'Roll help:
0 -Kirk (Flipside) is cool I think 'coz he's
(j) with them. A lot of people write things
ft band," c'mon.
up, I dunna if I like that or "a
donna and Lydia Lunch.
the record industry.
his opinions even if I don't agree
aghtful at all, y'know, "great show," "great For several years now the
Legendary Pink Dots albums
have been appearing in the
CiTR playlist offering dark,
alternative visions of life. The
music doesn't fit convien-
iendy into any of the "categories" of new music and so
has become real underground
music, building a following
through word of mouth. The
band is now based in Holland, though singer and lyricist Edward Ka-Spel is orig-
inaUy from England. As weU
as LPD, he's released several solo albums and an EP and
album in coUaboration with
Skinny Puppy'scEVtNkEY,
as The Tear Garden. I got to
speak with him over the
phone from New York,
where the Legendary Pink
Dots were about to start a
North American tour— they
play Graceland on August
Discorder: I heard that you
were going to come and tour
last year but you got your US
visa turned down.
Edward: Yeah, the 'American Way'; we were "undesirable" for a year.
D: Did they give you any
kind of reasons?
E: [In bad American accent]
WeU, we've contacted the
union and these guys have no
artistic merit whatsoever!
D: But even if they find your
music unconventional, it's
still, musically, very complex.
E: WeU, the point is that these
people in the immigration de -
partment had never heard our
music at aU, ever. What they
do is just check around to see
how famous you are. We were
the subject of one of these checks
and it became a big political issue - we were Uke a tennis baU
being knocked around and in the
end I think we got hit over the
D: When you get in, do you
enjoy touring here?
E: Yes, last time it was reaUy
great The audiences are pretty
warm and they're a decent size.
D: Is it very different from touring Europe?
E: In Europe there are far greater
changes within a much smaller
space. Playing Sweden is completely different from playing
Italy. We have our favourite
countries in Europe - like France
and Italy. There are areas of
Germany where you reaUy don't
feel like going at all.
D: That must be the same in
America though.
E: Oh yeah, don't go near the
Southern States. It's very closed
and strange in those places.
D: So you've actuaUy played
E: Yes, when we toured with
Puppy in 1987, we went to Atlanta and Baton Rouge and places like that. And it was very odd.
It was very odd for Skinny Puppy too. We just had this feeling
of "why are we here?"
D: Did you still find an audience
down there?
E: Yeah, that's the strange thing,
the audiences have reaUy buUt
up. It's pecuUar the changing
nature of things, we get letters
from aU over America now.
D: How long have you been going, now, as The Legendary Pink
E: Ten years.
D: In that length of time you've
released a lot of material, you
must be writing constantly.
E: Not exactly constantly, it
comes in very concentrated
bursts. It's very hard to write
when you are actually touring.
We've already done thirty-five
shows this year and there's twenty-five to come in North America. During those tours, aU you're
focussed on is the tour. Life is
very simple - you have to get
from A to B, prepare the show,
play the show and then the next
day comes along. It's a different
kind of reaUty, a very simple
reality. When you're home you
tend to work far more. There's
all sorts of things to deal with,
Uke the mail. We still hold to
replying to the mail personally:
we think that's very important
D: Do you think there'U come a
time when you can't do that?
E: I hope not because I can't stop
that it's so important to the way
we are. It has never been our
intention to become hugely famous. It's simply a healthy institution at the moment.
D: Are you connected with the
pop music scene in Europe in a
"chart" way? Would you be interested in that?
E: We' ve accidently sUpped into
the charts here and there. I don't
know how, and only the Independent Charts. It was never our
aim and we actually found out
about it long after it occurred.
You think "that's nice" for about
an hour and then you just get on
with what you're doing. It's quite
a cute thing to show your mother
- "Look, we're in the charts
D: Your music's very different
from most modern music. Do
you listen to modem music?
E: Only certain things. The new
CoU CD is very fine. cEVIN
always sends me the new Skinny Puppy CDs. I think they're a
good band. My favourite things
are still things of the past
E: Brainticket!
D: Brainticket? You got me
E:There'smany European bands
who made some great music in
the late Seventies and the early
Eighties. It's wild stuff, but it
hasn't played so much of a part
in what we're doing. It just maybe filters in here and there.
D: I seem to pick up some recurring themes in your lyrics - stop
me if I'm wrong - Armageddon,
for instance, obsession...
E: WeU, we're trying to paint all
the colours reaUy. There's a lot
to laugh at in the Pink Dots'
lyrics - dark cynical laughter! In
the average human being there's
lots of different emotions going
on. What we're trying to do is
make them naked, present them
reaUy out front It can be uncomfortable listening - even for us.
In that way it's successful. It
may be embarrassing sometimes,
but if you 're not completely honest then don't do the music.
D: I like the songs like "Neon
Mariners" [about the capsizing
of an English Channel ferry] and
"Pennies for Heaven" [a plane
crash], where you're talking
about a tragedy that' s been in the
news, but you do it in a fresh
way, not just "Oh what a shame
aU those people have died!" Obviously the news affects you a
E: Oh it does, "Neon Mariners"
especially. We took that ferry
quite~Srtot and it shocked us
greatly. There's also a theme of
eternity and how Uttle we actuaUy know about the fabric of
things. It's not so much about
death as about the reaUty of eternity, and how we can't possibly
grasp it
D: So did the Gulf War affect
your writing in the same way?
E: It contributed quite a lot My
solo album was recorded while
this atrocity was going on. It
certainly played its part here and
there, though maybe it's not so
obvious. There are songs about
war but in astrange obscure way.
I don't like protest songs. I don' t
like clubbing people over the
head with a large slogan - "War
is bad!" - everybody knows that
they don't need to be told it a
thousand times. I Uke to present
my own personal view of it
D: The nearest I've come to being hit over the head by a Legendary Pink Dots song is by "The
Death of Jack the Ripper." How
did you come to write a song like
E: It was actuaUy a reaction to a
lot of bands who seem to be
getting increasingly sexist in
what they're doing, with their
gory tales of abuse to women:
they seem to be actuaUy wallowing in it. So I thought "Right,
turn the tables, let's get the women abusing the men, for once,
andin the same sortof language."
I was having great fun writing
D: Are the lyrics usually written
before you go into the studio?
E: Only a few. Many are written
there in the studio. That's the
way I prefer these days, because
then it reaUy is married to the
D: Do you ever get any criticism
for your lyrics?
E: Here and there. Some people
say my lyrics are nonsensical, "I
can't understand them, I don't
want to understand them."That's
generaUy as far as it goes. They
state how much they hate you,
but they don't say why they hate
D: So who are these people?
E: Oh, journalists. And some
people come to the shows to hate
us in Europe. They bang then-
fists on the stage and they're
screaming at me. I really have
problems with that sometimes.
It's a very strange feeling.
D: Are you planning a new Tear
Garden record?
E: Yeah, I'm staying in Vancouver for a month to do that
D: I think your vocals work with
cEVIN kEY's dark currents really weU.
E: It's always great fun, lots of
laughs. That's the beauty of it
tremendous enthusiasm.
D: Do you write stuff specifically for the Tear Garden or is any
of your stuff applicable for
cEVIN's treatment?
E: This time we're starting from
scratch, though there's always a
few ideas floating around beforehand, but I wouldn't predict
how it's going to go. We've got
much longer for this album than
we had for the previous one. It's
a great luxury and it must turn
out to be a very good album.
D: One more question. There' s a
quote on the back of your new
album, The Maria Dimension:
What does it mean?
E: Ha, ha. Absolutely nothing!
That's just me being pseudo-
AUGUST 199119 1 - '.'   '■ '
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Every July thousands of "music industry types" flock to New York for the
ultimate schmooz event called the New
Music Seminar. In between the meetings and concerts, the convention presents seminars, essentially panel discussions, on topical issues facing the
music business. One of the seminars
looked at the problems women face in
the music industry and in fheir everyday Uves when faced with sexist and
racist attitudes. What foUows represents some of the comments of the pan-
Toshi Regan, an Electra recording
artist on the difficulties of putting together a band of black female musicians: "Women - and especially black
women - are not taught or encouraged
to play musical instruments in the pop-
^ ular music industry. It's really in the
last ten years that we've seen more
. women instrumentalists who are really
I expertmusicians, not just who can play
a couple of chords and look good in a
video. I find that women are more en-
*< couraged to sing and dance and look
1 beautiful and not really to write and
produce and play. So when I find some-
I one who can do those things I feel that
that person has reaUy had to struggle
along the way. I was lucky enough to
come at a time when a network of women musicians and instrumentalists were
already around me and that was because of the women's music network
which started in the seventies: Ferron,
Sweet Honey on the Rock, then on to
Tracy Chapman and MeUssa Etheridge
aU participated in that network. We
should try and open doors for women
who want to play. Women who get into
a position of power should share that
power, by hiring other women and en-
couragingotherwomenmusicians, technicians and producers. Men are often
surprised when they see a group of
women playing music, and playing it
Maria Ferrero, a representative for
Megaforce records, on hard rock and
MTV: "WeU, they seem to play videos
first if they're sexist, if it's showing
women slutting around and so on, which
is not whatthemusic's all about It'snot
fair to create this using women in this
way. MTV is a visual outlet but music
hits the ears first. Artists make videos
knowing that it may only get played
five times on Headbangers' Ball instead of regular rotation, if it doesn't
have the tits bouncing...."
Dream Hampton, film maker and
writer for The Source, on the physical
assault on Denise B arnes in a night club
byamemberofNWADr.Dre—just as
Miles Davis beat up CecUy Tyson for
years, like Ike beat up Tina Turner and
the list can go on and on. "What reaUy
hit me about the incident was the silence surrounding it. These were the
same people who had spoken so loudly
about racism and white supremacy -
which is the root of the problem.
Hip Hop is a boys club, it's a nut-
grabbing posse. I love Hip Hop. I happen to Uke NWA's new album: it has
some very strong and soUd production.
Eazy-E is a black entrepreneur, he owns
Ruthless records, who's worth 60 mil-
Uon doUars. I hope Dee gets 22.7 mil-
Uon of those gangster dollars. I hope
that Eazy-E gets everything that's coming to him, because while I love Hip
Hop, I want it to be correct and I want
black men to be correct.
A lot of people knew about this
incident but they couldn't find the voice
to stand up for this sister. People didn't
want to talk about it because NWA run
Bitsi Zif, member of Diva Rock
collective Betty, on producing their recent record: "I wanna encourage everyone to reaUze that you don't have to go
about it the way you're told. You don't
have to rely on the major labels, although, obviously, it's nice to have the
financial backing that these labels offer. Although 'alternative' music seems
to be taking a downfaU because of the
recession and because there's no radio
support since the pubUc isn't speaking
up and demanding more diversity on
the radio, you can take the buU by the
horns and go out there and do it - take
control. And that's why networking is
so important - especiaUy as women,
because we don't have that much control and we don'thave thatmuchpower
within the industry yet because there
aren't enough women working in the
higher echelons of the business. It's
important for women to support each
other, not lock each other out and 'compete.'"
Somebody else: "There are three
tools to surviving in this industry. First,
a lot of women choose to be enumerate.
You have to know your figures so you
don't get ripped off. You have to know
the business, period.
Second, people seem to teU women that their anger is not productive - I
say 'Bullshit!' Anger is themostimpor-
tant thing a woman can have - it gives
you focus. Focus it into exactly what
you have to say and give it that extra
And the third tool is the Sisterhood: there has to be a women's network, there has to be a web."
Elaine Shock, who left Chrysalis
records having found them unenthusi-
astic about her maternity leave and who
now has her own company Shock Inc.,
on how to reconcile being a parent and
having a career: "We have to work to
ensure that every record company has
some form of maternity plan. Women
are underrepresented in the industry,
we need to work together."
Sister Souljah, the newest member of Public Enemy and a longtime
speaker and leader within the black
community: "I'm coming from the perspective of being very powerful, not
from the perspective of being a victim,
as being a woman. I am an African
woman and I beUeve that I possess 360
degrees of power to effectuate and
change anything I 'm confronted with. I
feel very powerful. So if I had it my
way, the title of Public Enemy's album,
Fear of a Black Planet, would be "Fear
of a Black Woman."
What gives me strength is knowing I'm on the side of truth and knowing
that when you're dealing with people
that are guilty of injustice that automat-
icaUy, puts them in a weaker position.
I think it's very important that we
not be phoney, otherwise, if we are, the
solutions we come up with at these get-
togethers just aren't gonna work. We've
been throwing the term around of "Sisters": I've often said that I'm a nationalist and not a feminist, because it seems
like if we're going to be Sisters with
multi-racialism then we have to get
over the racism otherwise we can't be
sisters. Because we refuse to deal with
racism as an issue, aU the other issues
get confused, Uke talking about domestic violence. What we have to understand is that the black man or the black
woman that is produced by American
society is not the product of a stable
mind. They are the black man and woman of a society that is iU and sick and
which refuses to acknowledge the
amount of racism that controls it each
and every day. They've been bred in a
society that doesn't give them any
economic power, any social power, any
poUtical power or any psychological
understanding of themselves... So how
can you expect a black person to function stably within this society?... But I
believe that racism has not only affected black people, it's made white folks
real crazy too. So if you are reaUy
sincere about doing something about
racism, you've got to start somewhere.
If you're an alcohoUc, you' ve got to say
"I am a goddamn alcohoUc." So, if
you're a racist you have to be able to
admit that you're a racist and what that
means and how that gives you power. I
invite all of you to evaluate yourselves."
Gloria, from Gloria and the Thun-
derheads: "The key to many of these
questions is that sexism and racism are
interdependent. The reason that a lot of
women don't get involved in the music
scene is because of sexual harassment.
The club scene is scary. Violence against
women is aUowed to continue, because
it keeps women in their place."
Victoria Star, host of a Women
and Music show caUed The Ghost in the
Machine: "I wanna emphasize the aspect of struggle. None of us start from a
state of fuU consciousness. It's a learning process and the struggle (
* A orve mam show
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If JS warm wizARCRy secuces
aia-x^eN follows a virtuoso
Z   2      Q     c^ToMTHE
°F    •"   ST^ee-r PoeT-
5 "      Thurs August 8th «!~
- ottfieAfiza Club
1 THURSDAY CiTR Rock Thursdays at the Pit Pub... King Missile with
She Stole My Been* at 86 Street.. 64
Funny Cars with The Sweaters at the
Cruel Elephant.. Messenjah with Roots
Roundup at the Commodore... Mike
JacobsBandatthe Railway Club...Amos
Garrett at the Yale... The Benders at
Jenny Allen, Collen Eccleston, Sandy
Scofield and Syhri at La Quena... "Oka-
nada" (7:30, 8:30, 9:30pm) at Pacific
2 FRIDAY Cruel Elephant First Anniversary with Chris Houston & His Evil
Twang, The Reivers, Show Business
Giants, The Smugglers, All You Can
Eat, Gorilla Gorilla, Mary.SuperclitDis-
covery. Lung, Facepuller and more...
MikeJacobs Band atthe Railway Club...
The Benders at Hogan's Alley... Bullet
Boys at 86 Street.. Amos Garrett at the
Yale... Stein Valley Festival opens at
Seabird Island (Harrison Hot Springs)...
t and Barry Waterlow at St An-
drew-Wesley United Church(1012Nel-
son,830pm)...LongTrainat Club Soda...
"What About Bob?" (7:30 & 9:30pm) at
theSUBTheatre... "Joe .Bed-Stuy Barbershop: We Cut Heads" (7:30pm) and
"She's Gotta Have tt" (8:45pm) at Pacific Cinematheque...
3 SATURDAY Mecca Normal with
Superconductor and Lung at the Cruel
Elephant. Grits * Groceries atthe Railway Club... Amos Garrett at the Yale...
Coast Rockers Ball at 86 Street.. Stein
Valley Festival continues at Seabird
About Bob?" (7:30 & 9:30pm) at the
SUBTheatre... "Joe's Bed-Stuy Barbershop: We Cut Heads" (7:30pm) and
"She's Gotta Have It" (8:45pm) at Pacific Cinematheque...
4 SUNDAY CiTR presents Chemical People and the Didjits at the Cruel
Elephant... Grits & Groceries at the
Railway Club... Kenny Neil at the Yale...
Stein Valley Festival continues at Sea-
bird Island... "What About Bob?" (7:30
&9:30pm)atthe SUBTheatre... "Stolen
Murders" (9:15pm) at Pacific Cinematheque...
5 MONDAY CiTR Alternative Mondays at the Pit Pub... The Dots at the
Railway Club... Kenny Neil atthe Yale...
Stein Valley Festival closes at Seabird
Island... "Stolen Kisses" (7:30pm) and
"The Champagne Murders" (9:15pm)
at Pacific Cinematheque...
6 TUESDAY CiTR presents Legendary Pink Dots at Graceland... CiTR
Funk Night at the Pit Pub... The Dots at
the Railway aub.BigJoeDushkinwtth
theDemonsatthe Yale... The Bendersat
Hogan's Alley...
Wednesdays at the Pit Pub... The Una-
mused with Resist at the Cruel Elephant... Xymraat86 Street... The Stoaters at the Railway Club... Big Joe Dush-
kin with the Demons at the Yale... The
Benders at Hogan's Alley... "ZeroGrav-
ite" with "La Queue Tigree d'un Chat"
(7:30pm) and "Les Carabiniers"
(8:45pm) at Pacific Cinematheque...
8 THURSDAY CiTR Rock Thursdays at the Pit Pub... The Dickies at 86
Street... Paste with Shutdown and Cluster Flux at the Cruel Elephant... The
Stoaters at the Railway Club... Big Joe
Dushkin with the Demons at the Yale...
The Benders at Hogan's Alley... "Zero
Gravite" with "La Queue Tigree d'un
Chat" (7:30pm) and "Les Carabiniers"
(8:45pm) at Pacific Cinematheque...
9 FRIDAY No Fun at the Cruel
Elephan t... The Paladins and Dave Alvin
with Walking Wounded and Clyde Rou-
letteatthe Commodore...The Bluchunks
at the Railway Club... Big Joe Dushkin
with theDemonsatthe Yale...The Benders at Hogan's Alley...
10 SATURDAY CiTR presents
Volcano Suns with Cutthroat at the
CruelElephant... Nardwuar the Human
Serviette Presents "Ubangi Stomp"
with Thee Headcoats, GirlTrouble, The
Mummies, The Evaporators, and The
Wont at Arcadian Hall (7:12pm)... The
Bluchunks atthe RailwayClub... Big Joe
Dushkin with the Demons at the Yale...
The Benders at Hogan's Alley...
11 SUNDAY Movie ofthe Weekat
the Railway Club...
daysat the Pit Pub... Billy Childish and
Thee Headcoats at the Railway Club...
Major Handy at the Yale...
13 TUESDAY CiTR Funk Night at
the Pit Pub... Thee Headcoats at the
Railway aub... William Clarke at the
Yale... The Benders at Hogan's Alley...
Sisters of Mercy, Public Enemy, Gang
of Four, Warrior Soul and Young Black
Teenagers at the Seattle Centre Arena
Bowl... Eddie Kirkland at the Yale... The
Benders at Hogan's Alley... PNE continues... International Pop Underground
Convention continues in Olympia (Washington)...
23 FRIDAY CiTR presents Sons of
Freedom with Furnace Face at the Cruel
Elephant... Caustic Thought, The Kill,
Defex and Vertica I Alter at the Mew York
Theatre... Bare Naked Ladies at the Railway »ub... Eddie Kirkland at the Yale...
The Benders at Hogan's Alley... PNE con -
tinues... International Pop Underground
Convention continues in Olympia (Washington)...
24SATURDAY CiTRpresentsSons
of Freedom with Furnace Face at the
Cruel Elephant... The House Bandit the
WISE aub (8:30pm)... Bare Naked La-
diesatthe Railway Club... Eddie Kiikland
at the Yale... The Benders at Hogan's
Alley... PNEcontinues.lntematiana I Pop
Underground Convention continues in
Olympia (Washington)...
25 SUNDAY The Melvins with The
Gargoyles and The Screaming Bloody
Marys at the Cruel Elephant... Movie of
the Week at the Railway aub... PNE
continues... International Pop Underground Convention closes in Olympia
26 MONDAY CiTR Alternative Mondays at the Pit Pub... Fast Folk Underground at the Railway aub... Mike Jacobs atthe Yale... PNE continues...
27 TUESDAY CiTR presents The
Pastels at the Cruel Elephant... CiTR
Funk Night at the Pit Pub... Ellen Mcllwaine Band at the Railway Club... Mike
Jacobs at the Yale... The Benders at
Hogan's Alley... PNE continues...
28 WEDNESDAY CiTR presents
The Pastels atthe Cruel Elephant... CiTR
Hot Wednesdays at the Pit Pub... Ellen
Mcllwaine Band at the Railway Club...
Buddy Guy at the PNE Exhibition Bowl...
MikeJacobs atthe Yale... The Benders at
Hogan's Alley... PNE continues...
29 THURSDAY CiTR Rock Thursdays at the Pit Pub... Etta James and the
Roots Band at 86 Street.. Ellen Mcllwaine Band atthe Railway aub... Original Sinners at the Yale... The Benders at
Hogan's Alley... PNE continues...
30 FRIDAY Tankhog with Windwa Ik-
er at the Cruel Elephant... Prairie Oyster
with Terence Simien and The Mallet
Playboys at 86 Street.. Ellen Mcllwaine
Band atthe Railway Club... Original Sinners at the Yale... Tempest at the WISE
Oub (8:30pm)... The Bendersat Hogan's
Alley... PNE continues...
31 SATURDAY Ellen Mcllwaine
Band at the Railway Club... Original Sinners atthe Yale ...The Bendersat Hogan's
Alley...PNE continues...
ARCADIAN HALL • 2214 Main Street • 874-9244
COMMODORE BALLROOM • 870 Granville • 681-7838
CRUEL ELEPHANT • 1176 Granville • 688-8748
86 STREET MUSIC HALL • BC Enterprise Centre • 6898687
GLASS SLIPPER • 185 E 11th • 877-0066
GRACELAND • 1250 Richards • 688-2648
HOGAN'S ALLEY • 730 Main • 689-8645
HOLLYWOOD THEATRE • 3123 Weet Broadway • 7389211
LA QUENA* 1111 Commercial • 251-6626
PACIFIC CINEMATHEQUE • 1131 Howe • 688-3456
PARADISE THEATRE • 919 Granville • 681-1732
RAILWAY CLUB • 579 Dunsmuir • 681-1625
RIDGE THEATRE • 3131 Arbutus • 738-6311
SUB THEATRE • 6138 SUB BLVD • 822-3697
VAN. EAST CULTURAL CENTRE • 1895 VenaMes • 2544578
W.I.S.E. HALL • 1882 Adanac • 254-5858
YALE • 1300 Granville • 681-9253
(7pm, Seattle)...
Jam atthe Cruel Elephant... Acoustically
Inclined atthe Railway Club... William
Clarke at the Yale... The Cultivators at
Graceland... The Benders at Hogan's
15 THURSDAY CiTR Rock Thurs-
tays at the Pit Pub... Iconoclast at the
jlass Slipper... Acoustically Inclined at
the Railway aub... William Clarke at the
Yale... The Benders at Hogan's Alley...
SMF at the Commodore...
16 FRIDAY CiTR presents Tad and
Primus at the Commodore... CiTR presents Hammerbox with B.U.M. at the
Cruel Elephant... William Clarkeat the
Yale... Acoustically Inclined at the Railway Club... The Benders at Hogan's Alley... Wild T and the Spirit at 86 Street..
Pacific National Exhibition opens (until
the 2nd)...
17 SATURDAY CiTR presents Byron Lee & the Dragonnaires with Jum-
balassy Brass Bandatthe Commodore...
The Dictators and The Lunachicks at 86
Street.. Icky Boy Friends at the Cruel
Elephant.. Acoustically Inclined at the
Railway Club... William Clarke at the
Yale... The Benders at Hogan's Alley...
PNE continues...
18 SUNDAY Thee Headcoats with
The Mummies at the Cruel Elephant..
Movie of the Week at the Railway Oub...
PNE continues...
19 MONDAY CiTRAItemativeMon-
days at the Pit Pub... Bag of Hammers at
the Railway Oub... Oliver and the Elements at the Yale... Circle of Sou I at Oub
Soda... PNE continues...
20 TUESDAY CiTR Funk Night at
the Pit Pub... Bare Naked Ladies at the
Railway Club... Eddie Kirkland at the
Yale... The Benders at Hogan's Alley...
PNE continues... International Pop Underground Convention opens in Olympia (Washington)...
Wednesdays at the Pit Pub... Gorilla
Gorilla with My Name at the Cruel Elephant... Bare Naked Ladies at the Railway Oub... Eddie Kirkland at the Yale...
The Benders at Hogan's AHey... Sarah
McClachlanatthe PNE Exhibition Bowl...
PNE continues... International Pop Underground Convention continues in
Olympia (Washington)...
22THURSDAY CiTRpresentsSons
of Freedom with Furnace Face at the
Cruel Elephant... CiTR Rock Thursdays
at the Pit Pub... Bare Naked Ladtesatthe
Railway aub... Nancy Wilson, Joe Wil- SECRETS  ENTRUSTED
It's about time, a column on music
books! Easy to research, I used my
own collection. "Rock" books are a
lot like records, sometimes they get
filed away to be rediscovered one
day and... well, you're happy. A
few of these book are out of print,
so always check out 2nd hand
stores, they usually have a diverse
selection of material. The stuff here
is pretty basic "nwk" but essential.
I recendy got a book by Heniy
Rollins (High Adventures...) it's
intense, unrelenting. That 2.13.61
press is sure to be watched tho...
coming soon are books by (Gun
Club' s) Jeffrey Lee Pierce and (Magazine's) Howard Devoto. Musicians'
writing prose is exciting, if egos are
held in check. Read any book this
summer that doesn't mention Jim
Morrison. Happy Reading!
Chuck Eddy, Stairway to Hell (the
500 best Heavy Metal albums in
the Universe) (Harmony $19.0u,
232 pp): A recent purchase and dam
proud of it. Forget the tres dated
term "Heavy Metal," the focus here
is on groups who rawk hard, loud
and, on occasion, melodically. Oldsters like the Sweet, Zep, Cooper,
Ramones, and NY Dolls are right at
home next to Flipper, Voivod, Janes
Addiction and Faith No More. Album covers and pictures round out
the informative band notes. Fun,
fun, fun.
Vanous,Whatthe Songs Look Like
(Perrenial $14.95, 124 pp): You
probably noticed the neon pink cover giving off a nuclear-glow when
this came out in '87. This collection
consists of such artists as Sue Coe,
Gary Panter, Keith Haring, and Lynda Barry with their renderings of
what the music of the Talking Heads
"looks like" to them. I wasimpressed
with the book but, at that price, I
wasn't enuff of a fan to make the
purchase. I'm still not that enamored with the group (and, yep,Stop
Making Sense was great) but the
book was recently"remairidered,"
and therefore appeared at Book
Warehouse at only $6.99.1 scooped
up a copy. Kinda like coming across
a great deleted record!
Gary Herman, Rock'N'Roll Babylon (Perigee $9.95,190 pp): Almost
a decade old, this book serves the
dirt on the trials and tribulations of
stardom. Sordid and unforgiving,
this is rock's equivalent of Ken
Anger's "Hollywood Babylon."
From Anita Pallenberg to Hank
Williams and "Pigpen" (the Dead)
to Payola; here's the scoop on who
did what to whom and when and
where. Pant, pant Warning: more
corpses than naked people.
Lester Bangs, Psychotic Reactions
and Carburetor Dung (Vintage
$9.95 US, 386 pp): To make a long
story, I was at a Wake for this book
seller guy named Binky; it was the
first time I ever ate duck (yum!),
celebrated a dead person's life or
laid my eyes oaCreem magazine...
it was the most thrilling night of my
then lOyear existence. Lester Bangs
wrote (oiCreem and his thoughts on
show biz were crudely-eloquent and
off-the-walL He was hairy, loudmouthed and indulgent; his band-
mates (of course he played, man)
were called the delinquents. In 1982
Les bought it age 34. This collection
from his writings say s as much about
a generation as it does the music.
Iggy Pop & Anne Wehrer, / Need
More (the Stooges and other Sto-
is quite rare and a treat for Iggy fans
everywhere. The tone is set from the
cover photo of the lg monster suckling a nude—yes, female — statue.
Song lyrics (circa Zombie Bird-
house, oh well), road tales, poetry,
and pictures galore. I once sweet-
talked the librarian at the Fraser-
view branch into ordering this... he
did... neat guy.
Trouser Press Record Guide (Collier $23.95,658 pp)
Christgau'sRecordGuide, the80's
(Pantheon $24.50, 514 pp)
The mid-70's: The Rolling Stone
Record Guide comes out and I worship the thing, right down to its
bright orange cover. What a great
way to learn about all those albums
I could never afford! I was an information rich and vinyl poor teen.
The 90's: Better written and vastly more informative books flood the
shelves, er, along with a lotta junk,
so buyer beware. My RS guide is as
long-gone as my musical tastes have
changed (or expanded). The Trouser Press Record Guide (3rd edition) is a review of music "outside
the musical mainstream," including
imports and independent labels.
Bless'em... this is the bock to own.
1,900 bands are critiqued, all with
short, concise reviews of the record
ings. Here's a few groups found
under "C'; Cabaret Voltaire, Captain Beefheart, Carmel, Nick Cave,
Celibate Rifles.James Chance, Alex
Chilton (my heart goes thump).
Chrome, Circle Jerks, Clash, Cockney Rejects, Crass, Robert Cray.
How'sthatforvariation. Like, where
else does one go for a Cockney
Rejects' discography? Vital information for modem music fans.
Ira A. Robhins, editor of the TP
guide had been co-founder of the
late magazine of the same name.
Trouser Press existed for 10 yean
and a total of 96 issues untill its
demise in 1984. Basically it was the
new music — remember New
Wave? — glossy fanzine with style
and integrity, informing its readers
while never talking down to them.
The tradition has continued with
this superb collection.
I now bring up the subject of
Christgau's record guide solely to
emphasize what crap is available to
us music fans. Mr C is America's
top rock critic... it says so right on
the front cover. This guy' s ego shadows each review like an eagle
swooping in on its prey. Each graded "insight" is on average three sentences long with nary a word said
about actual music. Gossip is fun,
sure, but we purchase record guides
for a discussion of the tunes.
Chuck's Picks — my words
#200 Alice Cooper Killer (1971)- Skip the "Dead Babies" thang
and go for "Halo of Flies," prime tex-mex psycho-drama.
#84 Sonny Sharrock Guitar (1987) - Some time back. Sonny
played Jazz-rock very loudly at a downtown club. Apparently it
was a mellow gig compared to this.
#83 New York Dolls In too much too soon (1974)/ New York
Dolls NY Dolls (1973) - Damn I love it! Just grab these records
n' slap 'em on the turntable. "Lonely Planet Boy" is the world's
best ballad.
#1 Led Zeppelin Zoso (1971) - Number one! ...maybe for a few
months during my teens.   If I hear "Black Dog" one more
#4 Aerosmith Toys in the Attic (1975) - "Sweet Emotion",
"Uncle Salty", "No more no more", et al. One ofthe better bands
I liked as a teenster.
#86 Voivod Dimension Hatross (1988) - Snake is the leader.
That name reminds me of this guy who had a bit part on the
Partridge Family. And Piggy's here too! Rocking Quebecois.
#94 The S\tfeetDesolationBoulevard(\975) - "I wannabe com-
mit-ted" is the line that always stayed w/mc "Ballroom Blitz",
"The 16's", "AC/DC" — heady adolescent tunes.
# 338 The Dictators Go Girl Crazy (1975) - I don't wanna be
mean, but these guys were old (I was 13) in '75.  Uh, never
actually heard' em either, but little teens shouldn' t hang w/curly
haired bruisers named "Handsome Dick". At 86th street soon!
Yoo-hoo! So, if n you haven't heard... a book is being compiled about the one and
only D.O.A and you, yep you, could help make it a howling good success. Local
music dude, Laurie Mercer, is lookin' for some boffo stories about the band... he's
got lots of posters and graphics, but needs more text., call Laurie at 684-9338.
Ever wonder what people are reading? I do. Randy Raine-Reusch, local multi-talented musician, took the time to
write and tell subtext.
I was ten years old when I discovered that science fiction novels were a lot
more interesting than comic books. I began reading voraciously, and soon was
devouring short novels in a single day and longer novels in two.
Science fiction not only stimulated my imagination but it also posed
questions about life and the universe that I couldn't answer. So it seemed only
natural that by the time I was thirteen I was reading/* Ws Republic and the
Tibetan Book ofthe Dead. By fifteen I had gone through most of the books in
my local library on the world's religions and philosophies (I favoured
Taoism), and by seventeen I was heavily into existentialism (Sartre became a
favourite), while still reading all the science fiction I could find.
Graduating from High School I found myself with a pack on my back
travelling the West Coast highways from Vancouver Island to California, with
books on Haiku and Chinese short poems in my pockets. After a few years I
settled down a bit and added books on psychology to my bedside reading. The
following years found me solidifying the reading patterns that I still follow,
adding sociology, anthropology, cthnomusicoiogy to all the above subjects.
Alas, my life hasn't become safe and secure, instead I travel even more
than in my youth, and so should add guide and language books to the list But
when at home, I tend to read many books simultaneously. Currently by my
pillow you can find: The Traditional Music of Japan (Shigeo Kishibe,
Ongaku No Tomo Sla),Sitar Music in Calcutta (James Hamilton, University of Calgary Press),G«aing the Love You Want (Harville Hendrix, Harper
and Row), The Child Green (Geoff Ryman, Unwin), andTA. Scions of
Shannara (Terry Brooks, Ballantine)-- the last two, the everpresent science
I should also mention that I spend many hours totally lost in 77k New
Grove Dictionary of Musical Instruments (Stanley Sadie Ed., Macmillan
Press). As I compose and perform on instruments from a collection of over
500, and this dictionary has 10 COO listings of instruments from non-westem
cultures alone, I am in complete bliss sifting through its pages, from Ahoco
to Zeze! Uh... got to go... I just saw a great article about a Bolon, an arched
harp from West Africa that looks interesting— Good Reading!
AUGUST 1991 23 ■i >
Pfl                       **  *
Various Artists
Ska Beats Vol #1
ROIR Cassettes
It had to happen: rude boys vs. digital samplers, dram machines and
FX. Lately rap and hip hop artists
have graduated from sampling endless James Brown clips to sampling
reggae in allits variousforms. Some,
such as Shinehead, have successfully laid down some serious rap over
reggae riddims, inspiring the term
"reggae hip hop fusion" (if one must
use labels). If I had to label this
release I would describe it as "ska
hip hop house acid fusion." Nuff
said. This collection brings together
a group of 12" singles that definitely
uke the 2/4 riddim of ska into some
new territory. Unlike the British ska
revival of the late 70's, early 80's,
by such bands as the Specials, English Beat and Madness, these tracks
are based on samples of original
Skatalites tunes & riddims, as opposed to being full remakes. Most of
these sampled tunes have that familiar tom-tom roll by Skatalites drummer extraordinaire Lloyd Knibbs
kicking off each track. Longsy D is
the prominent artist on this collection, and was responsible for assembling this compilation. All but 4 of
the tracks define this collection. The
remaining tracks have absolutely
nothing to do with ska and are more
house and acid in both rhythm and
substance. Their inclusion on this
cassette puzzle me and I'll
appropriate material could have been
included. Longsy D's "This is Ska"
and "Mental Ska" set the theme while
Roughnecks' "Force 10 from Nav-
arone" is a 'sequel' to the Skatalites
big hit "Guns of Navarone," much
like the 2 movies of the same title.
"Force 10"cont_instheoriginalmel-
ody, thanks to sampling, and then
expands into a beat-box tribute to
the original godfathers of ska —
respect due every time! "We play
Ska," by Children of the Night (featuring Ranking Roger), is another
standout track that includes some
samples of vintage Jamaican calypso as well as the signature drum rolls
previously mentioned. If you are a
lover of the original form, this collection is for you. As a ska-purist, I
took a chance in this release and
wasn't disappointed. Presumably,
with the term "Vol #1" in the title, a
second compilation is in the works.
Hopefully, ROIR will see fit to include a full slate of street-style ska
without resorting to filler in order to
complete the recording. ROIR cassettes and a catalog are available
from ROIR # 411, 611 Broadway,
New York, N.Y. 10012
Mike Cherry
Venus Beads
Completely innocuous noisy guitar
pop that owes a heavy debt to My
Bloody Valentine's chart position.
The only thing more pathetic than
writing a song using treading water
in rapids as a metaphor for life is
printing them for everyone to read.
Admittedly one of these gems could
have a nice spot in a smooch section
of the Power Hour if they left that
pioneering noise out of the mix.
Sean Elliot
Uncle Tupelo
No Depression
In 1986Soul Asylum released Mode
to be Broken and now Tupelo has
rewritten it, leaving perhaps one
catchy hook and adding more references to the singer's drinking problem than dread references on a Lenny Krevitz album. I don't find the
fact that I cringe to a song opening
up with an acoustic guitar and the
line "On liquor, I spend my last
dime" that odd.
Sean Elliot
Yabby You
Beware Dub
ROIR Cassettes
Vivian Jackson, aJc.a. Yabby You,
has been active as both a singer and
producer in Jamaica since the early
70's. His distinctive roots style of
reggae is somewhat mystical in nature—heavily reflecting his strong
faith in Rastafarianism. His moderate success as an artist led to production duties in the late 70's until
problems with record piracy and a
ganja bust led to hibernation until
the mid-80's. Coaxed back into the
studio, he released the brilliant Fie e -
ing from the City. Beware Dub is a
collection of B-side dub versions
from Yabby's stable of artists from
his production days and has been a
long sought after collectors item —
difficult to find even in Jamaican
record outlets. ROIR negotiated
with Yabby You direcdy for the
rights to Beware Dub, having been
only previously released in limited
quantities in the U.K., Jamaica and
France. What A gem this collection
is! I dare say this release deserves to
be ranked within the 10 greatest dub
recordings of all time. The riddims
are thick and sinewy in a distinctive
rockers styles. The horns of Tommy McCook, Bobby Ellis and Rico
Rodriguez bristle and punctuate
each track. Every now and then a
fragment of vocal by Tiny Tuff or
the Prophets weave in and out of ihe
tracks. Some dub records are hard
to sit through from one side to an
other, but these tracks are all busy
enough to hold ih e lis ten crs ihrough
two very long sides. Mixed by the
late King Tubby and his protege
Prince Jammy, these classic Channel One productions, by Yabby &
company, show the art of dub coming to full maturity in rools fashion.
The tracks hold the passage of time
quite nicely and show that reggae in
its heyday as a popular style was a
force to be reckoned with. These
dubs no doubt have inspired many
contemporary dubmeisters to bring
the form into the nineties with the
hard riddims serving as the basis
for elaborate re-workings and experiments. "Give Praises" and
"Prophets" are exceptional pieces
and the tides are indicative of Yabby ' s rasta lifestyle. Nyabingi drum-
merScully adds a rootsy embellishment to most of these tracks giving
them an organic feel often lost in
dub. As with all ROIR releases,
well researched and written liner
notes provide a good background to
Yabby You's career and production credits. Beware Dub deserves
to be considered a "desert idle disc'
and certainly showcases dub definitively by the highly under-rated
Yabby You and Channel One crew.
Beware — this is one tuff dub!!!
Mike Cherry
My Life With The Thrill Kill
Cargo/Wax Trax
I had heard on the wind of rumour
that the Thrill Kill were going 'Disco,' but it had not prepared me for
their latest release, Sexplosion—
get out your white suits and platform shoes and BOOGIE!
I can't decide whether to
like'emfor doing such a turnaround
or be annoyed fo losing most of
their hilarious horror movie samples. This is either going to grow on
me or be filed under "played it a
couple of times when I first bought
it." I guess it depends on your feeling towards disco and its current
revival. Probably my favourite
tracks are "Sex on Wheelz," featuring Ministry's William Tocker on
guitar, and the title track
The cover should have had a
warning sticker, "Completely concerned with sex," plastered on it
because lhat's what Sexplosion is
very obviously obsessed with. This
album is not for the prudish and
could really alienate veteran Thrill
Killers— oh well, can I get back to
you on this one?
June Scudeler
Orange Pony EP
I really don't know what to
make of Hilt, which is a strange
conglomeration of musicians. Pups'
cEVIN kEY and Dwayne Goettel,
production whizDave 'Rave' Ogilvie and guest appearances by Sons
of Freedom's Don Harrison, as well
as a mysterious personage named
"Kevin Eleven" (now who could
that be?!)
Orange Pony is a four song
Ep of such disparate musical styles
that it makes it hard to pin down,
which listeners can wither find interesting or annoying. The title track
sounds like a pop song straight out
of England with plenty of jangly
guitars, "Green Love" is mutant
reggae, "Yellow Sunshine" is long,
pleasant ambience, whereas "White
Stuff: is a blast of war-ringing noize
complete with metal banging and
thrashy attitude. I don't know what
to make of it, but I think I like it.
June Scudeler
Persecution of Genius
N.T.S Productions
I believe this album is evidence of
taking a psychotic, neurotic, myopic, obese, distorted, coarse, crass,
brutish, insensitive, vulgar, crude,
madman, who is musically capable, but
just barely, and ask- (
ing him to then write,
produce, arrange, and
perform on an album
— his friends were
probably locked up
somewhere, where I
don't know, nor do I
want to know for that
matter. Mr. Spit, the
infamous psycho,
wrote this fucking
piece of shit of an album. So sorry, but I
think this brings me
to my next point, censorship. Personally I
think he was not testing the artistic boundaries of society, rather, his demented mind
wanted to make just
one plain disgusting
album. If you like
songs aboul masturbation, anal sex,
vibrators, phone sex and other perverse things you can think of, this is
an album for your collection.
Cycle Sluts From Hell
Cycle Sluts From Hell
The Cycle Sluts from Hell sound
exacdy like their name: their very
hard abrasive caterwauling sound,
about all things sinful and evil, justify their name on their debut release. The Cycle Sluts are reminiscent of a female Danzig, with a
smidgen of Motorhead thrown in
for good measure. The Cycle Slut-
are sort of lyrically and ideologically a Heavy Metal version of BWP
but they delve deeper into the darker side of the human psyche wilh
references to S&M and BAD, although the dust cover alone would
tell you that. The Cycle Sluts are
speeding down a highway that has
already been traversed by Slayer
and Megadeth and numerous others, and where it to takes them to
Vertical After
My mother always told me that if I
didn't have anything nice to say,
then it was better to say nothing at
all...Enough said.
Polly Amprov
Yabby You
fully equipped eight track
services available
negotiable rates
687   5803
f*fli k.A_~ /**f\    fc ■«■— — "  . v_^..r..«., rriwuvi  r__.i «i  kwwi^ WKUWiiK w invin a I ^»-30UO sj Dinosaur Jr.
Jesus Lizard
86 Street
Saturday 22 June
This show was at the worst venue in
town,so I wasn'tlookingforwardto
it. The Walker dida 5 song/40minute
set featuring a couple of new ditties
and was as good an opening act as
can be expected playing to a Vancouver audience in a club prone to
distance you from the band. Not
their best outing but definitely not
their worst I've seen either (the one
that won them Shindig). The Jesus
Lizard had shit sound and had to deal
with the barrier, if this was the only
time you saw them you missed out.
Jr. had nice lighted cows and some
nice frogs and J. Mascis had a nice
gut and a nice guitar with the pedals
nicely hidden in a suitcase. Ihe
crowd was the usual assortment of
assholes who go to shows only when
and if it's at a big hall and the band
is played on Much Music, Coast 800
(now that it pitifully exists:— not
that I listen to CiTR, or even can—
just that London Calling hits weren 't
particularly frightening in 1979 to
CFMI so don't pass it of as bold
now), and is in Spin, or worse yet,
Rolling Stone. Jr. would have impressed me much more if they'd just
walked off in the first couple of
minutes after J. realized his Mic
wasn't grounded and people were
yelling at them to play... but play
they did for an hour and a half to a
crowd consisting almost entirely of
people who couldn't have cared less
the year of Dinosaur's one great LP
and boneheads who insist
'Loud=slamming with the intent to
maim.' Tell everyone you know that
Sean Elliot
The Feelies
Sarcastic Mannequins
86 Street
Sunday 30 June
I learned long ago to avoid the' zany'
openers but I bet they were' wacky.'
How they got this bill confuses me
but Mike Watt seems the gullible
goofball type and he called them
their'homeboys' so go figure. fIRE
HOSE left me in a state of panic and
I couldn't stand still. That is to say,
with no ins and outs policy, some of
the very worst sound I've heard
(tons of distorted rumbling overlaid
with plenty of screeching) and a
good to shit song ratio of about 1 to
8.1 was left to wander in the vain
hope of refuge. Apparently most of
these music fans disagreed with me
and lapped it up. The need to slam,
hoot, and holler (especially to "Lou
Reed" and "I Love Rock") never
really occurred to me while listening to the Feelies at home but I've
never been to a keg party or gone
fag-bashing either so I guess I've
yet to live. Fortunately I was able to
stand up front fairly comfortably
and I'm thankful for this was a fine
set of mostly newer material from
one of the only bands on a major
label that does anything interesting
with jangly guitars... and you youngsters out there thought that was the
Northern Pikes. Sure, they're not
angst filled teens but you'reafool to
pass them up for being wimpy or
better yet lame. An hour long set
with nearly a 1/2 hour encore most
of which featured the 'hose' boys
and was comprised entirely of covers. What else can I say, other than
thank you Feelies for requesting no
smoking during your set and that it
warmed my heart to see shmoes in
their recently acquired Replacements t-shirts.
Sean Elliot
Cruel Elephant
Sunday 14 July
So Just as the final cut off date for
this mag was rearing its head ever
closer, I just happened to go see
Facepuller and Mudwimmin.
Facepuller were alright I saw
them at Poison Idea and thoroughly
enjoyed their show. However, at the
Cruel Elephant, they were just too
loud and distorted to actually be
enjoyed let alone reviewed posi-
Mudwimmin toned down a bit,
but they were ju st too stupid to really do anything for me. The band
consisted of five bizarrely clads
wimmin (I liked their clothes anyway) who had no feel for music
whatsoever. I left early, basically
disgusted with the whole thing.
Angle Finley
Ridge Theater
Saturday 20 July
If ambient music is the musical direction of the '90s, as some feel it
will be, than Coal has a clear head-
start on the rest of Vancouver's local
bands. Everything about the evening
was orchestrated to provide the artists, and the audience, with a unique
atmosphere for the performance, including the venue— a movie house
which rarely permits bands to play—
the lit candles on the stage, an open
wine bottle on a speaker, and the
1950s National Film Board of Canada movie— showing "the wonders
of space" to earthbound Canadians—
projected behind the band. As forthe
music. Coal provided a short half
hour set of minimalist ethereal rock
music, with the occasional blues'
slide guitar. Lyrically, Coal primarily dealt with the topics of the heavens. Hell, and human souls. They
were billed as Patsy Cline meets the
Cramp, which is a somewhat ambitious label but still close enough to
the truth. The lead singer sounded a
lot like Julee Cruise, while the lead
guitarist twice stepped forward to
sing despite his gruff and generally
ill-suited singing voice. While it was
an intriguing evening. Coal's music
may not yet be strong enough to
stand on its own without a well-
crafted atmosphere, such as would
happen on record.
Chris Buchanan
Yet there's more...
So after a whole month of seeing
gigs,I decided to just say some small
meaningless somethings about the
more interesting bands I saw. You
know, ones that left even a faint
impression on my fickle mind. Those
that left a foul taste in my mouth I'd
rather just choose to ignore. So...
here goes.
Playing at the TwilightZone's
Open Door, Sister Lovers rocked
up a storm, literally. After sitting
through two rather dull and predictable bands, it was refreshing to actually see some creative energy on
stage. Always ready with one gimmick or another, this band is consistently, perhaps even over, enthusiastic when they hit the floor. Such
enthusiasms, great for the audience,
is nevertheless not fully appreciated
by club owners. Despite the fact that
these guys seem fraught with technical difficulties and perhaps too much
attitude for their own good, they
deserve a look-see. Hey, you may
even see them kicked off the stage.
Fourth Floor is another band
I just happened to see. They were a
strange mixture of really cool guitar
and rhythm sounds with, unfortunately, very pop, synthesizer stuff. I
think this band has a lot of potential
but only if they tone down on the
synth and maybe cut the lead singers
vocals. The bass player and drummer had great voices which go over
a lot belter and do not sound so glam
Speaking of glam, when I went
Sinner's Squad opened. They may
be good in their own ways, but their
negative attitude towards the world
left an offensive odor... Well enough
Naked Lunch, however, were
great. With their new lead singer and
a recent Bandwarz win, these guys
could be headed for some real action
in the music scene. Their rockin'
brand of heavy metal slash weir-
vocals slash interesting lyrics truly
impressed me. I had heard good
things about them before and they
totally lived up to my expectations.
Unfortunately, they don't have any
kind of demo or album available yet,
hopefully one will be on the way
Bob's Your Uncle and Roots
Roundup were another couple of
bands that I saw. Roots was their
usual brand of high energy, danceable great tunes. A friend commented that there seemed to be a lot of tree
planters in the audience as there so
much unleashed energy in the place.
I had never seen Bob's Your Uncle
Uve before. One stupid late night
Vancouvercable show I'd seenyears
before had always given me a negative impression of them. But now
that I've actually seen them I
wouldn't hesitate to go see them
again. Sook-Yin Lee, the very charismatic lead singer kept the show
interesting and very entertaining.
One of her very own paintings also
adorned the stage.
Eugene Ripper's Dead Head
Cool was another interesting band I
saw. They played at the Railway
Club on a Sunday night, and although there were only about four
people there, I thoroughly enjoyed
their show. They were pretty reg-
gae-ish and quite danceable if you'd
had enough beer. Unfortunately,
Sunday at the Railway isn't conducive to drawing large crowds. However, they were worth a Usten for
Interesting bands... all local,
aU very happening. Check them out.
A Voice of Dissent on the
Jazz Festival
Well, I was crossing my fingers that the Jazz festival would be
more interesting this year and it was
better than lasl year, as far as I was
concerned. I didn't really see much
"jazz", though, al least nothing
freaked out, or experimental. But
what I did see was a lot of was
contemporary versions of traditional styles like R&B, soul, American/
Latin American fusion, and the traditional music styles from a couple
other countries. This was not necessarily a bad thing, in fact, my experience at the Jazz Festival was no
doubt shaped by my unfamiUarity
with most of the names in Jazz Festival line up, while most of my attention was directed to the Commodore
shows my friend caught lots of wild
stuff at the Western Front and the
Glass SUpper.
The Commodore shows were
obviously centered around danceable stuff, which was stiU a funky
good thing. Maceo Parker and
Roots Revisited played two funky
sets with some tasty mainstream jazz
sUding around on top of the shppery
bass organ. Each set was an amazing
hour in length, and the JB Homs
(Pee Wee, Fred and Maceo) funked
us into a cold sweat with a number of
Mr. Brown's tunes mixed with their
own stuff (the JB Homs have quite a
few albums). Otis Clay and the Chicago Fire kicked some "oh baby, I
love you" soul with smokin' r&b
I didn't go see Aster Aweke
because I thought her new CD release was boring, but reliable sources said she had an energetic and
entertaining show. Oh well, better
Regrettably, I could not get to
the World Saxophone Quartet
show but my magical friend enjoyed
the show very much and told me that
the four of them, unaccompanied,
had been able to perform the beautifully rhythmic music from their latest CD release, Metamorphoses,
which has a strong African drum
Eddie Palmier) put on a good
show that occasionally lapsed into
self- indulgence. But his band of
exceUent musicians (including a phenomenal bongo player and conga
player) made up for the slack moments with some highlight solos.
The best show that I saw for
the festival was Salif Keita. Some of
this man's albums are a bit overproduced with loud, bland keyboards,
but live he, and his band, had that
great mix of stage presence, confidence, beautiful music and excellent
sound that brought his show up above
the rest. I almost didn't go because
ofthe $24 tab, but some guy sold me
his ticket for $15,1 was so grateful
for that after seeing Salif s powerful
On CANADA DAY I was all
pumped up to see David Moss play
in John King's Electric World. We
have two Moss records at the station
which are full of crazy experimental
music with some really hot players
like Fred Frith, Tom Cora, John Zom,
Christian Marclay, Jamaladeen
Tacuma, Arto Lindsay and others.
I've been playing these two albums
lots lately, so I was really pumped up
to see some wild and crazy jazz.
Instead, I got kicked in the head by
wanking r&b funk, standard style,
with almost zero soul and way too
much flash riff-wank. Of course, a
lot of the audience thought this was
a really good, sort of funky r&b
groove, but my expectations of noise,
bordering on chaos, improvisations
were dashed so thoroughly that I
could hardly even raise my rock and
roll demon worshipping 'banger salute of ceremonial sarcasm against
the John King Wankmonster machine. It was bullshit Why they were
defecating this crap at a jazz festival
I don't know, and these guys should
know better. But had I not been so
enthused about seeing Moss I would
not have seen The Happy End. This
is a really big ensemble, with lots of
brass, that uses a lot of traditional
arrangements and medley-like songs
that have an infectious fun humour
to them. They had a varied and colourful showcase, a lot of homs, a
lively stage presence and their live
show was fairly representative of
their new CD Turn Things Upside
After the disaster, local musician Celso Machado performed solo
on guitar. He had a very percussive
approach to his instrument, often
playing il like a drum. Celso also
leads the popular local percussion
ensemble "Batucada B.C.", which
played at the Dragon Boat Festival
and will be performing this summer
around Vancouver.
The Brazilian drumming group
Oladum paid a surprise visit next
and the plaza was dancing and chanting with these energetic performers.
The last group was Henneto
Pascoal and his Latin American fusion. It was great to dance to and I
enjoyed myself while they played,
bul,like mosl of the afternoon, it was
fairly conventional.
And that was it, the end of the
Jazz Festival had arrived. I didn't
see anything on the experimental
side of jazz, not to say that it wasn't
there, but I still thoroughly enjoyed
the Festival and its healthy celebration of music. RememberAnd thatit
will all be back again next year.
photo by Kai Korinth
AUGUST 1991 25 LICK   ME
1 PIZZA CO. ii
Now serving coffee and salads too.
1175 Robson
1937 Cornwall
Tue Aug 6
Thu Aug 8
Tue Aug 13
Mon Aug 19
Tue Aug 20
Tue Aug 27
Wed Aug 28
Thu Aug 29
• Blue Chunks w/ Pale
Face and 4th Floor
- Band Warz Club Finals
• UK Subs w/ Sonic Brain
Jam and Birth Defect
■ Circle of Soul
• Fun House w/ Kiss Kiss
& Bang and Mushroom Trail
• Dead Surf Kiss w/ Psychotic
Jamnation and Chrome DogJ
- Band Warz Regional Finals
- Band Warz Regional Finals
1055 HOMER
Guest Quest struck again with another four band Arcadian Hall all-
ages gig (I can't remember the date).
Grave Mistake went on first cranking out death metal the way you
want it. listening to these guys all
night would definitely get to you.
But damnit it, they were pretty good.
I couldn't help but watch the bass
player/vocalist for most of their set.
This guy seemed giant-like to me
(the guitarist must have been short)
with a shit load of hair covering his
face as he screamed into the microphone, held at a weird angle. With
his Blasphemy shirt and Made, this
guy was a pretty scary looking
motherfucker. Musically, Grave
Mistake is heaviness, quickness and
The second act was Rusty
Nails, formerly from Calgary. For
the most part there was good quality
rock coming out of these guys. Their
music wasn't crazy or complicated,
just solid songs with good catchy
riffs. Buzz, the frontman, was excellent to watch because the guy's got
great moves. When he wasn't holding the microphone to his crotch, he
had his arms stretched out with a
crazy voodoo type grin on his face.
The Nails seemed to divide the set
into two parts: the first being the
hard rock section and the second
being a Stevie Ray, hoedown section. Judging by the crowds reaction, or dosie doeing, they didn't
mind it, but for me, Rusty Nails'
honky tonk deal was sucking large
amounts of corn cob.
10 Feet Tall was on third and
had the biggest draw of the night, but
just didn't do it for me this time: lots
of physical energy, but the songs all
sounded the same. It was as if they
used the same drum beat for every
Last, but not least. Cat's
Game. They weren't left with a lot
of time to play, but they made the
most of what they had. This time
they were dressed in surgical greens
with the traditional stockings on their
heads — gotta like it. For some
strange reason. Cat's Game doesn't
have the best of luck at the A rcadian.
Instead of being interrupted by the
cops, they were interrupted by the
loss of a speaker. Fortunately Jinx
and crew quickly rectified the problem and the show continued. After
punching outmost of the tunes from
their new tape, 12 o'clock showed
up and it was all over. But as Pete
and I headed for the stage, Cat's
Game went back onstage for an
encore quickie. Without a doubt,
theirversion of Descendants' "Loser" was a great way to end an excellent 6 buck night.
Octatrakter are likely to be
dormant for a while, what with the
loss of their vocalist and drummer.
But Justice assures me that he and
Darren plan to keep the band going
and that we should see some sort of
re-emergence in the near future. In
the meantime, the two of them will
be opening forthe Volcano Suns
on Aug 12,at the CruelElephant.in
their new band Cutthroat
I was talking to Mark, ex-
drummer from MSR, about his experiences with that gig-making machine, the Open Door. He felt his
band was not well treated, citing
instances such as having Mary
thrust upon them as headliners at
what was supposed to be an MSR/
Piss Queen gig and the fact that
none of the MSR members were
ever paid more than $7 a piece.
Chris (the head guy at the Open
Door) denies all this, claiming that
Ash and Gary from Piss Queen
were responsible for setting the gig
up, getting Mary to headline, and
paying the bands. All I can say is
that bands that don't want to be
treated as a sellable commodity
should be careful about dealing with
"businessmen" types.
I saw Goriila Gorilla in July
at the Cruel Elephant and was very
surprised. When I walked in they
were doing their funky tunes, but
when they were about halfway
through they went into an unexpected hardcore mode. It started
with a couple of Bad Brains tunes
and kept going from there. The
songs they did for the rest of the
night may not get them a big-ass
record deal right away, but they
were a fuck of a lot better than the
stuff they usually play. You make
It's timeforFacepullerfun.
I saw them open up for the Hog
brothers at Club Soda on July 9th
and they were excellent. Even
though they had wireless difficulties for the last two songs, they
were sounding great. They wanted a
fast set and they gave a fast set. If
you've seen the Steve Taylor/Poison art crap on the walls you can't
blame the Puller for wanting to just
do their thing and get the hell out.
Biker shorts are for riding bikes you
losers. Go back to Glamland where
you came from and, for fucks sake,
take Violet Addiction with you (nice
adguys).IwatchedChrome Dog's
first few tunes (they were also on the
bill as well as Kiss Kiss'n'Bang)
and then split soon after. They
seemed to be doing a psychedelic
Cult type thing which wasn't sounding that great I missed K. K. and the
Sunshine Bang for obvious reasons
as well as the beloved Hog with
Ziggy filling in for Jesus Hag. Have
a good tour guys!
Back to Facepuller. Those crazy fuckers have just recorded three
new tunes at Mushroom. The package will be called Cranial Expansion Device and will contain the
songs: "Dayshift," "X-Garbage-
man," and "Firebomb." At future
shows watch for setlists and sing-along lyric sheets that are to be passed
around before they start their audio/
visual shenanigans.
On the local record release
front, be sure to watch out for The
Mint is a Terrible Thing to Taste.
This seven incher, the debut release
from the newly formed Mint
Records, features Windwalker and
Tankhog each doing a cover of a
different Ministry song- "Burning
Inside" and "So What" respectively... it's bound to be interesting.
A friend of mine once said that
he figured Victoria had a better music scene because not only were there
more bands and better crowd support, but they actually had a band
named Bum. When I listened to
their demo of well-crafted pop punk
tunes bands like Sludgeworth or
Naked Raygun or even the Eastern
Dark popped into my mind. Now
that I've done the obligatory "it
sounds like this" comparison, you
can check them out for yourself at
the Cruel Elephant (along wilh Ham-
merbox)on Aug 16. You also might
want to watch for a seven inch to be
released on Lance Rock Records,
which should be out., fuck it, I hate
trying to guess record release dates.
Just watch for il, it promises to be
Sticking with Victoria, my
buddy Pete saw the Clusterfux at
the Elephant on the 3rd and was
given a tape on the house so that I
could check it out. Apparently
they've been taking a long break but
are now getting things going again.
Their nine song The Rats are All
Around cassette suns off with "Feelers," which has an awesome opening guitar deal that's really cool. The
song then goes into fast mode before
returning to the intro guitar thing.
They also do "I don't like Mondays," which sounds exactly like it
would if The Nice were doing it with
Emerson playing guitar instead of
organ. The tape has the thrashy feel
without the whining guitar sound.
The tune "Keep Me Mellow" puts
you in a Wipers mood with the "My
Vengeance" guitarriff. But the song
is really cool so there's no problem.
Pete tells me they are better live than
on tape, so I would definitely check
them out when they come back because the tape is worth the trouble. < FliTUiiE
Welcome to yet another edition of
Future Rap! CiTR received a large
amount of new rap CDs at the last
minute so excuse the briefness in
certain areas.
As far as CD singles go, a few
new ones have come out, including:
Slick Rick with "I Shouldn't Have
Done It," which is a story quickly
delivered over some simple hip hop
beats; Downtown Science's tune
"Room to Breathe," which is a slow
paced, rather boring song that tries
to incorporate all forms of music
into it; Leaders of the New School
with "Sobb Story;" and Nikki-D's
second single, "Hang on Kid," which
seems to follow the same theme as
her first single, "Daddy's Little
Girl," where Nikki starts out as being sweet and innocent to her father
but then we realize that she's naughty and nasty and wants to be "Queen
ofthe Night Scene." "Hang on Kid"
isn't bad. Let's hope that a full LP
release will soon appear, with varying issues though.
Lakim Shabazz's 1990 release, The Lost Tribe of Shabazz,
was recorded on Tuff City records.
1_e release includes such songs as
"The Voice of Power," "Black and
Proud," and "Blackis Black," which
reveals the basis upon which the 12
track CD has been written. The majority of the songs contain complaints of how the black man was
robbed of his pride and the ridiculous incorrect stereotypes placed
upon him. Lakim's deep voice rolls
smoothly over the tracks as he expresses his anger through his well-
composed lyrics. It seems that some
of Lakim's writing is close to Kool
Moe Dee's format, although Lakim
is more into his culture. Tambourines, flutes, homs, and bass drums
are just a few of the instruments
used on this CD. The best song,
involving samples of Hack speakers and the Flavor unit—Motivator
Connection, is called "No Justice
No Peace."
If you've been waiting for
some new house/dance music to arrive, wait no longer, it's here: from
CapilolRecords comes Simply Ma-
jestic's, The Album. It includes the
two well-known dance hits, "Play
the Music DJ," by Brothers From
the Ghetto, featuring Frank Mor-
rell, and "Dance to the Music," by
Simply Majestic, featuring B-Kool.
Frank Morrell also appears on a cou-
pleof othertracks with BFTG. Overall, his rhymes lack originality and
become irritating, as they are very
mainstream and repetitive. B-Kool
also tends to stick to a simple party
formula, although he proves himself
somewhat superior to Morrell in his
song, "Kool and Deadly," which is a
rougher, more streetstyle, slice (even
the house beat is less obvious). Por-
sha-Lee appears on "Destiny," where
she paints an unrealistic view of
love ("Oh baby" and "You're my
knight in shining armour." Oh
please!). Definitely a watery love
song for 95.3 FM. Yes Z, this one's
for you. Intelligent and original
rhyming techniques are severely
lacking. But the production, being
house, is clear and concise, loud and
thumping. Samples, clean cut, are
adequately thrown in here and there
and produce a completely digitalized
sound. If house music is what you
dig, and you aren't one to bug over
repetitive lyrics, then perhaps you
might want this for your collection.
Canada... It's about time! Finally a RAP release featuring Canadian rap acts only! A compilation,
titled the Cold Front Rap Compilation, includes a few well-known rappers, such as Maestro Fresh-Wes,
the Dream Warriors, Main Source,
and Kish, along with some new
names. Sonyalive, a female rapper,
speaks of unity, togetherness, and
the disgrace of black on black crime.
Her voice is rather quiet and her
rhymes are a bit so-so but, overall,
herpositivity rules as power. Another group of female rappers, known
as the New Black nation, appear in
"Soul Vibration," where the issue of
knowledge being the key to succes
is well portrayed. Peace goes out to
the Motherland as these Sistas bust
their rhymes steadily. KGB, back to
the male rappers, lets the bass kick,
the guitar pluck and the beats drop
on "Letters of Three." The rhymes
come out somewhat sloppily, but
quick and flowin'. It's probably one
of the finer tracks. For an all-Canadian (Toronto based) compilation,
this CD is slammin'! With professional sounding production and a
variety of styles comin' outloudand
clear, the hope of Can Con appearing on the Hip Hop map is yet another giant step closer. Remember to
support your local talent y'all!
TheChubbsterishere! Chubb
Rock's 16 Track CD, containing
just over an hour of music, called
The One, has just been released
through Select records. The club hit
everyone goes wild for, "Treat'em
Right," is on this release, along with
quite a few other tracks that tend to
lean a bit too far into the boasting
category. "The Night Scene" is a
tune worth checkin' out. It deals
with the issues of prostitution.desire
for the "good life," drugs and thugs.
Chubb Rock suggests that the
brothers'n'sisters research their history and work together as a team
(because blacks with egos will flop).
"Bring'em Home Safely," featuring
3rd Bass, speaks of the terrorist actions in the Persian Gulf. The lyrics
aredeliveredovera sad, slow-groov-
in', melody. The rap talks of mothers crying, letters being read under
candles, and the inhumane conditions the soldiers were subjected to.
This last track is deep...
Speaking of moving music,
Hea vy D and the Boyzhave come
out with an album completely different than their last one. Peaceful Journey consists of 14 songs and is dedicated to the memory of Troy M.
Dixon (Trouble T-Roy). Obviously
the absence of this member affected
the outcome of this release because
a number of the songs cut very deep.
After listening to the first few pieces, including the dance hit (on the
funk tip), "Now That We've Found
Love," and the next two, both love-
mush, I wasn't sure how much more
I could take! But then the tables
turned. "Sister Sister" is dedicated
to the black women who have loved
and raised their family and worked
hard to keep things moving. Heavy
to be a black lady." The best song on
this CD has got to be " Peaceful Journey," which is sent out to those on
the streets. It involves the issues of
children getting beaten, lyin", steal-
in', killin' and the idea that children
are not born bad, that they're all
God's children. Heavy D states he
understands why certain actions occur and that perhaps plenty of violence would stop if the hiring of
crooked cops was stopped. "Letter
to the Future" is a tune that suggests
you should not be bigger than you
are, that you get educated, stay out of
jail (as it is cool to be free), get a job,
and work hard. Funky bass lines are
heard throughout and the production
is smooth.
(Niggaz 4 Life) has been striking
some wild controversy, no doubt
intentional. The CD has 18 tracks (7
of which are written by the D.O.C.)
and is produced by Dr. Dre and Yella
for High Powered Productions. This
album consists of a number of songs
that are demeaning to women, such
as "To Kill a Hooker" and "One Less
Bitch." It's obvious that these boyz
don't play. They have lost their flavour for hype lyrics, (Ice Cube's
superior!!!) and the production is
more diverse. A song, originally by
Parliament (with non-explicit lyrics), has been rewritten by Eazy-E,
who sings! Eazy-E plus singing
equals wack! Though the majority
of this CD is lacking, a few tracks
kick some butt around. "Real Niggaz Don't Die," "Approach to Danger," and "The Dayz of Waybeck"
are pretty dope. To show just how
mature these young black gentlemen are, "Message to B.A."has been
included, as for tasteful lyrics, "She
swallowed it" about sums it up. I
used to kick back and say "Yeah,
N.W.A. is dope." But not anymore!
Yeah when Ice Cube was behind the
Posse, but now they can only do one
thing: "Find'em, Fuck'em, and
Def Jam/Columbia... another
hint? O.K... 23 tracks! Yes, 3rd
Bass' Derelicts of Dialect has hit
the stands with crazy scratches and
samples, guitar riffs, and humorous
breaks throughout- Vanilla Ice gets
dissed in "Ace in the Hole" (meaning sole) where 3rd Bass chants "Ice,
Ice, Baby, No Soul, No SouL" This
lengthy release still has the original
3rd Bass flavour. The radio hit, "Pop
Goes the Weasel," is here with 2
versions. The production is peaking.
Although there seems to be many
tracks, quite a few of them are short
breaks and skits. "Portrait of the
Artist as Hood," as well as, "No
Master Plan No Master Race," and
"Microphone Techniques" are hype.
There are plenty of speeding backup
beats. Chubb Rock guest stars in
"Kick'em in the Grill" and in "Microphone Techniques," where the
homes kicks "Would use the f-word
but Ice Cube got the copyright."
Word! "Problem Child" shows that
3rd Bass is socially aware by discussing the life/death and times of a
'Problem Child.' No Gas Face to...
Kool Moe Dee seems to be
having a lot of pressure on him these
days. On his new album, Funke
Funke Wisdom, bragging is the majority of the lingo— not bragging
constantly how dope he is, but rather
how tough. "Funke Wisdom" is definitely a funke track, no doubt about
that. Samples from Parliament's
"Atomic Dog" are found in "Here
We Go Again," which is a track for
those who cannot understand his
complex language and, therefore, he
must water it down for those less
intelligent. A few less than fresh
tracks include "To the Beat Y'All,"
a party song using basic "step up
sucker" lyrics, and "How Kool Can
One Black Man Be," a slow track
with basically the message "I'm
kooL" L.L. Cool J. is asked to step in
the ring in "Death Blow," where
Kool Moe Dee says that he wants to
battle L.L. (in a big way!). All in all,
this CD is not that great.
on EJektra records. There is notmuch
to say about this CD. K.M.D. sound
like a mix between Brand Nubian
and A Tribe Called Quest's style.
The loops are simple and the length
ofthe release is over an hour. Guitars
are twangin', homs are tootin', and
anti-smoking/drugs lyrics are
present Also, there are breaks between certain tracks that are funny.
The Brand Nubians are featured on
"Nitty Gritty."
Professor X's Years ofthe 9,
On the Black Hand Side is totally
uplifting. If ProfessorX irritated you
on X-Clan's CD.ignoreit This man
is DOPE! This brother is truly hip.
Can you dig it? Support the Black
Watch Movement Sissy!!!
Asfor the rapper of the month...
Ice Cube is up for it His part in the
controversial film Boyz N the Hood
is well done. This young brother is
progressing rapidly. Peace out to the
future projects.
12:00PM The newest new music
and information on concerts,
recordings, and composers with
host lan Crutchley.
News.sporls.weatherand more
with the CiTR News. Sports and
Weather Departments.
Hosts: 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.
Kooky antics, current irrelevant
issues, Joe Jackson, Pankow.
Ice-T, Hellbastard. and yourcool
requests. Hosted by Karen
Toddington and Lloyd Uliana.
12:00AM Join host Dave Emory
and colleague Nip Tuck for
some extraodinary political re-
searchguaranteed to makeyou
fhink 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 Yourfavouritebrown-
sters James and Peter offer a
savoury blend of the familiar 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 /
different feature albums every
week. With your dj pal, June. Bill
Leeb loves you all.
5:30PM AI the latest on campus: news, sports, an In-depth
Interview, theatre orf iim 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 boxershorts
with their big fat guts hanging
out. Jerome Broadway and
Garnet Timothy Harry alternate
Vancouver's longest running
prime time jazzprogram. Hosted
by the ever-suave Gavin Walker.
Features at 11.
5th Thirty-six years ago in New
York on this day... Miles Davis
went Into the recording studio with an all-star band that
included Milt Jackson (vibes)
and Jackie McLean (alto
saxophone), plus others. This
informal session has long
been a favorite of your host.
Tonight, the date In its entirety plus a few pertinent stories about the session.
12th The Jazz Crusaders (before
they became the more commercially orientedCrusaders)
were a fine vital Jazz band.
Dismissed by the Jazz snobs
and tin-eared critics, they
became discouraged and
opted fora more "accessible*
sound in the 1970's. Well hear
some great "live" performances by the Jazz Crusaders tonight.. .before they went
19th 'Cuban Fire'... a seven part
Kenton Orchestra by Johnny
Richards. Is a masterpiece of
writing, playing, and improvising. Timeless music that will
never show its age... great
soloists like Lucky Thompson
(tenor saxophone) and Carl
Fontana (trombone) make
tonight1 s feature one not to
26th England's Tubby* Hayes
(tenor saxophone, flute,
vibes) remains to this day the
most significant Jazz player
England has produced. Bom
In London in 1935 and died
therein 1973atage37.Tubby
was    called    "England's
Coltrane". Tonight some
great live performances by
Tubby and his working band-
done In 1967. Any doubters
to the above claim need only
listen this evening.
Now hear this! Roughneck
dance hall Reggae, dub plates
and live DJ selections that are
ruling Jamaica and abroad,
wtth whltey at the controls.
Hosted by Antje Rauwerda and
lan Gunn.
3:00PM Country music toscrape
the cowshit off your boots to.
With yer host-poke Jeff Gray.
THE REAL DEAL &00-7-OOPM *lf it
ain't rap then you know ifs
crap. ■-Eazy-E. Hardcore rap with
your host Terror T.
Demo Director Dale Sawyer provides some insight into fhe best
and the worst of the newest
Canadian music.
AVANT-PIG 9:00PM-12:00AM Alternating Tuesdays with Wolf at
the Door. Now three hours of
funky ambient noise piggery
wifh Pete Lutwyche.
12:00AM Alternating Tuesdays
with Avant-Pig. The latest in
dance music and interesting
drama every second week. With
Lupus Yonderboy.
THE MOON DROPS Fun for the
whole family to enjoyl Weird
chunks of news, odd pieces of
tuneage. Pierre and fhe 2AM
Hosted by lan Gunn and Antje
UVE FROM VENUS 10:00-11:00AM
Getthbl WomenMusicWomen
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
If fhat I am supplied wel with
sonic bliss... hence the title.
The apocrypha of CiTR. We like
God. We like 70's Rock N Roll.
NO INTERMISSION 5:30-6:OOPM Addressing thedrama, theatre, film
and arts communities. With
Antje Rauwerda.
7:00PM Rowena often wishes
she was as hunky as the Jiggle
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 a" day from their por-
ta-kitchen. Jiggle Jiggle Jiggle I
Lose all sphincter control.
Hosted by Antje Rauwerda and
lan Gunn.
(ethnic, playlist. Canadian,
demo, rap, and funk)BLASTI
Adam Sloan sorts out the boundaries.
Maniacal bliss sweeping across
your face as the barrel smokes
and bits of shattered drum machine brains tinkle oh so
arythmically to the droning suffocation smell of melted ptastic
OUT FOR KICKS 6:00-8:OOPM Explore the pleasures of plastic
wifh your faithful native bearers
Pat. Lisa, and sometimes Chris.
TOPOFTHEBOPS 8:00-9:00PM Musical chef Marc Coulevin bolls
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
four-dimensional psycho-
acoustic Interactivity. Practitioner: Peter Courtemanche.
ous aural combustion. Easy listening for fhe truly weird. Live
mixes, sonic toop-dHoops. projectile poetry, microphone molestation, and Impromptu noise
Hosted by lan Gunn and Antje
Join host Ken Maclnlyre as he
takes you on a tour through the
silver screen's back lot of Bve
with film news, reviews. Interviews and soundtracks.
1:00PM   Don't tune in 'cause
you'll hate it anyway,
well...maybe not. Bye.
THE NOIZ SHOW 2:30-3:30, 4:00-
5:00PM Adam Noizl Sloan brings
fhe noiz. Radio art/noise collections which I will be featuring:
2nd Perpendicular Types of
Motion. see///.saw no.a
9th Identification. see///.saw
16th Art Radio Internacional.
Tape 1
23rd Art Radio Internacional,
Tape 2
30th Display Propaganda, Absolute Value of Noise
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 Wifh The Voice of Reason," our weekly bok back at
the week in the news, tongues
firmly in cheek.
9:00PM Undergroundsound 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 ifs 6th year
on CiTR! Roots music from
around the world.
Jun* 1: 6th birthday special I
Vancouver's onty true metal
show; local demo tapes. Imports
and other rarities. Gerald
Raftlehead and Metal Ron do
the damage.
IN EFFECT 3:00-5:00PM The Hip
Hop Beat and nuttin' butt. With
hosts RSJ and BZ Jam.
5:30PM UBC's weekend news.
All the latest news, sports,
weather, a movie review, feature report and more. News with
Luc Dinsdale; Doug Richards has
Ifs a music thing from all "Af
rica." Ifs an awareness thing of
self and others. Ifs an African
house party. Stories, music,
dance fun. Welcomel Your host:
There are those who are never
happy with thestatusquo. Those
who must have the new. those
who define themselves by what
others are not...uh, thb Is more
to the point. Out of beer, out of
tune, and out of control...music
to peel paint by. Hosted by Terry
BUSINESS UNE 604/822-3017
DJ UNE 604/822-2487 (UBC-
NEWSLINE 604/222-2487C222-CITR)
FAX UNE 604/822-6093
CANADA V6T 1Z1. Note the new
postal code!!!HI
There Is a special day of programming In the works, tenettvely scheduled for Thursday September 5.
1991. consisting entirely of material related to raising your awareness and respect for the environ-
ment.specifically every living plant
and animal with which we (humbly) co-Inhabit this planet.
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OPEN   VAUff <*-  	
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The stuff in these charts has been
compiled from playsheets filled out by
all djs/programmers who had shows
over the past month. The charts are
organised in order of airplay. If you need
or want any further information just
give music director Robynn a call.
She can most often be reached at CiTR
Monday to Friday noon to 4pm (PST).
l Various Artists... Blobs Volume 1 4 Victoria Band* 7* EP (Way Out!)
*N-Joi "Malfunction" 12" (BMG.RCA)
• Living Colour "Bbcul$"CD-5"(Sony»Epic)
4 Gas Huffer Ethyl7*EP(BlackLabeD
• Treepeople/House of Large Sizes split 7" (Toxic Shock)
• Pixies Planet of Sound 12* EP(PolyGram.4AD)
t The La's "Timeless Melody" CD-5* (PolyGram.Go! Discs)
• Octatrackter "StamHer"7"(KIITel)
• SllckRIck "IShouldn't Have Done It" 12* (Sony.Def Jam)
» Seam Days ot Thunder 7" EP (Homestead)
ii Brief Weeds A Very Generous Portrait 7* EP (K)
12 Itch "85 Bones" 7* (Scratch)
is Facepuller "Immorallzer" 7* (Temple North)
14 Stumpy Joe "Love Plumbtn" 7* (Popllama)
i» Two Kings in a Cipher "Deflnllonot a King" 12" (Round the Globe)
i« Blake Babies  Rosy Jack World 12" EP (Mammoth)
17 Daniel Ash "Walk This Way" 12" (PolyGram. Beggars Banquet)
i» GaryClail&On-USoundSystem "HumanNature"CD-5" (BMG)
i» Burning Heads "Hey You" 7* (Black & Noir)
•» Paris "The Hate That Hate Made" 12* (Tommy Boy)
2i Casbah Club "Living up In Centre" 7* (Black & Noir)
22 KcoiMoeDee...."HowCoolCanOneBI_ck...?" 12*(RoundtheGlobe)
22 Charlatans Over Rising 12" EP (PolyGram)
24TheGits Precious Blood 7* EP (Big Flaming Ego)
2S Youth Gone Mad/Letch Patrol split 7* (Youth Gone Mad)
M Lookouts IV 7* EP (Lookout)
27 MrT Experience Sex Offender 7* EP (Vital Music)
2«Pegboy Field of Darkness 7* EP (Touch* Go. 1/4 Stick)
2» Sloppy Seconds "Where Eagles Daie" 7* (Roadkill)
x> Various Artists Bill ft Teds Bogus Journey CD-5* (EastWest)
» The Orb "Ultle Rutty Clouds" 12* (Wau Mr Modo)
»2 Anger Means Not Human Anymore 7" EP(Skenel)
22 EdOG. and Da Bulldogs "Bug-a-Boo" 12" (PWLAmerica)
24 The Brood "ButYou'reGone"7"(GetHlp)
a* Isis "HoltheWofd"12*(4th&B'way)
2«Hote "Dlcknair 7" (SubPop)
27 Ignatius....
••Leaders of the New School "Sobb Story CD-5* (Elektra)
4»KodelV "Scratch Attack" 12" (Cargo-KK)
41 Mr Fiddler "So You Wanna Be a Gangster 12* (Elektra)
42 Lieutenant Stltchie "Night and Day" 12* (Atlantic)
4S Rena and Her Men "CaH Me" 7* (Rena)
44 Manic Toys What to Do 7* EP (Trash Can)
4» Stereo-Taxlc Device "Lo«ttand"12"(Cargo.KK)
4«Nlkkl-D "Hang On KM" CD-5* (Sony.Def Jam)
47 Various Artists Tertyakl Asthma Volume 5 7" EP (C/Z)
4» Vlsionstain DayPastRlpel2"EP(Silvefdlsh)
4* Mecca Normal I Can Hear Me Fine 7'EP (Smarten Upl)
— EdGein's Car Naked Man 7* EP (Vital Music)
•Cyberatkif Tenebrae Vision (Wax Trax)
• ZovietFrance Vienna *99.(Charrm)
•Fastbacks NeverFaltt, Never Wor**(Revolver.Blaster)
•VariousArttsts Sf*7WT»De*Vo*e*(SDV)
7 Einsturzende Neubauten... Strategies Against Architecture II (Mute)
•Ice-T O.G.Orfgfrw/Gangifer(Warner.Sire)
• King Missile JheWoytoSarv_/ton(Warner«At1antic)
io Les Thugs I.A.B.F. (Alternative Tentacles)
n Anthrax AWOckoT»ie<f«erB'«(lsland.Megcrforce)
12 Didjits Fu»A/efeonffe«ly(Touch&Go)
i»Hilt Ora/jgePony(Nettwerk)
tsGumball Specta**** (Primo Scree)
wSlawterhaus "i/w"(SRUVicto)
wSplritoftheWest Go Figure (Warner)
1713 Engines A Blur to Me Now (Capitol)
i» Soul Vibrations... Black History/Black Culture (Festival. Aural Tradition)
i« Billingsgate No Apotogte«(Cargo» Nemesis)
20 Venus Beads Inc Mon (Cargo* Emergo)
The Blue Hearts Bta»rOff(Juggler)
22 Diamanda Galas...
... King ot Bongo (Virgin)
... WqgueMa*«(Mute)
••Wonderstuff TheSheofaCow (PolyGram. Polydor)
2C Consolidated Friendly Faiclsm (Nettwerk)
••Headfirst! 7heEnemy(Cargo«Workshed)
27 A-Bones ThoUte of/MteK(Norton)
22 Steel Pole Bath Tub ru^p(Boner)
2* Various Artists 20 Explosive Dynamic Super Smash Hits (Pravda)
22BaabaMaal BaayoOsland)
••Sekiri J*afceMeroSeMrf(PublicBath)
*4 Maestro Fresh-Wes nieBtocfcn»Alfalr(A8cM.Attic)
•■NoUseforaName Incognito (New Red Archives)
••Cycle Sluts from Hell CycleSlutstrom He*(Sony.Epic)
•7 Spit Persecution ot Genius (NTS Productions)
••Arabesque rrad#tonaMrabe«queMu»te(SRWSaydisc)
••Various Artists On A/io«»errtane/(Black&Nolr)
4« Jello Biafra /BtowM/ndtforaLV/hgCAlternativeTentacles)
•iPereUbu Worf*iriCo_Won(PolyGram.Phonogram)
42LosFolkloristas Mexfcof(Festival.FlyingFish)
4» As ter Aweke Aster (Sony •Columbia)
44 Dust Devils.
45 Railroad Jerk.
4«Various Artists...
Electric + Chemical (Matador. Teen Beat)
... A Giant Leap of Fa/Wi (Sleet.CKWR)
••Legendary Pink Dots 7heA*j*7D*rienston(Caroline.P1AS)
■•Various Artists Total Virulence (Cargo)
•l Nimrod Grandson of Ham (Bron)
■2 Autopsy Men/a/funera/CCargo)
•4 Alack Epileptico....
... Coovu*oes4D«i'*fo«da... (Cogumuelo)
iNewLostCity Ramblers i7je.o/fyY#aw(Festival.Folkways)
MDefunkt Uve at the Knitting Factory (Knitting Factory)
»7 Boukman Eksperyans Vodou Afljfae(Mango)
m Jawbox Grijppe(Dischord)
M Iron Prostrate Loud, Fast and Aging Rapidly (Screaming Skull)
Various Artists InGold We T#u»/(MNW. Radium)
•i The Ex Dead Fish (Nine Mile)
••MoryKante rouma(PotyGram» Barclay)
••Panic fp«efnfc(Metal Blade)
•*YardTrauma Lose YourHead(NewRed ArcrweseDbnysus)
;3rdBass Der.«cf»ofDtatec/(Sony.Def Jam)
Celebrity Skin Good Clean Fun (SRO.TripleX)
•7 The Fall Sh#T-Wo«* (PolyGfam.Fontana)
i Dennis Brown Victory It Mine (Ras)
MeatPuppets forbidden Hoce*(PolyGram*London)
808 State £x-_/(Wamer.ZTT)
71 Swamp Terrorists Grim - Stroke - Disease (Machinery)
72 John Sobol Poetry Band Blues History (Word of Mouth)
7» Peter Holsapple&ChrisStamey M_vefTcta(Capitol. RNA. Rhino)
74Psyclones GreatedH*» iW*-*9e*(Ladd-Frith)
7«Monsula Structure (Lookoutl)
7« Phantom Surfers 18 Deadly Ones! (Norton)
This Mortal Coil fltood(PolyGram.4AD)
7«Sklnnerbox  The Imaginary Heart ot (Toxic Shock. Bobok)
ChrisConnelly Whiplash Boy child (Wax Trax)
••Terminator X * the Valley otlim Jeep Beats (Sony.Columbla)
•i Shabba Ranks As *awA*£ver(Sony« Epic)
•2 fIREHOSE fVto'rr-effanneKSony.Columbla)
i Primus Sc^g/he Sea* erf Cheese (Wamer.Atlan tic)
■4 Bone Club Bless 7hfc(.tocket Sound. Big Red)
••Jazz Passengers Uvwaf/heKrdttig Factory (Knitting Factory)
••Defalla We«veaSh*(Coguemelo)
... Career /h flock (Touch &Go)
••Volcano Suns	
••Toxodeth Mysteries About Ufe andD«am(Cargo.Wld Rags)
•iXymox Phoenix ot My Head (PolyGram.WIng)
•2 Young Fresh Felows Electric Bkd Digest (BMG* Frontier)
•2Sway & King Tech Concrete Jungle (Warner*Giant)
••Codeine «&WSfar»_P(SubPop)
••Alice Donut Revenge Fari asles of the Impotent (Alt. Tentacles)
••TheWendys The Sun's Going to Shine tor Me Soon (Factory)
•7 Various Artists Modem Sounds; CA.G.E. Project (C.A.G.E.)
••360- MumihafedaJnk)
••Chet Baker	
i The Itals	
•lIsmaelLo IsmoelLo (PotyGram.Barclay)
2 ShowBusinessGiants	
s TenFeetTall	
■ SandDooms	
• Hitting Birth	
 "Love Me"
7 WheatChiefs	
• Command Co	
1  » Glitch	
11* Screaming Daisies	
Ill Pasties	
112 Rumble Fish	
 -Strange Things"
112 FridgeMagnets	
114 Perfume Tree	
1 !• Surf Dusters	
 "Mexl Fried"
1 is APosseofOne	
 "See Horse Radish"
11* Picture Paintings	
 "The Man Who Would Be King"
1 21 Smokin'Rhythm Prawns	
1 22 CafsGame	
 The Sniper/No Time to Die"
1 22 Hollowheads	
 "Why Did You Come Here"
1 24 NoFun	
 "Entering Bikini Area"
1 2S Hoofarump	
2« Re-stricfed	
 "Screws In Your Head"
27 SethCahn	
u Digital Poodle	
M Busker's Soundcheck	
 "Diamond Mary Police Hunt"
•2 UnevenSteps	
 "Wortd War Three"
ss Stick Farm	
 "I'm Confused/Scrum"
m LowNotse	
 "Wisdom Without Knowledge"
•7 Dose Pump	
 "Kiss Me (Wih My Clothes On)"
4« JohnSturcz	
4i Ngoma	
1 46 Jane Hawley	
1 47 Tombstone Etiquette	
1 4« AmyDenlo	
 "1 Wear Guns When I'm Dandng"
| si Show Business Giants	
 -World It 2 Crowded"
1 hi ThirdStone	
| m That Melancholy Dream	
 "Mode! Image* 1
m WckrSpgt	
1 »7 GreenHouse	
 "Victim of Circumstance"
1 h Sad Happy	
 "Accidental FamBy"
1 m TheWorst	
1 «i Dreamspeak	
 "Indian Summer"
1 «2 Thelndecisives	
 "Good Intentions"
1 m Big Scary Daddies	
 "Queens Student Hunting"
1 *» TheCryptones	
1 m InnerSanctum	
1 m Big Kitchen "Flesh and Blood and Huge Chunks of Meat"
1 «7 LonelyTraller	
 "In aCab, Louisville"
1 •• Daniel Johnston	
 "A Man Obsessed"
1 •• Scarlet Drops	
 "Eariy in the Moming"
1 71 JhoNekBone	
 "Judge and Jury" 1
1 72 Abdomen of Hypnosis	
 "Westminster Aquarium" 1
7* Ron Vader and Paul Ames	
 "My Princess"
77 TheLears	
 "1 Won't Remind You"
7« Chris Meloche	
 "Serious Distraction"
•o Johnny Onslaught	
 "Hotel California"
u. The 14th Wray	
 "The Man Who Lives Next Door"
•2 Bluchunks 	
  "Show and Tell" 1
••Mint  100 	
•4 Karl Mohr	
 "Mind Movie (Excerpt)"
m Bobs Pager	
 "Death ot Coral"
•• DougNorquay	
•• Gas Food Lodging	
 "Monkey Monkey" 1
m Tryptic of a Pastel Fern	
 "Alpha Nightclub"
H H'ro^i'Yano
•s King Apparatus 	
 "The Pink Crypt" 1
••The Toasters 	
  "Haitian Frustration"!
M Laurence Cook and Mark Leibowitz "Raccoon Romance" 1
•7 Scl-Phonlcs	
 "Round n' Round" 1
••The Nudge 	
m EdensEnd	
m Joyful Noise 	
| »i The Stand	
 "Losing My Frustration" |
AUGUST 1991 29  crm/o/srtf
/Erica's Grand faster of
Sou/bus Dance, /fast
THUPS. 9pm
trcAets at tlc/setmaster, all usual
outlets aid by reservations
atsaturno 6821320
Fapa Wemba's Rumba rock is the most varied of
tai man Soukous dance music, tiftina and kinetic, a
marvelous lattice of percussion and melodv
Jon Pareles, New York Times
Fapa Vfemba combines the keening call and response of
? wh the rough edged sounds
of rock and roll.
Gene Santoro, Taxi
indigenous Z_
TM Africa Stow on C/TP /O/S/ff CaUe /0/S ScTturdsys SW ir> /OW pn Z Monday to Wednesday 10:30-7:00
LU Thursday and Friday 10:30-9:00
_L Saturday 10:30-6:30
0 Sunday 12:00-6:00
1869 W4th Avenue. Vancouver BC
August at Zulu
SUBPOP cd/cass sale
Beat Happening
Rein Sanction
The Grunge Years
Afghan Whigs
Green River
Mark Lanegan
Thee Headcoats
Screaming Trees
® Dreamy
® Brocs Cabin
® Frigid Stars
® (compilation)
® Up In It
® Blood, Guts and Pussy
® DryasaBonew/RehabDoll
® Winding Sheet
® 8-WaySanta
® Despised
® Heavens to Murgatroid
® Gluew/Roadmouth
® Mudhoney
® Superfuzz Bigmuff
® Screaming Life
® Salt Lick
® DasDamemEP*
® Change Has Come EP*
® Let It Slide EP*
* cass 6.98/cd 7.98
cass = 8.98
cd = 12.98
Sale prices in
effect until Aug 1 -31.
This August
brings a new
cd/cass from...
Every Good Boy ■■
Deserves Fudge "
ZULU welcomes the newest
release from Mudhoney
Available early August
Special SUBPOPAugust
Pricing Applies!
!The Coupons!
Yup. time for two more fabulous ZULU COUPONS, this month featuring
New Import CDs and Collector's Records. As usual these coupons are
valid from the first day of August to the fifteenth. Instructions for use?
Rip this magazine to shreds, being sure to carefully avoid tearing,
folding or smudging this vital section. Bring it into Zulu, make your
selections and discover what true happiness is.
Aug 7/5pm
Celebrate the Capitol Records release of
"A Blur to me Now" and 13 Engines' August
7th performance atthe Town Pump.
Their cross-country tour includes a stop at
ZULU before the show to sign autographs
and yak with their friends and fans. Don't
miss this opportunity to meet a great
Canadian band with an international


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